JAVIER CARDOSO Architecture + Design Portfolio 2018
TABLE OF CONTENTS select undergraduate and graduate works 2015-2018
56 55 54 53 52 51 50 49 48 47 46 45 44 43 42 41
40
RESUME
30
INTERLOCKING ARCHITECTURE AND THE CITY
25
STRUCTURE + SKIN
19
FIELD STUDIES
13
BUILDING THAT EXHIBITS ITSELF
05
1000 SPHERES
39 38 37 36 35 34 33 32 31 29 28 27 26
24 23 22 21 20 18 17 16 15 14 12 11 10 09 08 07 06
04 03 02 01
3 Table of Contents
Project
4
entrance director’s office offices bookstore water closets
EXPLODED AXONOM
FLOOR PLAN : LEVEL SCALE: 1/32” = 1’ - 0”
LEVEL
SECTION SCALE: 1/32” = 1’ - 0”
HIROSHIMA > 6,750 MI
TRINITY CARRIZOZO WHITE SANDS
“The perceptual ‘something’ is always in the middle of something else, it always SECTION SCALE: 1/32” = 1’ - 0”
forms part of a ‘field’. A visual field is not made up of limited views, but an object seen is made up of bits of matter, and spatial points are external to each other.” Maurice Merleau-Ponty
Within this field a multiplicity of forces react upon one another creating energies
Javier Cardoso Arch 5601 / Spring 2017 Rafael Beneytez Duran / Associate Professor
1000 SPHERES
UNDEFINED BOUNDARIES Prof. Rafael Beneytez-Duran Integrative Studio 2017 White Sands, NM
5 Undefined Boundaries
SECTION SCALE: 1/32” = 1’ - 0”
defined by waves and particles, producing boundary edges that behave more like a gradient of intensities. These energies absorb the responsibility of generating implied boundaries and reinventing spatial interventions within the field. Undefined boundaries then can be defined as a blurred division between the program sucha as the public and private or interior and exterior. By extracting interior spaces and placing them in exterior spaces. The boundaries inside and outside have no clear definition, therfore the explicity of their boundary is dissolved. By breaking down each program to its necessity of space and diagramming how they are each connected with one another, a system was created allowing what could potentially become their undefined boundary. Transferring this information into plan, some boundaries may overlap one another or escape the physical limits. Therefore, giving the opportunity to mix interior and exterior program in order to blur the boundary.
This project attempts to define an Observatory for the invisible matters: A center to construct an archive made with maps, files, essays, and papers; a place to discuss globalization and its forms. A trip from Lubbock, TX to White Sands, NM was a tool to accumulate experiences, images, and information for the site.
AXONOMETRIC: SOUTHEAST V
“The perceptual ‘something’ is always in the middle of something else, it always forms part of a ‘field’. A visual field is not made up of limited views, but an object seen is made up of bits of matter, and spatial points are external to each other.” Maurice Merleau-Ponty
CARRIZOZO
Y TRINIT
Within this field a multiplicity of forces react upon one another creating energies defined by waves and particles, producing boundary edges that behave more like a gradient of intensities. These energies absorb the responsibility of generating implied boundaries and reinventing spatial interventions within the field. Undefined boundaries then can be defined as a blurred division between the program sucha as the public and private or interior and exterior. By extracting interior spaces and placing them in exterior spaces. The boundaries inside and outside have no clear definition, therfore the explicity of their boundary is dissolved. By breaking down each program to its necessity of space and diagramming how they are each connected with one another, a system was created allowing what could potentially become their undefined boundary. Transferring this information into plan, some boundaries may overlap one another or escape the physical limits. Therefore, giving the opportunity to mix interior and exterior program in order to blur the boundary.
structural axes
HIROSHIMA model exploration
wind patterns
WHITE SANDS NATIONAL MONUMENT
membrane
sculpted dunes
HIROSHIMA > 6,750 MI
TRINITY CARRIZOZO
e
WHITE SANDS
central node White Sands, NM 2017
7 Undefined Boundaries
AREA: 275 mi² FOUNDED: 1933 HIGHEST POINT: 4116 ft. above sea level LOWEST POINT: 3887 ft. at lake lucero DEPTH OF SAND: 30ft. HIGHEST DUNE: APP. 60 ft. wave-like dunes of gypsum sand make up the monument
12
’ -0
”
12
’ -0
”
12
D12
’ -0
D14
D13
Within this field of multiplicity, forces react upon one another creating energies defined by waves and particles, producing boundary edges that behave more like a gradient of intensities. These energies absorb the responsibility of generating implied boundaries and reinventing spatial interventions within the field. Undefined boundaries then can be defined as a blurred division between the program such as the public and private, or interior and exterior. By extracting interior spaces and placing them in exterior spaces. The boundaries inside and outside have no clear definition, therefore the explicit of their boundary is dissolved. By breaking down each program to its necessity of space and diagramming how they are each connected with one another, a system was created allowing what could potentially become their “undefined boundary”. Transferring this information into plan, some boundaries may overlap one another or escape the physical limits. Therefore, giving the opportunity to mix interior and exterior program and blurring the edge condition.
