rolando 2 lopez design works 2015
DESIGN WORKS MAY 2015
1
Artek Design Center
2
Two-Piece Chair
3
N/A
6
Deconstructed Vault House NYC
7
A Hearth for Kamppi Square Helsinki, Finland
Helsinki, Finland
Courtyard Block Rome, Italy
8
Deployable Folly N/A
rolando 2 lopez p (239)-247-1370
4
5x5x5
5
Alone in West Texas Marfa, TX
w www.lopez2.com
Marfa, TX
e rolando@wustl.edu
9
Heliophile Chicago, IL
10
Fly the Mall Saint Louis, MO
g module
Option Studio Spring 2014
1.
Helsinki, Finland
Design and Education Center 30,000 S.F.
Artek Design Center
6
5
4 3
2
1
9
8
7 1 A3
1 A2
1 A1
103 A
VESTIBULE 102
104 A
15 M²
A ARTEK STORE 102
INFORMATION 102
90 M²
90 M²
LOBBY 102 12 M²
VESTIBULE 102
102 A
15 M²
1 B
101 A
107 B
FIRE STAIRS 102 12 M²
B
105 C
W.C. M 102 12 M²
CIRCULATION 102 100 M²
10 M²
ELEVATOR 102
JANITOR/ STORAGE 102
VESTIBULE 102 15 M²
C
101 A
ELEVATOR EQUIPMENT 102 9 M²
4 Lopez Lopez, Rolando N^ 10m
106 C
W.C. F 102 12 M²
The project is made up of three characters: the floating community, the spine, and the deck.
Artek, a Finnish furniture company founded by Alvar Aalto, is looking for a new home. A site located in the Helsinki Design District, located between the Architecture and Design Museum, seems like an ideal candidate. There’s only one problem: if the builing were to be placed in the pre-zoned location, in the center of the block, no one would be able to get Sunlight.
The main decision is to squeeze the building footprint to the north edge of the site, allowing all buildings on the block to get along. As an added bonus, a plaza space is created to the South, providing a
The Floating Community
Spine
Deck
gathering space for the visitors and neighborhood. Lopez Lopez, Rolando 5
The Floating Community The building proposal involves a radical division of program through section. The program is divided into three main groups, which relate to the core values of Artek: collaborate, preserve, and make. The groups are expressed architecturally as independent “buildings within buildings� which float above the street level.
2
1
3
3
4
7
5
6
8
8
Make
Archive
Collaborate
1. Sauna
5. Archives
7. Artek Offices
2.Patio
6. Library
8. Classroom
3.Artist Studio 4.Gallery
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301
FIRE STAIRS 413
100 M²
12 M²
10 M²
ELEVATOR 402
C
1 A1
9
8
7
6
5
4
3
2
1
1 A2
1 A3
2
1
CONFERENCE 509
4
3
4
506 C
1 A1
505 B
W.C. M 510
509 C
502 B
511 C
510 C
W.C. F 511
512 C
6
7
5
6
7
1 A3
1 A2
8
9
8
9
1 A3
COFFEE -
5 M²
1 B
5 M²
5 1 A2
2
1
80 M²
4
3 1 A1
507 C
A
504 C
503 C
501 C
508 D
B CIRCULATION 501
513 B
25 M²
CIRCULATION 512
FIRE STAIRS 513
17 M²
12 M²
10 M²
ELEVATOR 502
C
1 A1
1 A2
507 C
A
9
8
7
6
5
4
3
2
1
CONFERENCE 509
1 A3
80 M²
A
WORKSPACE 405
506 C
505 B
WORKSPACE 408
15 M²
CLASSROOM 312 95 M²
308 C
15 M²
A
W.C. M 510
509 C
502 B
511 C
510 C
COFFEE -
1 B
503 C
501 C
405 D
512 C
504 C
80 M²
95 M²
307 C
404 C
406 D
W.C. 406
OFFICE 411
1 B
W.C. 403
W.C. F 511 5 M²
5 M² ARTEK OFFICE 410
ARCHIVES 409
403 C
401 C
402 C
PRINT / COPY 410
OFFICE 412 100 M²
508 309 D D
