Leonora G. Zepeda Suรกrez Architecture Portfolio
Arquitectura es una trayectoria llena de recuerdos que son encontradas cada vez que habitamos un espacio porque nos recuerda algo que ya hemos vivido. Arquitectura es una forma de arte [única] que no solo nos permite interpretar nuestro mundo, sino también adquirimos conocimiento de quienes somos en realidad. Yo veo la arquitectura como un medio de conocerme; por lo tanto es una expresión única y personal que también me define con el tiempo. Mi aspiración arquitectónica se ha enfocado en responder a las cualidades urbanas de la locación aproximando el conjunto del concepto en una manera cultural; convirtiendo el diseño en el punto de encuentro entre el ser humano y la cultura. Los productos representan una sensibilidad a los fundamentos de diseño, no solo especulando la idea principal sino también representándola en la forma final. El enfoque entonces es crear ambientes que aumentan la experiencia transcendente del espíritu del lugar alcanzando las expectativas del público con recuerdos inesperados; asociándolas con la idea teórica que el mundo tangible que nosotros los humanos hemos creado envuelve la idea de desenvolver las realizaciones desconocidas que algún día hemos habitado.
Architecture is a journey full of memories which are felt every time we inhabit a space because it reminds us of something that we have previously experienced. Architecture is a [unique] form of art that not only allows us to understand our world, but also to gain knowledge of who we truly are. I see architecture as a means of knowing myself; it is therefore a unique, personal expression that also defines me over time. My architectural aspiration has focused on responding to the urban qualities of the site by approaching the over arching concept in a cultural manner; making the design the point of intersection between humans and their culture. The products portray a sensibility of the fundamentals of design, not only by theorizing the main idea but also representing it in the final form. The approach therefore is to create environments that will enhance the transcendent experience of the spirit of the site by fulfilling the public’s expectations with unexpected memories; associating the theoretical idea that the tangible world that we as humans have created envelopes the concept of unfolding the unknown realizations that we have once inhabited.
PROPOSITO
Statement of Intent
THESIS ABSTRACT
“ Architecture is a temporal art” When I first read this passage the word that struck me the most was temporal, in correlation with architecture. I always saw architecture as something permanent, something that told a story for many years; something that people would look at year after year... and become a character of that story.. as architecture became the setting. Growing up in Morelia and looking at all the buildings made out of stone, added to my thought of architecture being durable, something I got attached to .. but this passage resembles that architecture just like music is a
[ voyage of discovery]
a path that allows the people to explore, to detach from that which they have been seeing on a daily basis and adopt a sense of freedom, of dynamic movements, this way one has the liberty to explore their own limits, their own obstacles and form new stories, that capture new experiences in accordance to an individual’s time and passion. Also when I think of the word temporal in correlation with art I think of something that will be “viewed” or experienced only once. But perhaps it would be a striking experience that will stay within us forever, in our memory. And seeing it that way, that memory which is no longer tangible, is the one that becomes more valuable.
“ Architecture is a spatial art, as people always say. But architecture is also a temporal art. My experience of it is not limited to a single second.... provoking a sense of freedom the main goal is to get people to let go, bringing separate parts of the building together so we for our own attachments” - Peter Zumthor
”
”
|Neglected spaces| in architecture are caused by factors such as urban sprawl, density, and the peoples’ fear to expose a true identity. By creating events along the boulevard this thesis revitalizes the place,
[people, place, memory, culture, nature and material]
but by imitating what is there [empty space] this thesis presents the reality and the authenticity of the space. Instead of creating another mask, another building; this thesis unmasks by rediscovering what has been there from the beginning.
Supermarket City Administration
Administrative Offices Public Facilities
Private Buildings
Communal Trees Site
Figure Ground
Road Network
Site
Fast Food and School Bowling and Pharmacies Administrative Skating Offices
Bars Restaurants
TV Offices
1
MORELIA MEX. CITY DIALOGUES: DISCOVERY OF GENIUS LOCI THROUGH THE SENSES
How can Civic Architecture enhance a sense of freedom, and get people to detach from permanent ideologies that prevent them from exploring and reveal a place’s [authenticity] through a journey of discovery.