Undefined Boundaries
8
C03 C62
C61
C63
10
’ -0
C04
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”
C05
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’ -0
D17
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C0712
C64
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D09
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D11 D10
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D15
C59
C08
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C02
C09
EXTERIOR CORRIDOR
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C10
EXTERIOR CORRIDOR
C57
”
D19
C01
C58 D08
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D18
C65
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D20
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C11 D21
C56
C12
D06 OPEN TO BELOW
C55
D25
D21
D05
C13
D24
C54
D26 C14
D22
DOWN
D04 OUTDOOR PATIO
D23
C53
C15
D27
W/C
D03
C16
C52
D28
ENTRY
D02 RECEPTION AREA
C20
D01
D58
C51
D29
C18
performance hall
C21 D57
C50
C17
CHANGING ROOM
C19 C22
CHANGING ROOM
C23
C47 D56
C49
C24 C46
C48
D55
D30
CHANGING ROOM
C43
D31
C44
C45
C42
COMMON ROOM
CAFE AND BAR
C25 D32
STUDIO 1
D54
CHANGING ROOM
C41 D40 D53
STUDIO 2
CHANGING ROOM
C26
CHANGING ROOM
D33
C40
C27
D41
4.A
D52
4.B
STUDIO 3 C39 STUDIO 4
C38
D51
4.D
D43
4.F
D48
C35 D47
4.H
4.I
4.J
D46
C30 D39
C36
D49 4.G
C29
D44
C37
D50
4.E
D45
C34
C33
D34
C28
D42
STUDIO 5
4.C
D38 C32
C31
D37
D36
D35
UNDEFINED BOUNDARIES UNDEFINED BOUNDARIES
BOOKSHOP ARCHIVES BOOKSHOP ARCHIVES
CAFETERIA BACKSTAGE CAFETERIA
BACKSTAGE
RESTROOMS
TRANSLATION ROOM
RESTROOMS
PROJECTION ROOM
PROJECTION ROOM
CONFERENCE ROOM
COMPUTER ROOM
TRANSLATION ROOM
CONFERENCEHALL AND ROOM
RECEPTION
STUDIOS X4
STUDIOS X4
DIRECTOR’S COMPUTER OFFICE ROOM
DIRECTOR’S OFFICE
SUBDIRECTOR’ S SUBDIRECTOR’ S OFFICE OFFICE HALL AND RECEPTION
OFFICES X6
OFFICES X6
TECHNICAL ROOMS X3
TECHNICAL
SEMINAR ROOMS ROOMS X3 X3
SEMINAR ROOMS X3
EXPLODED AXONOMETRIC : PROGRAM DIAGRAM
LEVEL
PROGRAM DIAGRAM
EXPLODED AXONOMETRIC : LEVEL
cafeteria water closets outdoor performance hall backstage dressing rooms
EXPLODED AXONOMETRIC : FLOOR PLAN : LEVEL SCALE: 1/32” = 1’ - 0”
LEVEL
cafeteria water closets outdoor performance hall backstage dressing rooms
EXPLODED AXONOMETRIC : FLOOR PLAN : LEVEL SCALE: 1/32” = 1’ - 0”
LEVEL
lounge area archives seminar rooms studios / gallery water closets computer room hall and reception
EXPLODED AXONOMETRIC : FLOOR PLAN : LEVEL SCALE: 1/32” = 1’ - 0”
LEVEL
lounge area archives seminar rooms studios / gallery water closets computer room hall and reception
EXPLODED AXONOMETRIC : FLOOR PLAN : LEVEL SCALE: 1/32” = 1’ - 0”
LEVEL
entrance director’s office offices bookstore water closets
EXPLODED AXONOMETRIC :
FLOOR PLAN : LEVEL SCALE: 1/32” = 1’ - 0”
LEVEL
9 HIROSHIMA > 6,750 MI
entrance director’s office offices bookstore water closets
CARRIZOZO WHITE SANDS
EXPLODED AXONOMETRIC :
FLOOR PLAN : LEVEL SCALE: 1/32” = 1’ - 0”
LEVEL
“The perceptual ‘something’ is always in the middle of something else, it always SECTION SCALE: 1/32” = 1’ - 0”
TRINITY
forms part of a ‘field’. A visual field is not made up of limited views, but an object seen is made up of bits of matter, and spatial points are external to each other.” Maurice Merleau-Ponty
Within this field a multiplicity of forces react upon one another creating energies defined by waves and particles, producing boundary edges that behave more like
Undefined Boundaries
L | Layered Structural Floor Plans SECTION R | Exploded Program Axonometric SCALE: 1/32” = 1’ - 0”
01
Undefined Boundaries
10
The site consists of two neighboring locations: Carrizozo and Trinity and their reaction towards Hiroshima. Each with their own identity create a dense interaction that cannot be measured rather understood. With that in mind, the program was generated diffusing the boundaries between public and private spaces, A transition from interior to exterior, covered and uncovered, inhabitable and uninhabitable spaces can be experienced throughout the building. The structural components were significant in the process of design as organic membranes were created with the idea of a continuous track. As the membranes entered and exited the building, the materiality of the area would shift offering a different experience. Within the site, this Observatory created an atmosphere of its own transcending its boundaries throughout White Sands.
