Gonzalo Padilla_ Portfolio

GP GONZALO PADILLA VILLAMIZAR | Bachelor Of Architecture | Master of Design Research | 225 S. Olive st apt 1407, Los Angeles Ca. 90012 Tlf: 954-536-5199 E-mail: Gonpv87@gmail.com

Gonzalo Padilla

2013-2014

225 S. Olive St. Apt. 1407. LA, CA 90012 Gonpv87@gmail.com | (954)-536-5199

Los Angeles

Experience Level: Junior Architect

Education Southern California Institute of Architecture (SCI-Arc) [ESTm] Master of Design Research in Emerging System, Technologies & Media -The program focus on new platforms for design innovation fusing digital and physical research within the fields of computation, material fabrication, advanced building systems and immersive media.

Los Angeles

2009-2012 SU 2011 2007-09

Davie, FL

Venezuela

Southern California Institute of Architecture (SCI-Arc)

Modeling | Documentation Rhinoceros 5.0 Autodesk Maya Grasshopper Research AutoCad Revit Architecture

FA 2011

Visuals | Editing Adobe Illustrator Adobe Photoshop Adobe InDesign Adobe After Effects Corel Paint Shop Pro Cinema 4D MS Office Suite Hand Drafting

Rendering Maxwell Mental Ray

Spanish English.

Broward College (BC) - Associate in Arts Degree in Architecture.

- Graduated with Highest Honors [ GPA: 4.0 ] - Member of the Honors Program and Honors society Phi Theta Kappa.

- Five times President List.

Gehry Partners LLP. - Work focused on the design and development of the Philadelphia Museum of Art Expansion project.

-Responsibilities: - Design of the Forum Space Ceeling and adjecent retail stores.

- Fabrication of a 6’x8’x6’ presentation model of the Level “C” Galleries Design Proposal.

- Assisted on the Landscape Design for the outdoor “City Window”.

- Construction of large and small scale study models for multiple projects including Guggenheim Abu Dhabi and Bilbao.

- Documentation of models and material research.

Tighe Architecture.

- Work focused on the design and development of and office complex in North Hollywood, Ca. -Responsibilities: - Schematic Design and development of the overall building scheme.

- Design of the buildings exterior corrugated metal skin system.

- Material Research and Structural Engineer Consultations.

- 3D modeling of the Structure for renderings.

- Producing Design Development Drawing Packages.

- Other work focused on the production of construction drawings for multiple house renovation projects.

FA 2013

Language Skills

- Certificate of completion for 40 hours of Revit Architecture 2011 training.

Servo Los Angeles.

FA 2013

Fabrication Robotic Fabrication Model Making Shop Equipment Resin Casting Laser Cutting CNC Milling 3D Printing

Institute Arts Caracas (Autodesk Authorized Training Center)

Work Experience SP 2013

Skills

Bachelor of Architecture.

- Graduated With Distinction - Merit Award for Outstanding Undergraduate Thesis Project - Thesis Project “Seamless Incongruence” feature on SCI-Arc Magazine Issuee 005 - GPA: 3.95

SCI-Arc Teaching Assistant for Machinating and Manufacturing.

- Provided the firm with translation service from English to Spanish of a 500 words abstract for a coference in Madrid written by Servo‘s Partner and founding member Marcelyn Gow.

- Position focused on the documentation of multiple projects developed at SCI-Arc’s robot house during the spring semester as well as providing support in the organizaiton and development of the seminar.

PORTFOLIO

[11/8] Sol Motion

MACHINE VISION

EYE ROBOT

MIRAGE

EXQUISITE CORPSE

IN PLACE OF MEMORY

SCHIZO

WHITE-OUT

55 HOUSE

MUTATIVE CORE

LEFT BEHIND

SEAMLESS IN CONGRUENCE

STRANDS

MATTER IN FLUX

CHIAROSCURO

TIGHE ARCHITECTURE.

GEHRY PARTNERS LLP.

