HÉCTOR BERMÚDEZ RÍOS PORTFOLIO
RESUMÉ 2002-2014
AWARDS & ACCOMPLISHMENTS 2014 AIA Puerto Rico Honor Award Student Category
The following information is a summary of the work experience I’ve had since I com-
Given by: The American Institute of Architects, Puerto Rico Chapter Jury: Marlon Blackwell, FAIA; Arch. Mauricio Rojas; Arch. Antonio S. Imbert Date: November 7, 2014 Project: UrbanLab
pleted my Bachelor in Graphic Design from Atlantic University in Guaynabo Puerto Rico and after finishing my Professional Bachelors degree in Architecture from the Polytechnic University of Puerto Rico where I graduated Summa Cum Laude and
Best Thesis Design Project of the Year Given by: The Institute of Architects and Landscape Architects of Puerto Rico (CAAPPR) Jury: Arch. Fernando Pagán Pantoja, CAAPPR; Arch. Ilia Sánchez Arana, CAAPPR Date: December 4, 2014 Project: UrbanLab
received the AIA School Medal and Certificate of Merit for Excellence in the Study of Architecture. Before becoming an Architect in Training (AIA Assoc.), I was lucky enough to
Best Thesis Design Project in the Urbanism Category Given by: The Institute of Architects and Landscape Architects of Puerto Rico (CAAPPR) Jury: Arch. Fernando Pagán Pantoja, CAAPPR; Arch. Ilia Sánchez Arana, CAAPPR Date: December 4, 2014 Project: UrbanLab
have the opportunity of working for various advertising agencies on Puerto Rico. That experience has allowed me to: 1. Develop a keen understanding of how image and aesthetics influences our perception of the world on a daily ba-
Recipient of The AIA School Medal and The Certificate of Merit from the Henry Adams Fund for Excellence in the Study of Architecture at Polytechnic University of Puerto Rico. Date: June 26, 2014
sis. 2. See how a concept can provide a clear guide on how to execute a given task.
Graduated with a 3.77 GPA, Magna Cum Laude at Polytechnic University of Puerto Rico Architecture Professional Bachelor Degree
3. Learn the necessary graphic representational skills to present ideas in a clear and innovative way. 4. Value the process and time needed for a concept to reach the level of design desired. This experience in graphic design as-
2013 First Prize in Poetry 19th Poetry, Story and Essay Contest of the Polytechnic University of Puerto Rico Given by: Polytechnic University of Puerto Rico Date: March 8, 2013
sisted me while I was a student and is a valuable set of tools I use in my current projects. Architecture has allowed me to further explore my capabilities as a designer and to feed my ever growing hunger to understand the technical and theoretical aspects inherent to every design. As a young architect and as a seasoned graphic designer, I’m in the search for opportunities to explore the interlocking of both disciplines in function of an idea or concept driven by context and user experience.
2009 Gold Cúspide Online Advertising Category Given by: The Puerto Rican Association of Advertising Agencies (AAPP) Date: April 12, 2013 Location: San Juan, Puerto Rico Client: Mazda Puerto Rico Product: Mazda 3 Agency: Young & Rubicam PR
ROSSI + LUGO ARCHITECTS, SAN JUAN PUERTO RICO
RESUMÉ BERMÚDEZ RIOS
WORK EXPERIENCE
TECHNICAL SKILLS JUNE 2014 - PRESENT
REVIT 2015
Position: Architect in Training & Environmental Graphic Designer
SKETCHUP 2015
Responsibilities: Concept Development 3D Modeling & Rendering Drafting Presentation
TBWA, SAN JUAN, PUERTO RICO
AUTOCAD 2013 3D VRAY ADOBE ILLUSTRATOR
2010 - 2014
Position: Senior Art Director
ADOBE PHOTOSHOP
Responsibilities: Conceptualizing and development of advertising for a diverse range of clients. Supervising of design production from beginning to end. Graphic design for printed media, web design and mobile apps. Corporate identity design.
ADOBE INDESIGN
YOUNG & RUBICAM, GUAYNABO, PUERTO RICO
Responsibilities: Conceptualizing and development of advertising for clients such as Heineken, T-Mobile, Mazda, Bacardi, Citibank, MMM Healthcare and Campbell’s among others. Supervising of design production from beginning to end. Graphic design for printed media, web design and mobile apps. Corporate identity design.
2009 - 2014
University: Polytechnic University of Puerto Rico
2003 - 2005
University: Atlantic University, Puerto Rico GPA: 3.85, Magna Cum Laude
Art League of San Juan, Puerto Rico
1997- 2001
The Art League of San Juan is an art institute dedicated to the teaching of art since 1968 in the community of San Juan Puerto Rico. Kids and adults alike can enroll. Rather than pursuing a degree, people who enroll, use it as a space for personal growth and further developing their capacities in various art forms.
HÉCTOR L. BERMÚDEZ RÍOS
E-mail: hector@bermudezrios.com Website: www.bermudezrios.com
GPA: 3.77, Magna Cum Laude
ART STUDIES (PENCIL DRAWING, CARICATURE, BASIC PAINTING)
CONTACT INFORMATION
Phone: 1.787.367.8476
ACADEMIC PREPARATION
BACHELOR’S DEGREE ON GRAPHIC DESIGN
0
2004 - 2010
Position: Senior Art Director
PROFESSIONAL BACHELOR’S DEGREE ON ARCHITECTURE
ADOBE AFTER EFFECTS 10
INTRODUCTION This compilation of works is more than just
and advertising had in the overall aesthet-
a portfolio. It is an attempt to gather in one ics and spatial qualities of the built environplace the projects that have nurtured me ment. It also helped me to further develop thruought my professional life. Here you my capabilities in conceptual thinking and will find some of the work I did while study- graphical representation skills. As an ading architecture at two of the best univer-
vertiser/designer and now as an Architect
sities of Puerto Rico and while working as
in Training, I’ve come to understand that
a Graphic Designer and Art Director for
everything we design is a “product” that
some of the main Advertising Agencies on
will eventually be “consumed” by the pub-
the island.
lic.