Morelia Michoacan Mexico Landmark : the Aqueduct
Street Views that connect directly with the Aqueduct from the Boulevard
Street Views that connect directly with the Aqueduct from the Boulevard
Street Views that connect directly with the Aqueduct from the Boulevard
Street Views that connect directly with the Aqueduct from the Boulevard
PROGRAM STUDY
Cultural
Communal Landscape
Communal Landscape
Communal Landscape
Cultural
Cultural
Spiritual
SITE POEM
Long and discreet Your atmosphere changes as the day moves As the four seasons come and visit you But you hardly ever change when I come to you You stay the same, static and quiet Despite all the noise that surrounds you
That makes you invisible
Non existent You let me wonder within your path Participate in the animism that you project You let shadow touch me delicately,
letting light manifest your silence
THESIS NARRATIVE
In wondering why people rushed by quickly along the path I was walking, I told myself they must be rushed to escape this empty street full of cars, chaos, and rapid movements. I wondered why they couldn’t stop by and breathe. Everything around me was a blur. Ignoring the noise around me, I started noticing the shadows created by trees that were in front of me, so mysterious I realized that the shadows engraved something more than just a pattern in the ground, they marked places for us to sit. The shadows also created a maze towards something unknown. Looking closer into the ground, I noticed a path in the middle of this maze created by squares of cantera , spaced evenly into the ground. The trees around my left and right sides made me feel as if I was in a different place. I realized that I began a journey in search of something, which was yet unclear. All aspects around me seemed like clues towards a desire which I carried within myself. Shortly I came across an event in which children were playing in a fountain. I noticed a tower which stood nearby, in which the spectator could observe the aqueduct which seemed to share a relationship with this tower, almost as if they were related. Passing through this first threshold the cantera path disappeared, only to appear again on the ground. Following it made it easy to ignore the chaos I noticed at first. In the distance I noticed another event which was similar from the first one I walked through. Both full of life and activity, this one seemed to engage the public differently, as the people gathered similar to as if they were in a restaurant. Sitting within this space, the people seemed to enjoy gazpachos The space seemed enclosed even though it didn’t contain doors, and it was composed of just two walls embracing the space where the tables were placed.
I questioned where this path was taking me, as I kept following it, I wondered if the people around me knew, or if they were just simply there to enjoy their fruit cocktail. Continuing my ‘journey’ I realized that people were starting to activate these terraces which engraved the maze surrounding the path I was following, and along its sides I notices murals correlating with upcoming festivities of our culture. The third element was as ambiguous as the first two from a distance, making me feel as if they were manifesting to something greater. This one in particular framed the next element through a monolithic frame, as well as the view of the aqueduct. This moment made me realize how little attention I pay to the things around me, living in this city for so long, today I realized that I could see the aqueduct directly from Batalla de Cerro Gordo this aroused me to take a detour of my journey and investigate this direct path towards the aqueduct. But the curiosity of culminating my walk along the Boulevard was stronger. Each step was different, my first impression of the fourth element was curiosity, I questioned it as I was questioning the others, this one in particular had something ‘sacred’ as there was a translucent frame which was framing a glass tower, I entered the space, feeling cold and a little bit scared, only glimpses of light guided my thoughts. People in there were embracing solitude, I can’t begin to describe it as my experience of it is enough, I call it a space that brought many lost and forgotten memories to the present, and then I realized that this has become my favorite place, perhaps a home where I get lost in my own present. Realizing that what it is in my memory, I remember it and live it one more time, realizing that those are the memories which create my history, my identity.
FLOOR PLANS OF EMPTY SPACE
Axis: Gate. Tower . Void Main axis visually connecting the aqueduct emphasizing the layers of rediscover. Understanding the removal of the mask through layers
Tower. Manifested through pure glass, in which the visible and invisible come into dialogue, as it becomes a light generator.
The transparency of materials Reveal the nudity considered to be a seductive factor that attracts the people to explore further into the mystery created through the revelation of glimpses that are ignored.
