At two years old, I was in occupational therapy for my thumb, and stacking blocks sparked my interest in building. I often found myself sneaking into my grandfather’s study, captivated by his civil engineering plans and eager to draw on the tracing paper I had taken from his drawers. This curiosity grew as I pursued an undergraduate degree in architecture abroad, where I began to truly understand the field. Through various professional design experiences across the U.S. and beyond, my passion deepened. My desire to continue understanding communities, investigating materials, and challenging design remains unceasing. I invite you to explore my personal space. In each spread, you will gain further insight into my design approach and sensibility towards creation.
DISCLAIMER: All work has been produced personally unless otherwise noted. No AI was used in the creation of images or text in this portfolio.
3-D WOOD PRINTING
p. 01
THE 175
p. 09
01 03 05 02 04 06
TEACHING MUSEUM
p. 16
RIVERFRONT HOUSING
p.06
PUBLIC POOL
p.13
LAMAY HOUSE
p.19
3D WOOD PRINTING
How vital is the investigation of new materials for a sustainable future in architecture?
Our capstone semester began with a research component focused on continuing and strengthening the investigation initiated by our professor Christoph Klemmt. We concentrated on testing alternative fibers and binders to create a biodegradable aggregate suitable for 3-D printing. We conducted tensile and compression tests to compare different combinations, considering cost, drying time, and material shrinkage to assess the effectiveness of the proposed combinations.
Collaborating with Yuka Imada, we experimented with rice as an alternative binder, keeping wood as the primary fiber. We were inspired by the ancient Japanese technique of sokui, which uses rice as glue in carpentry. Though the process was time-intensive, rice bonded wood similarly to the original binder, with improved effectiveness when mixed with the other binders from the original formula.
Displacement (in)
Displacement: 0.0250
STAMM
Collaborating with Elizabeth Sturgeon, Kailey Atkins, Meghan Glass, and Yuka Imada in the design and fabrication of Stamm, we showcased the research from our capstone in a biodegradable object embodying the fundamental architectural concept of a column.
Using a Grasshopper script, we transformed the geometry to create an organic appearance, resembling a tree trunk. It poetically represents something that once grew from the earth before being cut down for human use. Stamm was showcased at the CAC in Cincinnati.
DESIGN LOGIC
SIMPLE GEOMETRY
begin with a known architectural object
GROWTH SCRIPT
CONTINUOUS PATH
STACKABLE
benefit from material’s compression strength transform to a complex shape
ease printing process and fortify strcuture
Josep Campoy Valdez
FLIPP3D
Flipp3d is my personal approach to 3D wood printing, with a futuristic vision for urban construction. The goal is to massproduce identical pieces to be used modularly in construction, reclaiming cities and urban living.
Cities across America suffer from the effects of car-centric urban development, from absurdly large parking spaces to the separation of activities into designated sectors. Flipp3d aims to populate empty pockets in urban areas—vacant lots and
surface parking lots—with mixed-use buildings that stimulate an engaged, diverse community.
Vacant lots are segmented into modules, and the design is controlled by parameters that reflect urban guidelines. These modules are then populated with 3D wood-printed panels that can be flipped, rotated, and mirrored to create various spaces. These buildings are biodegradable and have a biophilic qualities.
DESIGN LOGIC
SETBACK & SEGMENT
divide maximum possible volume into modules
proposed test parking lots existing buildings
ESTABLISH PATH ALLOCATE PROGRAM OVERHANG
set constraints that limit building form and volume
propose mixed uses for sustainable living address humidity issues
With the advancement of AI tools and parametric design, Flipp3d plans to adapt to an ever-changing design environment. By utilizing these tools, we can quickly assess various possibilities for arranging modules within a site. As exemplified above, we used constraints as paths to showcase representative elements for Cincinnati, such as the Ohio CUSTOMIZABLE
River, the Cincinnati outline, and a pig as a tribute to the city’s nickname, “Porkopolis.” Just as we can set these elements as parameters to drive the design, we could similarly use real constraints like height limits, pervious versus impervious surfaces, setbacks, open space, public space, and more.