305 D
301 D
B
306 C
304 C
303 C
302 C
1 B
100 M²
B
STORAGE 310
B
FIRE STAIRS 413
100 M²
12 M²
W.C. 311
CIRCULATION 501
407 B
CIRCULATION 301
513 B
25 M²
CIRCULATION 512
10 M²
ELEVATOR 402
C
FIRE STAIRS 513
17 M²
12 M²
310 B
10 M²
C
ELEVATOR 502
C
ELEVATOR 302
CIRCULATION 301
FIRE STAIRS 313
100 M²
12 M²
10 M²
1 A1
9
8
7
6
5
4
3
2
1
1 A2
1 A3
4 A
CLASSROOM 312 95 M²
308 C
307 C
2
309 D
305 D
301 D 306 C
304 C
303 C
1 B
302 C
STORAGE 310
W.C. 311
B
FIRE STAIRS 313
100 M²
2
1
310 B
CIRCULATION 301
3
4
3
4
5
6
7
5
6
7
8
9
8
9
12 M²
1 A1
10 M²
ELEVATOR 302
C
1 A2
2
1
1 A1
3
2
1
5
4
1 A1
1 A2
1 A3
9
8
7
6
1 A2
1 A3
1 A3
WORKSPACE 405
WORKSPACE 408
15 M²
15 M²
A
A
CLASSROOM 205 95 M²
90 M²
1
103 D
1 B
W.C. 204 3 M²
ARTEK OFFICE 410
ARCHIVES 409
A
103 C
80 M²
95 M²
201 D
B
204 B
FIRE STAIRS 206
CIRCULATION 201
403 C
401 C
402 C
CLASSROOM 205
404 C
12 M²
405 D
10 M²
ELEVATOR 202
W.C. 403
406 D
W.C. 406
OFFICE 411
1 B
C
95 M²
90 M²
100 M²
PRINT / COPY 410
OFFICE 412
100 M²
100 M²
103 D
B
103 C
1 B
W.C. 204 3 M²
407 B
201 D
B
CIRCULATION 301
FIRE STAIRS 413
100 M²
12 M²
3
2
1
5
4
1 A1
9
8
7
6
1 A2
1 A3
204 B
10 M²
C
ELEVATOR 402
C
ELEVATOR 202
FIRE STAIRS 206
CIRCULATION 201
12 M²
100 M²
10 M²
A
LOBBY 102 12 M²
101 A
VESTIBULE 102 15 M²
INFORMATION 102
ARTEK STORE 102
90 M²
90 M²
103 A
VESTIBULE 102
104 A
15 M²
102 A
1 B
0 B
107 B
105 C
106 C
CIRCULATION 102 100 M²
FIRE STAIRS 102 12 M²
W.C. M 102
W.C. F 102 12 M²
10 M²
C
ELEVATOR 102
1 1
3
2
1
1 A1
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6
7
1 A2
3
2
5
4
1 A1
5
4 1 A2
8
9
8
9
1 A3
6
7 1 A3
The Spine In order for the volumes to communicate, a thin “spine� is introduced. The spine uses a series of ramps to connect the three boxes with elevators and the necessary means of egress. It is a thin bar located in the south, which links the building with the newly created public space. While the group-boxes are heavy and opaque, the circulation spine is light and translucent. This allows a connection between building and plaza
Tectonics The building is an exploration of cross laminated
wood as a means of enclosure whenever possible:
timber as a primary means of structure and
weather-treaded cnc-milled wood panels clad
enclosure. The structure consists of cross
the exterior of the group-boxes, while a wooden
laminated columns, which change their shape in
frame curtain wall clads the spine spaces. The
order to become more sturdy where needed and
wood panels are given the same curvilinear
in turn achieve a higher fire rating. The column
form coming from the columns, and consist
diagram comes from the basic “beam inside two
of three different units which are rotated to
columns� system, modified to come together
generate varying light effects and openings.
between floors. In addition, the building uses
The Deck The south-facing deck becomes a central gathering point for the three museums, as well as the Helsinki Design District. The deck is designed as a clean slab to allow for gallery openings, art installations, and temporary pavilions.
