Selected Works by Jose Martinez-Giron

Selected Works | Jose Martinez-Giron

Selected Works

Table of Contents:

SBLM Architects Projects

pages:

04-11

CAPD Studio Projects

12-23

Internship

24-27

Digital Visual Effects in Architecture

28-31

Spaceprints

32-37

Furniture Projects

38-39

Artwork and Illustrations

40-41

Jose Martinez-Giron

josemg5673@gmail.com 620.253.1731

Proposed Design

Existing Funeral Home

SBLM Architects - Hughes Family Tribute Center

Site Visit

West Elevation - Material Area Calculations

East Elevation - Material Area Calculations SBLM Architects - MQ Development Lot 3

Sephora Cosmetics Department

ENLARGED SEPHORA DEMO PLAN

Enlarged SephoraSEPHORA Fixture Plan ENLARGED FIXTURE ENLARGED SEPHORA DEMO PLAN RCP 3 1

ENLARGED SEPHORA PLAN

Enlarged Sephora Reflected Ceiling Plan ENLARGED SEPHORA RCP 2

SBLM Architects - JCPenney Sephora Remodel

SCALE: N.T.S.

Rev STUCCO VENEER ON METAL LATH 3-1/2" 16 GA VERTICAL7ZEE FURRING AT 16" O.C.

4.6

3.5

1/2" EXTERIOR GYP SHEATHING ON MTL STUDS

EXISTING COLUMN

PREFAB. CANOPY REF. SPEC

5/8" GYP. BOARD ON METAL STUDS

SEE STRUCTURAL DRAWINGS FOR NEW STRUCTURAL FRAMING MEMBER TO SUPPORT CANOPY

2.5

EXISTING STEEL ANGLE - REUSED

OF CEILING BY RE TENANT

1.1

17'-7 3/4" T.O. STEEL

Key

J MOLD - TYP. CORNER BEAD TYP

ALUM STOREFRONT W/ 1" INSUL LOW E GLASS

OREFRONT

16'-7 1/4" T.O. STEEL

2 X 6 F.R.T. WOOD BLOCKING

BACKER ROD & SEALANT @ BOTH SIDES, TYP.

6" 20 GA METAL STUD FRAMING AT 16" O.C. W/ R-19 BATT INSULATION.

AIR BARRIER

ERIOR STEEL S " O.C. W/ BATT ATION

3.8

3/4" RIGID INSULATION R-3.8 MIN

GROUND FLOOR RETAIL 1

DETAIL SCALE: 3"=1'-0"

North Elevation STUCCO VENEER ON METAL LATH

NORTH ELEVATION 1/2" EXTERIOR GYP

A104

A102

6" 20 GA METAL STUD FRAMING AT 16" O.C. WITH BATT INSULATION R-19 MIN.

SHEATHING SCALE: 1/8"=1'-0"

Pro We 165 For

EXISTING COLUMN BEYOND

3-1/2" 16 GA. VERTICAL ZEE FURRING AT 16" O.C. 3/4" RIGID INSULATION R-3.8 MIN. ON AIR BARRIER

EXISTING STEEL ANGLE REUSED

A.1

B.3

5/8" GYP. BOARD ON MTL STUDS

ELE

E CORNER BEAD - TYP.

PREFAB CANOPY REF. STRUCT. 6" 16 GA STUD BOX BEAM W/ 4" GA TRACK @ TOP & BOTTOM

6" X 6" STL. PLATE @ 24" O.C. AS REQUIRED FOR CANOPY SUPPORT

10 A104

SCA

Sea 2 X 4 F.R.T WOOD BLOCKING

1 5

17'-7 3/4" T.O. STEEL

CORNER BEAD - TYP.

Enlarged Section Detail Through Storefront DETAIL

16'-7 1/4" T.O. STEEL

BACKER ROD & SEALANT ON BOTH SIDES, TYP. STOREFRONT: W/ 1" INSUL. LOW E GLASS

2 A103

SCALE: 3"=1'-0"

GROUND FLOOR RETAIL

J-BEAD TYP

STUCCO VENEER ON METAL LATH

STUCCO VE ON METAL L

3-1/2" 16 GA VERTICAL 3-1/2" ZEE16FUR GA AT 16" O.C. AT 16" O.C.