02
03
04
05
LEVEL
06
07
08
09
10
SECTION SCALE: 1/32” = 1’ - 0”
SECTION SCALE: 1/32” = 1’ - 0”
Javier Cardoso Arch 5601 / Spring 2017 Rafael Beneytez Duran / Associate Professor
SECTION SCALE: 1/32” = 1’ - 0”
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
LEVEL
The building exhibits the drawings and models of the building which exhibits itself. The building exhibits the site. The site exhibits the building. The building exhibits the way its architecture elements are constructed [design construction]. The building exhibits its openings, doors, windows, walls, panels, columns, piers, beams, slabs, and volumes. The building exhibits its entrances, stairs, ramps, and bridges. The sequences of spaces and movement through the building which exhibits itself, are exhibited. The building which exhibits itself is an architectonic sequence facility. Everything about the building which exhibits itself is an exhibit! -Bennett Neiman, 2017
A Door is a Door
12
Through a series of intensive design exercises involving models that generate a unique formal vocabulary of spaces and elements, I was able to develop underlying strategies from several architectural precedents such as the “Umbrella House” and “Sainte Marie de la Tourette.”
BUILDING THAT EXHIBITS ITSELF
A DOOR IS A DOOR
13 A Door is a Door
Prof. Bennett Neiman Topical Studio i 2017 Site-less
A Door is a Door
14
+8
+8
+4
UP
DOWN
DOWN UP
DOWN
UP
+6
+4
+2
+0 scale: 1/16” = 1’ - 0” 0
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16
32
This project promoted a building that exhibited itself in any way architecturally. The program was a public space that could be experienced through the details and different architectural elements. The site was undefined however, its topography sloped down eight feet towards a water feature located in the rear side. Given the challenge to create spatial conditions with wooden members generated a specific language throughout the process. For structure, a system of interlocking the members was efficient and offer the opportunity to create an x,y,z directional composition. In doing so, five different spatial conditions were created and then celebrated. The experience begins at the very entrance of the building. As one enters the site, the building seems to be a flat horizontal building with a few openings that allow a direct view to what is happening in the back. Upon entering the building, the ground descends at each of the five rooms, marking the transition in spaces. A door is a door, in which every door maintains part of the building as an architectural feature. As most doors are intended for, these doors are designed to be pushed open and introduce a threshold as an entry. Closing the doors indicates “closing the building� and created a dynamic experience with the building itself. The same language is carried onto the roof of the building. To allow the use of natural lighting, a clerestory is introduced by pushing the roof open. Therefore, the exhibition can be illustrated through both plan and section.
LS 1
A Door is a Door
16
+8
+6
+4
+2
0 scale: 1/8” = 1’ - 0” 0
4
8
16
+8
+4
UP
DOWN
DOWN UP
DOWN
UP
+8
+6
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+2
+0 scale: 1/16” = 1’ - 0” 0
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32
LS 2 LS 3
LS3 scale: 1/8” = 1’ - 0” 0
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16
LS2 scale: 1/8” = 1’ - 0”
L | Axonometric SW View NE AXONOMETRIC VIEW scale: 1/8” = 1’ - 0”
0
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8
16
R. Top | Floor Plan
R. Bottom | Longitudinal Sections
16
B | Longitudinal Section
NE AXONOMETRIC VIEW scale: 1/8” = 1’ - 0” 0
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8
16
Professor Bennett Neiman, fall 2017
Circles + Squares
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2810
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Bonn
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St.
Kathe 30° 17’
56.20
°N ,
104°
01’ 55.40
°W
S. Yale St.
CAA St.
S. Hill St.
2810
Imagining architecture as a New Utopia made by fragments of the current industrial elements and making an interpretation of the industrial landscape, its materials, its forms, and its devices: structures and structural systems. Water tanks and cotton fields were the first topics for the program. This project was based in Marfa, Texas in the Trans-Pecos Desert: an artistic and cultural context under the influence of the Donald Judd and the Chinati Foundation.
FIELD STUDIES Elements found along the journey.
