My Architecture: A Collection of Work By Gui Talarico [ 2005 - 2011 ]

my architecture a collection of work by Gui Talarico 2005 - 2011

my architecture

Š Copyright 2011 Gui Talarico 2nd Edition December 2011

Akzidenz Grotesk CE Roman Akzidenz Grotesk Light 65 60 60 00 35 30 30 00 00 00 00 00 75 00 00 25 00 45 99 10 00 99 99 50 75 99 20 40 40 00 00 99

my architecture a collection of work by Gui Talarico 2005 - 2011

intro . profile

06...

concepts . drawings . sketches . models

materials . furniture .

renderings . sketches .

credits

pottery

26...

photography

84 ....

08...

54...

contents Intro Conceptualize The Chapel [ selected project ] 10 Aquatic Center [ selected project ] 18 Sketching Concepts 24

Materialize x.Seat 28 Cardboard Chair 34 C.M.U. light 40 Pottery 42 Abstract Materiality 46 Material Exploration 48 Church of Light [ model ] 50 Library in Alexandria [ model ] 52

Visualize Real 56 Surreal 62 Drawings 64 Sketches 68 Photography 72

Credits

_intro My Architecture is: creation, exploration and imagination [ _conceptualize ]; joints, material and materiality [ _materialize ]; visual representation and expression [ _visualize ].

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Gui Talarico Profile

architecture design photography graphic design furniture

Master of Architecture . Virginia Tech Porfolio Printed 1st Edition . March 2011

pottery

Bachelor of Architecture Summa cum laude . Virginia Tech Architecuture Internship . LeMay Erickson Willcox Architects

music travel

Architecuture Internship . LeMay Erickson Willcox Architects Architecture Internship . Fernando Olba A + U . Spain Architecture Internship . LeMay Erickson Willcox Architects

web-design

Architecture Internship . LeMay Erickson Willcox Architects Undergraduate International Student . Virginia Tech

programming

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International Student . Northern Virginia Community College

04 05 06 07 08 09 10 11

_conceptualize

to invent and imagine To create concepts and to develop intangible abstractions into understandable and presentable content. The two selected projects that follow show the conception of a project, from a vague concept or idea into a coherent body of images, drawings and models.

left Conceptual model for academic project [ aquatic center ]. [ 2009 ]

_the chapel

left Site model built for the Chapel of Annunciation, an academic project in Old Town [ Alexandria, Virginia ]

[ 2009 ]

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the chapel of the annunciation “Behold, you will conceive in your womb, and bring forth a son, and will call his name Jesus […] There will be no end to his Kingdom.” The Annunciation marks a birth, and a rebirth. The birth of the Son, and through his lessons and death, a rebirth. The beginnings of a new era for humanity.

The Chapel Two thousand years later, His legacy stands but slowly drowns. Immorality, materialism and selfishness now casts dark shadows deep into our souls. Guilt, sorrow and even the most inexplicable emotions become a heavy load to bare. But as the sun rises everyday, we have an opportunity to re-write our stories; to cleanse ourselves. A rebirth is possible within ourselves, a spiritual purification of our own design.

This is a place were those who seek it can find peace. Although it is confined within the earth, it is a bridge to a serene and transcendental world. This secluded and sacred place reaches out for us. Through its large opening, nature’s elements gain passage. Below the ground plane, an acute corner becomes the focal point of the space, impartially illuminating those with an open heart, regardless of religious virtues.

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_aquatic center

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the concept The structure metaphorically reflects what an aquatic center provides to its user: a bridge between the types of environments that we as humans often inhabit: earth, air, and water; the structure comes out of the ground, rises up into the sky and dives back into the water. The curve used for this architectural maneuver was inspired and derived from the naturally occurring catenary curve.

The program provided for one Olympic-size swimming pool, a diving pit with regulation boards, bleachers, changing rooms, bathrooms, small offices, and a small cafe. [ 2008 ]

_sketching concepts

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conceptual sketches A play between form and meaning, intention and gesture. Conceptual sketches are a quickly drawn expression of our intentions. These sketches create a powerful imaginary reality that can be used as a tool to develop inventive architecture. [ 2007 ]

_materialize

to become concrete, real Using his tools and hands, the builder can manifest the physical desires of his imagination. The material inspires and constricts. To Materialize is to transform an idea into physical reality.

Hex Screen A concrete shape holds two discs of perforated aluminum.

The aluminum discs reflect light beautifully as one of them rotates freely. Due to the inherent geometric organization of the perforation, the shadow cast by the aluminum creates an intricate hexagon pattern. [ 2010 ]

_x.seat

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wood Brazilian Ipe was milled and cut to size. A tight-fit was ensure by manually sanding the joint. Four identical pieces create a delicate support for the perforated metal to rest on.

metal Perforated aluminum sheet was cut to size and bent. The fold along the center gives the aluminum enough strength to support a person, as well as to connect the two independent wooden supports.

joint Where the wood received the metal, a continuous notch was cut using a router.