My first encounter with design and architecture took place in 2002, when I began studying at the School of Architecture of the University of Puerto Rico. There, I had the chance to explore, in the first year, the importance of graphical representation and the great opportunities that graphics provided in the exploration of design ideas. This, prompted me to put a pause on
As in advertising, in architecture, understanding our target audience and knowing their particular needs and wants is essential to developing sensible architecture that takes into account the context in which it sits and the public that it aims to serve.
my architectural studies so that I could
The following projects present some of
pursue a Bachelors Degree in Graphic De-
my explorations in design as a tool of com-
sign which would serve me in my design
munication and spatial configuration with
process and development. In the period
a clear purpose and conceptual aim.
of 2003 to 2006 I received a Bachelors Degree in Graphic Design from Atlantic University in Puerto Rico. Subsequently I worked as an Art Director for Young & Rubicam, one of the best advertising agencies in Puerto Rico. This experience gave me the opportunity to see the effect that graphic design
Héctor L. Bermúdez Ríos
BERMÚDEZ RIOS
ARCHITECTURE THESIS PROJECT
5TH YEAR
FEATURED PROJEC TS
URBANLAB, SANTURCE
07
4TH YEAR
LEON 750 OFFICE BUILDING DESIGN
31
URBAN PLEASURES URBAN ANALYSIS AND DESIGN STRATEGY
INVESTIGATION CENTER SUSTAINABLE DESIGN STRATEGY
ART MUSEUM DESIGNING IN A HISTORIC SITE
THESIS INVESTIGATION HOUSING DESIGN CONSERVATION AS A DESIGN STRATEGY ART INSTALLATIONS TOPOGRAPHY SYSTEM ARCHITECTURAL ANALYSIS
45
3RD YEAR 55
2ND YEAR 67
+ PROJECTS 76 76 76 77 77 77
GRAPHIC DESIGN JUMP TO PAGE 79
URBAN LAB, THESIS PROJECT. VIEW FROM GALLERY BALCONY TO MAIN ARTIST STUDIOS.
ARCHITECTURE BERMÚDEZ RIOS
URBAN LAB THESIS PROJECT
URBANLAB
comes forth as a natural re-
The proposed programs are:
sponse to the urban processes developed
1. A Parking Garage that gives finan-
in Santurce, Puerto Rico, by street art (graf-
cial backing to the project and that
fiti, murals, art installations), as creator of
works as a physical support for the
urban activity. Events like Los Muros Hablan
artists future interventions.
and Santurce Es Ley have been successful in
2. Eight semi-permanent residences
generating a particular interest for the ur-
for artists with working studios and
ban fabric and the ability of art to reener-
exhibition spaces.
gize areas that were forgotten by the eco-
3. Fifteen rentable work spaces for
nomic sector.
artists.
Nonetheless, the activity generated by
4. Four classrooms where resident
such events vanishes when the murals are
artists can give workshops to the
finished (FIG. 1). URBANLAB aims at turning
community.
the event of creation of art into a motor of
5. An art gallery that can be opened
continuous urban development while at-
directly to the public space.
tending two actual problems in the San-
6. A small hotel with 15 rooms mar-
turce area:
keted to a public interested in art that
1. The lack of pedestrian intercon-
will also bring revenue for the proj-
nections between the two main av-
ect.
enues of Santurce, Ponce de Leon
The programs are unified by a scaffold-
Ave. and Fernández Juncos Ave.
ing-like structure that connects each of the
2. The lack of public parking accom-
proposed programs and that allows the
modations
public to look at the public space from
The site chosen for development is the
above. At the same time, this structure
only actual spot were a direct pedestrian
serves as a semi-transparent skin that lets
connection can be made between both
us have a look at the event of creation of art
main avenues. It’s also located in the The-
and its processes.
atrical District of Santurce and near the main art museums of the metropolitan area. Today, the site is used only in part as a parking lot. The design project proposes the creation of a big public space that promotes and encourages street art (FIG.8), and at the same time it defines new interconnections between the main avenues and secondary streets of the selected site (FIG. 8). This urban lab is delineated by programs that give support to the uses found in the area and that makes new urban activity possible.
FIG. 1. Photo showing how activity disappears once the event of art creation ends.
7
MAPPING OF MURALS IN THE SANTURCE AREA FIG. 2. This map shows the main two avenues in Santurce and the various murals that have surfaced in recent years commissioned by events like Los Muros Hablan and Santurce Es Ley. It also serves to establish the site chosen and its relationship with the urban fabric.
LOCATION TAXONOMY DIAGRAM FIG. 3. Urban art in general, and in Santurce requires that the pedestrian involves himself in a type of “flaneur� activity. The location of street art typically occurs in areas that are visible to both pedestrian and transportation vehicles. But also occurs in spaces hidden from view, like an ally or walls near an empty lot. This type of interventions invites pedestrians to step out their usual paths and explore parts of the city not usually experimented.
SCALE TAXONOMY CHART FIG. 4. The scale of murals in the Santurce area have been growing since the appearance of events like Los Muros Hablan and Santurce es Ley. This new scale of murals require a greater distance to be better appreciated and a slower pace. They not only appeal to pedestrians but also to the moving car.
ARCHITECTURE BERMÚDEZ RIOS
LOCATION TAXONOMY DIAGRAM FIG. 5. LOW SCALE MURALS 0’ TO 10’ HEIGHT This type of mural is the one mostly found in the Santurce area. It requires less time of production, and less time to be appreciated by pedestrians. Because of its low scale it can be lost to moving cars.
MEDIUM SCALE MURALS 11’ TO 40’ HEIGHT This type of mural or street art, appeals to both pedestrians and cars. It requires a longer time and a greater distance to be appreciated in its entirety.
MEDIUM SCALE MURALS 41’ TO 70’ HEIGHT OR MORE This type of mural requires the greater distance and time to be appreciated in its entirety. It can also be seen from nearby buildings, changing the typical notion of murals at street level.
9
CONCEPTUAL DIAGRAMS FIG. 8. 1
This diagram shows the new pedestrian connections created within the projects public space that serves as both a connector and an exterior gallery that showcases art and its processes.
2
This diagram shows the new pedestrian connections created within the projects public space that serves as both a connector and an exterior gallery that showcases art and its processes.
PUBLIC SPACE MORPHOLOGY FIG. 6. As part of the site analysis, a study of the morphology of the public spaces in the context was made. Because of the importance of public space to the project programs it was important to understand how the design could establish a spatial link with the existing context.
6 8
5
2
4
3
1
VEGETATION AND SUN ANALYSIS FIG. 7. An analysis was made of the existing vegetation on the context and the sun radiation. This analysis is important because of the design intention of creating an open corridor connecting both main avenues. As a result, a need for vegetation and shade zones was identified.
4
ARCHITECTURE BERMÚDEZ RIOS FIG. 9. This renders shows the relationship between the project and the surrounding context.
BUILDING GENERAL DATA
COMMON LEGEND
ARTIST HOUSING DATA
GALLERY DATA
FIRST FLOOR AREA 625 sq.ft. SECOND FLOOR AREA 785 sq.ft. WORKSHOP AREA 420 sq.ft.