CIRCLES + SQUARES
19 Circles + Squares
Prof. Rafael Beneytez-Duran Design Studio iv 2015 Lubbock, TX to Marfa, NM
The journey began on the way from Lubbock to Marfa, TX. By exploring the fields and industrial elements along the way, I was able to perceive the landscape and its composition. Water towers erected from the fields serving as landmarks representing their city. Together the towers and cotton fields transformed into a combination of circles and squares generating a system which I used to distribute program and form. Many things became apparent while exploring these elements: their height/elevation, structure, materiality, and function. These then became identities that generated the form and program. The materiality of the extruded towers are shown in the model as laminated rings as to show the idea of water pressure such as the water towers in West Texas. The fluidity in the program allowed for an open gallery bounded by circular walls and tall ceilings. Structurally, a grid of concrete columns created a system to distribute the loads uniformly and ease the building process. In the images below, the column grid is emphasized in combination with the circular volumes that extrude from the ground. Circles and Squares combines the circular forms of a water tower and the multiplicity of the squares created by the crop grounds found in West Texas, on our trip from Lubbock to Marfa.
Section of building
21 Circles + Squares
UP UP
20’ - 0” 20’ - 0” 20’ - 0” 20’ - 0”
20’ - 0” 20’ - 0” 20’ - 0” 20’ - 0” UP UP
UP
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UP
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UP
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UP
UP UP
STUDIO STUDIO 3B 3B STUDIO 3BSTUDIO 3B
UP
UP UP
STUDIO STUDIO 3B 3B STUDIO 3BSTUDIO 3B
ROOM
FILE FILE FILE FILE ROOM ROOM ROOM ROOM
W/C W/C W/C W/C UP
STUDIO 3B
W/C W/C W/C W/C
20’ - 0” 20’ - 0” 20’ - 0” 20’ - 0”
FILE ROOM
STUDIO STUDIO 2B 2B STUDIO 2BSTUDIO 2B W/C
OFFICE OFFICE OFFICE OFFICE STUDIO 2B
UP
UP
W/C W/C W/C W/C
OFFICE OFFICE OFFICE OFFICE
W/C W/C W/C W/C
ATRIUM ATRIUM ATRIUM ATRIUM UP
ATRIUM ATRIUM ATRIUM ATRIUM
UP
UP
UP UP
UP
UP UP
20’ - 0”
OFFICE
OFFICE OFFICE OFFICE OFFICE
UP
UP
W/C
20’ - 0” 20’ - 0” 20’ - 0” 20’ - 0”
W/C W/C W/C W/C
ATRIUM
OFFICE
W/C
STUDIO STUDIO 2A 2A STUDIO 2ASTUDIO 2A
STUDIO STUDIO 3A 3A STUDIO 3ASTUDIO 3A
STUDIO 2A
STUDIO 3A
20’ - 0” 20’ - 0” 20’ - 0” 20’ - 0”
JANITOR JANITOR JANITOR JANITOR ROOM ROOM ROOM ROOM JANITOR JANITOR JANITOR JANITOR ROOM ROOM ROOM ROOM
20’ - 0”
JANITOR ROOM
MENSMENS MENS MENS W/C W/C W/C W/C MENSMENS MENS MENS W/C W/C W/C W/C
GALLERY GALLERY GALLERY GALLERY
MENS W/C
GALLERY
W/C W/C W/C W/C
W/C W/C W/C W/C
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W/C
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GALLERY GALLERY GALLERY GALLERY
W/C W/C W/C W/C
W/C
UP
BOARDROOM BOARDROOM BOARDROOM BOARDROOM UP
UP
UP UP
UP
UP UP
20’ - 0” 20’ - 0” 20’ - 0” 20’ - 0”
20’ - 0”
W/C
UP
PLAZA PLAZA PLAZA PLAZA
BOARDROOM BOARDROOM BOARDROOM BOARDROOM
20’ - 0”
BOARDROOM
STUDIO STUDIO 1B 1B STUDIO 1BSTUDIO 1B
PLAZA PLAZA PLAZA PLAZA
PLAZA
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STUDIO 1A
WOMENS W/C
STUDIO STUDIO 3A 3A STUDIO 3ASTUDIO 3A
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STUDIO STUDIO 2A 2A STUDIO 2ASTUDIO 2A
STUDIO STUDIO 1A 1A STUDIO 1ASTUDIO 1A
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STUDIO STUDIO 1A 1A STUDIO 1ASTUDIO 1A
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WOMENS WOMENS WOMENS WOMENS W/C W/C W/C W/C
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WOMENS WOMENS WOMENS WOMENS W/C W/C W/C W/C
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UP
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OFFICE OFFICE OFFICE OFFICE
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STUDIO STUDIO 2B 2B STUDIO 2BSTUDIO 2B W/C W/C W/C W/C
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FILE FILE FILE FILE ROOM ROOM ROOM
STUDIO STUDIO 1B 1B1B STUDIO
20’ - 0”
ADMINISTRATION ADMINISTRATION ADMINISTRATION ADMINISTRATION
ADMINISTRATION ADMINISTRATION ADMINISTRATION ADMINISTRATION ADMINISTRATION UP UP
UP
UP UP
W/C W/C W/C W/C W/C
20’ - 0”
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W/C W/C W/C W/C
PLAN PLAN :PLAN LEVEL : LEVEL ONEONE : LEVEL ONE PLAN : LEVEL ONE
PLAN : LEVEL ONE SCALE: SCALE: 1/8” = 1/8” 1’ -=0”1’ - 0” SCALE: SCALE: 1/8” = 1’ -1/8” 0” = 1’ - 0” SCALE: 1/8” 0” 1’ = 1’1’- 1’ 5’ 5’ 5’ 10’ 10’ 10’
1’
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L | Floor Plans
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FORM FORM FORM FORM
CONNECT CONNECT CONNECT CONNECT
POSITION POSITION POSITION POSITION
FORM FORM FORM FORM
CONNECT CONNECT CONNECT CONNECT
DS DS S IN D DSIN W WIN IN W G WG IN ING G IN
ST.S. HILL ST. ST.S. HILL ST.
