ARCHITECTURE PORTFOLIO G A B R I E L A VA L D E Z
PROFESSIONAL PORTFOLIO
CAMPOVERDE L O C AT I O N
QUITO-ECUADOR
TYPE
E D U C AT I O N
AREA
150 m2
“Campoverde� is made up of two volumes that are divided, and in turn, articulated by a bridge on the second floor level. Simple geometric shapes were used to maintain harmony with the existing architectural language. We sought to generate a tension between volumes through materiality, texture and void, always relating it to its natural environment. Photography by: Bicubik Photo
C O L L A B O R AT I O N W I T H L E P PA N E N A N K E R A R C H I T E C T U R E
“Campoverde” comprises the first stage of what will be the High School Section. The project sees the environment as an integral element of the educational experience through learning “on” and “in” the environment. This is why the existing circulation system of the school and the way it relates to the topography represented the most determining factors during the design process. We were interested in reinforcing the condition of passing “through” and “under” the building; this is why the external circulations of the project act as an integrating element.
LAB US L O C AT I O N
QUITO-ECUADOR
TYPE
INTERIOR
AREA
200 m2
The project consists of a temporary reactivation of a house that will serve as a laboratory of ideas that will discuss the sustainable urban development of the city of Quito. The house was originally a motorcycle store and will soon be part of the construction site for a new 32-story building. The client’s initiative was to take advantage of a “temporarily empty” lot and give to the community a ephemeral space used for creative production and dialogue. The project is dedicated to designers and architects, students and professionals. The time of conceptualization, design and execution of the architectural transformation project lasted 4 months, this way the functioning time of the space was maximized. Photography by: Edgar Dávila Soto and Gabriela Valdez
C O L L A B O R AT I O N W I T H L E P PA N E N A N K E R A R C H I T E C T U R E
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03
Volumetrically, the house was divided three-dimensionally through two planes, which generated a division of space into four colors and a neutral area for circulation. This way the different programs that the laboratory offers are virtually divided, while keeping an open plan. The result is a dynamic space that fosters the creative process of the people who occupy it. We wanted the project to have a high visual and performative impact
03
this is why a portico was proposed at the entrance whose shape responds to the extrusion of the geometry of the house towards the public space. This is virtually made up of a network of colored strings that come out from the transparencies of the house, corresponding to the interior color divisions. Functionally, it acts as a convertible plaza that dialogues directly with La Carolina Park and Av. De los Shyris; both important urban elements that the project relates to.
N+0.00
ARCHITECTURE
FAB LAB
N+2.71
N+2.71
N+2.61
N+2.61
N+0.00
CONCEPT STORE
GALLERY
N+2.78
N+2.71
FLEXIBLE SPACE
CO WORKING
N+0.00
[ METERS ] 0
N
N-0.08
N-0.08
URBAN ORCHARD
The materiality responds to the intention to explore attractive construction techniques, with low environmental impact (considering the temporality of the space) and rapid installation. The complete covering of the interior of the Lab with plywood allows a homogeneity of space with great spatial warmth. Four modules, organized in two different combinations, make up the rhythm in the interior walls, thus optimizing material and manufacturing time. Once the useful life of the house ends, the material can be reused in other projects or as tools within the construction of the new building.