FIRST FLOOR AREA 4,295 sq.ft. SECOND FLOOR AREA 2,065 sq.ft. WORKSHOP AREA 2,230 sq.ft.
HOTEL DATA TYPICAL FLOOR AREA ROOM FLOOR AREA CIRCULATION AREA LOBBY & ADMN.
PARKING + WORKSHOPS DATA 2,805 sq.ft. 2,100 sq.ft. 63% 2,985 sq.ft.
TYPICAL FLOOR AREA WORKSHOPS AREA CIRCULATION AREA CORE AREA
21,500 sq.ft. 3,550 sq.ft. 2,200 sq.ft 1,050 sq.ft.
PUBLIC PARKING ART GALLERY TEACHING WORKSHOPS ARTISTS STUDIOS ARTISTS DWELLINGS HOTEL CIUDADELA TEATRO ARRIVÍ TEATRO EL JOSCO LA RESPUESTA
1 2 3 4 5 6 7 8 9 10
11
FIG. 10. 3D perspective of the public space leading to the main plaza.
13
ARCHITECTURE BERMÚDEZ RIOS
MAIN PLAZA LEVEL PLAN (+0’) 0 5
15
35
75
N
ARCHITECTURE BERMÚDEZ RIOS
COMMON LEGEND PUBLIC PARKING ART GALLERY TEACHING WORKSHOPS ARTISTS STUDIOS ARTISTS DWELLINGS HOTEL CIUDADELA TEATRO ARRIVÍ TEATRO EL JOSCO LA RESPUESTA MAIN PLAZA LEVEL PLAN (+0’) 0 5
15
35
1 2 3 4 5 6 7 8 9 10
N
75
15
FIG. 11. 3D view of the main artist workshop overlooking the plaza.
FIG. 12. 3D view of the artist housing.
ARCHITECTURE BERMÚDEZ RIOS North facade in Ponce de León Ave.
Connection between Ponce de León Ave. and the main Plaza.
View of boardwalk.
COMMON LEGEND PUBLIC PARKING ART GALLERY TEACHING WORKSHOPS ARTISTS STUDIOS ARTISTS DWELLINGS HOTEL CIUDADELA TEATRO ARRIVÍ TEATRO EL JOSCO LA RESPUESTA MAIN PLAZA LEVEL PLAN (+0’) 0 5
FIG. 13. Photos of architectural model.
15
35
1 2 3 4 5 6 7 8 9 10
N
75
17
SECTION D-D
SECTION D-D 0 5
15
35
75
D
D
ARCHITECTURE BERMÚDEZ RIOS
NORTH ELEVATION
C
SECTION C-C C
D
SECTION D-D
D
EAST ELEVATION 0 5
15
35
75
19
FIG. 14. 3D view from the third floor balcony of the gallery and overlooking the plaza.
21
ARCHITECTURE BERMÚDEZ RIOS
SECTION A-A 0 5
15
A
35
75
A
WEST ELEVATION 0 5
15
35
75
35
75
SECTION D-D 0 5
15
D
D
23
ARCHITECTURE BERMÚDEZ RIOS
ARCHITECTURE BERMĂšDEZ RIOS FIG. 15. 3D view of the main plaza space and the scaffolding structure that serves as an outer skin and support for the creation, event, of art.
25
WALL SECTION 1-1 0
5
15
1
ARCHITECTURE BERMĂšDEZ RIOS FIG. 16. 3D view of the plaza from the main circulation space.
27
WALL SECTION 2-2 0
5
15
2
0
WALL SECTION 3-3
5
15
3
29
ARCHITECTURE BERMÚDEZ RIOS
ARCHITECTURE BERMĂšDEZ RIOS
LEON 750 OFFICE BUILDING DESIGN
LEON 750 is an Office Building designed
posure photography of objects in move-
for the last trimester before my thesis proj-
ment. (FIG.1)
ect. The purpose of this trimester is to
In the analysis made of the context, it
challenge the student to produce a clear
was found that the streets surrounding the
design concept and maintain its initial pur-
site presented a safety hazard for pedes-
pose while still attending all the technical
trians because of the speed at which cars
and mechanical aspects of a building.
traveled and the presence of public trans-
The site was suggested by the profes-
portation buses. For this reason, two inter-
sor. After a careful analysis of the context
connected zones of activities are created
and the program demands a concept was
that create a safe zone for pedestrians.
developed. The design responds to its
A main hard plaza is proposed at a
surrounding, both by its aesthetic and its
raised level from the street while a retail
program.
strip is provided at the sidewalk level. Both
Its form and aesthetic, takes after the
areas are intended to give newcomers, as
main program found in the context, a high-
well as future employees of the project,
line train that connects the metropolitan
new resting and recreational areas.
area of Puerto Rico. The train station, which sits in a corner, front of the site, is the main focus of activity in the area. Even though some buildings are abandoned or closed, this station provides a constant flow of pedestrian activity that arrives and departs from the area of intervention. The two main volumes give the appearance of movement. Its skin consists of horizontal aluminum members that serve as sun protection. In addition a series of colored glass members gives the main facades the aesthetic achieved by long ex-
FIG. 1. Long exposure photo by artist Shinichi Higashi.
31
SITE ANALYSIS
SITE AERIAL VIEW FIG. 2. The site is currently occupied by an old structure to be demolished and various trees that covers a parking lot. The vegetation found on site does not provide sun protection to pedestrians on the sidewalk.
DIAGRAM OF USES FIG. 3 The uses found on the context, are in its majority, commercial uses. The surrounding buildings are mostly 2 to 3 stories high. With few exceptions building reach 12 stories high. Given this, the building design should take into account the visual impact it will have on the context.
CONCEPTUAL DIAGRAMS FIG. 6. 1
The design begins by determining the maximum development possible for the site given. The zoning allows for the structure to be 8 stories high from the street level.
2
Instead of working with a single mass, a center portion is removed creating two parallel volumes. This central space will allow wind to enter and keep the open areas cool.
3
A portion of the front volume is removed as a way of creating an entrance that will relate to the train station which is the main program in the context.
4
A base is created for the two volumes that will allow for the creation of a retail strip on the lower part related to the sidewalk, a service zone on the back, and a hard plaza on top that will house, retail, restaurants and resting areas.
5
An outside skin of horizontal aluminum louvers is created to protect the interior against solar radiation.
DIAGRAM OF PEDESTRIAN VS. TRAFFIC ACTIVITY FIG. 4 The high activity of traffic present in the surrounding streets can be a safety hazard for pedestrians. For this reason, the design should aim to make the pedestrian experience both pleasant and safe.
