Portfolio by Felipe Calderon

Po r t fol io A. Felipe Calderon

University of Texas-Austin MArch. I Candidate

Airplain Model. Summer Studio. 2009

Content CV Freehand Sketches

Art Work

Studio /

Studio //

Notion

“Untitled”. Water color and ink. 18”x24”.Summer Studio 2009

A. Felipe Calderon afcalderon@mail.utexas.edu 512.577.2018

Education

B.A. Urban Studies with minor in Architecture University of Texas at Austin A.A.S in Engineering Design GraphicsArchitectural Specialty Austin Community College, Austin, Texas

Current

May 2004

Work

University of Texas at Austin, School of Architecture. UTSOA Oâ&#x20AC;&#x2122;neil Ford Chair in Architecture. Senior Student Assistant Berlin, Germany Eclipse Environmental Engineering Inc. Auto CAD Drafter and Engineering Assistant Austin, Texas Williams Geotechnical Group. Construction Services Coordinator Pompano Beach, Florida

Skills

Auto CAD, Microstation, 3D Max, Photoshop, InDesing, Microsoft Office. Fluent in Spanish Working knowledge of French.

June/Dec. 2010

Feb. 2008 May 2009

Feb. 2005 Dec. 2007

Branderburger Tor, Berlin. Personal. September 2010

A. Felipe Calderon

Freehand Sketches

A. Felipe Calderon

View from the Bay. Cartagena, Colombia. Personal. December 2006 8

A. Felipe Calderon

Monserrate. Bogota, Colombia. Personal. December 2006 10

A. Felipe Calderon

Gran Canal. Venezia, Italia. Personal. December 2006 12

A. Felipe Calderon

Schรถneberg Berlin. Personal. June 2010 14

A. Felipe Calderon

“Landscape” Watercolor 18”x24”/ Summer Studio. 2009 16

A. Felipe Calderon

Artwork

A. Felipe Calderon

“Bodegon” Graphite 9”x12” Basic Illustration. Spring 2001 18

A. Felipe Calderon

“Shades” Graphite and Charcoal. 18”x 24”. Summer Studio 2009 20

A. Felipe Calderon

“Untitled” Muliple media collage. 18”x24” Summer studio 2009 22

A. Felipe Calderon

“The Channel” Watercolor and India Ink. 7”x10” Personal. 2010 24

A. Felipe Calderon

Studio /

Michael Benedikt Summer 2009

A. Felipe Calderon

Isovist Spaces are like opinions, they differ depending on a subject’s point of view. Program: In a structure built out of note cards develop creative and interesting spaces that would engage different isovists. Using a light source in the dark isovists are made visible; the light source acts as an inverse eye dispersing light instead of capturing it. Approach: The project, dubbed “The Stadium,” provided different and creative isovist as horizontal and vertical thresholds were manipulated to present different spatial perceptions. Light floods the space as one walks past a doorway into an atrium or jumps to get a glimpse of the stands above.

A. Felipe Calderon

A Roof It is the most basic structure in architecture, a roof is synonymous with shelter, protection and place. Program: A roof covering an area of 1100 sq.ft. Using wood as primary material and with the support of four columns. In addition, the structure is to be set on a site with a 1:16 slope, Approach: This proposal envisioned a roof with a familiar shape but with a peculiar character. The framework was composed of an interconnecting system of trusses that gave the roof a unified structure. The columns were recessed to give the structure a greater presence and increased sense of protection and shelter.

A. Felipe Calderon

Studio // Larry Doll Summer 2009

A. Felipe Calderon

Cushicle 2.0 Spaces have physical and psychological components. There is the space required, and the space desired. Program: Drawing from the concept developed by the Archigram group, spaces are to be â&#x20AC;&#x153;carved outâ&#x20AC;? from a volume to accommodate three randomly selected activities. Physical and psychological requirements are studied and analyzed as well as the relationship between the activities and their spaces. Approach: The spaces created responded to the intrinsic characteristics of the activities they contained: contemplation, extraversion and relaxation. The disposition of the spaces and their connection developed and exalted the physical and psychological characteristics of each spatial condition making the experience much richer.