1
5
7
SECOND FLOOR
0
N
[ METERS ] 1
GROUND FLOOR
5
7
INTERIOR ELEVATIONS INTERIOR ELEVATIONS
A
A
B
B
ACADEMIC PORTFOLIO
ITINERANT MARKET NETWORK A
B
C
D
1
1
E
TOY FAIR
1
1
2
2
2
2
1
1
1
1
1
1
1
2
2
2
2 0.0 m
SWEETS
3
I 1
BOOK FAIR
2
H
1
1
1
G
F
0.0 m
3
1
PLAZA
OFFICE
2
4
4
4
1
1
1 2
2
3
2
3
3 1 2
1 2 1
1
2 3
2
4 1
1
-1.2 m
2
2 4
3 1
4
2
4
4
3 1
2
3
2 4
2
3 1
FRUITS
1
1 2
2 4
3 1
PLAZA
3 2
2
5
1
5
1
2
3
3
2
3
2
1
3
2
1
2
1
1
TRASH
PLAZA
GROCERIES -1.2 m
-3.6 m
1
2 1
0.0 m
VINTAGE
1
2
6
2
to a neighborhood scale and finally a site-specific scale, where the prototype was developed. It’s designed to adjust itself to three different typologies of public space that are common in the area of study: plazas, boulevards and parks. The architectural- protoype project was developed in the public space that had the most complexity along the network: Plaza Cesar Chiriboga. Its complexity comes from its patrimonial surroundings and the presence of an informal market in the plaza.
1
The project explores the development of a network of nomadic-food-markets in Quito, Ecuador that can move throughout different public spaces of the city. It’s an extension of a permanent network of markets in the area and was prototyped to be tested at the site of an existing ambulatory vegetable fair-which takes place next to a colonial plaza. The aim of this project is to reactivate the cultural and commercial life of different areas of the city through the intervention of public space. The project is designed from a city scale
FRUITS
6
1
2
-2.4 m
1
2 1
2 1
STORAGE
2
7 8
7 8
2
2
1
2
1
1
2
1
1 1
-1.2 m
2
VEGETABLES
-2.4 m
2
1 2
9
1
9
2
1 2
1
10
1
2
-1.8 m
11
0.0 m
1
1
2
2
2
-1.8 m
10
BIKE PARKING
PLAZA DE ACCESO
FOOD
11
-1.2 m
PLAZA 0.0 m
12
12
A’
B’
C’
D’
E’
F’
G’
H’
I’
J’
K’ GROUND FLOOR
1. FLEXIBLE ARCHITECTURE The architectural prototype works as a flexible element that acts in dependence on the network to which it belongs; part of the equipment is able to move and thus promote trade fairs while another part of the equipment remains fixed as urban design, furniture and basic infrastructure elements.
The conceptual system divides the architectural program into four elements: fixed, moving, hook and an alternate element. These components allow the highly functional program to be adapted to the desired flexibility. The Alternate Element consists of “buffer� spaces that allow the transfer between
2. GRID fixed elements and mobile elements; how and where it is located depends on a specific site characteristic. In Plaza Cesar Chiriboga it represents the interstitial space of the existing market, this way the natural pedestrian flows are mantained.
Volumetrically a 1.20 m. x 1.20 m. grid incorporates the market stalls into its structure. Once the geometric mesh is implanted in the specific site, a deconstruction of it is explored through the reading of the specific urban fabric. The volume is then perforated creating patios and courtyards in a bazaar-like organization. The project does not act as a container but as a system of modules that is unified by the circulation paths and recreational areas.
3. PLAZA CESAR CHIRIBOGA
In the case of the architectural prototype the interpretation of the mesh came from the projection of the commercial galleries surrounding the plaza, the prioritization of pedestrian flows, the heights of the surrounding buildings and the most important element within the system: the alternate space. The design of the square, at ground level, has a direct dialogue with the existing commercial galleries and the imprint historical site. The platform game in the proposal allows universal accessibility that at the same time works with the architectural program where the specialized areas of the market are buried. Additionally, the height of the architectural volume respects the heights of the nearby heritage buildings respecting equally, the hierarchy of the church on the south side of the plaza where the steel structure opens and dissolves itself.
INTERSTITIAL ART PRODUCTION CENTRE 1
2
3
4
A
A RESTAURANT
-3.0 m S
GALLERY
B MUSIC PLAZA
C
B
B
0.0 m
FLEXIBLE PATIO
0.0 m
C
-3.0 m
D
D
E
ART AND NATURE PATIO
LAB
E
0.0 m B
F
F N0,00
FOYER SCULPTURE PLAZA 0.0 m
0.0 m
CENTRAL PLAZA -3.0 m B
B
A’
ADMIN.