Josep Campoy Valdez -Architecture
+ Better for compression loads
+ Structurally sound
+ More use of Material
A MOTHER PANEL
+ Less use of material
+ Levels of transparency
+ Opportunity for intricate patterns
Exploring different printing paths and methods, I developed several options for a “mother panel.” This panel would be flipped to perform various functions within a building, such as walls, floors, roofs, and separation panels. The selected panel was self-standing, thanks to an angled extension. The printing process and compressive strength were optimized by adding ridges and inflection points. I conducted tests on both wood and cellulose prints.
+Opportunity for intricate patterns on complex forms
Josep Campoy Valdez
The multiple approaches to 3D printing allowed the same panels to have varying characteristics. Some were more transparent to allow light to pass through, while others were denser for privacy or structural purposes. Flipping, rotating, and mirroring the panels created a textured experience across all spaces within the program. From simple bedrooms to more complex auditoriums, all spaces were composed of a combination of 3D-printed panels.
FLIPPING FLIPPING
CONFERENCE
BEDROOM
INFO MODULE
CAFE - RESTAURANT
LOBBY
Josep Campoy Valdez -Architecture
RIVERFRONT HILLS
Can we integrate communities with architecture by proposing a mixed use program?
The challenge was to design a multi-family development consisting of 100 residential units. The three nonnegotiables in the design were: views of the river, amenities for residents, and an active commercial development to engage the surrounding neighborhood. The tower’s architecture is designed to echo two important qualities of the surrounding context: the hilly nature of Cincinnati and the Ohio River. With an undulating façade and stepping social terraces, Riverfront Hills is planned to become a significant landmark along the Ohio River. Public and private areas are separated by different levels. The river level holds the promenade and the commercial portion of the tower, with restaurants and a bowling alley. From the street level, and at a higher elevation we can find ammenities like pools, the gym, the main lobby and a park for residents.
All graphics showcased were redone by me. The physical model and building design were created in collaboration with Ashley Miller.
DESIGN LOGIC
MODULAR ARRAY
array modules and copy for three different towers push towers and curve slightly for more views extrude towers offsetting maximum heights add green terraces and puncture for circulation
Public Intervention
Commercial
PUBLIC
WINTER HEAT RETENTION
PLATE OFFSET TO REPLICATE RIVER MOTION
SUMMER VENTILATION
STUDIO
PRIVATE THREE TWO BEDROOM BEDROOM ONE BD. SINGLE LOADED PUBLIC
COMMERCIAL
PROGRAM
GREENERY GREENERY
0’ 20’ 50’
SUSTAINABLY DESIGNED
The residential units were designed to be spaces where people could build a life and stay long-term. They feature comfortable dimensions, stunning views, proper illumination, and comfortable temperatures. The towers take advantage of their orientation and materiality to retain heat during the winter. Similarly, the singleloaded design of each tower allows residents to naturally cool down their spaces in the summer. Larger units are located closer to the ground floor to provide families with easier access to amenities like playgrounds and open spaces. Integrated into the public level, the commercial portion of the towers engages the existing community and offers opportunities for recreation.
Josep Campoy Valdez
1/4’’ = 1’ 0’’ SECTION MODEL
A USEFUL FACADE
The river-facing façades serve multiple purposes for Riverfront Hills. The louvers replicate the feeling of motion to accentuate the undulating façade. In addition, the spacing of the louvers filters direct northern light and carefully shades excess light. Punctures were strategically created on the screens to allow unobstructed views of the river and the Cincinnati skyline. Most importantly, the louvers redirect rainwater, which is filtered and later used by the building’s tenants.
1. 2.
1.Growing medium
2. Gravel
3. Filtering rocks
4. Water pump
Josep Campoy Valdez
ADAPTIVE RE-USE 03
When repurposing a space, how can we ensure that we maintain its identity while meeting the needs of a community?
Reinburgstrasse 1, designed in the International Style by Wilhelm Graf in 1954, originally served as a car repair/ dealership. With a new owner, the question arose: what to do with the building?
During my time living in Stuttgart, I identified a scarcity of queer spaces. For this reason, the proposed 175 project aims to be inhabited, activated, and transformed by queer-identifying individuals. To attract this community, the design includes a gender-neutral public restroom, a clothing store, and a bar. Public restrooms often present safety concerns for queer-identifying individuals due to bias and segmented designs. Clothing remains a fundamental part of queer identity and expression. Finally, clubs and nightlife have long served as safe havens for the queer community.
