Architectural Work Freddie Sotelo ( Pratt Institute)
Architectural Work Freddie Sotelo ( Pratt Institute)
“When I am asked what I believe in, I say that I believe in architecture. Architecture is the mother of the arts. I like to believe that architecture connects the present with the past and the tangible with the intangible.� – Richard Meier
Contents
Fall 2012 Technics Group Project:Body Extensions critic: Brendon Kelly
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Representations I Figure Studies and Projections: Sequential Drawings critic: Abigail Coover Hume
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Core Design Studio I Point and Lines: Understanding Space critic: Ezra Ardolino Point and Lines: Focusing in Space critic: Ezra Ardolino
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Spring 2013 Representations II Michael Graves: Hanselmann House Studies critic: Aaron White Hanselmann Scale Analysis critic: Aaron White Intermediate Design Studio IV Library Studies: Winnipeg Addition critic: Richard Scherr Datum Study: Library Organization critic: Richard Scherr
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Architectural Work
Awards + Entries
Stickley Design Invitational Competition Second Place Award “An Artistic Discovery” - Congressional Art Competition for High School Students Finalist A Midsummer Night’s Dream - Essex County Visual Arts Competition Second Place Award Architecture For Humanity Competition Short Listed
Education
Architecture Technology Essex County Community College 2009 - 2012 Bachelor of Architecture Pratt Institute 2012 - present
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Freddie Sotelo
Work Experience Architecture i.S - Williamsburg, NY July 2012 - September 2012
Skills Autocad Autodesk 3ds Max Ecotect Analysis Google Sketch-Up Adobe Photoshop/Photomontage Adobe Illustrator Adobe InDesign
Contact
Freddie Sotelo 252 Hornblower Ave Belleville, NJ 07109 Mobile: (862) 220 - 6681 Home: (973) 751 - 3239 fsotelo@pratt.edu
Resume 05
Architectural Work
Technics Group Project: Body Extensions / fall 2012 critic: Brendon Kelly collaboration: Freddie Sotelo/Nathaniel Lee
Project involved careful examination between a part of the body and how an object’s weight and dimension affects its position. By deciding an ideal method of reading a book, an structural design was achieved to accommodate the person and its comfortability in utilization. This design behaved as a natural body extension between the legs and the book. The process started with measurements of the affected body part, along with a model prototype. These were crucial to the analysis, since the load of the book had to be countered with joints and a truss system.
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Freddie Sotelo
( sequence of images depicting points of tension and compression as a person holds a book )
Technics/Fall 2012 08
Architectural Work
A
fter examining the affected joints and body parts, a prototype model was constructed. This process was necessary to have a glimpse at what parts of the thighs reacted upon the early design. This action and reaction analysis also determined the ideal location of the book in accordance with the way the person would be able to read comfortably.
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Freddie Sotelo
The previous study model lacked the necessary flexibility to measure the legs with precision. As a group, a damped paper “surface� model was built to mold around the thighs and lower abdomen. The measurements of the arched surface were used to design a preliminary wooden model.
Technics/Fall 2012 10
Architectural Work
( measurements needed for wooden model testing and preliminary function of claw system)
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Freddie Sotelo
Final model design implemented a truss like
system which each point acted as a claw using the surface area of the leg for grip. This varied in length due to the measurements of the radius in the thighs. The upper most part, designed with a joint system, moved in accordance to the way the book was placed. Therefore this body extension worked by naturally responding to its position along the legs.
Technics/Fall 2012
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Architectural Work
Representations I Figure Studies and Projections: Sequential Drawings / fall 2012 critic:
Abigail Coover Hume
As part of becoming familiar with the usage of Rhinoceros, a computer modeling software, basic commands were utilized to create drawings. The basic figures were arranged in patterns or sequences based on the commands. As the project further developed, the figures were physically constructed and were drawn in the program. By applying the foremost basic principles of the commands, These shapes were projected using construction lines in order to revel new forms and views. As the figures were re-interpreted, other methods such as cutting or slicing the figure were used as an understanding of section and oblique drawings. In the end, all of these methods were combines to deform the shapes and bring our own interpretation of sequences.
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( drawing of preliminary arranged figures with slices and frames )
Freddie Sotelo
Projection
lines were the main emphasis
throughout each project. By understanding the many ways it can create different views, the starting drawing simply creates the next, creating a series of sequential drawings. Lastly, the same lines were used to implement shadows.
( drawing derived from elevations and projections )
Representations I/Fall 2012
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Architectural Work
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Freddie Sotelo
The wooden model served as a visual aid for oblique and perspective drawings. The course also included a representation of the assembled blocks with different scalar and sectional drawings.
( oblique cuts and scale drawings of assembled blocks )
Representations I/Fall 2012
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Architectural Work
Core Design Studio I Point and Lines: Understanding Space / fall 2012 critic:
Ezra Ardolino
First year studio focused on the introduction of the ability to develop space from reference points. These points were a reference to an ideal nine-point square grid. This grid shifted as the points were placed on different space locations after a series of dice rolls. As the new points were marked, lines were drawn in the space therefore connecting each dot. This process further developed until a concept was created. The concept emphasized the behavior and architectural qualities that the new reading of lines depicted. This idea was represented in both two-dimensional drawings and a version of a three-dimensional model. The model demonstrated architectural characteristics such as linear flow from each organ or clusters of space. The lines became a continuous transition from one side to the other, as if each pocket of space transitioned from one room to another. This idea captured the sense of sequence from one area to another, pocket to pocket, open to closed.