The metal was then fastened by pressurefit clevis pins that were driven into predrilled holes.

[ 2010 ]

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32

_cardboard chair

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the entry This cardboard chair was designed and built independently as an entry for the AIAS 2007 Cardboard Chair Competition, the Chair Affair. The chair was built over a period of three months of research, prototyping and final construction. The construction of the chair required one and half dishwasher-size and one refrigerator-size boxes. The round piece within the laminated sheets was cut using a computer controlled laser cutter; the large sheets were cut by hand. Each piece was scored to allow the cardboard to bend around corners. [ 2006 ]

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"

The goal of this design was to take advantage of the qualities and strengths of corrugated cardboard when laminated horizon-

tally. Several layers are glued together, and this “stacked laminate” loops around itself to provide a wide seating surface as well as fairly flexible backrest. The design of the chair’s curvature was driven by ergonomics and the structural strength that it provided.

The number of layers was to be decided once the desired rigidity was achieved.

At its earlier stages of construction, the chair was going to have the horizontal layers scored, bent, and laminated, allowing these nineteen inches wide by eight feet long sheets to become a functional “chair-shaped” curvilinear laminate. However, through fullscale prototyping, the horizontal layers alone proved not to be strong enough. Compression and shear stresses would cause the corners of the laminate to crush, making the curve no longer rigid. At this point, an “o” shaped vertically laminated element was introduced into the design, guaranteeing structural soundness. This “spine” was placed centered below the seat, unifying the horizontal and the vertical components, and at the same time allowing them to complement one another. The horizontal and the vertical components are six and twenty layers thick respectively.

The assembly of the chair required one and a half small appliance boxes, and one large appliance box. All the cardboard used in the chair, study models, and prototypes was easily obtained from a local appliance distribution center. Corrugated cardboard is a material that is vastly available, and it is easily recyclable. It can be recycled several times, and present day manufacturers rely heavily on used cardboard as their feedstock.

In addition to being a renewable resource, cardboard is also a great building material; it is strong, light, and easily obtainable. There are many ways, and few limitations to what can be built out of cardboard, all you needs is some creativity and a sharp blade.

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"

_c.m.u. light

C.M.U. light a light fixture that engages the wall by existing within a concrete masonry unit. [ 2005 ]

_pottery

pottery is one of the oldest human technologies and art-forms. The plasticity of clay gives the architect a rare opportunity of working handson at full-scale. Furthermore, the study of pottery is a powerful tool to study the complex relationships between material, proportion, form, aesthetics, and function.

The study of this material demands discipline and patience, but it is also a very rewarding experience. The pieces shown on these photographs were done throughout a 2 year period in which I was studying ceramics with master-potter Ellen Braaten at the School of Architecture + Design at Virginia Tech. [ 2005 - 2007 ]

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_abstract materiality

touch me These photographs attempt to isolate or highlight material qualities that are inherent and self-contained. The scale and lack of context evoke a sense of abstraction. Real but vague, pure and authentic. [ 2005 ]

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_material exploration

perforated concrete

hex screen

Casting of concrete block perforated by acrylic rods

Perforated aluminum sheets embedded in concrete. In

of varying diameters. [ 2007 ]

collaboration with Adam Elsea. [ 2010 ]

_church of light

church of light model Scaled model of the Church of Light by Tadao Ando in Osaka, Japan. Model was built in collaboration with three other students.

One of the goals was to reproduce the features in concrete that Tadao Ando so carefully controls. The mold was made out of acrylic to ensure a smooth finish, and tie-back indentations were created by the heads of hundreds of finish-nails. [ 2006 ]

_library in alexandria

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_visualize

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to see, to represent To help others understand and appreciate our vision. We create images to impress and to express. To convey and to convince.

Renderings, images, sketches, and photographs are powerful weapons we use to help others see as we do.

night Rendering done for project Be Counted in collaboration with Virginia Tech’s Washington Alexandria Architecture Center [ WAAC ] and artist Michael Kalish. Modeled in Rhino 3D and rendered in Maxwell Render with postproduction in Photoshop. [ 2011 ]

_real

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a shot at reality Not every architectural rendering should aim to achieve photo-realism, but inevitably there are situations in whicth a convincing realistic is desired.