3/4" RIGID INSULATION 3/4" RIGID IN R-3.8 MIN R-3.8 MIN AIR BARRIER

AIR BARRIE

1/2" EXTERIOR GYP 1/2" EXTERIO SHEATHING ON MTLSHEATHING STUDS

PREFAB. CANOPY PREFAB. CA REF. SPEC REF. SPEC T.O. STEEL 17'-7 3/4"

T.O. STEEL 17'-7 3/4"

EXISTING WALL SYSTEM EXISTING WALL SYSTEM

STUCCO VENEER ON STUCCO VERTICAL VENEER ZEE ON VERTICAL ZEE FURRING SYSTEM FURRING SYSTEM

Filename: Z:\Projects\2017\017036\Drawings\Current Set\017036_A102_Elevations & Details.dwg Plotted by: Martinez-Giron, Jose Plot Time: 4/3/2017 6:25 PM

R.O. OPENING R.O. OPENING 15'-1 1/4" 1/4" RIGID15'-1 INSULATION ON RIGID EXTERIOR INSULATION ON EXTERIOR SHEATHING SHEATHING STRUCTURAL FRAMING STRUCTURAL MEMBERSFRAMING MEMBERS REF. STRUCTURAL REF. STRUCTURAL

T.O. STOREFRONT T.O. STOREFRONT 12'-0" 12'-0" PREFAB PREFAB 3'-0" CANOPY REF. CANOPY REF. SPEC. SPEC.

7 A102

STUCCO VENEER ON STUCCO VERTICAL VENEER ZEE ON VERTICAL ZEE FURRING SYSTEM FURRING SYSTEM EXISTING EXISTING COLUMN BEYOND COLUMN R.O. BEYOND OPENING R.O. OPENING 15'-1 1/4" 1/4" RIGID15'-1 INSULATION ON RIGID EXTERIOR INSULATION ON EXTERIOR SHEATHING SHEATHING 6" 20GA. STUDS 6" 20GA. STUDS AT 16" O.C. W/ BATTAT 16" O.C. W/ BATT NEW STRUCTURAL FRAMING NEW STRUCTURAL FRAMING 7 INSULATION INSULATION MEMBERS REF STRUCTURAL MEMBERS REF STRUCTURAL A102

T.O. STOREFRONT T.O. STOREFRONT 12'-0" 12'-0" PREFAB PREFAB 3'-0" CANOPY CANOPY LINE OF CEILING BYLINE OF CEILING BY REF. SPEC REF. SPEC FUTURE TENANT FUTURE TENANT

3'-0"

SEE STRUCTURAL SEE STRUC DRAWINGS FOR NEW DRAWINGS STRUCTURAL FRAMING STRUCTURA MEMBER TO SUPPORT MEMBER TO CANOPY CANOPY LINE OF CEILING BYLINE OF CEILING BY FUTURE TENANT FUTURE TENANT

6" EXTERIOR STEEL 6" EXTERIOR STEEL STUDS STUDS J MOLD J MOLD - TY AT 16" O.C. W/ BATTAT 16" O.C. W/ BATT- TYP. INSULATION INSULATION BACKER ROD & SEALANT BACKER RO 8 8 @ BOTH SIDES, TYP.@ BOTH SID A102 A102

ALUM STOREFRONTALUM W/ 1" STOR INSUL LOW E GLASSINSUL LOW 3'-0"

7 STOREFRONT

DETAIL

SCALE: 3"=1'-0"

SCALE

STOREFRONT

STUCCO VENEER ON STUCCO VE METAL LATH METAL LATH

ALUM. ALUM. STOREFRONT W/ 1" STOREFRONT W/ 1" INSUL. LOW E GLAZING INSUL. LOW E GLAZING

1/2" EXTERIOR GYP 1/2" EXTERIO SHEATHING SHEATHING

3-1/2" 16 GA. VERTICAL 3-1/2" ZEE 16FUR GA AT 16" O.C. AT 16" O.C.

3/4" RIGID INSULATION 3/4" RIGID IN R-3.8 MIN. ON AIR BARRIER R-3.8 MIN. O

EXISTING EXISTING COLUMN BEYOND COLUMN BEYOND

PREFAB CANOPY REF. STRUCT.

