LINDA MEJIA PORTFOLIO ‘13 LINMEJIA9@YAHOO.COM WWW.CARGOCOLLECTIVE.COM/LINDAMEJIA
LINDA MEJIA 7707 HINDS AVE NORTH HOLLYWOOD, CA 91605 818.419.4492 LINMEJIA9@YAHOO.COM WWW.CARGOCOLLECTIVE.COM/LINDAMEJIA
INDEX INDEX
THESIS: ALTERNATIVE REALITES
THE LABORATORY
PIEL
INSIDE|OUT
ROBOTIC FABRICATION
DESIGN DEVELOPMENT
CONSTRUCTION DOCUMENTS
MULTIPLE PERSONALITIES
UNDERGRADUATE_THESIS spring | 2013
Ground Floor Plan 3/32” Scale
ALTERNATIVE REALITIES
Second Level Plan 3/32” Scale
UNDERGRADUATE_THESIS spring | 2013
Longitudinal Section 1/16” Scale
This thesis investigates the possibilities for architectural displacement. Such as displacement as psychological phenomena, an architectural displacement would entail a relationship between a thinking and a perceiving viewer and a confusion or mis-registration of spaces. This thesis extends displacement into the interior. This exploration is directed towards a project in which the effects of this mania are exploited in a positive manner. The improper state of appearance is a deliberate built anomaly to make uncertain the user’s spatial awareness, slowly introducing them to an alternate reality.
Interior Render
Physical Model
UNDERGRADUATE_WORK fall | 2011 The laboratory was the program used for the semester taking place in the city of Vernon, Ca.
Offsetting was a big technique in this project that projected itself into the drawing. It led to discovering a new way of drawing with contours rather than a 2d projection of the frame from 3D, thus furthering developing the image of the building.
THE LABORATORY
The image of the machine carried on to the image of the museum. It represents a change in the city that is innovative and dark but only through this process of change because change can be fearsome. The landscape is nested into the building and acts a circulation guide and leads people to explore the museum more.
UNDERGRADUATE_WORK spring | 2011
massing of bar + surface to bar
MASSING OF BAR + SURFACE TO BAR
The horizontal bar represents program. It is morphed and shaped in relation to the skin sepertaing into various units accordingly. The units are then arranged to adapt to the four categories: views, openings from the puncturing of the skin, prevailing winds, and circulation.
A. views
B. openings
C. prevailing winds
D. circulation
This is a seperate iteration that integrates views, openings, prevailing winds, and circulation into one.
A circulation diagram where the lime green shows pubic paths through catwalks, elevators, stairs.
PIEL
LIGHT|SOUND|WIND|GREY WATER
UNDERGRADUATE_WORK spring | 2011
The objective of this project is to construct through architectural ideas a residence equi pped with twelve units. We were inspired by the geographical nature of green spaces in the sense how movements and gestures created are result of organic forms. This gave way to design a skin that attaches to the building on the south faรงade. Furthermore,through the study of how plants grow,move,and react to sunlight and wind we took those elements into account on how we would design architecture in a remote area of Los Angeles. The strongest site conditions that had the most influence in our design are light,sound,and wind. Grey water filtration was another important aspect of bringing life to the building. Architecture is about creating and bringing ideas to the table that initially might seem as a negative, but through optimism and charisma one can create positive doings.
PIEL
5
5 UP DN
UP DN
2
1
2
0
0
1
3
UNDERGRADUATE_WORK fall | 2010
Section A 0
5ft 10
25
Section B
50
0
A
1 2
2
3
B
B
3
5
1 4
4 6
A
1. Entrance/ Lobby 1.Entrance/Lobby 2. Gallery Space 3. Lab (Plants) 2.Green Gallery Space 4. Research (Plants) 3. Green Lab (plants) 5. Storage 4.Maintenance Research (plants) 6.
1. Gallery Space 2. Green Lab (Insects) 3. Research (Insects) 4. Storage
1. Gallery Space 2. Green Lab (insects) 3. Research (insects) 4. Storage
5. Storage 6.Maintenance
Ground Floor Plan Ground Floor Plan 0
5ft 10
25
N
50
Second Floor Plan Second Floor Plan 0
5ft 10
25
N
50
5ft 10
25
50
INSIDE|OUT
The strategy was to divide the area and program according to natural light vs. artificial light. The main program, the greenhouse, would get the natural light and the galleries and research labs would get artificial lighting. The greenhouses serve to grow the plants and grow the insects desired. The interior is comprised of open spaces to have all the programs intertwine with each other. The faรงade on the exterior becomes the floor slab for the interior and also intertwines in that way. All of these elements start to fold into each other, merging together.
2
1
3
1
4
5
1. Gallery Space 2. Green Lab (Hybrid) 3. Research (Hybrid) 1. Gallery Space 4. Storage Green Lab (hybrid) 5.2.Maintenace
3. Research (hybrid) 4. Storage 5.Maintenance
Third Third FloorFloor PlanPlan 0
5ft 10
25
N
50
UNDERGRADUATE_WORK fall | 2011 ROBOTIC FABRICATION
The ultimate objective will be the development of robust processes of control which produce a series of misfigures. The projects will begin with the re-representation and fabrication of an existing architectural figure. As we develop more sophisticated processes of production,we begin to examine moments of “infidelity” in our figures. Misreadings, Mishaps,Misalignments and Misfits that were not planned but that nevertheless might be controlled. Through a process of calibration, refinement and re-reading of these “mis’s” our,figures will being to take on their own shape. As the semester progressed,we continued to add axes of movement to our processes and continued to search for additional cultural references for our figures. The emphasis was on the ability of precedent and control to produce “weird” figures as opposed to “new” ones.
