GERARDO SUAREZ SAMPLE WORK
GERARDO SUAREZ 4310 Avenue B #106 gerardosuarez@utexas.edu
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Austin, TX 78751 (830) 968 9614
WORK
EXPLORATIONS Wood Joint
03 - 04
Firefly: Luminarium Solid/Voice Studies
05 - 06 07 - 08
ACADEMIC WORK Proenza Schouler Fashion Boutique Catch512 Private Social Club Urban Intervention: Argentina
09 - 14 15 - 18 19 - 22
SXSW: Temporary Installation
23 - 26
PROJECTIONS Sketches/Drawings Photography
27 - 30 31 - 34 02
WOOD JOINT Semester: Summer 2010 Instructor: Elizabeth Danze & John Blood
One of the first exercises assigned in the Visual Communications course involved drawing blind contours of hands. These hands would be shown interlocking in various positions. From these drawings, a wood joint was produced from the initial inspiration of a chosen blind contour drawing. The chosen drawing depicts fingers interlocking by lacing together. The conceptual take-off point for the project was derived from the idea that every joint would interlock, creating a parallel abstraction between fingers and finger joints. The finger joints used in the exercise, made of poplar wood, would holistically form a perfect cube. Yet, the assembly of the individual pieces was left up to the user. The size of the project was intended to be small, something precious that the user can hold in their hands. This idea is strongly tied to the normative emotions influenced by the chosen hand position. .
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FIREFLY: LUMINARIUM Semester: Fall 2010 Instructor: Keith Simon In collaboration with: Cynthia Pyke, Emily Sutton
This group project for our Environmental Controls class included designing a luminaire of our choice. Luminaires are described as an element that usually shades or enhances the light source. Our group decided to design a pendant fixture that would use only LED lights. The initial concept for the design was to immerse the viewer into a lazy summer sensation, one that would provoke thoughts of catching fireflies in jars and sitting out on the porch enjoying the sun set. Using only found materials the group collected mason jars, which were sprayed with a frosted glass finish in the interior surface of the jar. The LED lights were placed inside and grouped together to form the pendant fixture. Holes were drilled on the lids of each jar to wire the electric current into the ceiling.
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SOLID / VOID STUDIES Semester: Fall 2010 Instructor: Igor Siddiqui
The Visual Communications III course only handled computer software and retreated from the traditional analog techniques. The assignment was to create an array of 9 x 9 x 9 one-inch cubes and subtracting an interesting void to further explore. An additional “shading� element was used to create a sculptural element and further study the relationship between solid and void. Scale was used in the rendering to experiment with the immersive qualities of the design. The fabrication process involved using Rhino to unroll the surfacs of the cube and re-join them by laser cutting and assembling.
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Many of the unrolled pieces turned out to be perfect cubes. The spacers for the cubes were made of wood and placed discretely so as not to interfere with the floating quality of the cubes. The addition to the cube was designed simply to emphasize and celebrate the complexity of the inhabitable void in the cube array.
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PROENZA SCHOULER FASHION BOUTIQUE Semester: Spring 2011 Instructor: Igor Siddiqui Location: Austin, Texas
The final project for the semester was to design a retail boutique store for a fashion designer of choice. The semester was organized as a continuous design process, beginning with a two-dimensional abstraction of the designers’ garments into a graphic wallpaper (right) and ending with a holistic interior design that is directly related to the initial assignment. Proenza Schouler is a group of two designers whose philosophies in fashion involve experimentation with androgyny, rebillion in socio-normalities, and an affinity towards angular silhouettes and patterns. Located in downtown Austin’s Starr Building, the boutique offers a translation of the brand’s ideals through formal elements in the space, materiality, and programmatic organization.
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The ceiling design in the boutique was not only used as a visual element for the space but also for functional program such as clothes racks and hangers.
The “spine� or main massing element held various programs: show display, seating, changing rooms, and register waiting area. The ceiling element grows from this spine and allows for a continuous design component that solves almost all functional and programmatic issues.
The right side of the ceiling design was used for hanging the designers’ bag collection as well as a backdrop from the register wall. The ceiling design in the boutique was not only used as a visual element for the space but also for functional program such as clothes racks and hangers.
The offices were located next to the boutique, the only program that is not solved by the main spine element in the boutique.
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Materiality was a significant factor to the final design. Proenza Schouler is known for using natural textiles in their garments, opting for leathers and cottons. Using this information, the material palette was derived from natural materials to nature-invoking elements. The spine and ceiling element is comprised of plywood with a stain and seal finish. The blue, polished concrete floor is indicative of water, sealing the floors with a high level of gloss to invoke water.
