Portfolio +
Design Architecture Luis N Orozco
Portfolio +
Design Architecture
Luis N Orozco Student Works
1A 1DC 1B 2DC MM Experiment
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PP 2A 2B Rehearsal
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3A
3B 4A Process
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2
1
14
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11 CHEROKEE STUDIOS LOFTS
751 NORTH FAIRFAX AVENUE LOS ANGELES, CALIFORNIA PUGH + SCARPA 2010
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EXPERIMENT
1 Animal Movement
The Animal Movement was the first labor intensive research base project which derived spatial conditions, joinery and points of force from a subject. The exploration develop though out a series of models. The models explored the movement of a septic module vs. the modulation of the matrix. Towards the end of the exercise, a comprehensive drawing explores the spatial conditions drawn from the movement of each of its modules.
Experiment 1A /Animal Movement /4
The models represent the movement of an insect in different directions. The movement was recorded from a set of still images from which the insect is flying up and rotating in the air. The lines and points correspond to the extent of the insect’s movements and the points are the maximum extension of each of the insects’s members. The planes also correspond with the position of the animal with respect to its surrounding space. Final Model
Animal Movement Experiment 1A /Animal Movement /6
2 Site Corruptor
The project began as the exploration of a normative activity developed into a project. The Project takes the basic concepts of the normative activity, which in this case is a handshake, and applies it to the final construct. The final construct takes the main concepts of the activity and deploys them in order to change the spatial conditions of the site. Once the project has consumed the site becomes a site corruptor.
Experiment 1A /Site Corruptor /8
Hybrid Diagram
Handshake
Wood Modules
Site Corruptor
The process began with a 6 x 6 ft. hybrid diagram/collage that explains the assembly of the final model. Each one of the wood models takes into consideration different types of joinery that could be use to assemble the invading members to the final construct. The final construct resulted on a main structure arising 6.5 ft. high with members that invaded 1.5 ft. into the site.
Experiment 1A /Site Corruptor /10
Final Model
Detail Experiment 1A /Site Corruptor /12
3 Light Cloud
Light Cloud is an experiment developed around the idea of channeling light. The light was channeled in different subsections within the structure in a way that will make the viewer aware of light moving/shifting around the site. The use of an extreme amount of clear cylindrical tubes helped capture as much light as possible and concentrating it in different sections of the construct. In other words it became a cloud of light.
Experiment 1A /Light Cloud /14
One of the main goals derived from this construct was the idea of not using any fasteners. It was going to be held together by a creating a matrix of interconnecting modules. A module was developed. The module consisted of 4 squares linked together with a fifth square yet for the squares to be able to link to each other a grid of punctures were made.
Development Models
Density
Final Construct Experiment 1A /Light Cloud /16
Light Cloud Experiment 1A /Light Cloud /18
The four outer squares connect to each other by linking their top corners with a wooden rod. Then those four squares are linked to the fifth square by assembling the rods with corresponding punctures within the firth square completing the main module. The main module was self-structural giving the final structure a massive rigidity. The reaming punctures were filled with the clear plastic cylinders finalizing the construct.
Light Cloud Experiment 1A /Light Cloud /20
4 Sequential Sections
The labor intensive process of drawing and exploring through drawing makes the work more labor intensive, yet at the same time it pushes the learning factor to a higher degree. The understanding of complex geometry, sections, plans and their relationship was found by consistently taking sections of, in this case, a plaster mold. The drawing relationships are the main learning outcome from this exploration.
Experiment D1 /Sequential Sections /22
The project began with only two views of an object (front view and side view). With the two views we could get any geometry needed of the object and show that geometry in space using geometric projections, oblique views and normal views. After projected, the object was dissected with a series of cuts; consequently, those cuts were transfer to the object. The final object resulted to be a model with very precise cuts but most importantly those cuts could be trace geometrically to the original object.