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Roof Assembly
Skylight
Floor
g module
Elective, Spring 2014 Prof. Julie Tolvaien
2.
Bent Plywood + Steel Tube Chair
Two Piece Chair Can a chair be efficient and expressive? The Two-Piece Chair is a prototype for a bent plywood arm chair. The parti comes from the possibility of “folding” a .5m x 1m sheet - the standard size for plywood veneer. The back and seat pieces are made using two identical pieces, made from the same mold. A simple plywood piece is introduced as a seat, which appears floating above the frame. The result is a chair which is both efficient (using material limitation as design driver) and expressive (creating a chair that envelops the body). The design and prototype were constructed in a period of four months, where several digital and physical iterations were explored.
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1.
The parti for the twin chair comes from the possibility of “folding” a .5m x 1m sheet - the standard size for plywood veneer.
2.
The sheet is folded inwards, allowing for an armrest.
3.
The sheet is folded upwards, allowing for back support.
B
H
Components Seat A 80mm Bent Plywood Seat/Back (2) B Plywood Seat Attachment C M6 Tee nut connector disk (6x) D M6x26 Socket Head Screws (8X) Legs E 16mm hollow tube leg, painted black F 16mm hollow tube back frame, painted black G 16mm hollow steel tube
Lopez Lopez, Rolando 13
Option Studio, Spring 2014 Prof. Matt
3.
Helsinki, Finland In Collaboration with Jonathan Bryar
Pavilion 2,000 S.F.
A Hearth for Kamppi Square Can Architecture bring warmth into a cold place? Narinkkatori is a highly trafficked square in downtown Helsinki. The square is multifaceted and serves a variety of roles in numerous capacities. Narinkkatori flanks the main bus station (Kamppi) and serves as a hinge between shopping, living, and recreational Helsinki. In essence Narinkkatori is the eclectic center of Helsinki. However, due to the scale and materiality of the buildings around it, the square can feel cold and detached. Glass and metal are not the most welcoming materials, a problem compounded by the fact that Helsinki is a cold and frigid place in and of itself.
!
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1.
The form of the pavilion is derived
2.
Arched entryways become bent
3.
The pavilion warps between the
4.
A set of heated landscape pads flank
from the three primary circulation
walls, enveloping and welcoming
entrances in order to become a
the corners of the pavilion, allowing
arteries, ensuring that pedestrians
visitors –inviting an everyday
staircase which allows visitors
for occupants to rest in an external
can follow their pre-existing
passersby to enter and help
to cross above the pavilion.
space and observe the busy plaza.
routes of travel unhindered while
conserve heat in the space.
experiencing “the hearth.�
Lopez Lopez, Rolando 15
g module
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The goal for the pavilion is to create a space for warmth. The pavilion provides literal warmth for travelers; both through its architecture and actual physical heat. A bed of conditioned rocks are arrayed underneath the pavilion and project heat upwards into the interior pavilion space. As the heat rises up, it helps warm travelers. As an additional conveyance of “warmth, � the pavilion relates to the human scale, and is meant to be warm in terms of its materiality; bent wood cladding at two different scales are fastened to a primary structural wooden frame, creating a textured facade.
Option Studio, Fall 2013 Professor Stephen Leet
4.
Marfa, TX
Art Gallery + Artist Studios 2,000 S.F.