DIAGRAM OF SUN AND WIND FIG. 5. Although the site is slightly rotated in reference to the east to west axis, the southwest facade should be protected against direct sun radiation.
ARCHITECTURE BERMÚDEZ RIOS FIG. 7. This renders shows the relationship between the project and the surrounding context.
BUILDING DATA
COMMON LEGEND
TYPICAL FLOOR AREA CORE AREA CIRCULATION SPACE TYPICAL FLOOR EFFICIENCY
13,129 sq.ft. 2,805 sq.ft. 2,100 sq.ft. 63%
BUILDING GROSS AREA COMMERCIAL RENTABLE SPACE BUSINESS RENTABLE SPACE BUILDING EFFICIENCY
189,274 sq.ft. 16,359 sq.ft. 74,535 sq.ft. 50%
BUILDING OCCUPATION
53%
MAIN PUBLIC SPACE COMMERCIAL GALLERY FACADE SUN CONTROL GREEN ROOF SOLAR PANEL ROOF WIND DIRECTION JUSTICE DEPARTMENT BUILDING TRAIN SYSTEM LOW SCALE COMMERCE HIGH RISE BUILDINGS
1 2 3 4 5 6 7 8 9 10
33
0
10
20
40
N
MAIN PLAZA LEVEL PLAN | SCALE 1:500
ARCHITECTURE BERMĂšDEZ RIOS FIG. 8. 3D view of the main entrance.
FIG. 9. 3D view of the retail spaces at sidewalk level.
35
0
10
20
40
N
GROUND LEVEL PLAN | SCALE 1:500
ARCHITECTURE BERMÚDEZ RIOS FIG.10. 3D view of the central space and bridges.
37
0
10
20
40
N
TYPICAL FLOOR PLAN | SCALE 1:500
ARCHITECTURE BERMÚDEZ RIOS 0 10
30
N
TYPICAL PARKING PLAN | SCALE 1:1000 70
F
E
E
SECTION F-F | SCALE 1:700 0
10
30
70 F
39
EAST ELEVATION | SCALE 1:700 0
10
30
70
WEST ELEVATION | SCALE 1:700 0
10
30
70
SOUTH GENERAL ELEVATION | SCALE 1:1000 A
B
A
B
C
0 10
30
70
C
ARCHITECTURE BERMĂšDEZ RIOS FIG. 11. 3D view of the entrance at Ponce de Leon Ave.
FIG. 12. 3D view of the central space at plaza level.
41
SECTION E-E | SCALE 1:700
SOUTH ELEVATION | SCALE 1:700
F
E
0
10
30
E
70 F
ARCHITECTURE BERMÚDEZ RIOS FIG. 13. 3D aerial view at night.
43
URBAN ANALYSIS AND DESIGN STRATEGY FOR CALLE LOÍZA, SANTURCE, PUERTO RICO
URBAN PLEASURES
is a project devel-
nizes the tension that exists between the
oped during three intense months of in-
utility/order of the city and the pleasures/neces-
vestigation, analysis and design proposal
sities of the people that inhabit it.
of urban scale proportions. The purpose
Tschumi writes that “the necessity of
of the trimester is to expose the student to
architecture may well be its non-necessi-
the complexities of the urban fabric while
ty”, this claim in no way is meant to speak
immersing the student in field investiga-
against architecture but to question the
tion and studio design.
fact that architecture must be function
The first part of the project, the inves-
ARCHITECTURE BERMÚDEZ RIOS
URBAN PLEASURES
driven.
tigation, was a four person effort in which the group had to decide which context in the island of Puerto Rico they wanted to intervene. The selection was to be defended before a jury panel, explaining the
What if pleasure had a more direct impact on the design strategies developed for the city?
relevance of the context, investigation, analysis, main hypothesis and the eventual design concept.
The Loíza Street in Santurce is a place where pleasure can become a factor for
After the investigation was finished and
future development. Its closeness to the
the group decided upon a strategy of ur-
beach, although not fully used for the ben-
ban intervention, each group member de-
efit of the city, can become a more pres-
veloped a fragment of the urban fabric.
ent aspect of the actual urban experience.
The urban context selected and stud-
If we establish the types of pleasures that
ied was the Loíza Street in Santurce and
can be obtained from the Loíza Street, it
its surroundings. The Loíza Street is a seg-
could help us devise a design strategy that
ment of the urban metropolitan fabric that
would drive our urban design.
shows a great variety of commercial uses and a big potential for growth.
TYPES OF PLEASURES:
The project concept, and the strategies
PHYSICAL: obtained when realizing activities
used revolved around the idea of pleasure
that have a direct impact on the physical
and leisure in the city. Pleasure, in its most
body.
simple understanding, is a sensation that
SENSUAL: pleasures derived from the use of
produces wellbeing and ultimately sat-
the five senses.
isfaction. In urbanism, and architecture
INTELLECTUAL: enjoyment found in the fur-
pleasure can be generated and achieved
ther developing of the intellect.
not only thru the activity held within the
MYSTICAL: Pleasure found in the exploration
built space but also throughout the way in
of the spiritual self.
which is presented, ordained, facilitated or
ILLUSION: the pleasure that can stimulate
even limited or withheld.
our imagination.
Pleasure can be a complex concept because it’s intangible and can be experi-
Taking from the system approach to
enced in many different ways depending
planning, developed by Brian McLough-
on the subject, the territory and the land-
lin’s in which urban planning is under-
scape which surrounds it. Bernard Tschumi
stood as a system of interconnected parts,
in his essay The Pleasure of Architecture recog-
we could then use the concept of pleasure
45
to the city and the pleasures that can be obtained from it. At present, the Loíza street only has a few unconnected nodes that keep a cer-
MAPPING OF ACTIVITY
experience both the functionality inherent
FIG. 1
MAPPING OF USES
urban fabric that lets us understand and
FOCUS OF ACTIVITY APROX. RADIUS OF ACTIVITY
COMMERCE MIXED HOUSING CULTURAL EDUCATION INSTITUTIONAL HOTELS RELIGION HOSPITALS PARKING SERVICES UNUSED PLAZA ELECTRIC POWER BASKETBALL COURT
FIG. 2
MAPPING OF PLEASURE
to create a system of related parts in the
MATERIAL PHYSICAL MYSTIC SENSUAL INTELLECTUAL ILLUSION
FIG. 3
tain amount of activity thru the day (FIG. 1). The uses found in its fabric are mainly commercial/retail uses, and the nearness of the beach is not a driving urban design force (FIG. 2). There are serious problems of illumination, signage and a lot of traffic congestion. All this factors contribute to a sense of disconnection between the different parts that compose the Loíza street and its context. As a first step, a mapping of pleasures was created showing the actual conditions of the Loíza Street (FIG. 3). This mapping along with the mapping of uses, a section drawing and a documentation of the actual condition with photos (Fig 4-7), videos and field interviews helped at determining a strategy of intervention with pleasure as a center value. The strategy was aimed at facilitating the experimenting of pleasures already found at the Loíza street as well as creating new pleasure possibilities. To achieve this, six sites were selected for future intervention along with a plan to improve the Loíza
MAPPING OF TRANSPORTATION
street condition.
