ARCHITECTURE PORTFOLIO JORGE L. RUIZ 2016
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CONTENTS
CURRICULUM VITAE
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ACADEMIC PROJECTS Caricature city -Master Thesis-
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Interstitial Museum
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St. Mary Chapel
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Plegant un Obelisc
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PROFESSIONAL PROJECTS Cuatro Horizontes
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Midtown
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ART & EXHIBITIONS Sensual Objects
38
Digital Sculpture
40
Big Fat Dumb Cities for Sale
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JORGE L. RUIZ Born 13th, August 1989 e.jorge.ruiz@gmail.com +49 15755758033 Rudolfstrasse 19, 60327, Frankfurt am Main Place of Birth: Fort Lauderdale, USA Nationality: U.S. Citizen/ Panamanian
PUBLICATIONS & AWARDS
INTERNATIONAL EXPERIENCE
LANGUAGES
Architecture school representative; Vicepresident University Santa Maria la Antigua, Panama 2009
Studio Papiri International Two-months Internship. Rome, Italy October 2010 - November 2010
English, Full professional proficiency Spanish, native speaker German, elementary Italian, elementary
President of the Architecture & Design congress COARDI, Hotel Panama Panama, 2009 ELMEC’s & COARQ’s National award prize Best design project Panama, 2010 La Prensa newspaper publication, Panama, 2010 www.prensa.com Panamá America newspaper publication, Panama, 2010 www.panamaamerica.com.pa Agenda magazine publication, Panama, 2010 www.agenda.com.pa Tendencias magazine publication, Panama, 2010 www.tendenciasfashionmag.com Speaker at the Architecture & Design congress COARDI, Hotel Riu Panama, 2011 Summer Architecture Exhibition Active Borders, Braubachfive Frankfurt am Main, 2015
University of Costa Rica Recursive Space & Introjective architecture. AA tutors workshop San Jose, Costa Rica July 2011
PROFESSIONAL EXPERIENCE Fletcher Studio Designer assistant & draftsman. Type: Commercial architecture & shop layouts. www.fltstudio.com February 2009 - November 2009 Cambefort y Boza arquitectos Four-months Internship as designer assistant. Type: Corporate, Institutional & Housing projects. www.cambefortyboza.com May 2010 - August 2010 Femur Studio Designer & Project coordinator. Type: Corporate, Institutional, Housing, Educational & Restoration projects. www.femurstudio.com January 2012 - July 2014
EDUCATION Master of Arts in Architecture (German Part II) Hochschule für Bildende Künste, Städelschule September 2014-July 2016 Bachelor degree in Structural Architecture Universidad Santa Maria la Antigua, Panama January 2007-April 2012
SOFT WARE SKILLS Autocad Sketchup Rhinoceros + Grasshopper Vray for Rhino/Sketchup Maya Microsoft Office Adobe Photoshop Adobe InDesign Adobe Illustrator Mesh Mixer
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THE CARICATURE CITY AUTONOMY THROUGH REPRESENTATION Städelschule Architecture Class Master Thesis project Thesis Advisor: Peter Trummer Specialization: Architecture & Urban design Jury: Mark Wigley, Beatriz Colomina, Theodore Spyropoulos, David Ruy, Daniel Birnbaum, Johan Bettum, Mirco Becker, Fabian Lange, Johanna Meyer-Grohbrüge, Damjan Jovanovic. Frankfurt am Main, 2016 The project of autonomy continues to deploy questions within the discipline, as we slowly adopt a flat ontology posture, and with this the imagination of post-humanist world. This argument essentially imply, that architecture shouldn’t be undermined by humanist ideologies of form or function, but must be accepted as being a catalyzer of a ‘weird realism’. This ultimately gaps a possibility within ‘Architecture’ to be seen at the same hierarchical level of existence -if there is such organizational system- that humans, as both of them are to be considered autonomous objects with their own independent relations with other objects. This thesis, begins to focus its work within the former standpoint genre. The images deployed in this oeuvre aim to depict the overcome of essence over humanist idealism by alienating the nostalgic and generic character of cities into autonomous and sublime objects. Moreover, through Architecture’s performance, the essence of a known reality has been confound, hereby creating a new narrative & singularity within the context of its given image, becoming autonomous in its own right. Because of its absence of humanist idealism and grotesque depiction of reality, the project is represented within a different context of real, through the realm of cinematographic science fiction. The so may be called invasion of this city in a developed fictional scenario may contribute a new meaning to Architecture and that reality as well. CHRISTOPHER NOLAN, INTERSTELLAR, 2014. RANGER SPACECRAFT HOVER OVER MILLER’S PLANET ATMOSPHERE. PHOTO © PARAMOUNT PICTURES.
