LM RL
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JUAN MARCOS RODRÍGUEZ LÓPEZ
VISUAL P O RT F O LIO
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CONTENT. selecte d w ork s :
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2005 - 2014
cra f t ed v i s u a l s SLAB ..................................... BELOW ................................ CHAIR .................................... CONEY ................................... GALERÍA ................................. SCENIC ..................................
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05 13 19 23 31 37
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SLAB The Slab house was designed, first and foremost, as a sanctuary retreat. Its main purpose is to offer respite from the chaos of the outside world. Stoic monolithic walls hide the true nature within; a secret that is revealed only to those select few who hold the trust of the owner. Inside, the heavy exterior façade gives way to a simple unassuming design; an elegant play of light and shadow, weightlessness and solidity. The architecture for the house stems from the identity of the owner as a bookmark collector, with these items being re-interpreted as a series of loadbearing walls. The collective is arranged to create an organizational system for the house, as well as a device that structures the surrounding landscape. Just like a bookmark slices through the pages, so do the walls invade the landscape and make incisions on the terrain.
HOUS E FOR A C OLLE C T OR
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s ketch . in te rior spatial striation
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“...like a bookmark slices through the pages, so do the walls invade the landscape...” p. 5
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a
b
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d | se c t ion se rie s. t rans fo rmat i o ns |
The simple architecture lends itself to a wide array of configurations. A series of sections illustrate this transformative quality as walls are widened, removed or perforated and bays are added and subtracted. The project, conceived for a paraplegic client, serves as a house, an office, a gallery and a retreat. The home is divided into three levels of varying privacy, all connected through gentle ramps. The design works to move the owner seamlessly from each area via openings in the walls, as the space expands and contracts.
“The simple architecture lends itself to a wide array of configurations.�
| s e c t ion. hal l way + g ues t b ed ro o m | 0
6
18 ft
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BELOW
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The Kornati Islands are a well-known attraction over Europe, yet tourist activity has triggered an alarming issue: the appearance of unrestricted restaurants is disturbing the marine biosphere as they attract large numbers of luxury vessels.
KORNATI ISLANDS BISTRO
This scheme proposes a modestly scaled restaurant integrated into a standard 10 X 20 meter barge. The stand-alone bistro will be towed from Sibenik and moored outside the National Park limits allowing visitors to dine and enjoy the unique marine biome without disrupting the natural ecosystem. In the pursuit of design subtlety, the program was housed within the steel skeleton of the barge, thus liberating the upper deck to create two distinct zones of activity: a casual lounge environment up top and a formal dining experience below.
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to p d e c k p l a n t s . b ul b o us b ut t ercup + wat ercres s
s ite plan . korn ati arc h ipe lago
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“...create two distinct zones of activity...� p. 13
| f i n a l m o d e l. o p en-s ky fo rmal d i ni ng + cas u al lou n gin g ve ge table garde n |
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Two strategic openings on the bottom deck provide the visitor a double experience. One allows views into the underwater world, while the introduction of a sealed air chamber works to lower and hold the trapped water’s surface at floor level. Thus, the visitor has a simultaneous dual perspective of the rich water ecosphere, yet his experience remains open to the sky. This desire for openness culminates in a smooth vegetative landscape that includes two popular cooking herbs. As a result, the barge works to merge both land and sea.
“...a simultaneous dual perspective...�
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d ia gra ms. hul l cas i ng t rans fo rmat i on proc e ss + fin al axon ome tric vie w
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fall 2012 Cornell University
CHAIR Stemming from the idea that the park is a place of discovery and possibility, this chair is designed to provide occasions for serendipitous encounters and dialogue between the downtown residential population, the swarms of commuters, and the multitude of visitors that gather at this bustling meeting place. Inspired by the historical significance of the Battery as a port of entry for visitors and immigrants to New York City, the chair attempts to symbolically perform the experience and surprise of a meeting between different cultures.
TOP 50 DESIGN The Battery Conservancy Americas Design Competition co-designer: Saira Akhtar
DRAW UP A C HAI R ARCH 6609 Liquid Societies Iñaqui Carnicero
| pers pectiv al lin e drawin g. two-fold se atin g de sign |
“...designed to provide occasions for serendipitous encounters...”
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CONEY The Coney Island Urban Swim Center project is geared towards revitalizing the famous Coney Island Boardwalk after hurricane Sandy. The proposal follows New York’s history regarding public recreation for the masses.