5x5x5 “The walled enclosure is against the belated strip city, still growing decades after the fashion. It’s against the idea of the suburban house on its lawn, particularly in the Southwest, where water is scarce and the weather requires enclosures.” Donald Judd, from “Marfa, Texas” (1985), in Chinati, Marfa, Texas, The Vision of Donald Judd
In 1973, artist Donald Judd moved to Marfa, TX. Judd’s work consists of imposed abstract geometries which become contextual through repetition and position. Judd bought, restored, and built extensively in Marfa, establishing the little western town as an art destination. The project calls for an visiting artist complex adjacent to Judd’s block. Similar to Judd’s approach, the project aims to impose a rigid geometry to the site. Then, the geometry is allowed to interact and vary slightly to respond to program, scale, and orientation.
5
2
4
3
1. Judd’s Manzana 2. Arroyo 3. Auto Repair Shop 4. Abandonded Siloh 5.Train Tracks
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1
4
1
The plan is derived from a 5x5 grid, often used by Judd. The grid is used as a matrix, from which a central plaza is carved out, creating common space for the visiting artists. 2
1. Gallery 2. AV Gallery 2. Dining Hall 3. Support/Office 4. Resident Artist Studio
3
3
2
Lopez Lopez, Rolando 19
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Artist Studio
The project is largely driven by climate and local building materials. The roof, a series of south-facing monitors, negotiates the orientation of the block with the cardinal directions. The buildings are constructed out of concrete block, with a secondary system of inserted volumes constructed out of an oversized adobe brick.
Gallery
Lopez Lopez, Rolando 21
Option Studio, Fall 2013 Professor Stephen Leet
5.
Marfa, TX
Alone in West Texas How can a glass box relate to its context? West Texas is a foreboding place. With extreme temperatures and a harsh sun, it’s hard to catch a break. To add to the extreme heat, the West Texas desert is one of the most desolate areas of the United States. It’s so desolate, in fact, that some people are willing to go really out of the way to shun civilization and the worries that come with it. An affluent couple of art-collectors is looking to build their second home in an empty patch of desert, fueled by Donald Judd’s legacy in the vibrant art scene of nearby Marfa. Like any affluent couple with no children, the owners have picked up a few hobbies. The wife is an amateur pilot and astrologist. The husband is a swimmer and writer. They require a landing strip, an elevated observatory, a lap pool, and spaces to display their art collection.
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A5.1
Observation Tower
The form of the house is inspired by its sourroundings: large mountain ranges which are seemingly contained within a desolate vista. A glass box is bound within two planes, becoming two lines floating in the desert. The planes undulate, sink, and rise, Bedrooms
creating a dynamic landscape in which life can occur. Monolithic structural columns tie the two planes together, reminding one of the peaks of the nearby mountains. In addition, the roof was designed to minimize direct heat gain, allowing the
Study/
1 A5.2
Courtyard
Living/ Dining/ Kitchen
Lap Pool
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glass box to be shaded year-round.
Lopez Lopez, Rolando 25
Design 8, Spring 2013 Prof. Alfonso Perez-Mendez
New York, NY
Pre-fabricated Loft House 2,000 S.F.
Deconstructed Vault House
6.
Architectural ideas are often inherently tied to the program, of function, of the building. What is an architectural idea when there is not strong programmatic requirements? The framework for this project consists of constructing a pre-fabricated modular loft-house, to be lifted atop a New York city building. The house is seen not as a series of programs, but as a vessel for life to happen. The Vault House explores construction as a means of expression. The approach is concerned with the analysis and modulation of two-directional vaults as a primary means of structure and enclosure. Rib Vaults, twodirectional vaults with a linear structure, evolved during the middle ages as a superior alternative to groin vaults. The interpretation of the vault as a domestic element provides a constructive architectural module. The house is formed by four modules, one of which is stretched to establish a center – a hearth – within the space. A layered roof spans the whole construction, visually joining the four modules and allowing for improved passive cooling during warm months.