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JORGE RUIZ THE CARICATURE CITY
STAR WARS, BATTLEFRONT, HOTH. CARICATURE CITY AT ECHO BASE. PHOTO © ELECTRONIC ARTS
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SUPERMAN’S FORTRESS OF SOLITUDE SEEN THROUGH THE CARICATURE CITY. GARETH EDWARDS, GODZILLA MOVIE, 2014. PHOTO © WARNER BROS.
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JORGE RUIZ THE CARICATURE CITY
J.J. ABRAMS, STAR WARS EPISODE VII, 2015. CARICATURE CITY AT JAKKU. GEORGE LUCAS, STAR WARS EPISODE IV, 1977. CARICATURE CITY AT TATOOINE. PHOTO © DISNEY/ LUCAS FILMS
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JORGE RUIZ THE CARICATURE CITY
CHRISTOPHER NOLAN, INTERSTELLAR, 2014. CARICATURE CITY AT MANNS WORLD. PHOTO © PARAMOUNT PICTURES
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15
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PLAN 14
JORGE RUIZ THE CARICATURE CITY
50% HOUSING
40% COMMERCE
5% INSTITUIONAL
5%CULTURAL
VARIATIONS OF SPACE & PROGRAM 15
MODEL 16
JORGE RUIZ THE CARICATURE CITY
SECTIONAL PERSPECTIVE 17
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JORGE RUIZ THE CARICATURE CITY
RIDLEY SCOTT, MARTIAN, 2015 CARICATURE CITY AT MARS. PHOTO © 20th CENTURY FOX
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THE INTERSTITIAL MUSEUM
LV L
.10 0
STAGE ENTRANCE EXHIB. HALL STAGE EXHIBITION AREA
Städelschule Architecture Class Final project, First year group. Advisor: Johan Bettum, Damjan Jovanovic, Katherina Lindenberg. Frankfurt am Main, 2015
RAM
P
The Interstitial musuem is the result of an intesive year of material exploration within the first year of Städelschule Architecture Class, which main agenda was to explore different spatial qualities emerging within the border condition of interlaced objects. It’s quasi-melted aesthetic quality produces a multiplicity of envelopes, one of which carries a disavowed excess. This project aims to integrate this intermediate dark space which gets congested between the division of the skin & content; mass & void; public & private; into a single whole.
GALLERY LVL. 100
Moreover, it renders a contradictory border between the outside and inside, a third cocooned & filtered space denominated the new interstitial.