POSITION POSITION POSITION POSITION
ELEMENT ELEMENT ELEMENT ELEMENT
ST.S. HILL ST. ST.S. HILL ST.
Circles + Squares
ELEMENT ELEMENT ELEMENT ELEMENT
2810 2810 2810 2810
1’
1’ 1’ 5’ 5’
5’ 5’ 10’ 10’
10’ 10’
20’ - 20’ 0” - 0” 20’ - 0” 20’ - 0”
R | SW Axonometric view with structural grid
22
2810 2810 2810 2810
10’
10’
PLAN PLAN :PLAN LEVEL : LEVEL ONEONE : LEVEL ONE PLAN : LEVEL ONE - 20’ 0” SCALE: SCALE: 1/8”20’ = 1/8” 1’ -=0” 1’- 0” - -0” 20’ 0” SCALE: SCALE: = 1’- 0” -1/8” 0” = 1’ - 0” 20’ - 0”1/8”20’
1’
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5’
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UP
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UP
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UP
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STUDIO1B 1B STUDIO
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Circles + Squares
Komorebi is an untranslatable word, which eloquently captures the effect of sunlight streaming through the leaves of the trees. The shadow created on the ground, or even in our curtains, describes this everyday beauty. This language of lighting condition is translated into the building through the use of a double-skin facade and interior curtains that create different layers to the experience.
STRUCTURE + SKIN KOMOREBI
25 Komorebi
Prof. Joe Aranha Design Studio v 2016 San Antonio, TX
The San Antonio River Walk (also known as Paseo del Río) is a network of walkways along the banks of the San Antonio River, one story beneath the streets of Downtown San Antonio, Texas. Surrounded by bars, shops and restaurants, the River Walk is an important part of the city’s urban fabric and a tourist attraction in its own right. This multi-story Commercial / Office space takes on the natural habitat of the riverwalk and its landscaping by adopting the structural and aesthetics of the existing trees along the way. Komorebi describes the atmospheric performance of walking through a bosque of trees. By providing an open plaza in which people can circulate from St. Mary’s or Commerce St. directly onto the San Antonio Riverwalk, it serves as an area for natural ventilation for a comfort environment. Commercial spaces are tucked into the Street Level ground and located 10 feet under in the River Level. In order to continue the concept, columns rise over 18 feet extruding the building off the ground. Office areas and entertainment spaces are located within the lifted structure including roof gardens that oversee the city. Through a manipulation of perforated steel, a system of “leaves” diffuses sunlight into the interior keeping the concept of forestation. In order for natural sunlight to enter, a void is carved out through the center of the building which also allows for natural ventilation to circulate throughout the building and maintain the culture of the Riverwalk.