Considerable attention must be given to every part of the process [ modeling, texturing, lighting, and post-production ] to create a believable image.

day Day version of the rendering shown on the previous spread. In collaboration with Virginia Tech’s Washington Alexandria Architecture Center [ WAAC ] and artist Michael Kalish. [ 2011 ]

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virtual materiality Digital scenes and objects must be “textured� with digitally created materials. Modern software technology allows us to create virtual materials that are, at least visually, very convincing.

partition wall Rendering for a design built project. The metal screen was designed parametrically using Grasshopper in collaboration with three other students. [ 2010 ]

adjacent page Left : : x.Seat rendering. Modeled in Rhino 3D, rendered in Maxwell Render. The rendering was used to make critical decisions during the design process. [

2010 ]

Right : : the Barcelona chair. Model was downloaded from Google 3D warehouse and rendered as an exercise to explore how to better texture and light a scene to achieve photo-realism. [ 2010 ]

Botom : : Interior rendering for an academic project [ Library in Alexandria, Virginia]. Modeled and rendered in Revit. [ 2009 ]

_surreal

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left Rendering of an academic project [ Library in Alexandria ]. Modeled and rendered in Revit. Heavy post-production in Photoshop. [ 2010 ]

below Rendering done for the entry of a masonry competition. In collaboration with Virginia Tech Alumni Adam Elsea. [ 2010 ]

_drawings

left Hybrid elevation section of an academic project [ Library in Alexandria ]. Hand-drawn with digital post-production in Photoshop. [ 2010 ]

below Section through building and street of [ Mixed-use in Blacksburg ]. Drawing was done using Illustrator and Photoshop [ 2006 ]

left Drawing done for the Virginia Society AIA 2011 student competition. In collaboration with Adam Elsea. [ 2011 ]

below Elevation of an academic project [ Library in Alexandria ].

Drawn in CAD with digital post-production in Photoshop.

[ 2010 ]

_ sketches

freehand sketching No other mean of graphic representation is as quick and honest as a hand-drawn sketch. Primary to the final appearance of the sketch, is the development of an augmented perception of the visible and invisible qualities of the subject being drawn.

right Sketches of hand-rail detail at the Women in Military Service For America Memorial [ Washington D.C. ] [ 2010 ]

left + below Sketches of an entryway and a detail from a townhouse in Old Town [ Alexandria, Virginia ]. [ 2010 ]

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left Hand-sketch of an imagined interior. Ink and colored pencil. [ 2010 ]

below Sketch of the Torpedo Factory Art Center in Alexandria, Virginia . [ 2010 ]

_photography

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sky A selection of photographs that show beautiful and unique ways in which buildings and sculptures meet the sky.

left High Museum of Art by Renzo Piano. [ Atlanta, Georgia ] [ 2007 ]

below High Museum of Art by Richard Meier. [ Atlanta, Georgia ] [ 2007 ]

below

right

High Museum of Art by Renzo Piano.

Needle Tower by Kenneth Snelson.

[ Atlanta, Georgia ] [ 2007 ]

[ Washington D.C. ] [ 2008 ]

calatrava Palacio de las Artes by Santiago Calatrava [ Valencia, Spain ] [ 2008 ]

chillida Elogio del Horizonte by Eduardo Chillida [ Gig贸n, Spain ] [ 2008 ]

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lit left Kursaal Congress Centre by Rafael Moneo [ San Sebastian, Spain ] [ 2007 ]

below Sony Center by Helmut Jahn [ Berlin, Germany ] [ 2008 ]

repeated left Science Museum of Prince Felipe by Santiago Calatrava [ Valencia, Spain ] [ 2007 ]

below Stair at Fallingwater by Frank Lloyd Wright [ Mill Run, Pennsylvania ] [ 2009 ]

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gehry left Guggenheim Museum by Frank Gehry [ Bilbao, Spain ] [ 2007 ]

below MIT State Center by Frank Gehry [ Boston, Massachusetts ] [ 2006 ]

credits Materialize Hex Screen: designed and build in collaboration with Adam Elsea

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Hex Screen .............................................................................

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Church of Light Model Team: Jennifer Land, Julie Driscoll, and Peter Kowalcheck

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Library Model: with the assistance of Rocio Sanchez

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Visualize Parametric Screen Team: Ben Samson, Ivan O’Garro, and Joe Iwaskiw

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Masonry Competition Entry: designed in collaboration with Adam Elsea

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Virginia Society AIA competition entry: in collaboration with Adam Elsea

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thank you all my friends and family, most specially to my mom, my brother and my dad who have given me their unconditional love and support throughout these years

+ the following people who in many different ways have helped me during this journey: Jim & Jean Ryan and family Ace Elsea + Noel Jerome + Jenny Land + Nati Lizarraga + Ned Ponder + Nick Ross + Rocio Sanchez + Agus Soler + Danny Trejo Ellen

Braaten

+

Carolina

Dayer

+

Mario

Cortes

+

Paul

Emmons

+

Marcia

Feuerstein

+

John

Foote

Ben Gauslin + Henry Hollander + Jaan Holt + David Lever + Michael O’Brien + Don Swearingen + Jared Willcox + LEWA

myarchitecture.gtalarico.com

The work shown in this book was produced while pursuing a Bachelor and Master of Architecture at the School of Architecture + Design at Virginia Tech.

I dedicate this book to my family, my friends and the faculty at School of Architecture + Design and the Washington Alexandria Architecture Center [ WAAC ]. Without your help and support this work would not have been possible.