PLAN LEVEL 000 & 100
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SECTION A-A’ SECTION B-B’
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JORGE RUIZ THE INTERSTITIAL MUSEUM
MODEL ORTOGRAPHIC PROJECTION
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8.17
0
.3
NSL 5.00
.90
1.08
2
NSL 5.00
6.27
.6
1.38
.81
TECHO A NIA 3.50
127°
.94
NSP 2.50
D- 13.215 M
N 0.30
3.42 ACABADO DE CONCRETO
E
15
6°
NPA 0.00
.50
ELEVACION FRONTAL
.30 .50 .30
ELEVACION LATERAL DERECHA
.30
.50 .50
14.62
.30 .50
8.87
.30 .30
Parad
a
.50
ESC. 1/100
5.00
°
1.60
KENTUCKY
SUB-ESTACION DE ENERGIA ELECTRICA
ATRIO
4.55
4.77
1.45
- 0.00 M
3.04 .20
UNIVERSIDAD UNIVERSIDAD SANTA MARIA SANTAUNIVERSIDAD MARIA SANTA MARIA LA ANTIGUA LA ANTIGUA UNIVERSIDAD LA ANTIGUA SANTA MARIA LA ANTIGUA
PLANTA ARQUITECTONICA DE CAPILLA
.20 3.63
1.96
10 5°
3.42
3.42
3.42
8° 11
3.42 1.42
11 8°
11
8°
.17
.17
11
1.42
.17
.17
1.42
1.42
1.42
11 8°
.17
32°
1.40
.20
.20 .20
3.42
3.63
3.63
3.63
3.63
8°
ACABADO PINTURA BLANCA
D
E
E
E
E
3.63
8° 11 8°
11
B
B
1.17
B
11
E
5°
1.47
B B
10
D
32°
D
1.07 1.07
.20
.20 1.07
1.07
B D
SECCION A-A SECCION B-B SECCION B-B B
1.17
9.54
1.40 1.40
1.42
11
1.40
8°
9.54 9.54
.17 1.17 1.17 1.17
8°
8°
11
3.62
3.19
VIDRIO CON CRUZ EN PAPEL DESMERILADO
11
BASE 1.45 BASE
2.55
1.45
9.54
1.40
1.07
BASE
5.46
NSL 5.00
8° 11 8° 1.17
3.62
3.62
3.19
3.62
32°
32°
71°
32°
32°
3.62
3.19
3.19
3.19
3.19
71°
3.62
71°
71°
71° 5°
71° 10 10 5° 5° 10
MACHIMBRADO
E
SECCION B-B ESC. 1/100 SECCION B-B ESC. 1/100 ESC. 1/100 ESC. 1/100 ESC. 1/100
SECCION B-B
10.54
ESC. 1/100
ELEVACION LATERAL IZQUIERDA
.20
BASE
3.42
5.00
1.21 1.47 .36 1.96
1.96
1.96
1.96 10 5°
5.00
5.00
1.21 5.00
1.21 1.21 1.21 1.96
5.00 2.55
9.54
1.47
1.47
D
5.00
B
B
D 1.45 1.45
1.45
TECHO A
TECHO A
165° VIDRIO CON CRUZ EN PAPEL DESMERILADO
PARED C-C
51.00
51.00 49.00 50.00 48.00 49.00 47.00 48.00 46.00 47.00 45.00 46.00 45.00 44.00 43.00 50.00 44.00 43.00 51.00 50.00 49.00 48.00 47.00 46.00 45.00 44.00 43.00 51.00
50.00 49.00
48.00
47.00
46.00
45.00
44.00
42.00
43.00
42.00 41.00 41.00 42.00 41.00 42.00
41.00
NIA 2.25
51.00
50.00 49.00
48.00
47.00
46.00
45.00
44.00
43.00
BASE
42.00
ACABADO PINTURA BLANCA
41.00
B
2.55
ELEVACION POSTERIOR
TECHO A
ACABADO PINTURA BLANCA
15
VIDRIO CON VIDRIO CON CRUZCON EN PAPEL CRUZ EN PAPEL VIDRIO DESMERILADO CRUZDESMERILADO EN PAPEL DESMERILADO VIDRIO CON CRUZ EN PAPEL DESMERILADO
165°
ACABADO DE CONCRETO ACABADO PINTURA BLANCA ACABADO PINTURA BLANCA ACABADO PINTURA BLANCA
1.47 1.21
B
C
C
ESC. 1/100 ESC. 1/100