URBAN S W I M C E N T E R
The proposal’s driving concept deals with the boardwalk as a barrier between the natural and the man-made, as well as a public via and a conduit for large volumes of people. As an object, the boardwalk is treated as a planar surface; the building being a natural extension of this plane. The design uses the properties of this barrier to direct visitors towards the entrance. At the same time it retains a sand bed -from the beach beyond- to use as a means of producing a natural landscape, but also an absorbent of storm water and rain runoff.
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s ketch . su spe n de d boardwalk
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“...the boardwalk is treated as a planar surface; the building being a natural extension of this plane...” p. 23
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sand reserves / location
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d i a g r a m . s and p i t s + d ep o s i t s
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The use of mostly porous materials grounds the building within its natural context. It also provides an enhanced sense of tactility, something that is commonly present around recreational sites like the beach. By stepping the walls and floors back, the design encourages the participation of sand as an active component in the creation of natural sand dunes within the site grounds. In this manner, the proposal attempts to create a moving landscape around the building, a tribute to the ever-changing nature of Coney Island.
“...create a moving landscape around the building...�
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s e c t i o n. s and p i t + mai n p o o l
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PLAN CONFIGURATION approaching the boardwalk
07
05
08 06
2nd Level Plan / 1/16” = 1’-0”
05 boardwalk project extension
olympic-size indoor pool 07
06 pool rest area + lounge café
outdoor adult + children’s pool 08
| pla n. fi rs t l evel |
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spring 2007 University of Puerto Rico
GALERÍA Located in the historical capital center of Puerto Rico, this student art gallery is conceived as a place of creation and exhibition. The project serves three basic requirements, the most important being the gallery. The secondary functions include two workshops, as well as comfortable living quarters. The building accommodates two art students each semester, living and working in the old Spanish citadel. Nestled amidst a densely packed urban context, the light structural design serves to counterpoise the present heavy Spanish masonry.
S AN J UAN ART GALLE RY ARQU 3134 Elemental Arch. Design II Eugenio Ramírez Ernesto Rodríguez
“...design serves to counterpoise the present heavy Spanish masonry...” | elev ation . h istoric al stre e t vie w + fron t faç ade de sign |
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c o n c e p t mod e l. d es i g n: s unken g al l er y + split body + c irc u lation c ore
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02 01 04
02 01 03 03
01 workshop |
studio
se c t ion. g al l er y + art s t ud i o s
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03 gallery
courtyard
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The project establishes a direct contrast to the context, not just in design, but also in material selection. In its most basic form, the building is two steel and glass “boxes� placed between the surrounding walls and lifted from the ground. This in turn helps to maximize natural light exposure in such a contained space. The adjacent stone walls provide the necessary privacy, allowing the glass and perforated metal sheets to change the porosity level at any given point, promoting a sense of openness without feeling observed from the outside. | n olli p la n. d ens e urb an co nt ext |
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spring 2009 University of Seville
SCENIC The Reina Mercedes Playhouse is located alongside the Menéndez Pelayo Avenue in Seville, Spain. Placed in the center of the historical city, this medium-sized theater sits right across from the Real Alcázar gardens. This prime location, coupled with the intricacies of an extensive and complex program, called for a skillful balance between opacity and transparency. This aspect of the project was the driving force behind every decision, from maximizing views towards the gardens to concealing all of the auxiliary spaces at work behind the stage. Furthermore, the playhouse also takes an important role within the immediate urban context. A secondary elevated stage looks out onto the plaza allowing for the inclusion of outdoor theatrical productions, thus providing a nexus of activity for the neighboring community.
A T HE AT RI C AL S PAC E 4ºE Projects 4
María O. Fajardo González Felipe Palomino González José M. Pérez Muñoz
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con cept s ketch . ou tdoor stage + pu blic plaza
“...an extensive and complex program, called for a skillful balance between opacity and transparency.” p. 37
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“...the block as a public space was the deciding factor for the overall proposal form.�
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c o n c e p t sk e t c he s. earl y fo rm exp l o rat i o ns + proposal
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plan e volu tion
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01
plaza
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box office
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cafĂŠ
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loading
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coat check
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lobby
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lounge
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stage
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| AFTERWOR D. c los in g | Revisiting old projects is almost the same as reading an old book. You start with a fresh perspective, and slowly you begin to piece together all of the fragments that lead to the end. Much in the same way that you begin to remember the lost details of a story, so too do you begin to retrace your thought process and rediscover the reasons behind every design decision. This portfolio was my attempt to shine light at these decisions and so be able to convey the motives behind them.
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LM RL
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