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GUILLERMO GONZALEZ CEBRIAN South Dakota State University 4th year undergraduate www.guillermogonzalezcebrian.com
GUILLERMO GONZALEZ CEBRIAN Monterrey, Nuevo Leon, Mexico - 04/01/1994 100 Medary ave s, Brookings, SD, United States (605)6905061 guillermo.gonzalezcebrian@gmail.com www.guillermogonzalezcebrian.com HIGHLIGHTS 2016
2016 - present 2014 - present
2014 - 2016
Architecture TSP & DoArch Scholarship Award for portfolio submittal. Earned highest scholarship - South Dakota. Assisted with AIA South Dakota Merit Design Award winner project - Mobridge, SD Drawings Set. Porto Academy Summer School at the Faculty of Architecture at University of Porto (FAUP) - Portugal. Precast Concrete Institution National Conference in Nashville, TN - Presented SDSU Public Works. Leadership President of the National Organization of Minority Architecture Students (NOMAS) SDSU Chapter. Its mission is to champion diversity within the design professions by promoting the excellence, community engagement, and professional development. President of DoArch International Group (DIG). Its mission is to present different cultures brought by international students to all South Dakota State University architecture students, by the organization of events that involve different traditions, food, etc. Golf NCAA Division 1 Student Athlete at South Dakota State University.
EDUCATION 2014 - present
2013 2012 2011
Undergraduate South Dakota State University Bachelor of Fine Arts in Architecture - expected Fall 2017 Current GPA - 3.32 High School Instituto Cumbres Merida,Yucatan, Mexico. Tecnologico de Monterrey Campus Saltillo, Coahuila, Mexico. Instituto Cumbres Saltillo, Coahuila, Mexico.
EMPLOYMENT 2016 Fall
South Dakota State University (Department of Architecture) Undergraduate Teacher Assistant - Public Works Collaborative Studio ARCH 351.
2016 Summer
Precast Concrete Project Assistant - Part of the Project Design Team and City Council Connection Builder - Public Project in Volga, SD.
2016 Spring
Undergraduate Research Assistant - Professor Federico Garcia Lammers, Department of Architecture. Project 1: El Shopping and Tuberculosis: the first temple of consumption in Uruguay. Project 11: Original Fakes: Eladio Dieste’s self plagiarism and sacred space.
2013 2012
Golf Personal Instructor - Members of Yucatan Golf Club “La Ceiba”, Merida, Mexico Personal InstructorMembers of Campestre de Saltillo Golf Club, Saltillo, Mexico
SKILLS Languages Software Fabrication Drawing Music
English, Spanish, Portuguese. Rhinoceros, Grasshoper, Revit, AutoCAD, Adobe Illustrator, Photoshop, InDesign. Lassercutter, MakerBot 3D Printer, Powder 3D Printer, Model Making. Sketching, Drafting, 3D Models, Architectural Drawings. Guitar and Piano.
TRAVEL Countries
USA, Mexico, Brazil, Panama, Canada, Portugal, Spain.
“When experiencing a work of art, a curious exchange takes place; the work projects its aura, and we project our own emotions and precepts on the work. The melancholy in Michelangelo’s architecture is fundamentally the viewer’s sense of his/her melancholy enticed by the authority of the work. Enigmatically, we encounter ourselves in the work.” - Ju n h a n i P a l l a s m a a .
TA B L E O F C O N T E N T S DOWNTOWN BROOKINGS SURREALIST ART GALLERY.
THE BIG SIOUX RIVERFRONT TOWER.
NINE SQUARE GRID.
THE REYNER BANHAM ARCHIVE OF LOS ANGELES.
“The blank PAGE gives us the right to DREAM.” -Gaston Bachelard.
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DOWNTOWN BROOKINGS SURREALIST ART GALLERY
Instructor: Brian K. Lee
Class: Architectural Studio lll - Spring 2017
The studio started with a study of the concept of “site” and its multiple factors or implications, describing physical and non-physical elements. Each one of us had to come up with our own definition of site, mine being: “Quantifiable space with infinite possibilities shaped by its constraints.” After that, I questioned myself using many comparisons and metaphors, carrying a particular one through the design process: the spatial comparison between the representation of site in the way we experience it in reality (through our senses), and in our dreams (through our mind). This comparison later evolved to a relationship between literature and architecture. There are three main building programs: A cafe at the basement level, following a reading or library level which is mainly focused on literature, fiction and poetry collections, and at the top, a gallery space housing surrealist or metaphysical artworks. The intention behind the programmatic arrangement was the concept of having a sequential progression, feeding the body first (cafe), the mind second (book collections), properly arriving to the dream-like experience at the top level. The inspiration for the gable roof came from a functional point of view and from a philosophical perspective. The functional is simple. Lighting became an important issue, since the condition of the site is “infill”, two buildings on the sides, and also from the need of indirect light for the artworks. The philosophical one comes from the representation of houses or buildings in many of the most famous surreal works (with a gable roof), presenting a familiar image in an unfamiliar way. Artists such as Salvador Dali, Rene Magritte,Vladimir Kush, Jacek Yerka, and many others played an influential role in the project.