C
165° 165° 165°
TECHO A
.36
C
.36
C 2.55 2.55
D
EJE
.15
1.04
B BASE
NIA 2.25
51.00
NPA 0.00
165°
TECHO ATECHO A TECHO ATECHO A
6°
B
C
10
.16
.21 .33
C C C
1°
2.23
1.60
TECHO A
ESC. 1/100
C
LOCALIZACION REGIONAL ESC. 1/3333
C
TECHO A
PARED C-C
1.99
2°
2.23
12
DEPOSITO
1.95
.91
85
°
.27 1.00
41.00 TECHO ATECHO A TECHO A
E
NIA 2.50 10
ENTRADA
1.09
42.00
10.54
ELEVACION LATERAL IZQUIERDA ELEVACION LATERAL IZQUIERDA ELEVACION LATERAL ELEVACION LATERAL IZQUIERDA IZQUIERDA ESC. 1/100 ESC. 1/100
PARED B-B
8°
N 0.00
95
43.00
BASE
USMA
TERMINAL DE BUSES BETANIA
.50
.30
5.00
44.00
3.63
.50
PLANTA ARQUITECTONICA DE CAPILLA
45.00
C
NIA 2.50
5.30
46.00
PARED C-C
ESC. 1/100
ELEVACION POSTERIOR
KFC
47.00
ELEVACION LATERAL DERECHA
ESC. 1/100 ESC. 1/100
ESC. 1/100
.20
8.87
.30
ESC. 1/100
- 0.00 M
3.04
5.50
48.00
PARED C-C PARED C-C PARED C-C
1.45
9.54
1.40
1.07
BASE
SECCION B-B
ESC. 1/100
ELEVACION LATERAL IZQUIERDA 50.00
49.00
48.00
47.00
46.00
45.00
44.00
43.00
FRONT VIEW OF CHAPEL. PLAN, ELEVATIONS & SECTIONS 8°
1.45
5.75
.50
.21 .33
PARED A-A 50.00 49.00
.36
1.99
1.99
.15
.50
4.77
.30
9.59
PLANTA ARQUITECTONICA DE CAPILLA PLANTA ARQUITECTONICA DE CAPILLA PLANTA ARQUITECTONICA DE CAPILLA PLANTA ESC. 1/100 ARQUITECTONICA DE CAPILLA ESC. 1/100 ESC. 1/100
NSL 5.00
10.54
5.46
2.55
ELEVACION POSTERIOR ELEVACION POSTERIOR ELEVACION POSTERIOR ELEVACION POSTERIOR ESC. 1/100 ESC. 1/100
ESC. 1/100
10.54 10.54
11
Fonda
EJE
E
D
42.00
41.00
ESC. 1/100
E
1.17
.20
.20 14.62
.30
.20
E
.36
14.62
- 0.00 M
.20
3.04
B
5°
3.04 3.04
10
SECCION A-A SECCION A-A SECCION A-A A-A
E
E
SECCION A-A
10.54
NIA 2.50
BASE
EJE EJE - 0.00 M - 0.00 M EJE
D
E
E
MACHIMBRADO
1.47
1.38
8.87 8.87
5.34 3.04
1°
EJE
NIA NIA2.50 2.50 NIA NIA NIA 2.50 2.25 2.25 NIA 2.25
D
SECCION ESC. 1/100 ESC. 1/100 ESC. 1/100 ESC. 1/100
NPA 0.00
C
NPA 0.00
- 0.00 M
ESC. 1/100
MACHIMBRADO
ACABADO DE CONCRETO
D
.36
14.62 14.62 14.62
14.62
8.87
8.87
8.87
.15
1.45
1.45
1.60
NIA 2.25
C
C
BASE
1.99
1.99
1.45
1.45 ATRIO
2.23
C
BASE BASE
ESC. 1/100
UNIVERSIDAD SANTA MARIA 4.55 LA ANTIGUA
B
10
1.04
.15
1.95
1.95
1.60
4.77 DEPOSITO 4.77
4.55
10
E C
NIA 2.50
6°
D
6°
5.46
51.00
ACABADO DE CONCRETO
15
6° 15 6
B
SECCION B-B
BASE
5.46 5.46
5.46
B
15
ELEVACION LATERAL DERECHA NSL 5.00
D
BASE
8°
1°
B
BASE BASE BASE
NSL NSL5.00 5.00 NSL 5.00
15
°
ESC. 1/100 ESC. 1/100 NSL 5.00
NIA 1.66
6°
1.07
B BASE
ESC. 1/100
ELEVACION FRONTAL
4.55 4.55
10
°
01
1° 1
10
.15
°
1.60 1.60 1.60
4.77
4.77
.50
1
.15
.50
2°
12
.30
1.60
1.60
1.00
4.55