FIG.5. Schematic section along the Loíza Street.
NEW TRAFFIC DIRECTION MC LEARY STREET NEW BICYCLE LANE NEW TRAFFIC DIRECTION LOÍZA STREET NEW BICYCLE LANE
FIG. 4
ARCHITECTURE BERMÚDEZ RIOS FIG.6. Sequence of photos showing the north side of the Loíza Street which could have a more direct relationship with the beach front.
FIG.7. Typical condition of restricted access to the beach.
47
STRATEGY
SIDEWALKS:
PAVING:
Sidewalks need to be wider to provide
A system of patterns will be designed that
GENERAL PLAN:
a comfortable experience for all types of
will help at establishing relationships be-
Establishing a correlated system of inter-
pedestrians. (FIG. 9) To achieve it two things
tween the different zones. This can sug-
ventions that would enhance and facilitate
will have to be done:
gest routes to the different pleasure zones
the access to pleasure. A series of linked
1. Redirection of traffic. Instead of
and will improve with the orientation in the
zones will be created that will explore dif-
having two-way traffic on both main
urban space.
ferent types of pleasures. The following set
streets, a “loop” will be created us-
of strategies look to implement changes in
ing Loíza Street and McLeary Street
the infrastructure of the Loíza Street that
this will take more advantage of the
will contribute to its betterment. (Figs. 8-10)
perpendicular secondary streets that can be used to travel between the two main streets. 2. Signage, bus stops and lighting in corners will be combined as module minimizing the impact of these elements on the clear space of the sidewalk. (FIG. 10)
FIG. 8 Mapping of strategies to be implemented.
ILLUMINATION AND IMAGERY: The illumination infrastructure will be redesigned to the benefit of both cars and pedestrians with both their safety in mind. Subtle changes in light temperature will help at creation the notion of zones. In addition, imagery will be used to establish a link between zones and as a way of luring the pedestrian to move from zone to zone.
ARCHITECTURE BERMÚDEZ RIOS FIG. 9. Segment of the Loíza Street showing future improvements.
FIG. 10. Signage system.
49
DESIGN PROPOSAL
THRESHOLDS / MARKETPLACE & ADJACENT SITE Taking from the concepts developed by Bernard Tschumi in his essay The Pleasure of Architecture specifically the concept of “seduction” as pleasure, the idea of creating a series of thresholds was developed for the site of the old Marketplace and the adjacent sites.
“Once you uncover that which lies behind a mask, it is only to discover another mask.” A threshold can be a physical object, literal, or suggested by the landscape or the way different programs are arranged. In this way, the proposal looks at pleasure as a concept that can be derived from the careful arrangement of programs in a way that invites the public to experiment the Loíza Street as a container of pleasurable activity.
FIG. 10. Actual conditions of the street leading to the old Marketplace.
ARCHITECTURE BERMÚDEZ RIOS FIG. 11. Aerial view of the proposal for the old Marketplace and the adjacent sites.
FIG. 12. Diagrams of the actual offering of pleasures in the Loíza Street vs. the proposal.
51
FIG. 13. Long section of the proposal.
FIG. 14. Short section of the Cinema Paradiso proposal.
FIG. 15. Short section of the proposal.
FIG. 16. Short section of the Public Library proposed nest to the Marketplace.
ARCHITECTURE BERMĂšDEZ RIOS FIG. 17. View of the Public Library and Marketplace from the Public Park.
FIG. 18. View of the Cinema Paradiso which serves as threshold for the rest of the proposal.
53
SUSTAINABLE DEVELOPMENT IN CAJA DE MUERTO ISLAND, PUERTO RICO
INVESTIGATION CENTER is a project de-
and sun calls for the need of a design that
veloped during my third year of architec-
can manage the climate in its favor taking
ture studies. The purpose of the trimester
advantage of the location and minimizing
was to expose the student to various sus-
sun exposure. To determine the best loca-
tainability concepts and methods giving
tion for the project a sun and wind analysis
the student the opportunity to put them to
had to be made along with some consider-
practice.
ations towards the impact of the structure
The site chosen for development was the
on the island soil and the visual impact of
Isla Caja de Muerto (Coffin Island) which
the project.
is a small inhabited island located south
The result of the analysis, which is
of Puerto Rico, that belongs to the city of
shown in the following pages, suggested
Ponce. The island is protected by the Natu-
that the best location for the project would
ral Resources Department and is constant-
be on the east and southeast part of high-
ly being studied by Biologists and students
est point of the island and near the light-
interested in its ecological system.
house. This location served to achieve the
The main program to be housed in the
following goals:
project was an investigation center with
1. Minimize the visual impact of the
boarding for researchers. The site within
project to the island’s actual land-
the island to be developed would be sug-
scape.
gested by the student after a careful analy-
2. Use the wind as a design element.
sis of the island was made. The off-grid
3. Maximize the views attainable
condition of the island is a main factor that should be addressed by the proposal.
ARCHITECTURE BERMÚDEZ RIOS
INVESTIGATION CENTER
from the site. Once the site was chosen a design strategy was implemented based on a
PROPOSAL
concept inspired by the Carey turtle (Eret-
The design proposal is a simple solution
mochelys Imbricata). The Carey is one of
inspired by the climate of island, the par-
the main turtle species found in Puerto
ticularities of its environment and one of
Rico, and is internationally recognized as
its most important visitors, the Carey turtle.
an endangered species. Carey nests are
Coffin Island forms part of Puerto Rico’s
found throughout the south coast of Coffin
subtropical dry forests in the southern re-
Island and is a restricted zone to visitors.
gion. These forests grow in areas receiving
Turtles, in general, have a similar anato-
less than 1,000 mm (39 in) of rain annually.
my structure that protect them against the
Many of the trees are deciduous, losing
climate temperature changes and preda-
their leaves during the dry season which
tors. Its outside shell is only the first pro-
normally lasts from December to July.1
tective layer. The idea of generating a de-
This dry condition causes high temper-
sign inspired by the turtle’s anatomy gives
atures year-round and is a key factor to be
the design a natural and sustainable strat-
considered in the design process. Though egy to overcome the site characteristics. the island topography and location promotes the circulation of air, its dry climate 1. Murphy, P.G., Lugo, A.E., Murphy, A.J., Nepstad, D.C. (1995) The dry forests of Puerto Rico’s south coast. p. 178209 in A.E. Lugo and C. Lowe (editors) Tropical Forests: Management and Ecology. Springer-Verlag, New York.
