Design Portfolio
Gabriela Valdez
CONTENTS INDEX
ACADEMIC PROJECTS Universidad de las Americas • Itinerant Market Network Thesis project- Individual Work • Interstitial Art Production Center Fourth Year- Individual Project
Universidad Europea de Madrid • The Sound Traider Third Year-Individual Work
PROFESSIONAL PROJECTS • El Circulo Home 2021- Individual Work • Lab US 2017- Collaboration with Leppanen Anker Arquitectos
ITINERANT MARKET NETWORK 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
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.
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B
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I
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BOOK FAIR 1
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F
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TOY FAIR 1
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2 1
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0.0 m
SWEETS
0.0 m
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PLAZA OFFICE
-1.2 m
4 FRUITS PLAZA
5 TRASH
PLAZA
GROCERIES -1.2 m
-3.6 m
0.0 m
VINTAGE FRUITS
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-2.4 m
STORAGE
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VEGETABLES
-2.4 m
-1.2 m
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-1.8 m
0.0 m
-1.8 m
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BIKE PARKING
PLAZA DE ACCESO
FOOD
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-1.2 m
PLAZA 0.0 m
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 ele-
ments. 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 between fixed elem elements; how and ted depends on a s racteristic. In Plaza it represents the int the existing market, tural pedestrian flow
t allow the transfer ments and mobile d where it is locaspecific site chaCesar Chiriboga terstitial space of , this way the naws are mantained.
2. GRID
FIXED
MOVING
HOOK
ALTERNATE
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. Roof
Skin of wooden louvers
Steel Structure
Level 4.80 m
Grid
AXONOMETRIC DETAIL
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9
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N+9.6
N+4.8
N0.00
N +4.8
N 0.0
UNIQUE PLATFORM
N -1.2
N -3.6
FOOD STALLS
GROCERIES
N -2.4 GRAINS
N -2.4
CLOTHES
N -3.6
CENTRAL PLAZA
7
7
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. 6
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N +4.6
ADMINISTRATION
N 0.0
PLANTS
CAFETERIA
TOY FAIR
INTERSTITIAL ART PRODUCTION CENTRE The project is located in a suburban area in Quito, Ecuador that has suffered from urban sprawl in the past 20 years. The intervention takes place in the most dense area of the territory where, after an urban analysis, a trend for new real estate projects was perceived generating a process of gentrification among local residents. Interstitial Art Production Centre conceptually explores the possibility of promoting cohesion through the use of vacant lots. By taking advantage of the underutilized spaces inside a square
block we can create unexpectedly singular meeting places while promoting a more dense and sustainable neighborhood. The architectural program combines both cultural amenities as well as installations specifically oriented to the local residents of the area: an art production center. This new cultural center includes an artistic training program, art studios, laboratories along with multiple plazas, courtyards and urban equipment for the community in an area of 1000 sq m.
N O R T H E L E VAT I O N
E A S T E L E VAT I O N
S O U T H E L E VAT I O N
FLOOR P
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-3.0 m
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0.0 m
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MUSIC PLAZA
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RESTAURANT
GALLERY
FLEXIBLE PATIO
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-3.0 m
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ART AND NATURE PATIO
LAB
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F N0,00
FOYER SCULPTURE PLAZA 0.0 m
0.0 m
CENTRAL PLAZA -3.0 m B
B
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ADMIN.
S
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THEATER
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B
1.2 m
H
C’ FOOD PLAZA
PATIO DE INSPIRACIÓN 72.4m2
0.0 m
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ART STUDIOS
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MARKET
M N
ART CLASSES 0.0 m
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PLAN: LEVEL 0,0 m
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1. CITY BLOCK “FILLER” Conceptually, the project behaves like a fluid that takes over all underutilized spaces inside the block. The building complex acquires volume and shape by being placed like a “filler” throughout the existing insterstitial space. The city block is then 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, responding to the dynamics and needs of each street. The result is an entirely new complex that
ARTISTIC DIFUSION -3.0 m: Showroom Multipurpose room
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+3.0 m: Gallery
CONCEPTUAL MODEL
ARTISTIC PRODUCTION: -3.0 m: Production Room Service Areas Cafeteria S o u n d Po s t P r o d u c t i o n Rehearsal
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0.0 m: Computer Lab +3.0 m: Photography Studio
E X P LO R AT I O N M O D E L 1
+6.0 m: Po s t P r o d u c t i o n
6 F O O D C O U R T: 0.0 m: Market Stalls
E X P LO R AT I O N M O D E L 2
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E X P LO R AT I O N M O D E L 3
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0.0 m: Showroom Creative Lab
ARCHITECTURAL FINAL MODEL
reminiscences th energy that was p introducing a m aesthetic. The a is what articula interaction areas emphasizing the in different degree
2. NEW ORDER
he urban and local previously there while more contemporary architectural volume, ates and generates s inside the project, desired permeability es of privacy.