ROBOTIC FABRICATION
Grasshopper was the main software program to create these explorations through different medium. A hot wire cutter was attached to the STAUBLI Robots and cut the foam with the curve provided. The drawing below was constructed with and end arm tool that was carefully designed and fabricated to hold 4 pens. The end arm tool is attached to one robot while the surface of the Strathmore paper was held by a seperate robot.
UNDERGRADUATE_CD SET spring | 2012 GENERAL NOTES
A
B
C 13'-8 1/2"
1 A-3.1
16'-3 1/2"
8'-0"
4'-0"
4'-4"
C1
A
ENTRY
1
1
100
M|J STUDIO
9'-5 1/2"
9'-11 1/2"
3'-6"
452 SUNSET BLVD, SILVERLAKE, CA 90026 818.419.4492 LINMEJIA9@YAHOO.COM
102
A 16'-8"
STAMP DINING
UP
102
KITCHEN 100
This document, material, or image is an instrument of the architect's service, is not transferable, and is protected by United States copyright law. Any duplication or disbursement requires the Architect's written approval and permission
C3
LIVING AREA 101 1 A4.0
2
T.O.F 5'-4"
2 A-3.0
A
PRINTING RECORD
C2
2'-4 1/2"
C2 1 A-2.0
103
2 A-2.1
13'-4"
2 A-3.0
110'-0"
3'-5 1/2"
A
6'-7"
11 1/2"
LOUNGE
BATHROOM
3
PROJECT
104
103
WPT
A
LSN residence 4450 Marce St Los Angeles, Ca 90013
A
8'-6 1/2"
SHEET TITLE/ SCALE
SHEET NUMBER
FIRST FLOOR PLAN
SCALE : 1/8"=1'-0"
1 A-1.1
A1.1
1 A-3.1
N
1/8"=1'-0"
GROUND PLAN
DATE April 12, 2012
GENERAL NOTES
GENERAL NOTES
A
F.O. STUD
1 A5.0
TOP OF PARAPET 34'-1"
TOP OF ROOF
M|J STUDIO
32'-6 1/2"
452 SUNSET BLVD, SILVERLAKE, CA 90026 818.419.4492 LINMEJIA9@YAHOO.COM
2"4" WOOD SILL
CEMENT PLASTER
5/8" GYPSUM BOARD WALL LINING
STAMP
This document, material, or image is an instrument of the architect's service, is not transferable, and is protected by United States copyright law. Any duplication or disbursement requires the Architect's written approval and permission
1/4" FLOAT GLASS
PRINTING RECORD R1.5 INSULATION
TIMBER FLOORING
TOP OF FLOOR
CEMENT PLASTER 5" GYPSUM CONCRETE
16'-0"
5" PLYWOOD
PROJECT
LSN residence 4450 Marce St Los Angeles, Ca 90013 CONCRETE FLOORING PENTIMENTO CONCRETE OVERLAY U-GLASS CHANNEL SYSTEM
TOP OF CONCRETE SHEET TITLE/ SCALE
0'-0"
SHEET NUMBER
WALL SECTION
SCALE : 1 1/2"=1'-0"
N
1 1/2"=1'-0"
WALL SECTION
1
CONCRETE SLAB
A4.0 DATE April 12, 2012
GENERAL NOTES
UNDERGRADUATE_DD SET fall | 2011
UNDERGRADUATE_WORK spring | 2012
RESTROOM
BEDROOM L|S
EATING L|S
COOKING D|M
LAUNDRY D|M
D|M
RESTROOM
D|M
FIELD OF SUNFLOWERS
LIVING L|S
STUDIO
PIANO/WHITE ROOM
RECORDING
L|S
READING D|M
READING D|M
LEVEL-2
N
LEVEL1
N
LEVEL2
N
MULTIPLE PERSONALITIES
Multi ple personality disorder is a condition in which two or more distinct identities or personalities alternately take control in the same person. Each personality is unaware of any others. The disorder is more common in females than males. Each personality has its own way of thinking about things and relating to others. The “alters” are said to occur spontaneously and involuntarily,and function more or less independently of each other.
Darkness evokes an emotion of fear when you don’t know what is there. There is no light,everything is hidden,and you don’t know what is in front of you,beside you,above you,below you. For a child,the darkness is a place where horror occurs and where mythical creatures dwell in. For an adult,darkness is more mysterious,obscure and has an emotional connotation of hopeless. This mysterious-ness of the dark makes you curious because of its ambiguity and strangeness that it makes you want to explore. It is this persona that this house is going to take,at least half of it will. Light streaming in through a small window. It shines onto the wall and slowly moves across to the floor as the sun moves. A plain,simple,white shape moving across the room is just dumb but so extraordinarily amazing. The simpleness makes the space scream out loud without doing anything. The entire house will be ordinary with no ostentatious-ness,but it will show its extraordinary ways through small details that are juxtaposed throughout the house. It can show it through material,atmosphere,surfaces,luminosity,absence of light, acoustics in very subtle ways. The challenge of keeping things simple is actually exceedingly complex. It is much easier to keep adding and adding things to make something intricate and complicated. Simplicity can be a contradiction or it can be synonymous or it can be both but it must be kept to a minimum so it’s not obvious. The obvious kills the curiosity of the viewer,making it uninteresting to keep looking for something that’s there or maybe not there. To keep something simple you can’t just make it ordinary with no special quality. It can seem ordinary but a simple gesture is all it needs. However,that gesture has to be loud in a quiet way. It almost has to be unintentional which I think are the best discoveries.