75'-7"
13'-10"
20'-0"
15'-2"
13'-9"
13'-10"
7'-2"
Section N/S 10’
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Half Module Elevation
14'-10"
13'-7"
13'-7"
14'-10"
19'-2"
7'-2"
5
5
4
4
3
3
2 1
1
The house is designed
Shell
as a series of repeating
1. Thin Shell Concrete
vaults, which explore
2. Glazing System
interactions between
3. Tensile Fabric on
several construction
Metal Frame
2
systems. Roof 4.Concrete Column 5.Breathable Membrane
Lopez Lopez, Rolando 27
Undergradaute Design 7 Prof. Alfonso Perez Mendes
7.
Rome, Italy
In Collaboration with Jenny Park
Courtyard Block Can the DNA of a city help generate fitting new Architecture? There seems to be a lack of Modern Buildings in the historic Roman core. In fact, nothing modern had been built inside the old roman walls until Richard Meier’s Ara Pacis museum in 2006. This project poses the following challenge: can we seamlessly insert a large-scale project into the fabric of an old city? The process began by studying the Roman city, and finding relationships and common threads. The courtyard, which can be seen throughout the city, became a clear common thread.
Enclosed
Permeable
Open
Implied
After studying different types of courtyards, we chose to apply the “Implied Courtyard” typology to the site: a series of streets and pathways which lead to a “hidden” courtyard, acting as a public space. The courtyard becomes the hearth of the largescale block, creating a frame of reference and active public space in an under-used part of the city.
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11+29+60 Total
100 11+I
100I 29+
548,100 f2
Number of Attractors 4 (museum, theater, supermarket, department store)
Intensity of Public Space 5 (where 10 is Fontana di Trevi, 0 is private garden)
Housing Density 88 dwellings per acre
Public
60+ 100I
29%
11%
Shared
58,000 f2
60%
157,400 f2
32+68 21+7+191135
Private
Cultural Center
Streets
43,000 f2
58,000 f
2
Museum Theater
Intensity 2
Plaza 58,000 f2
Shopping 114,400 f2
Supermarket Cafe/Restaurant Department Store Retail Stores
20% 11% 7% 35%
20% 6%
332,700 f2
15+35+50
Amenities 51,100 f2
Horizontal Housing 116,600 f2
Vertical Housing 165,100 f2
Intensity 6
Vertical Housing
Horizontal Housing Amenities
Shopping
Public Plaza
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Cultural Center
Programatically, the block contains a cultural center, retail spaces, residential towers, and resident ammenities. The program is tightly linked with a construction system, which allows for wayfinding and clear understanding of a complex whole. The residential towers are expressed as spaces under a folded plane, which shields from the sun and orients the towers.
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Translucent Diaphragm System
Concrete Column
Steel Mullion
Corrugated Glass
Wood Balcony System
2-layer wood louver
glazing
concrete slab
Opaque Curtain Wall System
Concrete Column
Pre-cast Concrete Cladding
Glazing + Mullion
Elective, Fall 2013 Prof. Jaymon Diaz
8.
Unsited Pavilion
Deployable Folly A kinetic pavilion derived from the study of scissor joints. The process involved the study of scissor joints, commonly found in household items and toys. A series of planar joints, rotated and aggregated, are capable of creating everchanging light and spatial conditions. The scissor joint study is studied as the roof of a kinetic pavilion, constructed out of colored glass panels. Thin columns anchor the pavilon to a reciprocal piece in the ground, controlling the movement.
34 Lopez Lopez, Rolando
vertical housing
100
50
0
0
50
100
Lopez Lopez, Rolando 35
Comprehensive Studio Prof. Anders Nereim
9.
Fall 2014 Chicago, IL
Heliophile Adaptive re-use meets high performance skin A company specializing in smart building facades has purchased a 1920’s concrete building in Chicago. The neighborhood is mostly residential, with a series of industrial warehouses and commercial buildings built alongside a train track. The building purchased contains expressive mushroom head concrete columns encased in a brick facade. The brief is to re-purpose the existing building to create a Smart Skin factory which would manufacture, showcase, and sell dynamic facades.