GRAD [Master of Design Research]

UNDERGRAD [Bachelor of Architecture]

PROFESIONAL WORK [Architecture Firms]

SCI-ARC | [11/8] | GRAD | 2013

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[11/8] Sol Motion

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We live in a three dimensional world. With motion in our space been define by three degrees of freedom (up/down, front/back, left/ right) architecture has evolved through the manipulation of the elements relationship with the space around it. From the point, to the line, to the plane, to the volume, each addition of a coordinate allows architects the construction of geometries that help shape and alter our understanding of space. This project seeks to push this further through the addition of a fourth coordinate, time.

By using the robotic lab as a four dimensional work space, “Sol Motion” seeks to explore the creation of geometry in a fourth dimensional space. Where movement of an object could be documented, analyze and embedded into the construction of its geometry.

Making the project not about distortion, or corruption, but rather clarification.

Research starts with the utilization of Sol Lewitt’s series of incomplete cubes as a point of departure. By selecting a simple geometry that goes through a set of specific stages, the project was able to focus on the design of the “in-between” moments. As the elements transition from one stage to the other, a series of sections cut through time through a process known as slit scanning delineate the object as it occupies space at a specific time. By combining each subsequent section taken during a specific time frame, the project is able to stitch together an architectural object where the coordinate of time, represented by motion, is imbedded to create a physical output that seeks to understand the object as it would position itself in a higher dimensional space.

Gonzalo Padilla | B.Arch | M.Design Research

Design Partners: Jaegeun Lim, Klemens Sitzmann, Jordan Squires. | Instructor: Peter Testa.

_Above Left. Marcel Duchamp walking down Stairs in exposure of his famous painting “Nude Descending a staircase.

1.1_Sensor Cube located inside the workspace.

1.2_Echo of object traveling through space.

1.3_Echo of the workspace alterations due to motion.

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SCI-ARC | [11/8] | GRAD | 2013

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_Above. Physical output in the workspace.

1_Setting 1.1_Objects in Initial Setup.

1.2_Robotic Setup.

1.3_Sol Lewitt Series of Stages.

2_Motion 2.1_Objects Moving Through Space.

2.2_Objects Getting Slit Scanned along their motion path.

2.3_Physical Output of the process showing distortion created by the embeding of the fourth coordinate.

3_Slit Scanning.

3.1_Objects with their embeded motion.

3.1_Composite Image of the new objects created.

3.2_Physical Output of the process showing distortion created by the embeding of the fourth coordinate.

Gonzalo Padilla | B.Arch | M.Design Research

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SCI-ARC | MACHINE VISION | GRAD | 2014

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MACHINE VISION This project explores the capture of temporal events through the use of high speed cameras.

By developing an environment devoid of context and orientation, the project set itself to produce uncanny imagery seemly unaffected by real physics. Inside the white chamber, orientation, lighting, time, and space are manipulated to produce and capture motions not accessible to the human eye because of their temporal high speed nature. The objects were selected because of their fragility, with the moment of breaking and the movement of the subsequent particles creating effects that challenge reality.

By locating the camera inside the chamber and subject the whole space to the same aggressive motion, the resulting videos recorded create the illusion of a static space, and allowed the creation of optical illusion where the objects inside this chamber seem to be subjected to student gravitational forces that allows them to momentarily suspend itself on space, or collide with the barriers in strange patterns as the axes keep exchanging positions. _Above. Exterior camera attached to robot.

1_Setting 1.1_White chamber with camera attach as seen from the outside 1.2_Interior of the chamber.

1.3_Imagery Capture by the high speed camera.

Gonzalo Padilla | B.Arch | M.Design Research

[1.2]

Design Partners: Oxana Azure, Daniel Caven, Salvador Cortez, Avra Tomara, Uri Wegman | Instructor: Peter Testa

[1.3]

SCI-ARC | EYE ROBOT | GRAD | 2014

EYE ROBOT This project combines digital design techniques, material research, and fabrication methodoligies to develop an interactive piece for an installation at SCIArc’s Robotic Lab. Designed to interact with its environment, the “kinetic snake” was programmed to oscillate depending on the viewers position. Motors allocated at the top of the structure are controled by proximity sensors that trigger a wide range of motions. From a light shake to a full oscillations, the motion becomes more intense as the viewer approaches.