1. NORTH EAST RESIDENCE 2. BAMBU BAR 3. MIXED USE BUILDING 4.SHOPPING CENTER 5. WEST RESIDENCE 6. LOCAL COMMERCE 7. SOUTH EAST RESIDENCE
R E S TA U R A N T: -3.0: Restaurant Design Store 0.0 m:
1
Restaurant
ARTISTIC DIFUSION: -3.0 m: Free Style Plaza Dressing Rooms Stagecraft 0.0 m: Foyer
The project is a puzzle assembled out of a number of different pieces: the existing buildings, existing trees, the new buildings proposed as well as passages and courtyards which establish a new order. Circulation through the new complex is defined from east to west by an abundance of preexsting trees and an inviting plaza that interrupts all the new private condominums that exist. From north to south by connecting the park with a more user-scale passageways that invite you to transit through the project to a more urban scale plaza at the south entrance of the project more appropiate to the existing bus stop along with a food court that shelters all existing street food vendors. EXISTING BUILDINGS
Theater +3.0 m: Cafeteria
8
A R T I S T I C F O R M AT I O N 0.0 m: Pa i n t i n g S t u d i o Drawing Studio +3.0 m: Pa i n t i n g S t u d i o Drawing Studios Free Style Room +6.0 m: Sculpture Studio
ADJACENCIES DIAGRAM
NEW PROGRAM
T H E AT E R
E X O - S T R U C T U R E D E TA I L M O D E L
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B
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HALL 0.0 m
CAFETERIA
- 3.0
SECTION
HALL 0.0 m
CREATIVITY PLAZA -3.0 m
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0.0 m
DESIGN STORE -3.0 m
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FOYER
STAGE
N 0.0
0.0 m
FREESTYLE PLAZA -3.0 m
CHANGING ROOM - 3.0 m
L3
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 façade contrasts itself with the bronze perforated skin of the rest of the project.
D E TA I L M O D E L
3
d. floor detail: perforated copper skin
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L1
+9.00 m
+6.00 m
ART STUDIO
+3.0 m
PAINT STUDIO
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STUDIO
+3.00 m
+3.0 m
DRAWING STUDIO
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PARKING
-3.0 m
b. floor detail: glass curtain wall
THE SOUND TRADER The project is located in Berlin, inside the architectural milestone: the Circulation Tank of the Hydraulics Laboratory designed by architect Ludwig Leo. Through the pre-existing structure, the project modifies its industrial use towards a hybrid proposal that will repurpose the construction; 85% of the existing building is reused. The Sound Trader conceptually explores the propagation of sound through architectural and natural elements and
how these allow either sound’s dispersion or containment. The architectural program includes a student residence and a music school that is arranged according to this metaphor: the transition spaces are the ones that articulate the program altogether. A new volume, completely made of glass, is arranged around the existing building, harmonizing the built structure as well as the surrounding natural environment.
1. SOUND 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.
MODEL
DEAD ROOM I V E R O O M
R OOOOMM S OLUI RVCEE R
SOURCE ROOM
2. GREENHOUSE It encloses the residential and musical program through the existing construction generating in between spaces. The transitional spaces behave as 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 new greenhouse structure, supporting 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.
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NEW
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EXISTING
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5m
VIERENDEEL BEAMS AND FACADE AXONOMETRIC DETAIL
RESIDENTS AND ROOF FLOWER GARDENS
SECTION
4. STUDENT RESIDENCE
The new greenhose structure, holds 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. Residences are left in a more private an isolated matter while still having visual relationaship with the rest of the program as well as the surrounding environment.
ROOMS TYPOLOGIES
EL CIRCULO HOME The concept behind EL CÍRCULO HOME is the contrast of the everyday and almost obsolete with high end design, leaving all the conventional and mainstream aside. The collection consists of 6 statement pieces and is inspired by industrial design. Leftover metallic material, upcycled and of great durability, was used in the fabrication process which which integrates towards a very contemporary aesthetic where color and natural materials join in a cohesive
manner to create simple and raw but beautiful furniture. Among the “trash” rescued for the prodcution of the furniture are pieces of damaged washing machines, lawn mowers, a broken chair and left over vintage 80s tiles from an old pool construction. Many of this elements where designed originally to be hyper resistant. Through a design process, this pieces were transformed towards a stylized aesthetic.
P H OTO BY : G A B R I E L A VA L D E Z
1. TRASH The “trash” itself was the inspiration that gave the whole aesthetic of each piece.
DORA Chair
P H OTO S BY : G A B R I E L A VA L D E Z
DORA Table
PIXEL Table
DORA Chair
This collection wants to portray how recycling and upcycling are a wonderful way to turn waste into an exceptional art that is not only elegant and functional but also contributes to saving the environment.
P H OTO S BY : G A B R I E L A VA L D E Z
DORA Table
PIXEL Table
P H OTO BY : G A B R I E L A VA L D E Z
LAB US The project consists of the temporary reactivation of an existing house that will serve as a laboratory of ideas for discussing 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
URBAN DIAGRAM
advantage of a “temporarily empty” lot and give to the community an 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.
P H OTO BY : G A B R I E L A VA L D E Z
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 Q U I T E C T U R A
1. URBAN MAGNET We wanted the project to have a high visual and performative impact 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
AXONOMETRIC VIEW OF STRING PLA ZA
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.
2. VOLUME SIMPLICITY The house is cut three-dimensionally through two planes, dividing the space into four colors and a neutral area for circulation. This way the different programs are virtually divided, while keeping an open plan. The result is a dynamic space that fosters the creative process of the users.
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N+0.00
ARCHITECTURE
FAB LAB
N+2.61
N+2.61
N+0.00
CONCEPT STORE
GALLERY
N+0.00
N-0.08
N-0.08
[ METERS ] 0
1
SECOND FLOOR
0
N
[ METERS ] 1
GROUND FLOOR
5
7
INTERIOR ELEVATIO
N+2.71
N+2.71
N+2.78
N+2.71
FLEXIBLE SPACE
ONS
URBAN ORCHARD
N
CO WORKING
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.
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7
INTERIOR ELEVATIONS
A
A
B
B
P H OTO BY : E D G A R DAV I L A S OTO
Thank You