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Freddie Sotelo
( linear model with nodes )
Core Design Studio I/Fall 2012
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Architectural Work
Core Design Studio I Extending Lines: Focusing in Space / fall 2012 critic:
Ezra Ardolino
Second phase of the course focused on a surface model taken from the original line drawing. In order to do this, the original drawing’s lines were extended trough the rest of the sheets, thus reinterpreting the drawing in a new way. Furthermore a section of the new drawing was taken and represented in three dimensional form. This form became a spatial interpretation of a two dimensional line. This new form still maintained its former qualities. This new form was reinterpreted in a wooden model and along sectional drawings to depict possible uses for people.
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( original line drawing along with an extended drawing of the previous )
Freddie Sotelo
( sectional and plan drawings of portion in wooden chunk model )
Core Design Studio I/Fall 2012
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Architectural Work
Representations II Michael Graves: Hanselmann House Study / fall 2012 critic:
Aaron White
Using the knowledge from previous Representation course, the objective was to document a project, in this case Michael Grave’s Hanselmann House. Research of the house was need to draw a series of plans, sections and elevations that matched the architect’s work. Using construction lines, every completed drawing became a projection from the first, As each drawing was completed, a spatial interpretation was recognized. In this case, the architect implemented the sense of shifting. This idea was recognized in the way the walls were placed in plan and the movement of the facade in the perspective drawings. 21 Pratt Institute
Freddie Sotelo
NORTH ELEVATION SCALE: 3/16"=1'
A
A
THIRD LEVEL PLAN SCALE: 3/16"=1'
A
A
SECOND LEVEL PLAN SCALE: 3/16"=1'
SECTION A-A SCALE: 3/16"=1'
EAST ELEVATION WITH STUDIO SCALE: 3/16"=1' A
A
FIRST LEVEL PLAN SCALE: 3/16"=1'
WEST ELEVATION SCALE: 3/16"=1'
EAST ELEVATION SCALE: 3/16"=1'
( detailed house drawings derived from construction lines ) SOUTH ELEVATION SCALE: 3/16"=1'
Representations II/Spring 2013
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Architectural Work
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Freddie Sotelo
Representations II/Spring 2013 24
Architectural Work
Representations II Hanselmann Scale Analysis / spring 2013 critic:
Aaron White
Representing
Hanselmann House’s spatial characteristics required to look beyond its actual form. These studies had to be broken down. The design needed to be depicted in an exploded view, allowing each individual window and wall to be pulled out and measured in a rule of thirds. This idea was not of self representation, rather it was the way Graves emphasized his works.
( projection lines with early study of scale )
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Freddie Sotelo
( Hanselmann House in exploded view. drawing became a reading of parts )
6x
3x
x
9x 6x
12x 6x
3x 3x
x x
x x
3x
3x 6x 6x
Representations II/Spring 2013 26
Architectural Work
This scalar sequence was evident in the way
the space transitioned from one room to the next. In other words, a simple floor plan is not only the product of a concept, rather the whole identity of the house has a language of scale, from plans, elevations, section, walls,
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Freddie Sotelo
Representations II/Spring 2013 28
Architectural Work
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Freddie Sotelo
( analytical analysis of Hanselmann House scalar sequence )
Representations II/Spring 2013 30
Architectural Work
Intermediate Design Studio IV Library Studies: Winnipeg Addition / spring 2013 critic:
Richard Scherr
T
he library is ordered in a series of zones that run parallel to the window wall and across the long dimension of the space. The strips accommodate the programmatic components of the library in categories. The library is ordered in a series of zones that run parallel to the window wall and across the long dimension of the space. The strips accommodate the programmatic components of the library in categories. The first band is the park. The second are tables, chairs, and casual seating. Third are reference collections, help desks, and computer stations, and fourth is high masses, such as shelving running in sequences. The fifth category are closed reading rooms, offices and meeting rooms. The strips progress from park to interior, from open to enclosed, from low to high, from areas of greatest public access and interaction to areas of privacy and quiet. This spatial order allows all visitors to see and understand the general arrangement of collections and functions. 31 Pratt Institute
Freddie Sotelo
( precedent studies space, program, and design implementation diagram )
Intermediate Design IV/Spring 2013 32
Architectural Work
Intermediate Design Studio IV Datum Study: Library Organization / spring 2013 critic:
Richard Scherr ( small library configuration. diagram shows program divided through datum line )
Set of manipulations for a library design were implemented through the process of a datum. By using a wall as a reference condition, a series of push and pull commands are applied. By applying these actions to the wall, the datum, programs are created. Pulling commands creates the study carrels, which along a series of book shelves, shapes one side of the wall. Another moment takes place on the other side, where by extruding the wall, it forms seating space and computer stations. Furthermore, pulling the wall creates openings, emphasizing the unification of the programs. 33 Pratt Institute
Freddie Sotelo
( datum wall pushes and pulls forming required programs )
( computer station and shelves )
( reading carrels )
( study areas pulled from datum wall )
Intermediate Design IV/Spring 2013
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Architectural Work
Reference
Separation
Layering
( concept diagram )
Intermediate Design Studio IV Library Organizational Design / spring 2013 critic:
Shifting
Zone Interaction
Richard Scherr
Location:
Chinatown, NY
O
rganizing a space requires more than simply placing programs at one side to another. One must be able to have a well studied organization strategy that both satisfies the type of program and its inhabitants. A library not only serves as a place to store books, it is also a place of historical significance that becomes a gateway for people to gather and explore the social and cultural sides of its location. By layering the programs to satisfy a connection between the book and its relationship to the reader, a strong connection is established.
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( integration analysis )
( circulaton analysis )
Freddie Sotelo
( first level plan )
( second level plan)
( third and fourth level plan )
( fifth level plan )
Intermediate Design IV/Spring 2013
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Architectural Work Freddie Sotelo ( Pratt Institute)