A. Felipe Calderon

Bris Soleil Light and shadow are elements of design in Architecture. Their dynamic relationship empowers the perception of time and space. Program: A bris soleil that modulates light coming into an space which can be considered occupiable in conjunction with the Cushicle 2.0 project. Approach: The proposed bris soleil developed from a variety of patterns, arrangements and textures that engaged light and shadow in a dynamic relationship. The resulting weaving pattern not only accentuated the light -shadow dichotomy but offered a design that had in itself a dynamic attribute.

A. Felipe Calderon

Notion

A. Felipe Calderon

Thesis Mid-tier Cities in the Global Market: Visions of Post-Industrialism in Austin and Essen Cities are under pressure. According to the Urban Age Project, 75% of the worldâ&#x20AC;&#x2122;s population will be living in cities by the year 2050. Such prospect is a call-to-action for cities to strengthen their social, economic and physical infrastructure. In the global city network, mid-tier cities such as Austin (Texas, USA) and Essen (Germany) are also trying to become more relevant as creative, entertaining and cultural centers. In these cities, populations have not reached the magnitude of global Mega-cities; however, the abundance of highly specialized jobs is attracting a great amount of young, educated professionals which anthropologist Richard Florida has called â&#x20AC;&#x153;the creative classâ&#x20AC;?. In order to maintain a level of status and livability, essential in the establishment of a strong creative class, mid-tier cities are branding themselves as energetic, entertaining and cultured centers. This thesis centers on Austin and Essen as paradigms of mid-tier cities, looking at their history, their sociocultural characteristics and their economic structures. Most importantly, this study looks at the approaches and strategies taken by Austin and Essen in the development of an efficient, attractive and prosperous urban structures. Cities are facing a pivotal point of challenge; learning from the approaches taken by Austin and Essen is important as they provide an outlook at how mid-tier cities are transitioning into a post-industrial era, dealing with an increasingly competitive global market while attending to their most essential urban issues.

A. Felipe Calderon

Experience Berlin: a social, political and architectural experience Colombian architect Rogelio Salmona referred to his travels as “The Useful Trip” because they expose him to new ideas and concepts which helped him formulate the philosophy of his architecture. My experience in Berlin has been just as useful, not only because it has enriched my cultural capital, but because it has reveal latent notions about society and architecture. Berlin has taught me a good deal about German culture, tradition and language but above all it has exposed me to the cultural, political and social influence of architecture. Berlin is a city with incredible cultural richness expressed in the diversity of its cultural capital, from the baroque architecture of the Berliner Dom to the Neoclassicism of the Altes Museum and the Branderburger Tor. Visiting these constructions I have been able to experience the power of their testimony and their message. In Berlin, architecture survives as testimony of its remarkable past and of the hardships associated with the city’s political and social history. Nazi-era buildings like the Tempelhof Airport and the Ministry of Aviation, designed by Ernst Sagebiel, stand as an example of the political and ideological power of the Third Reich. Post-war era buildings such as the Platenbau housing complexes, common in East-Berlin, summarizes in its overrationalized and disciplined architecture the social conditions of the city under the GDR. In contradiction, Scharoun’s Berliner Philharmonie declared and empowered West-Berlin’s social and political ideology through the freedom of its form and the equality manifested in its program. Conversely, Mies Van Der Rohe’s Neue Nationalgalerie, in its exemplification of the modern style, stated the commitment of the West to new ideas and beginnings breaking ties with the past. 20 years after reunification, the city is still trying to consolidate its past with its future developing contentious and visionary plans for the city. In this task architecture is, as it has been along the history of Berlin, a source and a window for cultural, political and social declaration. The lessons put forward by this experience are immeasurably valuable to me as they have broadened my perspective of architecture and its role in society.

A. Felipe Calderon

Potfolio A.Felipe Calderon 2010