EXISTING FLOOR SLAB EXISTING FLOOR SLAB EXISTING CONCRETE EXISTING CONCRETE SIDEWALK SIDEWALK

FINISH FLOOR GROUND FLOOR

A104

10 EXISTING CONCRETE EXISTING CONCRETE SIDEWALK SIDEWALK

A104

PREFAB CAN REF. STRUC

6" X 6" STL. PLATE @6" X 6" STL. 1024" O.C. AS REQUIRED 24" O.C. AS CANOPY SUPPORT FOR CANOP

A104 FOR

EXISTING FLOOR SLAB EXISTING FLOOR SLAB FINISH FLOOR GROUND FLOOR

FINISH FLOOR GROUND FLOOR

CORNER BEAD - TYP. CORNER BE

Wall Section at Stucco

T.O. STEEL 17'-7 3/4"

WALL SECTION WALL SECTION AT STUCCO AT STUCCO

SCALE: 1/2"=1'-0"

Wall Section at Entrance

WALL SECTION WALLSBLM SECTION AT ENTRANCE AT ENTRANCE DETAIL Architects - Trademark Warby Parker Shell Package 11 DE

SCALE: 1/2"=1'-0"

SCALE: 3"=1'-0"

SCALE

Parallel Realms:

Street

Parti

East (Private Realm)

Closed

Circulation

West (Public Realm)

Open

Environment

The Des Moines Public Library staff assisted our studio with insight into the everyday habits of librarians and visitors. Community members expressed an interest in the development of an additional library branch to serve the 18,000 under-served residents living east of 14th Street. During the site visit I realized my design should address the relationship to the street, the drying river, overwhelming parking lot, and the cost of operating a library. The constraints of the site lead me to split the building and land in half, along the N-S axis. The western half of the building is a traditional library and serves the street. The eastern half of the building can be used as seating during library operation hours. It has a direct relationship to the environment and acts as a pavilion during celebrations, ceremonies, receptions, conventions, and private events.

S.E. 14th Street

Proposal to future development to use bioswales to restore and clean up the river

E. McKinley

CAPD Studio Projects

Southwest View of Library

Parallel Realms: To create the split along the N-S axis I placed the eastern half of the building four feet below the western half. The pavilion is emphasized by a concrete box that projects out under the roof and creates a linear relationship and spatial extension towards the river. The water that runs off from the roof is filtered through the bioswales in an attempt to restore and clean up the creek. The bioswales stair step towards the river creating seating for people to contemplate their thoughts, go fishing, have a conversation, or read a book, secluded from the public realm. With the incorporation of bioswales in this design I hope to encourage future development to do the same.

Southeast View of Pavilion

Composite Floor System + Redesigned Curtain Wall System

Private Realm (Pavilion/Seating)

Public Realm (Traditional Library)

Water Works: A national archive and gallery for the discourse on water in the Midwest. This design combines circulation with heavy concrete structure to slow down the pedestrian traffic and thus mimic the deceleration of water that happens in bioswales. The focus of this project was to educate patrons on the dwindling reserves of water and to hopefully stimulate people to practice recycling methods that can help restore water to itâ&#x20AC;&#x2122;s natural state before re-entering the atmosphere. By integrating bioswales into the design it becomes possible to demonstrate how natural filtration systems are less costly and more efficient than chemical filtration systems.

Sketch of Bioswales

Water Flow Pedestrian Flow

Redesigning the Curtain Wall: Glazing systems and curtain wall technology introduced in the 20th century led to rapid and economic construction. The evolution of the curtain wall and use of new materials led to higher energy performance standards. Some systems even rival opaque wall construction by maintaining the same high energy performance and indoor quality. In this studio we focused on redesigning the curtain wall and looked into energy performance issues. The goal was to create a system that not only performs efficiently but can also integrate into the program, function, and design of a building. The studio was funded by a 2013 NCARB Award for the Integration of Practice and Education developed by Assistant Professor Michael Gibson in conjunction with Brian McKinney AIA, Associate Principal at BNIM. Our industry collaborator and supporter was Manko Window Systems of Manhattan, Kansas. In collaboration with Alex Otto and Lawrence Tan, we designed a curtain wall system, known as TOM, that can control thermal heat gain while maintaining high visibility. This was achieved by applying a transparent Low-Emissivity film on one face of a rotating louvre. We choose three orientations to feasibly test our hypothesis in computer programs that are normally used to simulate data for static curtain wall systems. The three positions are referred to as “out, “in,” and “off.” By combining Window, Therm, and Ecotect we determined that our system is best suited for climates where temperature significantly changes from season to season. We found that this system benefits from a rotating louvre when compared to a standard fixed curtain wall system like the Manko 250i. The louvre system, in the OUT position, has the ability to reject heat during the summer. During the winter it can retain heat, IN position, or gain heat, OFF position.