A b o v e : “ D r e a m a n d R e a l i t y ” r e p r e s e n t a t i o n u s i n g s e c t i o n a l a x o n o m e t r i c d r aw i n g s . 0 4ft 8ft
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A b o v e : “ D r e a m a n d R e a l i t y ” r e p r e s e n t a t i o n u s i n g s e c t i o n a l a x o n o m e t r i c d r aw i n g s .
0 4ft 8ft
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L e f t : P i c t u r e o f t h e i n t e r i o r o f t h e m o d e l ( We s t s i d e o f t h e r e a d i n g l e v e l ) . Above: Pictures of the Sectional Model.
THE BIG SIOUX RIVERFRONT TOWER
Instructor: Fang Xu
Class: Architectural Studio II - Fall2016
The 12-week building project was to complete the architectural schematic design of a mid- to high-rise condominium complex incorporating street-level retail space, parking garage, amenities, and multiple types of condominium units (One-Bedroom Units,Two-Bedroom Units, and Three-Bedroom Penthouses).The buildable site area is 32,000 sf. Following the pre-design urban analysis, the first stage of design was titled as “site design and massing study”. For the design stage, I conceived the master plan of the development and basic building masses given urban design considerations. • Urbanscape: improve the visual and behavioral experiential qualities of the city environment. • Access: Appropriate layout for vehicles and pedestrians to reach the property. • Entrances:Appropriate placement of (1) Main Entrance + (2) Service Entrance(s) for garbage removal and goods delivery. • Parking: Appropriate arrangement of Outdoor Parking + Indoor Parking (underground or 2nd floor) • Buildability: The building form should not significantly increase the risk and cost of structural engineering. • Usability:The building form should have potential affordance for functional spaces as stated in the Spatial Program. Total square footage should be below 100,000 sf. (F.A.R. < 3); Total building height<200’ (or less than 18 floors above the ground); other design restrictions per codes and ordinances. Residential units deliverables: 15-18 one-bedroom units (15000 sf. @ approximately 800 sf. each) 12-15 two-bedroom units (10000 sf. @ approximately 1000 sf. each) 4 three-bedroom units (6000 sf. @ approximately 1500 sf. each)
â&#x20AC;&#x153;Design a thing by considering it in its next larger context - a chair in a room, a room in a house, a house in a community, a community in a city.â&#x20AC;? -Eliel Saarinen.
Right: Model picture .
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A b o v e : We s t a n d E a s t E l e v a t i o n o f t h e To w e r. A l s o b u i l d i n g m a n i p u l a t i o n i t e r a t i o n s .
The Big Sioux Riverfront Tower is a High-Rise Condominium with 32 apartments, having 16 one-bedroom units, 12 two-bedroom units, 4 three-bedroom units, and a penthouse at the top. In the first floor, the tower has retail space, restaurants, and lobby. The parking garage consists of two levels, having a total of 55 parking spots. Accommodating the amenities for the residents, the mezzanine level features interior spaces, as well as an exterior patio. The tower focuses on not only having great views for their residents, but also to be an eye-catching building for the people from the other side of the building by its position and its rotation at the top.
A b o v e : Tr a n s v e r s a l a n d C r o s s S e c t i o n o f t h e To w e r. A l s o b u i l d i n g m a n i p u l a t i o n i t e r a t i o n s .
â&#x20AC;&#x153;The nine square grid problem is used as a pedagogical tool in the introduction of architecture to new students. Working within the problem the student begins to discover and understand the elements of architecture. Grid, frame, post, beam, panel, center, periphery, field, edge, line, plane, volume, extension, compression, tension, shear, etc. The student begins to probe the meaning of plan, section, elevation and details. The student studies and draws his scheme in plan and in axonometric, and searches out the three dimensional implications in the model. An understanding of the elements is revealed an idea of fabrication emerges.â&#x20AC;? - Jo h n H e j d u k , f ro m M a s k o f M edusa.
Above: Model picture .