Ground Floor The Factory
36 Lopez Lopez, Rolando
Second Floor The Showroom
Third Floor The Offices
The building is larger than the new program requires, requiring careful demolition. My approach is quite straightforward: remove two bays from the south, two bays from the east, and a partial bay from the west. Then, new circulation cores are “plugged in” around the existing building, working “out” from the existing. Encasing the existing and the cores is a new smart facade, which is informed by the existing geometries Existing Building
Selective
New Egress
Demolition
Cores
A new skin
and is able to create a buffer zone.
Lopez Lopez, Rolando 37
Customer Experience The customer circulation is centered around both the experience of the skin in the building, and the showcase of other skin prototypes. The current building skin is experienced immediately once walking into a three story light-filled lobby space, from which a monolithic stair takes you to the show floor. In the show floor, circular rooms house LED light arrays that simulate the passage of the sun, effectively creating a “heliodome.�
Smart Building, Nervous Skin The building is clad in an intelligent skin, consisting of a series of solar panels that move to both catch the sun and shade the building. The skin was prototyped in the grasshopper environment using ladybug+firefly for physical testing with an Arduino board.
g module
Degree Project, Spring 2015 Professor Angela Pang
10.
Saint Louis, MO
Distribution Center 250,000 SF
Fly the Mall
What will be the Architecture of Drone Delivery?
Several companies are looking at using drones to deliver products from their warehouse to your house. Recently, the FAA gave Amazon permission to test-run its drone-based delivery service, making this prospect a step closer to reality. Delivery Drones introduce a new type of shopping experience, bridging the gap between the ease of online shopping and the instant gratification of shopping on Main Street. Fly the Mall explores the Architecture of drone delivery, using Saint Louis as a case study. The project is conducted in two acts: network and typology. Contrary to the current practice of placing one large distribution center in the middle of nowhere, smaller distribution centers are strategically dispersed to form a network in the city and the suburbs. The city station, able to serve all of Saint Louis City, celebrates the process of distribution through a new possible architectural typology, envisioning the imminent arrival of drones to your doorstep. ​
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Lopez Lopez, Rolando 43
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Grand Overpass
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50 Lopez Lopez, Rolando
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LOGIC + FORM LOGIC + FORM
TERMINAL
TYPES
Drones always Drones occupy the always hangar, occupy the hangar, which provideswhich for a secure provides andfor a secure and regulated area regulated away fromarea any away from any humans. Two terminals humans. provide Two terminals provide service to all ofservice Saint Louis to all city. of Saint Louis city.
TYPES
There are two basic Thereconfigurations: are two basic configurations: departures departures and arrivals. Each andtype arrivals. is composed Each type of is a series composed of a series of repeated components. of repeated components. B
11'-4"
64'-0"
11'-4" 8'-7"
19'-1"
SEQUENCE
64'-0"
11'-4" 13'-0"
Departures
25'-0"
Departures
13'-0"
Arrivals
12'-0"
12'-0"
25'-0"
Arrivals
11'-4"
64'-0"
8'-7"
SEQUENCE
19'-1"
12'-0"
12'-0"
25'-0"
25'-0"
13'-0"
13'-0"
11'-4"
64'-0"
8'-7"
8'-7"
19'-1"
19'-1"
12'-0"
12'-0"
25'-0"
25'-0"
13'-0"
13'-0"
11'-4"
64'-0"
A 64'-0"
A
8'-7"
8'-7"
19'-1"
19'-1"
B
?
Can I come in?
19'-1"
Can I come in?
Can I leave with this package?
?
Gate 1
11'-4"
11'-4"
?
?
13'-0"
Do I need to charge?
25'-0"
?
13'-0"
?
25'-0"
?
Do I need repairs?
12'-0"
Do I need to charge?
Do I need repairs?
Where is my package?