Curtain Wall System + Louvre System

Prototype of Initial Manual Track System

Redesigning the Curtain Wall:

OUT Position:

While running simulations we also had to develop prototypes to test the mechanics of our system. We went from a manual track system of nuts, bolts, and gears to using a stepper motor to minimize the depth of the track system. As a studio we built a test house out of modular aluminum beams and posts to run live tests on the five curtain wall systems developed by the studio. Each system was developed differently and therefore improved on different properties of a curtain wall system. Some systems experimented with shading, high visibility, air infiltration, radiation, convection, and conduction. From the live tests we concluded that our louvre system increased or decreased the interior glass temperature depending on the position of the louvre.

June: Direct Solar Gains (Million BTUâ&#x20AC;&#x2122;s)

Exterior

January: Direct Solar Gains (Million BTUâ&#x20AC;&#x2122;s)

Interior

OFF Position:

TOM (OFF) Manko 250i

Manko 250i TOM (OUT) Exterior

8.7

6.7

8.8

10.1

Interior

Manko 250i

TOM System

Master Plan Illustration

Gensler Houston Internship: At Gensler, I belonged to the studio responsible for the design of large office buildings and master planning of corporate and commercial projects. I learned that architecture not only deals with design but ranges from networking and advertising to business management. As an intern I was able to work on an array of projects, providing various solutions. The master plan illustration to the left, to me, represents collaboration, communication, and organization because it showed me the value of teamwork. While working on the illustration of the master plan we had to simultaneously put a presentation together with renderings, parking layouts, site analysis, and building plans. I learned to coordinate with a team to efficiently finish projects on time. There isnâ&#x20AC;&#x2122;t one computer program that can satisfy the needs of a designer. The firm offers Revit training because that is the main engine used to finalize drawings but we also had to be skilled in AutoCad, SketchUp, 3ds Max, V-Ray, Rhino, Photoshop, Illustrator, and InDesign to put a presentation together. Sketching is still a huge part of Gensler because thatâ&#x20AC;&#x2122;s where all the ideas begin. Many times the designers and I got together to brainstorm ideas and solutions for problems not easily adjustable on the computer.

Collabo rat

ion

Revit A nal ys is

Sketch Up An a

is ys

Internship

A New Camp Strake: Sam Houston Area Council Boy Scouts of America selected Gensler to design an overall master plan for the new Camp Strake. With a group of interns we re-imagined what 21st Century scouting could look like. My group was tasked with designing the Boy Scout/Venturer Camp. Some of the activities we developed design concepts for were zip lining, rock climbing, and a ropes course.

Ropes Course

Rock Climbing Pavilion

Directing

Shannon Reaching for the Villa Savoye

Book Animation

Five Points of Architecture: The way we represent architecture has come along way, from pen and paper to computer aided drafting. In a seminar called Digital Visual Effects in Architecture, offered by Matthew Knox, I got to explore and visualize architecture in another light. In a group project with Thomas Bach and Shannon Hush we were able to study the Five Points of Architecture developed by Le Corbusier and teach them through a video compiled of live and animated footage. By combining live footage, 3ds Max Design, Adobe Premier, and Adobe After Effects we were able to tell a story about a girl who couldnâ&#x20AC;&#x2122;t focus enough to understand the Five Points of Architecture. It begins with a girl, Shannon, shuffling through pages, too tired to comprehend the material. As she falls asleep and accidentally brushes the page with her hand, the chipboard model of the Villa Savoye becomes to animate along with the pages to explain the Five Points of Architecture. When she wakes from her dream-like state she finally knows what to write about to finish a report that was shortly due.