To conceals the interior mechanics and create an uncanny tactile experience, a skin system was developed with the use of “Dragon Skin”. A high performance silicone rubber that cures at room temperature with negligible shrinkage. The manipulation of this material allowed the production of a surface with skin-like texture that, once infuse with copper wire, allowed the snake to react to touch, triggering a specific motion that makes the snake curl into itself as it moves away from the visitor.

The proximity of the visitor also triggers a surface transformation. With a blacklight designed to activate at certain range allowing the visualization of color and patterns on its surface, an effect made possible by infusing luminous pigments into the casting process.

_Above. Close-up of the robotic arm skin.

1.1_Robotic Arm reacting to Blacklight.

1.2_Robotic Arm in the cage under regular lighting.

Gonzalo Padilla | B.Arch | M.Design Research

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Design Partner: Oxana Azure | Instructor: Curime Batliner

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SCI-ARC | MIRAGE | GRAD | 2014

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MIRAGE This project explores transparency and reflections as a way to produce phantom geometry that allows multiple interpretation of the same object.

Starting with a primitive cube, the initial form was multiply and arranged on interlocking volumes. Depending on their orientation, the materiality of the faces was divided on transparent or reflective. Using the mirror like surfaces in the interior of the volumes allowed the creation of infinity chambers that created the illusion of incredible depth. The transparent volumes that create the exterior and encapsulate the mirror surfaces work by creating a sense of absent mass, becoming almost invisible at certain angles, making the mirror panels seem to float in space.

The combination of this two qualities, a “massless solid” and a set of planes that create “infinite spaces” combine with light to project a set of shadows that allow optical illusion to take place. The thickness of the transparent edges become visible as projections on the ground, creating a model-drawing hybrid that confuse the viewer as it reads both flat and volumetric. _Above. Side. Model Showing projections on the ground.

1.2_Models in initial configuration.

1.3_Models reaction to light, and the resulting patterns projected.

Gonzalo Padilla | B.Arch | M.Design Research

[1.2]

Design Partner:Avra Tomara | Instructors: Casey Rehm, Marcelo Spina, Curime Batlier

[1.3]

SCI-ARC | EXQUISITE CORPSE | GRAD | 2014 [1]

EXQUISITE CORPSE This project explores the reconstitution of a dismembered body through a set of precise delineation techniques that produces “imprecise” looking results.

By producing an alternative version of the object that highly deviates, but still alludes, to its original state, the project is able to revamp and corrupt geometry while bringing into cohesion seemly incongruent elements.

To produce the geometry, the initial object, a half bitten apple, was peeled, cut and unfold. To articulate the skin, the apple’s texture was digitalize and projected into itself, producing an array of patterns that distort the reading of the surface and produced an ambiguous understanding of its geometry. The remaining pieces were distorted by manipulated the amount of information processed during their digitalization, creating cloud points that rebuilt the geometries into “impure” versions of themselves.

In order to maintain a sense of instability and ambiguity, the buildings relationship to the ground is alter by hitting the ground in a slight angle. Allowing the museum of paleontology inside to work without the need of stairs, producing a continuous set of galleries that ramp from the entrance. The imbedding of the masses into the ground on the other hand, allowed the transition from the more linear parts of the building into the distorted, almost geological, formations that host the museum large scale galleries and theaters. _Above. Close-up of the building’s prehistoric garden and the surrounding landscape.

1_Study Diagrams of the initial object peel and unfolding operations, showcasing the different patterns created by the projection of the surface texture.

Instructor: Marcelyn Gow.

SCI-ARC | EXQUISITE CORPSE | GRAD | 2014

Upper Level Plans.

Lower Level Plans.

Instructor: Marcelyn Gow. [1.1]

[1.2]

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1.1_Physical model of the building as it sits on the site.

1.2_Parts of the original object.

1.3_Initial Massing showing geometries used to develop the ground strategies.

SCI-ARC | IN THE PLACE OF MEMORY | GRAD | SPRING 2014

IN PLACE OF MEMORY In place of memory is a series of sculptures that combine casting and molding techniques with traditional sculpting to create a poetic narrative.