55
GREATER ANTILLES
CARIBBEAN SEA
PUERTO RICO
COFFIN ISLAND, PONCE CITY
INVESTIGATION CENTER
1
The location chosen, and the arrangement of the project allows for the dormitories to stop receiving direct sunlight after 2 P.M. This means that by the time they will be typically used, 7 P.M., the space will have cooled down.
2
Although the public programs will receive direct sunlight until 3 P.M. approximately, their location benefits from the wind direction. The outer shell of the project protects it against de sunlight radiation while the cross ventilation cools down the interior spaces.
3
After 3 P.M. approximately only the southwest faces of the project could received direct sunlight, but the mountain top acts as a barrier for sun, further protecting the project from direct sunlight.
4
The main criteria for the location of the project is the benefit of cross ventilation and the utilization of the site topography to manage sunlight radiation while maximizing the views of the island.
ARCHITECTURE BERMĂšDEZ RIOS
SUN AND WIND ANALYSIS
FIG. 1
FIG. 2
FIG. 3
FIG. 4 57
DESIGN PROPOSAL
SHELL AS A SUSTAINABLE DESIGN
TURTLE’S BASIC ANATOMY STRUCTURE 1 KERATINOUS LAYER (Outside shell)
The design strategy was born from the
2 VASCULAR DERMIC LAYER (Inner Layer)
study of a turtle’s basic anatomy structure.
3 SKELETAL LAYER (Inner structure)
A turtle’s outer shell is just one of the components of its basic anatomy which gives a turtle protection not only against the climate and its fluctuations but also against possible predators. Its basic anatomy structure is composed by three main layers, (1) a keratinous FIG. 5. Illustration showing the main components of a Turtle’s shell an skeletal system. Illustration by Héctor Bermúdez. layer (outer shell) that protects it against predators, (2) a vascular dermic layer which
DESIGN BASIC STRUCTURE
serves as insulation against the outside temperature, and (3) the skeletal layer that serves as support for the outer shell.
1 SUN/RAIN PROTECTION (Outside shell)
By applying a similar approach, a shell
2 WIND BARRIER (Inner Layer)
was devised for the project using simple
3 WOOD PANELS (Inner structure)
and easy to assemble materials. The roof system acts as an outer shell and its composed of three basic layers (1) corrugated zinc sheets acts as a first barrier for sun radiation, (2) wind is allowed to pass thru the shell and acts as insulation minimizing the heat transferred to the ceiling, (3) the last layer is composed of the wood paneling and the steel structure that supports the
FIG. 6. Diagram showing the implementation of the shell concept as a design strategy for sun protection.
project.
ADDITIONAL SUSTAINABLE STRATEGIES Different sustainable strategies were implemented in the design. The wind is an important design factor that was taken into account not only when designing the section of the project but also the plan. For example, the dormitories are grouped in pairs leaving a small space between them so the main aisle is naturally ventilated. The project is raised in pilotis to minimize the project’s print on the island topography and is situated were minimum vegetation was to be impacted. Given that the island itself is completely off the grid, the project incorporates water recollection and energy production using wind turbines.
FIG. 7-8. Model of the design project.
3
MAIN ENTRANCE LOBBY OFFICE EXHIBITION ROOM OBSERVATION DECK CAFETERIA KITCHEN BATHROOMS STORAGE ROOM THEATHER LIBRARY ADMINISTRATOR’S HOUSE LABORATORY DORMITORIES WIND TURBINES
1 2 3 4 5 6 7 8 9 10 11 12 13 14
ARCHITECTURE BERMÚDEZ RIOS
COMMON LEGEND
1
PATH
IGH TO L
T HO
USE
2
2
ENTRANCE FLOOR PLAN | SCALE 1/16” = 1’ 0
5
15
N 35
59
9
4
7
8
5
6
10
MAIN LEVEL FLOOR PLAN | SCALE 1/16” = 1’ 0
5
15
N 35
ARCHITECTURE BERMÚDEZ RIOS
4
11
COMMON LEGEND MAIN ENTRANCE LOBBY OFFICE EXHIBITION ROOM OBSERVATION DECK CAFETERIA KITCHEN BATHROOMS STORAGE ROOM THEATHER LIBRARY ADMINISTRATOR’S HOUSE LABORATORY DORMITORIES WIND TURBINES ADMINISTRATOR’S HOUSE PLAN | SCALE 1/16” = 1’ 0
5
15
1 2 3 4 5 6 7 8 9 10 11 12 13 14
N
35
61
DORMITORIES PLAN SCALE 1/8” = 1
FIG. 7-8. Model of the design project.
ARCHITECTURE BERMÚDEZ RIOS
12
13
COMMON LEGEND MAIN ENTRANCE LOBBY OFFICE EXHIBITION ROOM OBSERVATION DECK CAFETERIA KITCHEN BATHROOMS STORAGE ROOM THEATHER LIBRARY ADMINISTRATOR’S HOUSE LABORATORY DORMITORIES WIND TURBINES RESEARCH LAB & DORMITORIES FLOOR PLAN | SCALE 1/16” = 1’ 0
5
15
1 2 3 4 5 6 7 8 9 10 11 12 13 14
N
35
63
1
8
2 3 4
9
5
10 11
6
7 12 13 14
WALL SECTION 0
5
DETAILS 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
CORRUGATED ZINC PANEL TREATED WOOD PANEL TUBULAR STEEL TRUSS 2” Ø STEEL COLUMN 6” Ø PIVOTING WINDOW WOOD PARTITION STEEL GUARD RAIL SUNTUF® CORRUGATED POLYCARBONATE SHEET WATER RECOLLECTING FUNNEL FIXED WOOD LOUVERS PIVOTING WINDOW WOOD FINISH FLOOR WOOD BEAM STEEL “I” BEAM
15
ARCHITECTURE BERMÚDEZ RIOS
NORTHEAST ELEVATION 0
5
15
35
15
35
15
35
B-B SECTION 0
5
A-A SECTION 0
5
65
FIG. 1. Aerial perspective drawing of the museum.
DESIGNING IN A HISTORIC SITE IN OLD SAN JUAN, PUERTO RICO
ARCHITECTURE BERMĂšDEZ RIOS
ART MUSEUM
ART MUSEUM is a project developed during the first trimester of my second year. The purpose of this trimester was to further expose the students to design problems presented by specific programmatic needs and diverse site characteristics while having a strong concept for design.