Komorebi
26
Model Scale: 1/4” = 1’-0”
Model Details
Membrane Light Gauge Steel Framing
B
komorebi Roof Level
White Metal Panel : Double Skin
Parapet Flashing
Steel Deck with Reinforced Concrete Fill
The San Antonio River Walk (also known as Paseo del Río) is a network of walkways along the banks of the San Antonio River, one story beneath
Tapered Rigid Insulation
the streets of Downtown San Antonio, Texas, USA. Lined by bars, shops and restaurants, the River Walk is an important part of the city's urban fabric and a tourist attraction in its own right.Double-glazing Panel This multi-story Commercial White / OfficeMetal space takes Panel : on the natural habitat of the riverwalk and its landscaping by adopting the structural and aesthetics of the existing trees along the way. Double Komorebi describes the atmospheric performance of walking through a bosque of trees. Skin By providing an open plaza in which people can circulate from St. Mary’s or Commerce St. directly onto the San Antonio Riverwalk, it serves as an area for Automated Screen natural ventilation for a comfort envioronment. Commercial spaces are tucked into the Street Level ground and located 10 feet under in the River Level. In order System Double-glazing Panel to continue the concept, columns rise over 18 feet extruding the building off the ground. Office areas and entertainment spaces are located within the lifted structure including roof gardens that oversee the city. Through a manipulation of perforated steel, a system of “leaves” diffuses sunlight into the interior keeping the concept of forestation. In order for natural sunlight to enter, a void is carved out through the center of the building which also allows for natural ventilation to circulate throughout the building and maintain the Automated Screen culture of the Riverwalk. System
Fully adhered Roof Membrane
A
Batt. Insulation
Fireproofing Enclosure Stl. Structure Beam
the filtering of sunlight through the s of a tree.
Double layer of low iron U-profile Glass units with translucent insulation
Parapet Flashing
Tapered Rigid Insulation 2x4 Studs Parapet Flashing Batt. Insulation
Javier Cardoso | ARCH 3502 | Aranha SP 2016
Steel W- Shape
Fully adhered Roof Membrane Tapered Rigid Insulation Steel Connection Light2x4 Gauge StudsSteel Framing Batt. Insulation
Rigid Insulation Aluminum Exterior Panel
Fully adhered Roof Membrane Light Gauge Steel Framing
Rigid Insulation Steel Deck with Reinforced Concrete Fill
Level: Office Space
Metal Deck
3rd LevelOffice Office Space t Level: Space
Steel Deck with Reinforced Fireproofing Enclosure Concrete Fill Stl. Structure Beam
Metal Deck
Fireproofing Enclosure
Dropped Ceiling
Steel Connection
Stl. Structure Beam
Steel Connection Metal Deck
A 2nd Level: Office Space
Steel Base Plate
Parapet Roof Detail
Parapet Roof Detail
A B
Metal Deck
Scale: 1 1/2” = 1’-0”
Steel Base Plate
Scale: 1 1/2” = 1’-0”
A
Parapet Roof Detail Scale: 1 1/2” = 1’-0”
Rigid Insulation Rigid Insulation
Steel Base Plate White Metal Panel : Double Skin Double-glazing Panel
Stl. Structure Beam
Rigid Insulation
Stl. Structure Beam
Automated Screen System
Steel Deck with Reinforced SteelFillDeck with Reinforced Concrete
Parapet Flashing
Batt. Insulation
Level: Office Space eet1stLevel: Plaza
Steel Deck with Reinforced Fireproofing Enclosure Concrete Fill Motorized Screen Fireproofing Enclosure
Batt. Insulation
Steel Deck with Reinforced Concrete Fill
Motorized Screen
Stl. Structure Beam 10” Anchor Bolt
Fireproofing Enclosure
eet Level: Plaza
Fireproofing Enclosure
Fully adhered Roof Membrane Light Gauge Steel Framing
Stl. Structure Beam
Stl. Structure Beam
Concrete Fill
Tapered Rigid Insulation 2x4 Studs Batt. Insulation
Stl. Structure Beam Batt. Insulation Rigid Insulation
Motorized Screen Double insulated Glazing
Stl. Structure Beam
Steel Connection
3- #5 Cont. Horizontal Bars 10” Anchor Bolt
10” Anchor Bolt
Double insulated Glazing
Foundation Waterproofing to Grade
Double insulated Glazing
Metal Deck
3- #5 Cont. Horizontal Bars
Foundation Waterproofing to Grade
A
Scale: 1 1/2” = 1’-0”
B
Parapet Roof Detail
Wall to Floor Detail Scale: 1 1/2” = 1’-0”
Scale: 1 1/2” = 1’-0”
Compacted Back Fill 12” Concrete Wall w/ #4 Compacted Back Fill Bars @ 18” OC E.W. Reinforced Concrete Slab Granular Fill
Steel Base Plate
er Level: Commercial Space
Rigid Insulation
B
Wall to Floor Detail Scale: 1 1/2” = 1’-0”
#5 Dowels @ 18”OC E.W. Compacted Back Fill Reinforced 1” Rigid Foam Concrete Slab Granular Fill
Stl. Structure Beam
12” Concrete Wall w/ #4
C
@ 18” OC E.W. ver Level: Commercial Bars Space
Fireproofing Enclosure
1” Rigid Foam
10” Anchor Bolt
Reinforced Concrete Slab Granular Fill
3- #5 Cont. Horizontal Bars
Compacted Back Fill
Motorized Screen
C
Compacted Back Fill
#5 Dowels @ 18”OC E.W.