Inspired by the juxtaposition of the solemn nature of the “Valley of the Fallen� monument in Spain, and the innocent happiness and awe displayed by my then four year old nephew during a visit, each piece works as a stage in a story about and object who, in the absence of memories of its past, decideds to shape its future by mutating into colorful versions of itself.

The heavy and impenetrable nature of the original object its manipulated to create different readings of itself, becoming more articulated and colorful as it evolves. To counterbalance the darker tones and solemn nature of the initial form, a field of delicately cut and placed Takashi Murakami flowers is introduce into the composition. Signifying the innocence and playfulness of the human mind in the absence of suffering from knowledge of the past.

During the fabrication process, color is apply into stages to create a feeling of surreal instability of form. By introducing luminous pigments into the casting, the object transforms and glow as it comes to life under a blacklight. Symbolizing the human capacity to come back to life when engulf in the darkness of sorrow.

Gonzalo Padilla | Bachelor of Architecture | Master of Design Research | Gonpv87@Gmail.com | 954-536-51-99 | Los Angeles, CA.

Instructor: Michael Rotondi

SCI-ARC | SCHIZO | GRAD | 2014 [1.1]

SCHIZO Schizo is a project that investigate the use of color, computation techniques and material to produce an object that defies simple categorization by altering its reading depending on the viewers relative position.

Composed by 899 different panels allocated in a distorted grid above a reflective plexiglas surface, the project manipulates Takashi Murakami’s famous flower fields images to create a dual reading by seemingly transform from a set of solid, metallic looking, color palette, into a colorful field that disintegrate and compromise the readability of the initial form.

The triangulated geometry of the panels as well as the reflective surface and the print under it, work together to juxtapose the two different seemly incongruent perceptive states, creating moments where the three-dimensionality of the form its negated, compromised, or accentuated by the colorful flatness of the Murakami flowers.

_Above. Close-up of the panels as perceive from frontal view.

1.1_Solid Colored Triangulated Panels.

1.2_Murakami Flowers Field as seen under the Triangulated Panels.

1.3_Reveal of underlaying Image and Flower Field.

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Instructor: Satoru Sugihara

[1.3]

SCI-ARC | WHITE-OUT | FINAL STUDIO_GRAD | 2014 [1]

WHITE-OUT This project explores the uncanny unification of technological icons and architectural elements to create extremely artificial [yet sublime] environments that produce eerie and bizarre architectural effects.

The image of the uninhabited solar plant where Smokey towers condensate energy is revamped through the introduction of program. A secluded spahotel compose by a set of mechanical elements that suspends the users in their individual rooms works by manipulating the byproducts of the energy creation cycle, smoke and water, and the dematerializing qualities of mirrors and reflective surfaces, to detach its inhabitants from their context and immerse them in rather surreal ever-changing spaces, where extreme environmental conditions start to disorient its users by distorting their reading of space.

The motion of the steam generated by concentrating the sunlight into the boiler located in the top of the towers, is manipulated through a set of formal movements that seek to create variations in its trajectory, with the oscillating between smooth and linear motions to turbulent and chaotic depending on the program requirements and location. By combining the Formally Monolithic and static with the temporal “massless” fluidity of the steam, the building is conceived as a set of layers that filter and redirect the steam to misrepresent the building’s interior configuration.

Heat, condensation and blurriness combined with the solar tower machine nature are unify to create a specialized infrastructure that situates itself between the technologically and architecturally sublime. _Above. Close-up of the smoke experiments showcasing the steam’s movement from laminar flow to disturbance.

Building’s Energy Cycle Diagram

Ivanpah Solar Power Facility

Mojave Desert , California.

SCI-ARC | WHITE-OUT | FINAL STUDIO_GRAD | 2014

Upper Level Plan.

Upper Level Mechanical Plan.

Lobby Level Plan.

Lobby Level Mechanical Plan.

Ground Level Plan.

The building is divided in three main areas., with the ground been inhabited by a Hotel located under the ground of the hill. By doing this, the rooms are protected from the extreme heat of the desert and the rays from the heliostats field.