ATRIO ATRIO N 0.00 ATRIO ATRIO ° ENTRADA 01
NIP 0.25
NPA NPA NPA 0.00 0.00 NPA 0.00 0.00 NPA 0.00
2.00
8°
10
1.99
.30
.50 .40 .50
.50 85 °
85 ° 85 °
.91 .30
.91
°
.91
85
.50
.91 .30
1.04
1.04 .50
1.04
1.04
.30
1.09 2.23
.91
85
2.23
2.23
2.23
2.23 .16
2.23 2.23
2.23
.27
.16
PULPITO 8°
8°10
10
ENTRADA
1.60 1.605.00 6.00
1.40
ELEVACION LATERAL DERECHA ELEVACION LATERAL DERECHA ELEVACION LATERAL ELEVACION LATERAL DERECHA ELEVACION LATERALIZQUIERDA DERECHA ESC. 1/100 ESC. 1/100 ESC. 1/100
PARED B-B PUERTA NIA 2.50
9.54
28°
2°
.16
1.00
2° 12
12
12.91 .16
1.09
1.60
DEPOSITO DEPOSITO DEPOSITO 95 DEPOSITO ° 2°
.21 .33
1.00 1.00
12
2°
2.23
1.09 1.00 1.09
.27
12
.16
.27
.27
.27
.21 .33 .21 .33
5.00 5.00 5.30
15 1.45
BASE
PARED B-B
NIA 2.50 NIA2.50 NIA 2.50 NIA 2.25 2.50
B
C 2.55
E
PARED B-B PARED B-B PARED B-B
C
N 0.10 5.00 8° 10 N 0.00 NS0.00 N5.20 0.00 5.00 ENTRADA ENTRADA N 0.00 ENTRADA
°
° 95 °
1.95
.50
N 0.20 5.00
NSL 5.00
TECHO A
DE CONCRETO ACABADO DEACABADO CONCRETO MACHIMBRADO TECHOMACHIMBRADO A ACABADO DE CONCRETO MACHIMBRADO
D
E
NPA 0.00
NSL 5.00
NSP 2.50 NIA
E E
NPA NIA NPA 0.00 0.001.66 NPA 0.00
E
TECHO A NIA 3.50
5.00
95
.30
95
S
5.30
D
ESC. 1/100
D- 13.215 M
5.00 5.00 5.50
B
B E
NPA 0.00
NSL NSL NSL 5.00 NSL5.00 5.00 5.00 NSL 5.00
5.30 5.30 5.75
5.30
5.00
1.95
.30
.50 .30 .50 .50
119°
°
1.09
5.50
N 0.30
S
.30
.50
.30
9.59
1.38
95
5.50 5.50
1.95
.30
.50
.30 .50
12.91
9.59
5.50
4.38
PILA BAUTISMAL
.21 .33
.90
5.75
E
E
ELEVACION FRONTAL
6.27 5.75 5.75
E
ACABADO PINTURA BLANCA
PARED A-A
NPA 0.00
6.00
5.75
E
ESC. 1/100 1/100 ESC. ESC. 1/100
2.00
8.17
BASE
D
D
PUERTA
NIP 0.25
.20
1.08
D
NIA NIA1.66 1.66 NIA 1.66
28°
9.59
9.59
9.59
0
.3 2
.6
5
.2
D
B
ELEVACION FRONTAL ELEVACION FRONTAL ELEVACION FRONTAL ELEVACION POSTERIOR ELEVACION FRONTAL ESC. 1/100 ESC. 1/100
EJE - 0.00 M
PLANTA ARQUITECTONICA DE CAPILLA ESC. 1/100
B
VIDRIO CON CRUZ EN PAPEL DESMERILADO
TECHO ATECHO A TECHO A
1.96
3.04
5.20
NIP NIA NIP0.25 2.25 0.25 NIP NPA 0.25 NPA 0.00 0.00 NPA 0.00
NIA 1.66
PUERTA
5.00
5.34
5.34
5.34 5.34
1.99
1.95
.40
NPA 0.00
PULPITO
.15
.30 .50 .30
NIP 0.25
B
PARED A-A
NIA 2.25
C PUERTA PUERTA PUERTA
NSP 2.50
2.00
S1.45
4.77
2.00 2.00
NIA 2.50
28°
.50
2.00
1°
10
TECHO A
B
165°
TECHO A
TECHO A
PARED C-C PARED A-A PARED A-A PARED A-A
NSL 5.00
28°
.30
.50
.16
S
S
5.20
N 0.10 6.00
NPA 0.00
10.54
NSL 5.00
TECHO A
NIA NIA3.50 3.50NSL NIA 5.00 3.50 NSP NSP2.50 2.50 NSP NIA 2.50 NIA2.25 2.25 NIA NIA 2.25 3.50
D- 13.215 M
5.46
NSL 5.00
NSL NSL5.00 5.00
28°
12.91
5.34
.94 .81 1.70
1.70