The furniture and interior architecture were influenced by automobile fabrication, responding to the building’s iconic curved form.
DESIGN LOGIC
LIGHT TO DARK
Allocate program from more to less exterior glazing
EXISTING CAR REPAIR/DEALERSHIP
Building on top N.I.S
Tire Storage
Car repair
Transit space
Admin / dealership
Core and bathrooms
Display
Mechanical room
Employee lounge
Storage
elements
Align interior design with existing principles Combine middleground, background, and foreground
Shape interior to evoke building’s organic nature
THE 175
FROM FINDING JOY IN THE SHADOWS
TO EMBRACING ALL SPACES WITH UNWAVERING PRIDE
1. Main display window.
2. Open floor clothing store with adaptable nn furniture.
3. Checkout module.
4. Gender neutral restroom entrance.
5. Bathroom stalls with privacy smartglass.
6. Open floor gender neutral bathroom.
7. Mechanical room.
8. Flexible open space, outdoor store in bbsummertime.
9. Open bar seating.
10. Stage mostly used for drag shows and xxxx.standup.
11. Booths.
12. Bar
PAULINENSTRASSE
bar/club retail store roads no public restrooms in portion showed
gypsum board
recessed light
metal pro le
hidden light
transparent car-like panel
car-like metal panel
Faucet
metal sink bowl
transparent
car-like panel
hidden light
car-like metal panel
recessed light
sink base
concrete pour
showcase modules
showcase modules seating modules runway modules
CLOTHING STORE ARRANGEMENT
FASHION SHOW ARRANGEMENT
Expression in the queer community is highly valued and has consistently been a significant element in the ongoing fight for equality. For this reason, creating a dynamic space that encourages creativity was essential. The furniture was designed for multiple purposes: showcasing, walking, and seating. The floor plans include both a traditional clothing display approach and an alternative design featuring a runway and an exterior summer store.
The greatest concern when designing a public restroom is the safety of users. When designing for an underrepresented and historically marginalized group, this concern becomes even more significant. The primary design decision was to eliminate corners and present an open, easily understood arrangement from any angle. Additionally, light was used to inspire confidence and harmony. Finally, privacy smart glass for the stalls added an extra layer of security.
THE CAR
Like Wilhelm Graf’s original design, the automobile industry influenced the development of the 175. This influence is evident in the form, fabrication, materiality, and assembly. Furniture and architectural elements throughout the project feature organic geometry and streamlined properties, reminiscent of automobile design. Most finishes are metallic, high-gloss, and shiny, resembling car panels and evoking a futuristic feel. The project elements are designed for assembly in a manner similar to car manufacturing, with pre-fabricated panels that attach to an existing framework, as shown in the column-skylight detail above. Though the use is different, the 175 project maintains a love for cars through its design.
AN ODE TO
CAR PANELING SYSTEM
FRAMEWORK FOR SUPPORT FABRICATED PANELS
Josep Campoy Valdez -Architecture
Opaque Transparent
PUBLIC POOL 04
When designing a public building, how can we maximize urban space to benefit the community?
Over-the-Rhine, one of the most iconic neighborhoods in Cincinnati, has seen recent gentrification. It is essential to create spaces for the resilient groups who refuse to abandon their community. With a low number of public spaces and scarce green areas, this project offers an opportunity for the community. Additionally, there is a significant racial history surrounding American swimming pools, and with Over-the-Rhine being predominantly Black, this project strives to help bridge that gap.
The building is elevated to allow pathways that extend existing alleyways and sidewalks surrounding the site. On the ground level, in addition to pathways and an exterior pool, several pockets for seating and shading act as a park. A small greenhouse also offers opportunities for community engagement.
The building program is informed by a structural grid, with cantilevered volumes connected by an imposing bridge, creating a landmark on Elm Street and West Liberty.
DESIGN LOGIC
GREEN SETBACK
Designate green areas for public use
green areas public spaces
PROGRAM SEPARATION LIFT & CONNECT URBAN EDGE extension alleys/roads
Exterior and interior pools + independent volumes
Augment urban experience and bridge program
Cantilever elevated volumes
FINDLAY MARKET
FINDLAY PLAYGROUND
WASHINGTON PARK
West Liberty street Elm Street
I.
II.
A.
I.
A.