The tower’s containing the spas and energy system its composed by a double skin, with the space between the exterior and exterior shell allowing the conceilment of the building’s mechanical system and structure.

A set of Small lobbies take the guests to the “loading areas”. Where they can enter specially design suspended rooms to access spa related activities, including massages and meditation. The slow movement and oscillaiton of the rooms, allowed by a set of cranes hidden in the steam, allows the transition from one side of the building to the other.

Once on the other side, the guest are unloaded on the “pixelation area” , a zone inhabited by heated pools and saunas where the steam is acumulate to create a relaxing experience.

Design Partner: Avra Tomara | Instructor: Casey Rehm, Marcelo Spina.

Design Partner: Avra Tomara | Instructor: Casey Rehm, Marcelo Spina.

SCI-ARC | WHITE-OUT | FINAL STUDIO_GRAD | 2014

_Above. Mechanical Section Showing Turbines and Condensers.

SCI-ARC | WHITE-OUT | FINAL STUDIO_GRAD | 2014

Spa Level_Condensator Room: The steam generated by the energy creation process reaches the spa at a lower temperature after moving throught the building. Allowing its use for the Saunas and Heated Pools

Design Partner:Avra Tomara

Instructors: Casey Rehem , Marcelo Spina.

55 HOUSE Designed for a family of five, the project’s sectional performance becomes an area of investigation as means of testing new ways of living vertically within an ever compressing horizontal field while taking into consideration the constraints created by the site’s narrow nature. Setbacks, height restrictions, program requirements, and circulation were taken into consideration when implementing a proportional system based on a 5’x5’x5’ grid.

Inspired by architect Arata Isozaki, the square footage of each area of the house was reconceived to create a set o massing blocks with a clear set of proportional relationships that could be easily manipulated without creating big discrepancies. The alteration of the ground plane allowed to increase the allowable vertical space without the need to go over the permitted maximum height of 35’, while the offsetting of the volumes as the project gain height allowed to maneuver around the setbacks while gaining circulation space.

Finally, the rigidity of the grid was counterbalance by Boolean operations at specific points of the building that allowed it to visually extend beyond the buildings physical volume, and create a set of interpenetrated spaces that increased the house’s access to natural light. _Above. Disassembled Physical Model showcasing interior.

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1. Master Bedroom

2. Bedrooms

3. Bathroom

4. Living Room

5. Front Yard

6. Parking

7. Dining Room

8. Kitchen

SCI-ARC | 55 HOUSE | UNDERGRAD | 2011

Design Team: Ruben Alejandre, Jason Alvarez | Instructor: Peter Zellner

Section drawings highlighting the house different vertical spatial relationship between spaces.

SCI-ARC | MUTATIVE CORE | UNDERGRAD | 2010 [1.1]

MUTATIVE CORE A Mutative Core is not Static, its function as a datum transcend beyond organizing spaces by adapting its size and form to create light and spatial conditions intrinsically related to the program and site’s requirements, allowing multiple spatial conditions to coexist inside of the same volume.

To create such a core, the characteristics of a negative core (a void) and a positive core (a mass), were study systematically. By switching the core’s nature between this two states (void and solid) the design process allowed the reshaping of the original mass to create the final design. Each time the interior core was carved, the negative to positive relationship was inverted to create a solid core that could be study as a volume and then transform back to a void, creating a system that controls the void to mass relationship.

By keeping the volume rigid in the outside while the interior voids fluctuates, the collision of geometries and tectonic systems allowed the core to mutate independently from the envelop of the building, making it possible to arrange different programs requirements without sacrificing funtionality.

Once it hits the ground, the structure and geometry of the core utilize the sloped site to extends beyond the building’s volume . Creating a series of platforms that accommodates multiple programs. _Above. Study Model of the building’s Massing.

1_Drawings.

1.1_Siteplan.

1.2_Section Illustrating the buildings chimeney effect.

2_Render of building’s Lobby.

3_Physical Model.

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Design Partner:Zidan Zao

Instructor: Jenny Wu. [2]

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SCI-ARC | MUTATIVE CORE | UNDERGRAD | 2010 [1]

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Design Partner: Zidan Zao | Instructor: Jenny Wu [3]

_Above. Section illustrating the building’s movement through the hill.