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The spine also acts as an important divider between two programs. The designers’ clothing is completely separated from their accessories. Proenza Schouler is famous for their bags and wallets, PS14 being one of their most famous lines. As such, the accessories were places in the entrance of the store, leaving the garment side of the store for discovery.
Floor Plan 1/4� = 1’
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Checkout Office Storage Restroom
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FLOORPLAN 01 Shoes 02 Bags 03 Clothing 04 Seating
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CEILING PLAN
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CATCH512 PRIVATE CLUB Semester: Spring 2012 Instructor: Tamie Glass Location: Austin, Texas The Design VI studio was known as the sound building studio, because besides the final project, construction documents had to be made as if ready for contractor bids. The final project consisted of designing a private social club, the title of which was our decision as well. This club was meant to be a sister organization of the already established Austin Headliners Club. The Headliners are a group of well-known authors and writers in the city. This design is meant to commemorate the new, up-and-coming designers who may not have established themselves in the industry yet.
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WHEELS ON TRACK SYSTEM
1X4 HORIZONTAL WD PANEL
TRACK SYSTEM 48' - 10 5/8"
54' - 9 7/8"
0' - 4 1/32"
1' - 0 5/8"3' - 0" 0' - 6" 3' - 0"
1' - 6" 3' - 0" 1' - 6"
3' - 0"
1' - 7"
3' - 0"
13' - 10 1/32"
13' - 0 9/32"
2' - 10"
3' - 6 7/16"
2' - 0"
ADA Restroom
9' - 5 27/32"
METAL SUPPORT PLATE
EQ
7' - 5 1/4"
4' - 11 7/16"
SUPPORT CASING
9' - 6"
1618 SF
1952 SF
1 Elevation 1 Reception Casework 11' - 11 1/16"
4' - 2 5/16"
4' - 10 7/16"
3' - 0"
I106
Reception Desk 3 Elevation Detail
8' - 2 7/16"
3' - 0"
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METAL SUPPORT PLATE 0' - 2"
2
TRACK
I108
-
3' - 6"
0' - 1 1/2"
Private Lounge
54' - 9 7/8"
1 I108
1' - 6 1/2"
I106
2' - 0"
5
Elevation 2 Wood Screen
Public Lounge
0' - 0 3/4"
I106
Elevation 5 Member's Lounge
9' - 6"
59' - 8 5/16"
1' - 1 3/4"
EQ
9' - 3 27/32"
I107 7' - 5 13/16"
WHEELS ON TRACK SYSTEM
94 SF
0' - 1 1/2"
Men's Restroom 108 SF
70 SF
0' - 3 7/32"
11' - 5 19/32"
5' - 5 19/32"
5' - 3 1/16" 17' - 0 13/16"
UP
Private Room 2
127 SF
5' - 3 3/4"
120 SF
5' - 1"
C
General Storage 5' - 3 3/4"
Women's Restroom
EQ
0' - 6"
7' - 9 1/16"
5' - 5 19/32"
4' - 5 11/16"
EQ 9' - 7 3/4"
95 SF 3 I106 I108
2' - 2 1/16"
4
3' - 0"
Elevation 4 Isolated Area
Private Room 1
B
42' - 0 5/8"
14' - 7 19/32"
15' - 9 7/16"
6' - 0"
FLOOR SLAB
1850 SF
71 SF
I108
6' - 0"
0' - 1 1/2"
Kitchen
71 SF
Wine Storage 4
REST
BRUSH SEAL
Walk-in Frz
6
10' - 0"
I106
21' - 4"
1773 SF
0' - 5"
10' - 0"
Elevation 6 Bar
Dining Area 20' - 2 7/16"
A
37' - 1 11/16"
2' - 10 21/32"
0' - 1"
3' - 0"
CUSTOM BENCH SEATING
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Private Room 3 70 SF 13' - 1 7/16"
UP
5' - 0 1/8" 7' - 5 9/16"
D
E
Private Room 4 7' - 6"
3' - 0"
3' - 0"
3' - 0"
3' - 0"
0' - 4 1/32"
REST
70 SF
5' - 8 7/16"
1134 SF
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I106 3
Elevation 3 Offices
F
39' - 11 7/16" 5' - 4 3/4"
1' - 4 1/4" 3' - 0"
5' - 7 3/4"
1' - 4 1/4" 3' - 0"
5' - 7 3/4"
1' - 4 1/4" 3' - 0"
5' - 7 3/4" 1' - 7 7/16"3' - 0"
1' - 8 7/16" 3' - 0"
118 SF
1' - 8"
19' - 1 7/8"
39' - 4 3/8"
1984 SF
116 SF
Office 2 3' - 0"
Events Area
Office 1
39' - 3 7/8"
Elevation 3b Offices
Break Room
1' - 2" 3' - 0"
EQ
5' - 4"
EQ
6' - 0"
13' - 5 3/32"
WHEELS IN TRACK SYSTEM
11' - 9 1/16"
4' - 10"
6' - 4 1/32" REST
6' - 4 1/32"
2' - 0 1/2"
SCREEN 6' - 4 1/32"
Conference
51' - 10 1/4"
Office 5
Office 4
Office 3
97 SF
95 SF
100 SF
95 SF
10' - 0"
223 SF
Office 6
51' - 10 1/4"
CONSTRUCTION DOCUMENTS The partition plan and special construction details/sections are chosen from the set of CDs that were required by the end of the semester. 18