S
B
G
B’
B
1.2 m
H
C’ FOOD PLAZA
PATIO DE INSPIRACIÓN 72.4m2
0.0 m
I J K
acceso
L
S
N0,00
B
LAVADERO
ART STUDIOS
M
acceso
The intervention takes advantage of the underutilized spaces inside a square block to create unexpectedly singular spaces. The city block was carefully opened up for pedestrian access, creating a network of passages and courtyards varying in size, shape and character. Each entrance differentiates itself through materiality and volumetric scale. The project contains an artistic training program, art studios, and cultural amenities in an area of 1000 sq m.
THEATER
ART STUDIOS
N
ART CLASSES 0.0 m
1’
2’
3’
4’
1
2
3
4
5’
6’
7’ GROUND FLOOR
2 . T H E AT E R The theater is designed as an urban magnet within the project. The glass prism highlights the lateral entrance of the complex through its innovative aluminum exo structure and transparent appearance that gives permeability to the project. Trees are planted in the inside to provide a cooler ambiance temperature. The glass faรงade contrasts itself with the bronze perforated skin of the rest of the project.
d. floor detail: perforated copper skin
A
B
D
F
A3
B3
C3
D3
E3
F3
G3
H3
I3
J3
K3
L3
M3
G1
H1
I1
J1
K1
L1
N +9.00
+9.00 m
N +6.00
+6.00 m
N +3.00
ART STUDIO
+3.0 m
N0.00
HALL 0.0 m
CAFETERIA
- 3.0
SECTION
HALL 0.0 m
CREATIVITY PLAZA -3.0 m
N 0.0
0.0 m
DESIGN STORE -3.0 m
N-3.0
FOYER
STAGE
N 0.0
PAINT STUDIO
0.0 m
FREESTYLE PLAZA -3.0 m
0.0 m
CHANGING ROOM - 3.0 m
STUDIO
+3.00 m
+3.0 m
DRAWING STUDIO
0.00 m
0.0 m
PARKING
-3.0 m
b. floor detail: glass curtain wall
THE SOUND TRADER The project is located inside the architectural milestone Hydraulics Research Center designed by Ludwig Leo in Berlin. Through the pre-existing structure, the project modifies its industrial use towards a hybrid that includes a student residence and a music school. Conceptually it explores the propagation of sound through architectural and natural elements that allow its dispersion or containment. The architectural program is arranged according to this metaphor: the transition spaces are the ones that articulate the music school and student residence together. The volume, completely made of glass, is arranged around the existing building harmonizing with both the built and natural environment.
EXISTING EXISTING
1. SOUND
2. GREENHOUSE
The architectural program is divided into three types of space; based on how the sound propagaDEAD ROOM tes inside it: dead room, live room L and source room. Each of them are formally differentiated by their height so that they are visually identified within the project.
It encloses the residential and musical program through the existing construction generating in between spaces.The transitional spaces behave like hybrids that, while articulating the program, are also functional as multipurpose meeting spaces: orchards, ponds, lobbies, green terraces.
3. STRUCTURE The structure works through a Vierendeel beam system which integrates the pre-existing construction with the VIERENDEEL BEAMS structure, suppornew greenhouse ting the residential program from the roof, which is distributed either on or hanging from the glass roof.
3.THE STRUCTURE It integrates the existing building with the new greenhose structure, holding from the roof the residential program, which is distributed either hanging or sitting on top of the crystal roof. This rhythm generates the whole system by providing in between spaces also in height and giving life to the project.
12
0
SOURCE ROOM
13
R OOOOMM S OLUI RVCEE R
4
DEAD ROOM I V E R O O M
12
0
1
3
5m
VIERENDEEL BEAMS AND FACADE AXONOMETRIC DETAIL