1_Wall Section of the Building’s Double Skin Glass Facade.

2_Wall Section Through Buildings Interior Wall system and 3D model detailing layers and materials.

SCI-ARC | LEFT BEHIND | UNDERGRAD | 2011 [1.1]

LEFT BEHIND Created as a response to the imminent collapse of modern civilization after the “Christian Rapture”, the projects envision an underground megastructure created to protect those “left behind” in order to rebuilt society as the world heals from a nuclear holocaust.

Inspired by the “Federal Relocation Arc”, a shelter program developed by the American government to protect civilians and selected government officials in case of cataclysmic events, the project looks at defensive military fortification like bunkers, shelters and missile launch control centers as a way to create survivalist architecture that transcend time through containment Developed in secret, the city is an amalgamation of modules that activates itself in multiple stages spanning through large periods of time, allowing growth through the creation of environments that juxtapose the futuristic with the nostalgic, the mechanical with the natural, and the spiritual with the secular. In a world were heaven is unattainable, and earth is hell, the Federal Relocation Arc in New Harmony positions itself as an in-between place for those left behind to ensure a future. _Above. Image collage juxtaposing the interior’s garden and living space with the mechanical systems of the shell.

1_Collages 1.1_Building’s interior at Garden Level.

1.2_Illustration of the movement through the building’s vertical core.

2_Renders 2.1_Building in its Underground Shell.

2.2_Zoom in of buildings modular units.

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SCI-ARC | SEAMLESS INCONGRUENCE | THESIS | 2012

MATTER IN FLUX This project examines the material and design implications of flexible cast systems where an impression is formed by pouring fluid matter into a flexible mold or matrix and allowing it to solidify while in motion.

The three-phase transformation between states of solidity and fluidity was directed toward amplifying physical properties of the initial object in order to generate forms that deviate in a controlled manner from the original. Ultimately exploring ways to not only fabricate a new set of “dissimilar� copies but also to investigate delineation techniques to control a document this transformations. _Above. Model showcasing the interiors fluid geometry of the resin as it cure while in motion.

1_Models, the fluid interior is contrasted by a rigid shell that peels to reveal the resin in flux.

2_Deliniation of surface broken into cloud points and curves.

3_Initial Mold.

4_Drawing illustrating the deviations from initial rigid form as the resin cures during fluctuation.

The cloud point works as a measuring mechanisms displaying the deviations.

Design Partner:Zidan Zao

Design Partner: Zidan Zao | Instructor: Jenny Wu

[2] Instructor: Jenny Wu.

SCI-ARC | EXQUISITE CORPSE | GRAD | 2014

Instructor: Marcelyn Gow.

SCI-ARC | STRANDS | UNDERGRAD | 2010

STRANDS Drawing is two dimensional, its ability to represent volume through “flatness” allows the study of objects beyond the limitations of fabrication.

Model is three dimensional, allowing the study of mass and surface in a tangible form that usually relies on materially, but suffers from the effects of corruption developed during its translation from the flat to the volumetric. “Strands” is an experiment in the oscillation of materiality and representation, layering information sets and shifting focus, part drawing part model, the project allows both mediums to coexist and assist each other by combining their particular delineation strengths.

Taking inspiration from tree morphology, the designed system merges, splits, twists and weaves, behaving like roots of a tree. Conceived as a linear system, Strands is a dynamic piece that experiences transition and transformation as it emerges from the drawing and moves through space: from thick and massive to thin and delicate, the project is a play between scale, mass, and the void around it. To obtain the desired effect, Strands was fabricated by vacuum forming the major elements and combining them with more delicate 3d printed pieces. The line drawing was laser cut into acrylic so that the light below would move through the image, projecting the colors onto the volumetric elements.

SCI-ARC | IN FLUX | UNDERGRAD | 2012 [1]

MATTER IN FLUX This project examines the material and design implications of flexible cast systems where an impression is formed by pouring fluid matter into a flexible mold or matrix and allowing it to solidify while in motion.