URBAN INTERVENTION: ARGENTINA Semester: Fall 2012 Instructor: Wilfried Wang Location: Cordoba, Argentina In collaboration with: Jesus Valdez, Juan Verdeguer As the first advanced design studio in the course of the program, the studio traveled to Argentina for a week. This crucial time was meant to not only view the site in person, but to better understand the cultural, social, and political implications that are apparent in Argentinian citizens. As an urban fabric intervention, the blocks in the site were cut in half to create pedestrian thoroughfares, an element that is popular and needed more in the city of Cordoba. These thoroughfares serve to allocate entrances for commercial spaces (the first floor of every building is exclusively commercial) as well as residents in the upper floors of the building. As a brick studio, the group was assigned to design these buildings with only birck in mind.
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To help us familiarize ourselves with brick and its typical dimensions, the first few weeks of the studio involved various exercises with brick. We studied compositional variations in 1, 2, 3, and 4-brick layouts. One composition was chosen to further study and incorporate into a “minimum inhabitable space.�
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Another significant component to our design concept was to embrace the already existing density and emphasize the party walls that seperate each building. These height of the buildings were varied from two floors to six floors. Moving forward, the group envisioned a different architect would design an individual building. Therefore, the seemingly arbitrary height differences serve to differentiate the individual buildings but more importantly, to introduce a human quality to the urban intervention: a quality that is apparent and incredibly treasured amongst Argentinians.
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SOUTH BY SOUTHWEST TEMPORARY INSTALLATION Semester: Spring 2013 Instructor: Igor Siddiqui Location: Austin, Texas
The studio took advantage of the SXSW festival in Austin and used it as a means to design a temporary installation that would resolve a specific need lacking in the festival. This festival also caters to our project because of its unique division among industries: interactive, film, and music. The studio was encouraged to stay in Austin for spring break and experience first-hand the ten-day event. Using personal experiences made throughout the festival, the main design concept was derived from the idea that SXSW goers could have a site exlusively for respite and recharging. Since the event has become revered worldwide, hundreds of thousands of newcomers visit Austin. Consequently, many goers must reserve hotels 30 minutes to 45 minutes away from Austin. This installation would serve to offer a way to relax if need be, so that traveling would not be necessary if one wanted to take a break from SXSW.
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COMPONENTS
COMPONENT 1: GROUP SITTING
COMPONENT 4: GROUP LAYING
COMPONENT 2: 1-2 PEOPLE SITTING
COMPONENT 5: 1-2 PEOPLE LAYING
COMPONENT 3: INDIVIDUAL SITTING
COMPONENT 6: INDIVIDUAL LAYING
Wooldridge dgee dge Square Parkk
.25 miles from 6th St. .28 miles from Austin Convention Center 24
DAY DAY DAY31:1 BEGINNING OF SXSW
DAY DAY DAY424
DAY 9 77 DAY DAY
DAY 10 DAY DAY10: 8 FINAL DAY
8” PER HOUR: 6 - 7 HOUR PRINTING TIME PER COMPONENT D-SHAPE PRINTER
D-SHAPE PRINTER: THE D-SHAPE PRINTER COMES IN A 24’ X 24’ SIZE WITH A 20’ X 20’ BED. CAPABLE OF MULTI-MATERIAL PRINTING, THIS PRINTER IS ITS OWN TAXONOMY, UTILIZING BOTH EXTRUSION-BASED AND GRANULAR TYPE MATERIALS
PEDESTRIANS MUST WALK UP TO THE SIDEWALK AND ENTER THE PLATFORM SITUATED NEXT TO BOTH GUADALUPE ST. AND SAN ANTONIO ST. THE EXTRUSTION JET SCOOPS AND DEPOSITS THE RAW MATERIAL INTO THE CONSTRUCTION BED AND PRINTS AT 1” PER LAYER THE BED IS CONTAINED WITHIN ITS OWN PLATFORM AS WELL AND WORKERS FROM SXSW WILL BE ON CONSTANT WATCH, MAKING SURE THE PRINT AND THE PRINTER IS SAFE.