3/32’’ = 1’ 0’’ SECTION MODEL
Josep Campoy Valdez -Architecture
SUNLIGHT AND SHADNG
Sunlight drove many of the decisions regarding program placement and material finishes. The bridge above has a transparent quality to filter light, allowing for enjoyable experiences during the summer. The public seating and gathering areas on the ground floor were strategically placed adjacent to the elevated structure to provide shade for comfort in the summer. Additionally, plants and trees were incorporated to enhance overall comfort for the community.
ambient north Light
direct south light
VSA
Josep Campoy Valdez
TEACHING MUSEUM
With a diverse group of users and program, how can design bridge interests ?
The teaching museum explores the architectural connection between cultural production, education, exhibition display, and performance. The value of the campus lies in the symbiotic relationship between users who exchange knowledge and experiences in the various spaces spread across the site. The main division is between the artist residences (private) and the rest of the campus (public). However, these boundaries are blurred through the strategic use of outdoor spaces and tectonic elements that bridge and create interstitial moments throughout the project.
Located in a remote forest east of Cincinnati, the architecture interacts with the landscape and responds to the topographical constraints and adjacency to the Ohio River. The high plateau was used as the main interstitial space that connects nearly every part of the program to each other and to the landscape. The addition of interior gardens was necessary not only to bring light to the deepest parts of the program but also to inspire calm and creativity for fabrication, appreciation, and learning.
DESIGN LOGIC
Remove dirt strategically to place program pieces.
STACK & SPLIT
Stack program pieces with setbacks and divide program.
INTEGRATING INDOOR AND OUTDOOR
RADIATING
CONNECTING BUFFER
SEPARATE & LIFT PUNCTURE
Create social terrace in between program and address river proximity.
Create voids for interior gardens and light.
CARVE
GROUND FLOOR
SECOND FLOOR
1. Public parking
Lobby
Artist studio
Artist residence
Interior garden
Amphitheatre
Ticketing
Admin room
Bathroom 10. Janitor closet
storage
Great Hall
Gallery
Fabrication space
Classroom
Woodshop 17. Pottery
Ext. fabrication
Cafe
Library
Conferencing
Josep Campoy Valdez -Architecture Portfolio
Josep Campoy Valdez -Architecture
Framing elements were used to maximize outward views and connections to the outdoors. Slender elements delicately link all program components and inform circulation. Users in spaces with a planar strategy feel connected to the outdoors without leaving the semi-enclosed spaces. The abundance of natural lighting promotes activities like fabrication and learning. In fully enclosed spaces, the volume strategy maximized inward focus, creating a zen-like atmosphere with gardens and overhead light.
TECTONIC APPROACH
VOLUME
PLANE
FRAME
Josep Campoy Valdez -Architecture
LAMAY HOUSE 06
How can tradition adapt to reflect a client’s needs and desires?
During the winter break before my capstone semester, I was fortunate to be commissioned to design a house for clients related to my parents. I was given a program and a desire to blend modern style with the traditional homes found in the valley. The clients were deeply connected to nature and adhered to ancient beliefs that have been passed down since the time of the Incas. As such, views of the mountains, particularly those across the river, were of utmost importance.
The house features several nods to Incan architecture. The ground floor has an open layout, connecting all social areas, differentiated only by subtle changes in height. Elements such as floating steps echo traditional styles used on terraces throughout the Sacred Valley. The material finishes also reflect the mud homes found in the Sacred Valley. A double-height space that frames the view of the Huchuyqosqo ruins connects all the spaces in the house.
Design and concept were developed entirely by me. The design package was transferred to a local firm for construction documentation, which I supervised.
DESIGN LOGIC
INTERSECTION
Modern blocks intersect a traditional valley house
Lamay town
Urubamba River
Sacred Valley of the Incas
28B Road
Urban roads
Views to HuchuyQosqo
ruins and Sacred Mountains
Views to Sacred Mountains
Site
Cornfields
CONNECTING SPINE HIERARCHICAL VIEWS SPACE SEPARATION
A two-story volume is the heart of the project
The size of openings correlates to importance they face
Large open spaces are divided by slight level changes
CUSCO
URUBAMBARIVER
16.
1. Dining Room
Kitchen
Pantry
Laundry
Entrance Hall 6. Powder Room 7. Front Porch 8. Living Room