Through the journey in the boulevard, the place remains absent as we pay attention to out surroundings and the activities, it is then when we carry a mask. The removal of the mas is done through layers of rediscover, as we reconnect with the past, we understand our identity, it is then when we understand this empty space, as we know and explore the place.
Patio Connection with the absence of the city through the symbol of finding identity within communal activity. A water feature above captures the play of color through the reflection of light, creating a joyful atmosphere.
‘Library’ Identity. Unmasking through materiality and use. Mexican mural ism: Artistic movement in Mexico after the Mexican Revolution, by means of murals the artist educated the illiterate masses, letting them know about their culture in order to appreciate their roots. This space responds to one of the factors which causes a space to be neglected, the fear to see one’s true identity. Instead of replicating the murals existent in Mexico which showcase the history of Mexico, the murals in this space would expose one’s story, the present. Solid Materials Provoke a sense of privacy, of ‘inaccessible’ spaces that become forbidden to the body, which creates the desire to unfold its secrets. Cantera is a material that preserves memory through the changes it undergoes.
2
SCAD UNDERGRADUATE
4 CONTENTS
CHAPTER 1. STUDIO 2 CHAPTER 2. STUDIO 3 CHAPTER 3. STUDIO 4 CHAPTER 4: STUDIO 5
6
PAGINA 2 PAGE 2
BYWATER COMMUNITY CENTER STUDIO II
Professor Montgomery Site: New Orleans
A center that unites people from different communities. A place for activities for all ages. A [place] that unites the cultural and social aspects of New Orleans.
Entrance
PAGINA 6 PAGE 6
Context Plan The Site was located in the [Bywater] District in New Orleans.
PAGINA 8 PAGE 8
West Elevation
Floor Plans
South Elevation
PAGINA 10 PAGE 10
“ No boundary lines to art� Jazz is the principal concept of New Orleans [music] therefore the center puts emphasis on Afro-Cuban Jazz rhythms.
PAGINA 10 PAGE 10
AQUATIC RESEARCH CENTER STUDIO III
Professor Thagne Site: Tybee Island GA
Site Plan The site was located in [Lazaretto Creek] Tybee Island Georgia. A very unusual and historic island. PAGINA 14 PAGE 14
“My body is truly the navel of my world, not in the [sense] of the viewing point of the central perspective, but as the very locus of reference, memory, imagination and integration.� - Pallasma
1
2
Legend: 1. 3rd Floor 2. 2nd Floor 3. 1st floor
3
Floor Plans
East Elevation
PAGINA 18 PAGE 18
South Elevation
PAGINA 20 PAGE 20
Architecture is a journey full of memories which are felt every time we inhabit a space because it reminds us of something that we have previously experienced. Architecture is a [unique] form of art that not only allows us to understand our world, but also to gain knowledge of who we truly are. I see architecture as a means of knowing myself; it is therefore a unique, personal expression that also defines me over time. My architectural aspiration has focused on responding to the urban qualities of the site by approaching the over arching concept in a cultural manner; making the design the point of intersection between humans and their culture. The products portray a sensibility of the fundamentals of design, not only by theorizing the main idea but also representing it in the final form. The approach therefore is to create environments that will enhance the transcendent experience of the spirit of the site by fulfilling the public’s expectations with unexpected memories; associating the theoretical idea that the tangible world that we as humans have created envelopes the concept of unfolding the unknown realizations that we have once inhabited.
PAGINA 22 PAGE 22
CULINARY ART INSTITUTE STUDIO IV
Professor Olin Site: Asheville North Carolina
The project emphasizes the idea of [communal] interaction; by providing a hide and seek experience with see through, opaque, and clear architectural qualities that help reveal specific elements.
PAGINA 26 PAGE 26
Site Plan The site was located in [Asheville North Carolina] A very eclectic and lively city.