The three-phase transformation between states of solidity and fluidity was directed toward amplifying physical properties of the initial object in order to generate forms that deviate in a controlled manner from the original. Ultimately exploring ways to not only fabricate a new set of “dissimilar� copies but also to investigate delineation techniques to control a document this transformations. _Above. Model showcasing the interiors fluid geometry of the resin as it cure while in motion.

1_Models, the fluid interior is contrasted by a rigid shell that peels to reveal the resin in flux.

2_Deliniation of surface broken into cloud points and curves.

3_Initial Mold.

4_Drawing illustrating the deviations from initial rigid form as the resin cures during fluctuation.

The cloud point works as a measuring mechanisms displaying the deviations.

Gonzalo Padilla | B.Arch | M.Design Research

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COMPETITION | CHIAROSCURO | PERSONAL WORK | 2012

CHIAROSCURO Paris is a city of bridges made necessary because of a fracture on the urban fabric created by the Seine River, unfortunately, most of these bridges operate by becoming mere mediums of circulation. But a bridge can operate beyond its innate function, allowing the creation of spaces that occupy rather unreachable areas, this proposal takes this idea further by designing a bridge that goes beyond mending a topographical interruption. By stitching the urban fabric with the creation of new zones of dissemination and entertainment, the project creates conditions that extends the urban edge beyond its fracture, triggering the amalgamation of rather disrupted or disconnected spaces.

To create the geometry, the research identify the major circulation axes terminating at the river’s edge, and cross reference them with the location of iconic buildings in the surrounding areas, when the two sets of information crossed, program was introduced to pull the public from both sides of the river. The weight of the bridge was visually minimize by the alternation of soft and sharp geometries, as well as the use of Translucent Linear Channel Glass System for the program areas to counter the weight of the concrete slabs. By keeping the bridge surface flat, the project allows visual continuation of Paris’ picturesque streets, while still adding a new iconic element that softly glows at night as it illuminates itself from the interior, creating the effect of Architectural Chiaroscuro. _Above. Diagram of the bridge’s main axes. _Right. Night view of the bridge, highlighting geometry.

Design Team: Naho TsuTsui, Ping Ping Chloe Tang

PROFESIONAL WORK | 2011

[1.1]

Work closely with principal Patrick Tighe on the design and development of a 15,000 sq.ft building consisting on both warehouse and creative office suites located in North Hollywood, Ca. As well as in the design and development of the Spray-on houses series.

Responsibilities: -Design of the Forum Space Ceeling and adjecent retail stores.

[1.2]

- Fabrication of a 6’x8’x6’ presentation model of the Level “C” Galleries Design Proposal.

-Assisted on the Landscape Design for the outdoor “City Window”.

-Construction of large and small scale study models for multiple projects including Guggenheim Abu Dhabi and Guggenheim Bilbao.

-Documentation of models and material research.

[1.3]

TIGHE ARCHITECTURE [2.1]

1_Spray-on House 1.1_Exterior Render.

1.2_Plan.

1.3_Section

2_Spray on House Addition 2.1_Exterior Renders.

2.2_Section

3_Riverton Offices 3.1_Exterior Renders.

3.2_Main Plan.

3.3_Elevation.

3.4_Sections.

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Above_Sample of CD drawing sets developed for multiple houses’ renovations.

PROFESIONAL WORK | 2013 Work as part of the Philadelphia Museum of Art design team under the supervision of Design Partner Anand Devarajan and Katya Obretenova. Emphasis was put on the development of the Forum space as well as the design of the Level “C” galleries and renovations to the museum’s plaza.

Responsibilities: -Assisted on the design of the Forum Space Ceeling and adjecent retail stores.

-Fabrication of a 6’x8’x6’ presentation model of the Level “C” Galleries Design Proposal.

-Assisted on the Design of the outdoor “City Window”.

-Work on large and small scale models for multiple projects including Guggenheim Abu Dhabi, Guggenheim Bilbao and the Philadelphia Museum of Art. -Documentation of models.

GEHRY PARTNERS LLP.

1_Forum Space 2_Level “C” Galleries under the Plaza.

3_Philadelphia Museum of Art Scale Section Model.

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