2.10
5.20
6.00 6.00
NIA 2.25
NSL 5.00
28°
.50 .30 .50 .50 .50 .50 .50 .50 .30 .50 .50 .30 .50 .30 .50 .94 .50 .50 .50 .30 .50 .50 .30 .50 2.10 .50 .81 .50 .30 .50.50 .30 .50.50 .30.30 .50.50 .30 .50 .30 .50 .50.50 .30 .50.50 .30 .50.50 .30 .50.50 .30 .50.50 .30 .30 .30 .30 .30 .30 .30 .30 .30 .30 .30.30 .30.30 .30.30 .30.30 1.70 127°
1.38
.50 119° 1.04
S
1.70
2°
.40
12
2.23
.40
.40
.91
.40
85 °
1.38
12.91 12.91 12.91
NSP 2.50
PULPITO PULPITO PULPITO PULPITO
4.55
N 0.20
6.00 1.60
PILA BAUTISMAL .21 .33
S S8° S10
S
ENTRADA
N 0.20 N N 0.20 0.30 N 0.20 1.60 0.10 N 0.10NN0.20 N 0.10 S SS N 5.20 0.10 5.20 ATRIO
2.23
NIA 3.50
D- 13.215 M D- 13.215 M D- 13.215 M D- 13.215 M
N 0.00
1.70 127°
2.10 1.70 2.10 .94 2.10
119°
2.10
119°
119°
119°
.27
1.38
1.38
1.38
4.38
1.09 1.00 PILA BAUTISMAL PILAPILA BAUTISMAL BAUTISMAL PILA BAUTISMAL DEPOSITO
1.38
.90 6.27
PARED B-B TECHO ATECHO A TECHO A
NIA 2.50
1.38
8.17
NSL NSL5.00 5.00 NSL 5.00
.90
1.38
5.00
N 0.30 N 0.30 N 0.30 5.00 N 0.30
1.08
S S S
°
S
95
NSL 5.00
.90
.90
6.27 1.38
127°.81 .81 .81
.90 6.27 6.27
6.27
5.30
127° 127°
4.38
2
.6
5
.2
4.38
.94
4.38
.94
4.38
.50
0
.3
127°
.30
.50
.2
8.17 8.17 8.17
1.08
1.38
.30 .50
0
.3
2
.6
5
1.21
.50
.6
.30 .81
5 .2
.2
SECCION A-A
ESC. 1/100
ESC. 1/100
NSL 5.00
5.75
8.17 5.50 1.08 1.08
1.08
.94
.2
D
1.47
12.91
0 .3
2.3
2 .6
5
E
B BASE
ESC. 1/100
28°
9.59
0
0
.3 2
.6
5
MACHIMBRADO
8°
E
11
D
NPA 0.00
.50
.30
B
NIP 0.25
2.00
6.00
1.42
.40
S
5.20
.17
PULPITO
N 0.10
3.62
N 0.20
PILA BAUTISMAL
NIA 1.66
3.19
1.38
PUERTA
71°
2.10
TECHO A
5.34
1.70
S
119°
PARED A-A
NIA 2.25
S
32°
4.38
.36
5
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ST. MARY’S CHAPEL
Universidad Santa Maria la Antigua Academic competition Size: 156 sqm. Honorable mention Panama, 2010 The Architecture & Design school of ‘Universidad Santa Maria la Antigua’ -USMA- realized a competition to design and make a catholic chapel within its campus. The chapel’s shape intends to transcribe a religious allegory represented in the University’s crest, particularly the idea of it resembling a ‘net’ of culture and education. Moreover, it’s figure responds to the site, as it intends to retreat itself from the aesthetic qualities of the built environment of the campus, the same which is biased in modernist approaches. The material conception has been inevitably conditioned by its contextual surrounding; that is, in order to insert itself to the arboral natural habitat, it employs the use of pure materials -wood, concrete & stone.