Digital Visual Effects in Architecture

Requiem: In this video I wanted to show how Le Corbusier used light in his design of the Ronchamp Chapel. I used a piece from Mozartâ&#x20AC;&#x2122;s composition, Requiem, and chanting monks from a traditional Requiem Catholic Mass to represent the celebration of death and the eternal rest of souls. The video begins in the dark, with only the candle lights flickering. The room gradually becomes lighter as the camera moves towards and away from the cross. When the song reaches the high notes the room is suddenly brightly lit through the sporadic tapered windows. The video was animated in 3ds Max Design, the lighting was exaggerated in Adobe After Effects and the sound effects were edited in Adobe Premier.

Interior View of the Ronchamp Chapel

God Rays Created in Adobe After Effects

Section Through Door

Int

er fa

Section Through Windows

Non-Space

Floor Plan

Particular Spaceprint

Space

Spaceprints:

Spaceprint Chair Sketches

Spaceprints is an architectural concept, developed by Dr. Peter Magyar, that diagrams how space and non-space interacts with an infinite continuous surface called the interface. Dr. Magyar applies visual typology to explain spaceprints. Using visual typology he maintains the continuity and neighborhood relations of the surface to remain unchanged without having to use measurements and proportions. According to Dr. Magyar, “the condition of spatial continuity...is surface continuity. Music can be perceived as a ‘knot’ on the infinite line of time, while architecture is a ‘spatial loop (-system)’ on the infinite surface of the Earth, which separates space and non-space.” The diagrams to the left, from Topological Phenomenology of Space; Architecture as Roots of Infinity by Dr. Peter Magyar, illustrate how in the practice of architecture designers form changes in the surface through design articulation and construction. The design process leads, sometimes inadvertently, to the interface of space and nonspace called a “spaceprint.” “‘Particular Spaceprints’ could describe the shapes of an object and as well as of space” writes Dr. Magyar. The sketches of the chairs to right begin to show how movable objects, not structurally rooted to the earth, sit on the interface and shape space around it’s vicinity.

Spaceprints 33

Spaceprints:

J.B. Fischer Von Erlach, Klesheim Gartenhaus, near Salzburg, 1694

For buildings and structures, spaceprints can be used to analyze spatial quality, organization, and programming. R1 R2

Outside 5-2

Windows R3

Doorways

Rooms

R5-2 R4

General Spaceprints illustrate space with round shapes that represent a volume of space within a building and a series of tubes that represent windows, doors, and doorways. The complex system of spatial loops, begins to unveil among the spatial structure of even a simple building. Dr. Magyar explains that â&#x20AC;&#x153;this interpretation of Architecture reveals omnipresent, but newly formulated aspects for the enrichment and ritualization of our spatial perception. With the application of the theoretical tools of reduction and topological transformation, the infinite expansion of space, at least cognitively, can be comprehended.â&#x20AC;?

Simplified General Spaceprint

In a study of Klesheim Gartenhaus by J.B. Fischer Von Erlach the floor plan is converted into a Simplified General Spaceprint to reveal the complex intertwining spaces that connect each other from internal to external surfaces.

General Spaceprint

R5-2 R4

Spaceprints: The drawing to the right represents a Spaceprint Fragment of a portion of the bus stop sketch. Surface strategies such as changes in materials and structures are denoted.

Bus Stop Sketch

Spaceprint Fragment

Polycarbonate Concrete Steel Tiling

CNC Machine

CNC Furniture Design: A Computer Numerical Control machine, by means of computer software, memorizes a sequence of numbers in relationship to the lines drawn in a CAD file so you donâ&#x20AC;&#x2122;t have to physically hold a saw to the wood. By using a CNC machine one eliminates human error and can create detailed joints, accurate carves, and engrave just about anything. Since the CNC machine uses different sizes of bits one has to take into consideration many characteristics of a bit such as the diameter, depth, spinning rate and direction of travel when drawing up the file. For this project I wanted to create a flexible furniture piece that could be used as an end table or as a coffee table. The box cantilevers over four curved legs and is held together by the edge of the table. Each leg and face of the box was cut from one piece of wood to increase speed of assembly. The box sides, top, and bottom come together to enclose a drawer that has the front and back engraved with the etchings from the medal of St. Benedict.

Front

Back

St.

B en

ing edict Medal Engrav Furniture Projects 39

Artwork and Illustrations: Some of the skill sets necessary for drawing and painting are similar to the skills used to execute an architectural presentation.

Artwork and Illustrations 41

Thank You