NINE SQUARE GRID
Instructor: Charles MacBride
Class: Architectural Studio I - Spring 2016
The Nine Square Grid project is one of the best known and most widely acknowledged studio assignment. The simplicity of its format belies the complexity of combinations and fundamental ideas that can be explore. John Hejduk (19292000), one of he most highly regarded architects and educators of the 20th century is often credited with introducing (or at least re-establishing) this assignment. The project explores spatial organization using a nine-square grid module. Conditions of complex grids, interior and exterior space, transparency and opacity, continuity, color, and program will be assigned. Drawings, diagrams, and a working model will represent the finalized project. The project was evaluated in the ability with the given design assignments, which were measured by the skill in describing and controlling the architectural conditions of the project, the clarity and communication of drawings and models, and demonstration of the capacity to learn and improve based on the constraints and language of the project. The use of ordering systems are common in virtually every work of architecture. The project is largely designed to challenge the ability to control various grids for the purposes of formal and spatial alignment, organization, and structure. Adding and subtracting elements that intentionally break the grid must also be understood in terms of hierarchy. The project uses a hypothetical site. Four basic drawing types were required: plan, section, elevation, and axonometric. Drawing style was based largely on the course textbook LeCorbusier Redrawn:The Houses, by Steven Park.
Left: 3D Grid Explorations. Above: Plan View and Program diagrams.
THE REYNER BANHAM ARCHIVE OF LOS ANGELES
Instructor: Charles MacBride
Class: Architectural Studio I - Spring 2016
The project consisted of an archive for the educator and architectural historian Reyner Banham. The archive was designed as a cantilevered structure over the Santa Monica Freeway in Los Angeles. Reyner Banham (1922-88) was a prolific English writer and architectural critic, trained under the noted historian Nikolaus Pevsner at the Courtauld Institute of Art in London. He befriended the unfluential British Independent Group, was a strict modernist who rejected historicism of any kind, and drew lessons from the machine age spirit in modern architecture. The proposal needed to house a gallery and active repository for Banham’s works. The project started by researching about the different stages of Banham’s career, since he had different scopes of interest throughout his career, which can be clearly seen on his writings. After going through his writings, the field that interested me the most was his very first book, Theory and Design in the First Machine Age, in which he discusses about Modernism, its development, and most influential exponents. This field of study defined my “ecology”, of equal interest for me as for Professor Banham, which drove and supported my vision for the archive building. My ecology was based on the First Machine Age, mainly on the first years of the 20th century. With that said, the works of architects such as Walter Groupius, Peter Behrens, Bruno Taut, Hermann Muthesius, as well as the work by the Deutscher Werkbund and The Bauhaus, served as inspiration for this project. The project used their precedents, not only for the visual aspects of the design, but also for the selection of material. Concrete, black steel and glass became the most important materials of the project.The archive was conceived as a place occupied by four characters: The Scholar, a visitor, uses the archive as a place for writing and study, and has a fantasy with the past. The Craftsman (also an artist), who, in Los Angeles, is concerned with “finishing in high style”. The Tourist, or consumer, is interested in casually inspecting the building and the city. The Caretaker, also an archivist, lives in, tends to, and curates the archive.
â&#x20AC;&#x153;More than any other art, architecture strives toward the typical. Only in this can it find fulfillment. Only in the all-embracing and continuous pursuit of this aim can it regain that effectiveness and undoubted assurance that we admire in the works of past times that marched along the road of homogeneity.â&#x20AC;? -Hermann Muthesius
A b o v e : P i c t u r e o f t h e A r c h i v e M o d e l w i t h t h e f r e e w ay. B e l o w : F o u r O c c u p a n t s C o l l a g e s . F r o m To p t o B o t t o m : T h e To u r i s t , T h e H i s t o r i a n , T h e C r a f t s m a n , a n d T h e C a r e t a ke r.
SECTION 05
SECTION 04
SECTION 03
SECTION 02
SECTION 01
Santa Monica Freeway
Building Parameters & Site
The project occupies one of 14 total vertical â&#x20AC;&#x153;lotsâ&#x20AC;? (one per each student of the class).The lots sit in a continuous line along West 17th Street in Los Angeles. Access to the archive is from the ground plane. The archive has one public stair core that must connect grade with the bridge level, all interior archive levels, and the roof.
Gallery
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Scholar
Open
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SECTION 01
Craftsman
SECTION 03
Residential
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Lecture Room, Study Room, Open, Assembly Room, Residence. FOURTH LEVEL
Exhibition Room, Library, Void, Shop, Residence. THIRD LEVEL
Exhibition Room, Library,Void, Shop, Residence. SECOND LEVEL
Exhibition Room, Study Room, Open, Assembly Room, Lobby. FIRST LEVEL
A b o v e : E x p l o d e d A x o n o m e t r i c o f t h e a rc h i v e . Right: Site plan with close-up of the archive .
THANK YOU!