THE PLATFORM IS MOSTLY TAKEN UP BY THE D-SHAPE PRINTER BUT CONTAINS SPACE TO OBSERVE AND WALK AROUND.
THE STORAGE BOX UNDERNEATH CONTAINS THE MATERIALS NEEDED FOR THE PRINTER, SAFELY STORED AND ONLY ACCESSIBLE TO THE WORKERS. THE BOX IS ALSO STRUCTURAL FOR THE CANTILEVERED PLATFORM.
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COMPONENTS TO ADAPT TO THE TOPOGRAPHY.
PHASING The D-Shape Printer is able to print 8 inches of material per hour. The printer will take 6 - 7 hours to print one object. With this in mind, a phasing strategy was made to estimate the amount of pieces to begin with during the festival to achieve the final result by the end of the ten days. The printer can also print multimaterials. Biodegradability was crucial the the “temporary” aspect of the design. Alganite was used for the soft, layable material while PLA plastic was used to form the rigid and structural perimeter of the object. At the end of the festival, the objects would start to biodegrade in the soil, or can be removed from the soil and placed for permanent exhibition.
REACTIVE BLUEPRINT A new technology in 3D printing machines allows for the site to be scanned, primarily using Google Earth. The site can render a three-dimensional model of the topopography. Thus, the underside of each designed object was manipulated to cater to the slope of the park.
EAST-WEST SECTION: 1/8” 26 = 1’
PROJECTIONS: SKETCHES / DRAWINGS This page: Drawings from Visual Communications courses Right page: Drawings from the Europe study abroad program (Fall 2013)
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PROJECTIONS: PHOTOGRAPHY Spread: Europe study abroad program images (Fall 2013)
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GERARDO SUAREZ 4310 Avenue B #106 gerardosuarez@utexas.edu
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Austin, TX 78751 (830) 968 9614
EDUCATION The University of Texas School of Architecture Bachelors of Science in Interior Design: September 2009 - May 2014
Studio Argentina Traveled with the advanced design studio to Argentina to research and experience brick architecture, visit the proposed site, and meet architects of the country.
Europe Study Abroad Traveled for one semester to various cities in Europe and staying in Paris for the end of the semester for studio in the Ecole Nationale Superier d’Architecture du Paris.
VOLUNTEER WORK Music + Architecture Symposium Assisted in the installation of Seeing Times are not Hidden located under the Waller Creek Bridge at the UT Alumni Center, and aided in the presentation of LOW CLOSE VAST in the Bass Concert Hall.
Explore UT Helped hand out sketchbooks for elementary students, helped in construction of interactive installation for children, and helped give guided tours of the school.
IIDA R-Evolution Runway Event Assisted in tailoring and sewing the final garment for UT’s submission in the fashion event by IIDA.
SKILLS English & Spanish, Adobe Photoshop, Adobe InDesign, Adobe Illustrator, AutoCAD, Autodesk Revit, Rhinoceros, VRay, Google SketchUp, lasercutting, woodworking, iMovie.
WORK EXPERIENCE Center for American Architecture and Design (CAAD) Shipped books to customers, provided graphic design layouts for posters and upcoming events, ran clerical duties, helped edit “Center”, “Cenerline”, and O’Neill Ford Duograph/Monograph publications.
Sixthriver Architects Intern: organized materials library, redlined construction documents for contractor specifications, created material and color palettes for initial concepts, contacted suppliers for projects.
Esther LaVonne Design Intern and interior designer: handled all aspects of the design process, from concept to CDs, and handled some clerical responsibilities including organizing the materials library and preparing contract files for clients.
Trudy’s Restaurant Waiter and Expo: Waited tables, and brought menu items out to the table
RECOGNITION President Achievement’s Scholarship: recipient Suzie Friedkin Endowed Scholarship in Interior Design: recipient Mike and Maxine K. Mebane Endowed Traveling Scholarship: recipient Donghia Scholarship: nominee TEXAS Grant Award: recipient
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UNIVERSITY OF TEXAS SCHOOL OF ARCHITECTURE