3 - #5 Cont. Horizontal Bars Concrete Footing
Double insulated Glazing
1” Rigid Foam
Reinforced Concrete Slab Granular Fill
Foundation Waterproofing to Grade
#5 Dowels @ 18”OC E.W.
B
3 - #5 Cont. Horizontal Bars
Wall to Floor Detail Scale: 1 1/2” = 1’-0”
12” Concrete Wall w/ #4 Bars @ 18” OC E.W.
1” Rigid Foam C
Reinforced Concrete Slab Granular Fill Back Fill Compacted
Reinforced Concrete Slab Granular Fill #5 Dowels @ 18”OC E.W.
Steel Deck with Reinforced Concrete Fill
#5 Dowels @ 18”OC E.W. 3 - #5 Cont. Horizontal Bars Concrete Footing 1” Rigid Foam
Batt. Insulation Stl. Structure Beam
Street Level: Plaza
B
Foundation Waterproofing to Grade 12” Concrete Wall w/ #4 Bars @ 18” OC E.W.
3- #5 Cont. Horizontal Bars
Wall to Floor Detail
Concrete Footing 3 - #5 Cont. Horizontal Bars Compacted Back Fill
#5 Dowels @ 18”OC E.W.
Compacted Back Fill Reinforced Concrete Slab Granular Fill
3 - #5 Cont. Horizontal Bars
River Level: Commercial SpaceConcrete Footing
Reinforced Concrete Slab Granular Fill
#5 Dowels @ 18”OC E.W.
Concrete Footing
1” Rigid Foam
1” Rigid Foam C
#5 Dowels @ 18”OC E.W.
3 - #5 Cont. Horizontal Bars Concrete Footing
1” Rigid Foam
Roof to Ground Wall Section Detail
Foundation Detail
C
Scale: 1/2” = 1’-0”
Scale: 1 1/2” = 1’-0”
3 - #5 Cont. Horizontal Bars
Roof to Ground Wall Section Detail Scale: 1/2” = 1’-0”
Concrete Footing
C
Foundation Detail Scale: 1 1/2” = 1’-0”
3 - #5 Cont. Horizontal Bars
Roof to Ground Wall Section Detail Scale: 1/2” = 1’-0”
C
Foundation Detail Scale: 1 1/2” = 1’-0”
Concrete Footing
Roof Level 70' - 0"
Office Level 03 56' - 0"
Office Level 02 42' - 0"
Office Level 01 28' - 0"
Street Level 10' - 0"
Longitudinal Section | Scale: 1/8” = 1’ = 0” Javier Cardoso | Design Studio V | Aranha 2016
In section, the perforation of natural light enters the building and carves a large atrium that highlights the central vertical circulation. This opening becomes efficient allowing natural ventilation to circulate throughout the interior of the building and illuminates every floor.
29 Komorebi
Interlocking housing units aggregate around collective courtyards that establish new connections between the existing favela and a distributed network of proposed cultural amenities. The project emphasizes the potential of spaces beyond formal versus informal to structure new modes of urban life.
INTERLOCKING ARCHITECTURE AND THE CITY Situating Housing
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SITUATING HOUSING Prof. Kristine Stiphany Brazil Studio 2018 City of SĂŁo Paulo | Tamandutei
Site Model 1:4000 Studio Collaboration
This studio combined data synthesis and field-based research on human settlements for the urban design of housing in São Paulo’s post-industrial areas, whose context exacerbates spatial fragmentation and social inequality, but where the reciprocity between informal settlements and industrial ruins is changing the concept of urban. Through my research, I used graphical algorithms to analyze different identities found through precedents and site conditions. The elements that were researched involved lighting conditions, barriers and edges, safety awareness, and building heights. By juxtaposing the layers found through the algorithms and the those revealed upon traveling to São Paulo, a system was created that carried the notion of interlocking architecture with the city. Through different scales, I was able to achieve interlocking. On a larger scale, it was evident through the physicality of the building and how it interlocked with the transportation system and the residual of the favelas. Performing as a catalyst to my project, the structure of the abandoned office tower offers a horizontal alignment to the building and interlocks the culture of the neighborhood into the project. At a different scale, the program of the building and its neighboring facilities interlock and combine the use of space, at the same time creating density and promoting safety.
Situating Housing
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circulation within the module
distance path between nodes
nodal conditions
circulation density
peceived enclosures
area of low activity
cluster / density of activity
fragmented typology C
fragmented typology B
fragmented typology A
Recreational and Sports
Vertical Lookout Tower
Tama ndua tei R
iver
Vertical Lookout Tower
Transit Connection
CATALYST: ART THROUGH VANDALISM
Vertical CESCE
Athena Kindergarden School and Nursery
SITE PLAN // Javier Cardoso | ARCH 5502
Alcacer do Sal Housing [Aires Mateus]
STRUCTURAL SYSTEM VS. FLUID CIRCULATION The surrounding context is organized uniformly in a grid creating an underlying layered system. Overlapped is the fluidity of the neighboring river and unorganized favelas.