64'-0"
8'-7"
?
Can I leave with this package?
64'-0"
?
Where is my package?
8'-7"
19'-1"
?
Gate Gate 12
Gate Gate 23
Gate Gate43
Gate 4
Gate 5
Gate Gate 56
Gate 6
12'-0"
TERMINAL
54 Lopez Lopez, Rolando
SAM FOX lecture series posters, Designer
Fly The Mall, Design Thinking Book AIA ST. LOUIS SCHOLARSHIP FUND LECTURE
ACHIM MENGES ARCHITECT, PROFESSOR, & FOUNDING DIRECTOR, INSTITUTE FOR COMPUTATIONAL DESIGN, UNIVERSITY OF STUTTGART
2/19/15 MATERIAL COMPUTATION 6PM RECEPTION | 6:30PM LECTURE
STEINBERG AUDITORIUM ARTHUR L. AND SHEILA PRENSKY ISLAND PRESS VISITING ARTIST LECTURE
LUIS CRUZ AZACETA 2/16/15 PAINTING OUT LOUD 6PM RECEPTION
6:30PM LECTURE
STEINBERG AUDITORIUM
IMAGE: ICD/ITKE Research Pavilion 2013-14, Stuttgart, Germany, 2014. © ICD/ITKE University of Stuttgart.
PAULA WILSON
IMAGE: SHIFTING STATES-EGYPT, 2011, acrylic, charcoal, pencil, shellac on canvas, 84x204”. Courtesy of Luis Cruz Azaceta.
LOUIS D. BEAUMONT ARTIST IN RESIDENCE LECTURE
DISCUSSIONS IN ARCHITECTURAL HISTORY AND THEORY LECTURE
JOHN HARWOOD,PHD MOORING
ASSOCIATE PROFESSOR FOR MODERN AND CONTEMPORARY ARCHITECTURAL HISTORY & CHAIR OF ART HISTORY, DEPARTMENT OF ART, OBERLIN COLLEGE
2/23
LOGISTICAL MONUMENTS: THE ARCHITECTURE OF TELEVISION
2/25/15
STEINBERG AUDITORIUM
NOON, KEMP AUDITORIUM 6PM RECEPTION
6:30PM LECTURE
New Development, intaglio with screen print. Produced and editioned at MassArt’s Master Print Series, Boston, MA. 30 x 15 inches, 76.2 x 38.1 cm, 2012.
IMAGE : “CBS Television Antenna atop Chrysler Building, New York,” from Captain William C. Eddy, Television: The Eyes of Tomorrow (New York: Prentice-Hall, 1945), p. 55.
Architrave Magazine
Architrave #20, Editor in Chief
check out my website for more works!
56 Lopez Lopez, Rolando
Architrave #19
9. Creative Director
Education Masters of Architecture (Projected) Washington University, St. Louis MO 2013-2015 (Current GPA 3.9) Bachelors of Design in Architecture (Summa Cum Laude) University of Florida, Gainesville FL
rolando 2 lopez
2009-2013 (GPA: 3.83) p (239)-247-1370
Experience
w www.lopez2.com
Intern Designer (Summer 2014) nbbj, Seattle, WA
e rolando@wustl.edu Intern Designer (Summer 2012 + Summer 2013) Hunton Brady Architects, Orlando, FL Webmaster (December 2011-2013) UF School of Architecture, Gainesville, FL Web Designer (2006-2011) Elliptical Studios, Ft. Myers, FL
Recognition Frederick Widmann Prize
Honorable Mention
WUSTL, 2015 Dean’s Scholar Critical Mass Presenter
WUSTL, 2013-2015
UNC Charlotte, NC 2015 Architecture Design Award Heartland Prize 2014-2015
UF SoA, Spring 2013
AIACS Competition, 1st Place President’s Honor Roll NOMA Design Competition 2014
Fall 2012
2nd Place MESH Competition
Top 10 Lopez Lopez, Rolando 57