PAGINA 28 PAGE 28
Our everyday life-world consists of concrete “phenomena”. But it also comprises more [intangible] phenomena such as feelings. This is what is “given”, this is the “content” of our existence... -Christian Norberg-Schulz
PAGINA 30 PAGE 30
1 Landscape Plan
Legend: 1. 1st Floor 2. 2nd Floor 3. 3rd floor
2 Second Level
3 Third Level
PAGINA 32 PAGE 32
Church St. Elevation
Lexington St. Elevation
PAGINA 34 PAGE 34
Patton St. Elevation
Transparency in materials allows the architecture to blend into the city, by letting everyone who is approaching the building be able to see everything that is going on inside, therefore bringing the architecture outwards to the public.
PAGINA 36 PAGE 36
SAVANNAH CONSERVATORY OF DANCE STUDIO V -VII Professor Wishne Site: Savannah Ga
Focusing on creating a dance conservatory, and investigating the aspects of partner dancing such as salsa dancing, the idea that the dancers interlock became the primary focus in understanding the section of the building.
PAGINA 40 PAGE 40
Historic District
Site Plan The site was located in [Savannah Georgia]
PAGINA 42 PAGE 42
1 Street Level
Floor Plans
2 Underground Level
Legend: 1. 1st Floor 2. Underground Level 3. 2nd Floor 4. 3rd Floor
3 Second Level
4 Third Level
PAGINA 44 PAGE 44
PAGINA 46 PAGE 46
Hotel St. Elevation
Drayton St. Elevation
PAGINA 48 PAGE 48
3
FREELANCE ARCHITECTURE JOSELOCOFFEE SHOP Polanquito Mexico City
Joselo Coffee Shops in Polanco Mexico City, connects the feelings of the past, present and future, through the use of materiality and through the play with light.
PAGINA 50 PAGE 50
Defining the past as nostalgic, the present as playful and the future as a mix of both, Joselo illustrates nostalgia through materiality and color, assembled in a playful manner.
PAGINA 52 PAGE 52
ORIENTACI
C
2
1
B
A
N
D
5.370 5.270 1.600
2.160
3
3 1.300
ALMACÉN
2
2
mater
GRANITA
1.960
1.450
CB 249
2.495
IMPORTANTE
BLENDTEC
MATERIA ARQUITECTURA Y DISEÑO EXPRESAMENTE
0.830
LEY GENERAL DE DERECHOS DE AUTOR Y DEMÁS DE
0.210
REPISA EXPENDIO
0.230
REPISA EXPENDIO
0.210
REPISA EXPENDIO
PROPIEDAD. ESTOS DOCUMENTOS NO DEBERÁN DE
REPRODUCIDOS, MODIFICADOS O COPIADOS POR C
NI DEBERÁN SER ASIGNADOS A UNA TERCERA PERS OBTENER AUTORIZACIÓN POR ESCRITO DE MAERIA DISEÑO
.
MDX
GRANITA
REPISA
BLENDTEC
MDX
K30
BUNN
SILO
AURELIA
TITULO DE DIBUJO 1 A101
TRUE TBB-2
BUNN
SILO
0.920 7.440
VTA 6S
ESPECIFICACI
NUMERO DE DIBUJO NUMERO PLANO
INDICACION DE CORTE
5.830
K30
NUMERO DE DIBUJO
1 C1
1.100
0.950
NUMERO PLANO
REFERENCIA A DETALLE 1 A101
AURELIA
COMEDOR
A
2.495
0.900
1.105 M1 ALZADO BARRA ESCALA 1:50
1
VTA 6S
2
A
1.445 2 A100
NUMERO DE DIBUJO NUMERO PLANO
Joselo Café ARQ.
Pablo López S
ESCALA
UBICACIÓN: CIUDAD DE MÉXICO
1
1
ACCESO
TIPO DE PLANO:
ARQ. COLABORADORA:
FECHA
B
A
C
:
D
Planta Arquitectonica
PLANTA ARQUITECTÓNICA ESCALA 1:50
3 A100
M2 ALZADO DE MURO DE COMEDOR
A
Leonora Zepeda Suárez
DIBUJO: Leonora Zepeda Suárez 1
A100
1/5
No. PLA
ARQUITECTÓNICO
PAGINA 54 PAGE 54
ADDITIONAL
ELECTRONIC DESIGN
SCAD PROFESSORS
Electronic Design Final Residential Precedent in [Chile].
PAGINA 58 PAGE 58