FRONT VIEW OF CHAPEL, NIGHT. INTERIOR VIEW OF CHAPEL.
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SITE, PLAZA MACBA, BCN. HOSTEL ENTRANCE RENDER SECTION & TYPICAL PLANS
PLEGANT UN OBELISC
ARQUITECTUM Academic competition Size: 3,000 sqm. of programmatic use Collaborators: Raphael Lyma-Young, Pedro Egui, Ginet Guerere. Barcelona, 2011 The primary goal of the competition was the design of a 100 meter tall tower to accommodate a hostel, for it to deploy social encounter and gathering, being Barcelona one of the most important tourist destinations in Europe, receiving approximately 100 million visitors a year. Hence, there is an attempt to stimulate cultural exchange and affairs between the context and the project. Thus, the design output starts by surrendering the project’s site to the public space, provoking an extension of the urban fabric to the site. Subsequently, the tower adopts & fuses within itself the figurative qualities of an obelik, as it being an element appropriated by the features prominent in traditional plazza’s. Considering it’s final output interests in being a landmark of great visual impact for the MACBA square & Barcelona, the building is then folded by Barcelona’s urban grid, as it intends to address and assert the vertical extension of the city within its whole.
FRONT VIEW, OBELISK HOSTEL PLAZA MACBA, BARCELONA, SPAIN PHOTO © AUTHOR
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PH CUATRO HORIZONTES
FEMUR STUDIO Residential building Size: 31,066 sqm. www.4horizontes.com Architects: Gilberto Guardia & Ramón Zafrani Collaborators: Carlos Sánchez, Ulises Juliao, Ariel Polanco, Adrian Pizarro, Lazaro Lahera, Alex Suriol, Miguel Montalvan. Construction by: Pradera Inmobiliaria Altos del bosque, Panama, 2015
P.H. CUATRO HORIZONTES. FRONT VIEW OF TOWERS A & B. FACADE CLOSE-UP. FEMUR STUDIO, PANAMA PHOTO © FERNANDO ALDA
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P.H. CUATRO HORIZONTES. GROUND LEVEL PLAN/PARKINGS. FEMUR STUDIO, PANAMA
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JORGE RUIZ CUATRO HORIZONTES
P.H. CUATRO HORIZONTES. EXTERIOR & INTERIOR VIEW OF PARKINGS. FEMUR STUDIO, PANAMA PHOTO © FERNANDO ALDA
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P.H. CUATRO HORIZONTES. PLAN OF LEVELS 300 @ 1000 FEMUR STUDIO, PANAMA
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JORGE RUIZ CUATRO HORIZONTES
P.H. CUATRO HORIZONTES. VIEW OF TOWER ‘A’ FEMUR STUDIO, PANAMA PHOTO © FERNANDO ALDA
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P.H. MIDTOWN, SF 74. FRONT VIEW. FEMUR STUDIO, PANAMA PHOTO © FERNANDO ALDA
PH MIDTOWN
FEMUR STUDIO Office building Size: 39,000 sqm. Architects: Gilberto Guardia & Ramón Zafrani Collaborators: Adrian Pizarro, Lazaro Lahera, Alex Suriol, Miguel Montalvan, Veronica Sanchez. San Francisco, Panama, 2015
P.H. MIDTOWN, SF 74. INTERIOR VIEW OF LOBBY INTERIOR VIEW OF PARKING FEMUR STUDIO, PANAMA PHOTO © FERNANDO ALDA
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P.H. MIDTOWN, SF 74. GROUND LEVEL PLAN TYPICAL PLAN. SECTION PLAN FEMUR STUDIO, PANAMA
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JORGE RUIZ PH MIDTOWN
P.H. MIDTOWN, SF 74. FEMUR STUDIO, PANAMA PHOTO © FERNANDO ALDA
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SENSUAL OBJECTS
Städelschule Architecture Class Material Computation. Advisor: Johan Bettum, Damjan Jovanovic, Katherina Lindenberg. Material: Plaster. Frankfurt am Main, 2015 The sensual object’s bases on an argument relating convexity & concavity of form, and the quasi-absolute continuity between figure to figure relationships. It problematizes & notates the physical and spatial qualities of the figure, for which it placed its interest in revealing a sensory combination of parathetic relationships –simultaneous conflicts-, related with the surface. Subsequently, the objects produce strange, sensual & quasi-exotic experiences. As the oeuvre of artist Andrew Holder, these so may be called lump ‘characters’ are embedded with personality & vitality, the same which triggers an unconscious inverted relationship between them and their viewers. By being exempt of geometrical understanding and hindered with otherworldliness, they deplete men’s anthropocentric subjecthood by giving the objects the role of new subjects and contrariwise; boosting the autonomy of the former by embodying its posthumanist qualities.