PROPOSAL The site chosen for the design exercise sits next to the Fort San Cristobal at Old San Juan Puerto Rico and is surrounded by the FIG. 2. Sketch of Fort San Cristobal main level plan. fortification wall system that used to protect the old city against enemy ships. As part of the site analysis a visit to Fort San Cristobal was made in order to better understand the design concepts held within its walls. The Fort San Cristobal, which is part of a larger fortification system, has a series of tunnels and ramps that connect enclosed spaces with open terraces through the fort. This spatial condition, allows the public to experience two main sensations, compres- FIG. 3. Sketch of one of Fort San Cristobal’s tunnels. sion and expansion. This sensation is experimented mainly when walking in and out of the tunnels not knowing exactly what will be on the other side. A series of photographs were taken to demonstrate these spatial variations and the way they were achieved. The proposal takes after this concepts and uses them as a way to establish a dialog with the context and the historic site. The design of the museum aims at producing some of the same spatial occurrences found at the fort. The gallery spaces are arranged in a way that the circulation from one gallery to another produces in the public a sensation of discovery and surprise. The sense of discovery is not only experimented when looking at a piece of art but also when going from one space to the other.
67
The site location provides excellent views of the Atlantic Ocean as well as the old city of San Juan. The project keeps its height at a minimum from street level so it doesn’t affect its surroundings and creates a low level floor that gives the appearance of being underground and can be accessed thru a tunnel from the new park or from within the project.
FIG. 4. Aerial photo of Old San Juan Fortification complex.
FIG. 5. Series of photos taken on Fort San Cristobal, showing the various types of spaces and its characteristics.
ARCHITECTURE BERMÚDEZ RIOS
15
6
7
14
13
COMMON LEGEND MAIN ENTRANCE LOBBY MAIN GALLERY GALLERY SERVICE ENTRANCE EXTERIOR EXHIBITION MAIN PATIO ACCESS RAMPS SMALL GALLERIES ADMINISTRATION BATHROOMS TUNNEL PARK PLAZA
1 2 3 4 5 6 7 8 9 10 11 12 13 14
SITE PLAN | SCALE 1:500 0 5
15
35
75
155
N 69
6
7 4
1 2
3
14
13
MAIN LEVEL FLOOR PLAN | SCALE 1:250 0
5
15
35
75
N
ARCHITECTURE BERMÚDEZ RIOS
6
10 7
10
11
9
COMMON LEGEND
12
13
MAIN ENTRANCE LOBBY MAIN GALLERY GALLERY SERVICE ENTRANCE EXTERIOR EXHIBITION MAIN PATIO ACCESS RAMPS SMALL GALLERIES ADMINISTRATION BATHROOMS TUNNEL PARK PLAZA
1 2 3 4 5 6 7 8 9 10 11 12 13 14
UNDERGROUND FLOOR PLAN | SCALE 1:250 0
5
15
35
75
N 71
ELEVATION A-A | SCALE 1:250 0
5
15
35
75
35
75
SECTION C-C | SCALE 1:250 0
5
15
ARCHITECTURE BERMÚDEZ RIOS
SECTION B-B | SCALE 1:250 0
5
15
35
75
B
A
C
C
B
A
73
FIG. 6. Perspective drawing of the ramp access to the main patio.
FIG. 7. Perspective drawing of the tunnel that leads to the park.
ARCHITECTURE BERMĂšDEZ RIOS FIG. 8. Project model photo showing the main access.
FIG. 9. Project model photo showing the main patio.
FIG. 10. Project model photo showing the main access to the museum.
75
THESIS INVESTIGATION 5TH YEAR Before developing my design project or even choosing a site or the program components I made a thorough investigation about street art in the Santurce area. To support my claims and design ideas I built a thesis paper founded on the principles put forth by Robert Venturi and Gottfried Semper. The intention of my thesis was to explore how the wall that once served to hold pieces of art could also serve as support for the event that produced it.
UNIVERSITY: Polytechnic University of PR YEAR: ARCH 5010 - ARCH 5020, 2013 PROFESSOR: Prof. Marisa Oliver
HOUSING PROJECT 4TH YEAR This project was developed during the first trimester of my fourth year of studies. It was the first attempt at designing a housing complex. The concept of the design was to provide each apartment with an outside garden where the resident could grow vegetables or simply have a small green patch. To achieve this, a series of platforms were created at different levels.
UNIVERSITY: Polytechnic University of PR YEAR: ARCH 4010 PROFESSOR: Prof. MarĂa G. Flores
CONSERVATION DESIGN 3RD YEAR This design project was developed during the first trimester of my third year. In this design project we had to document with drawings and photos a historic building and propose a strategy of intervention. A design was to be developed individually by each student according their own findings and the program they had selected. The building chosen for this particular trimester was a small house that sat next to a system of water canals used for agriculture. UNIVERSITY: Polytechnic University of PR YEAR: ARCH 3010, 2012 PROFESSOR: Prof. Jorge Rigau
This design class was an open elective that offered the opportunity of implementing design ideas outside the typical architectural scope. One of the projects developed for this class was a group art installation to be showcased at a park in the Interamerican University of PR. I decided to create a
ARCHITECTURE BERMÚDEZ RIOS
ART INSTALLATIONS 2ND YEAR
series of lamps resembling flowers made of ready-made objects like funnels and a concrete base that I created using hydraulic cement.
UNIVERSITY: Polytechnic University of PR YEAR: ARTE 2020, 2013 PROFESSOR: Prof. Imel Sierra
DESIGNING A SYSTEM 1ST YEAR This was one of my first projects as an architecture student during my first year in the School of Architecture of PR. Each student had to develop and design a system with a clear objective. I decided to create and design a Topographic System, that allowed the user to create diverse topographic conditions that could be both measurable and manageable. To achieve this I used simple materials like a wood panel, metal screws and a piece of fabric.
UNIVERSITY: School of Architecture, UPR YEAR: 2002 PROFESSOR: Prof. Mayra Jimenez
ARCHITECTURAL ANALYSIS 1ST YEAR This was the first architectural analysis I realized at the School of Architecture of PR. I chose to analyze Tadao Ando’s Church of Light. To explain the ideas of the design, I developed a functional and mechanical model that the user could manipulate to better understand the design decisions of Tadao Ando. To make it possible, I created a system composed of a wood panel that supported the model, a set of strings and some eye-bolts.