SITE ANALYSIS // Urban Strategies [Scale 1:10,000] Javier Cardoso | ARCH 5502
PROPOSED CULTURAL FACILITIES SITE ANALYSIS // Urban Strategies [Scale 1:10,000] Javier Cardoso | ARCH 5502
A network between the community and the proposed project is significant to the idea of interlocking existing residents and outside visitors into the area.
COMMON SPACE SITE ANALYSIS // Urban Strategies [Scale 1:10,000] Javier Cardoso | ARCH 5502
The displacement site and the existing favelas share a common area which will be implemented in the design of the project as a reminiscent visual.
SITE ANALYSIS // Urban Strategies [Scale 1:10,000] Javier Cardoso | ARCH 5502
RESIDENTIAL VS. INDUSTRIAL The interlocking maximizes in scale by connecting the residential and industrial zones and giving the area a more mix-used opportunity.
Javier Cardoso | ARCH 5502
37 Situating Housing
Site Conditions and Strategies SITE ANALYSIS // Urban Strategies [Scale 1:10,000]
UNIT B: 60 m2
UNIT A: 88 m2 Interlocking happens within the unit aggregation just as the Unite d’habitacion by Le Corbusier, This system is efficient in São Paulo because it offers a view to two directions. Disassembling the L-Shaped unit into two parts provides different types of units for a flexibility in program.
Situating Housing
38
UNIT C: 28 m2
39 Situating Housing
RESUME | Javier Cardoso Education Texas Tech University, Lubbock Masters of Architecture | August 2018
Shift Supervisor | Coffee Master Dallas, TX | Lubbock, TX | 2005-Present
Honors + Awards
Share my expertise about coffee with customers and partners in order to promote the culture, values, and mission of Starbucks
ACE Mentorship Scholarship Dean’s List Robert L. Alexander Endowement Nolan E. Barrick Scholarship Mr. Albert & Mrs. Doris Moffitt Scholarship
Organizations + Volunteer AIAS Vice-President | 2015-2017
COA Dialogues
Representative | 2013-2018
CROP 06
Editorial Director | 2015-2016
Tau Sigma Delta Honor Society Member | 2016-2018
Publications Architecture & Culture No. 424 publication Study Abroad Seoul Studio | Summer 2016
Resume
Starbucks Coffee Company
Texas Tech University, Lubbock
Bachelors of Science in Architecture | December 2016
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Work Experience
Student study abroad project, Veritable Experience was published under Korean Magazine: Architecture & Culture No. 424, September issue (Pg. 164)
Deploy partners and delegate tasks, providing legendary customer service with prompt service, products, and quality beverages.
Graduate Assistant
Construction I, II, III Texas Tech | Lubbock, TX | 2016 - Present Worked under the supervision of Professor Mari Michael Glassell [ Construction I ] Professor Peter Raab [ Construction II, III ]
Perkins + Will Architects Student Intern Dallas, TX | Summer 2005
Developed and helped organize ideas with ongoing projects at various scales Worked closely under the Lead Designer, Phil Callison, with the development of the Azuremultifamily building in Dallas.
469.233.2204 | javier.cardoso@ttu.edu | 431 Sunnyside Ave. Dallas, TX
Language + Proficiencies Computer Programs
References Kristine Stiphany | PhD, AIA, APA
123Dmake 3D Rhinoceros5 | Grasshopper Adobe Illustrator | InDesign | Photoshop | Premiere AutoCAD Micros | Aloha Microsoft Word | Excel | Powerpoint Skethup | Revit
Assistant Professor at Coa TTU kstiphany@utexas.edu 512.289.8022
Machinery + Materials Laser Cutting Model Making Wood Shop Concrete Glass Wood
Knowledge + Skills + Abilities Ability to work as part of a team Distribute workload efficiently Effective oral communication in both English and Spanish Quick absorber and learner Strong interpersonal skills Efficient with time management
Mari Michael Glassell MariMichael@markodomstudio.com 334.524.4274
Rafael Beneytez-Duran | PhD, ETSAM, ECOM Associate Professor at CoA TTU Principal at Z4Z4 rafael@z4z4.es 806.773.2928 Peter S. Raab | Architect, AIA, LEED AP Associate Professor at CoA TTU peter.raab@ttu.edu 512.944.5617
Travel
41 Resume
Argentina Brazil Canada China Egypt France Honduras Hong Kong Italy Japan Mexico South Korea Spain U.A.E.
JAVIER CARDOSO Masters in Architecture 2018 Texas Tech University College of Architecture Lubbock, TX Contact: javier.cardoso@ttu.edu