PHOTO © ESTEFANIA MUÑOZ
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DIGITAL SCULPTURE
Städelschule Architecture Class Advisor: Johan Bettum, Damjan Jovanovic, Katherina Lindenberg. Material: PLA, 3D-print. Frankfurt am Main, 2014 The Digital sculpture pursued to develop a three-dimensional architectural artifact which displayed different spatial & haptic qualities; having a strong dialectic and embodying the understanding of ‘Tectonic’ qualities within the discipline. The project focuses its final output in constructing & indexing the abstract; translating it into the digital realm and consequently giving it plasticity & tangibility through the use of the three-dimensional tools.
PHOTO © JORGE RUIZ
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BIG FAT DUMB CITIES FOR SALE Hochschule für Bildende Künste, Rundgang
Location: Frankfurt am Main, Hessen. Collaborators: Huey Chan, Victor Sardenberg, Jonathan Sutanto, Hossein Hamdieh, Fariba Shafiee, Jitendra Sawant, Hanieh Khaleghian, Peeradon Warithkorasuth; Guest Professor Peter Trummer Material: PLA, Plaster, Resin, Ceramic, Cement. Frankfurt am Main, 2016 The continuous schism between the two paradoxical urban conditions – that of a transitory capsular city life vs. that of the nostalgic theatric space – is being taken beyond the confines of the traditional city, with its consequences and repercussions emanating deep into the countryside. Thus, the conventional identity of the village is dead, giving birth to a very specific statement: “In order to survive, the village has to become a commodity... Self-governing buildings, inhabited by the Stranger” In an attempt to ‘reinvent the idea of the collective’ and expose the farce of theatricality buried within the romantic notion of the countryside, a commodification of urban proportions takes place via the village’s withdrawal into enormous, encapsulated and autonomous city-buildings. These buildings behave no different from Hotels, in the sense that they manifest the commodity character of the city, and accommodate subjects that are neither local nor foreign; villager nor urbanite; familiar nor alien; they are Strangers. The exhibition designates the most rudimentary end of the urban commodification gamut as its critical starting point, presenting a series of 72 city-buildings as massing models, suggestive of mass-produced toy cities. This not only exposes the transformation of the village from a suburban condition into an architectural object, but also architecture’s adaptations to the demands of hypercapitalist conditions.
BIG FAT DUMB CITIES EXHIBITION RUNDGANG, WINTER 2016 PHOTO © HUEY HOONG CHAN
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JORGE RUIZ BIG FAT DUMB CITIES FOR SALE
BIG FAT DUMB CITIES AT SCOTTS HEAD DOMINICA PHOTO © AUTHOR BIG FAT DUMB CITIES MODELS EXHIBITION SPACE @ STÄDELSCHULE, RUNDGANG. PHOTO © HUEY HOONG CHAN
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EXHIBITION SPACE @ STÄDELSCHULE. PHOTO © HUEY HOONG CHAN PHOTO © VINAY SHEKAR RIGHT P.: BIG FAT DUMB CITY IN FAIRYE MEADOWS, RAKAPOSHI-HARAMOSH, PAKISTAN. PHOTO © AUTHOR
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JORGE RUIZ BIG FAT DUMB CITIES FOR SALE
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JORGE L. RUIZ
+49 15755758033 e.jorge.ruiz@gmail.com