UNIVERSITY: School of Architecture, UPR YEAR: 2002 PROFESSOR: Prof. Mayra Jimenez
77
GRAPHIC DESIGN & MORE BERMÚDEZ RIOS
GRAPHIC DESIGN & MORE POLIMORFO ARCHITECTURAL JOURNAL
80
NICK ANDRE HAIR STUDIO
81
LUMEN LIGHTING
82
NEXXOS ADVANCED
83
MIS RESULTADOS
84
CHARACTER DESIGN
85
MIX MEDIA ILLUSTRATION
85
DRAWING EXPLORATION
85
VECTOR ILLUSTRATIONS
86
ADVERTISING WORK
86
79
POLIMORFO PUBLICATION DESIGN Polimorfo is an annual journal of architecture made by the School of Architecture of the Polytechnic University of Puerto Rico. It gathers writings and essays by international renowed architects and firms that have given conferences and talks at the Polytechnic University in the pasts years. Last year’s volume was the Architetcure to Come. It was edited by Marisa Oliver, while I was in charge of the Graphic Design and the Art Direction.
CLIENT: Polytechnic University of Puerto Rico PROJECT: Brand Identity & Advertising DATE: June, 2011
This project presented itself as an opportunity to develop a concept that stayed coherent thru every design aspect. AfMAIN LOGO DESIGN
ter the interior architecture design was done by the firm Rossi + Lugo Architects, a brand identity was developed that took into account not only the client’s needs but also the overall effect of the brand and the architecture as a unit. To achieve this, the logo works as a set of two main
GRAPHIC DESIGN & MORE BERMÚDEZ RIOS
NICK ANDRE CORPORATE DESIGN
LOGO VARIATION
components, the logo letters and a group of diagonal bars that run parallel to the diagonal lines of the logo. This design establishes a visual communication between the lighting of the interior space and some of the design decisions of the interior architecture. The stylized and unconventional lettering serves to reflect the core values
LOGO VARIATION
behind the client’s service.
CLIENT: ROSSI + LUGO ARCHITECTS PROJECT: Brand Identity and Signage DATE: January, 2015 BLACK PVC LETTERS FROSTED ACRYLIC TRANSLUCENT ACRYLIC WITH LIGHT BLOCKOUT FILM
Render done by Rossi + Lugo Architects.
81
LUMEN CORPORATE DESIGN This Logo and Press Kit design was done for eco:D, the first company in Puerto Rico to design and fabricate, on the island, solar lighting that can be specified for both local and international projects. Every lamp is carefully designed with high emphasis on its aesthetics as well as its functionality. In this sense, the logo and press-kit design aims to reflect the core values of the company while maintaining a clean and easy to understand approach.
CLIENT: eco:D PROJECT: Logo and Press-kit design DATE: November, 2014
Press-kit design.
Nexxos Advanced is a company dedicate to provide Healthcare professionals with Continuing Education on their respective fields. The logo takes advantage of the presence of to adjacent “x” letters to make a visual reference to the DNA strand. This design strategy establishes a conceptual link between the name and the service it provides. It’s a distinctive and elegant logo that can be applied to every communica-
GRAPHIC DESIGN & MORE BERMÚDEZ RIOS
NEXXOS CORPORATE DESIGN
tion need the company may have.
CLIENT: Nexxos Advanced PROJECT: Logo, Press-kit and Stationary design DATE: December, 2013
Business card design.
Press-kit design.
83
LUMEN CORPORATE DESIGN MisResultados, which means “MyResults” is the first company in Puerto Rico to offer a web-based service that allows patients and doctors to have quick access to laboratory results. The brand logo looks as if it’s being made of bits of information represented by the square figures. This aspect of the design is used in every communication to symbolize the flow of information that takes place with every laboratory result that is shared.
CLIENT: MisResultados PR PROJECT: Brand Identity & Advertising DATE: June, 2011
Business card design.
Web based app design.
Exhibition booth graphics design.
This illustration was made as a part of a personal project. It shows a pair of characters that will form part of a short illustrated children’s book about a giraffe in the city.
GRAPHIC DESIGN & MORE BERMÚDEZ RIOS
CHARACTER DESIGN
CLIENT: eco:D PROJECT: Logo and Press-kit design DATE: November, 2014
MIX MEDIA ILLUSTRATION This custom illustration was made for a client that wanted a drawing representing her zodiac symbol, Pisces. To achieve this a pair of “koi” like fish were drawn using their upper body to recreate the Pisces symbol which resembles and arched letter “h”. The drawing is a mix media illustration of an ink drawing colored in Photoshop.
CLIENT: Luzirene Mendoza PROJECT: Illustration DATE: June, 2014
DRAWING EXPLORATION A big part of my creative interests relies on drawings as a communication vehicle, whatever the message may be. Comic illustrations have been a hobby of the past few years that has improved my skills as an artist and as an overall designer.
CLIENT: Personal project PROJECT: Watercolor illustration DATE: September, 2014
85
VECTOR ILLUSTRATIONS These set of illustrations are part of a total of 4 illustrations made for educational displays to be located at the green roof at Cuartel de BallajĂĄ in Old San Juan, Puerto Rico. To produce the drawings, high resolution photos were taken and then vectored using Adobe Illustrator.
CLIENT: FIBRA PROJECT: Illustration of Historic Buildings DATE: July, 2012
ADVERTISING From 2004 to 2010 I was a full-time Art Director for Young & Rubicam Puerto Rico. During that time I had the chance of working for brands such as Heineken, T-Mobile, Mazda, Bacardi, Citibank, BMW Motorcycles, Campbell’s and many others. A separate portfolio would be needed to showcase the full length of work done during this years. Feel free to contact some of the professional references I share here regarding my work.
Carlos Carbonell, President, Y&R Puerto Rico Sylvia Soler, Creative Director, Y&R Puerto Rico 1-787-622-6500
THANKS FOR TAKING A LOOK AT MY PORTFOLIO. In case you missed it at the beginning, this is my contact information: Phone:
787.367.8476 Email:
hector@bermudezrios.com
*The murals shown on pages 6 thru 29 are the intellectual property of their respective creators. Héctor Bermúdez Ríos in no way claims autorship or ownership of such murals. They were used for educational purposes only.
“This compilation of work is more than just a portfolio. It’s a personal attempt at gathering in one place the projects that have nurtured my professional life. Here you will find some of the work I did while studying architecture at two of the main universities of Puerto Rico and while working as a Graphic Designer and Art Director for some of the main Advertising Agencies on the island...As in advertising, in architecture, understanding our target audience and knowing their particular needs and wants is essential to developing sensible architecture that takes into account the context in which it sits and the public that it aims to serve.“ Héctor Bermúdez-Ríos
Phone: 1.787.367.8476 E-mail: hector@bermudez.rios.com
visit bermúdezríos.com