Projections Experiment D1 /Sequential Sections /24
Rotation of 2D Space Experiment D1 /Sequential Sections /26
Projecting planer objects in space was an exploration which taught us how to take an object in two dimensions, use its views or any geometrical information and alter it in a way that we could learn as much as we can from it. Using this knowledge of geometry, a plaster was constructed model from which we had to take a series of measurements. Once drawn the model was section horizontally and vertically 18 times (12 vertically and 6 horizontally).
Sequential Sections Experiment D1 /Sequential Sections /28
Constantly sectioning the object derrived a profound understanding of its mass. Using the newly gather information, the translation between plan and section was developed into an axonometric drawing which showed the volume of the plaster model. The process of gathering sections and plans gave way to developing an axonometric drawing that showed how minor nuance changes the model drastically. At the end of the project seven new sections were drawn from the axonometric drawing. From those sections a new model was build using unconventional modeling materials. The end result of the experiment was an exploration of different geometric processes and their overall outcome.
Final Model Experiment D1 /Sequential Sections /30
5 Underground
The project Underground develops around the idea of an experience. The experience of anyone to travel down the stairs into the main chamber was to be serenaded by the sound of water fall. The process of meditation was to be enhanced by the environmental conditions which the construct aim to imply.
Experiment 1B /Underground /32
Final Construct
Drawing-Underground Experiment 1B /Underground /34
6 Slope
The project Slope was a preliminary experiment with modulation. Hexagons form a mat of geometric patterns applied in a way for them to take shape in many different forms. The hexagons were the floor tiles, the load bearing wall and they were also the skin of the building. The inner linkages of the modules fluctuate to allow air to come in and out of the building. Since it was design to be a hot water bath “temascal� then it needed to solve those issues.
Experiment 1B /Slope /36
Final Construct
Drawing-Slope Experiment 1B /Slope /38
7 Gap
The project Gap developed around the idea of creating a structure that could expand from one side of the gap to the other. The structure using the element of wind portrayed the characteristics of the element within the design and also with its program. The program of the building was a platform from where graffiti was not only legal but was looked as art. Moving back and forth the graffiti artist could take advantage of the open space and grandiose walls.
Experiment 1B /Gap /40
Final Construct
Drawing-Gap Experiment 1B /Gap /42
8 Galactic Tower
The project Galactic Tower derived its design from the element fire and its main program. The program of the tower was star gazing. The location of the tower alongside with the height and different types of patterns made possible for any star gazer to locate a specific star and fallow the pattern throughout the year. The main circulation of the tower is a system of ramps and stairs that wrap around the structure.
Experiment 1B /Tower /44
The beginning stages of the design concentrated on the element fire for it transpire a sense of density and intensity which filter down to the specific pattern and its repetition. By triangulating a module, the structure was able to acquire structural rigidity. As the modules progressively juxtapose the tower grow, but also as it grow, it started to disintegrate while it framed views and located specific star constellations.
Detail
Pattern
Interior Experiment 1B /Tower /46
At the highest section of the tower there is an interior space that is open to the public for star gazing. The translation of the patterns gets filter to the floor the interior space. Also the patterns create a very interesting interior condition since the constellations imprinted in the walls can be trance in the floor. The disintegration of the top walls further implies the element fire and its involvement with the final project.
Final Construct
Drawing-Tower Experiment 1B /Tower /48
9 Fictitious Precision
Fictitious precision is the development of a style of work derived from legitimate and very precise measurements which are then extrapolated to give validity to work. The laborious experiments lead to the development of modules utilized to construct very precise geometric patterns which then turned into structures.
Experiment D2 /Fictitious Precision /50
The first modulation is an asymmetrical geometric pattern. This pattern was repeated to formalize a structure yet the structure was able to take shape from different modulations. The geometric module was mirrored finding connecting point for structure and creating inner spaces where it could be occupied. Each one of the arches was derived using the geometric form of a hyperbolic paraboloid.
Geometric Pavilion Plan
Pavilion
Experiment D2 /Fictitious Precision /52
The same rationality was used to create a form that contains more than 150 units. The construct and the module where derived from and initial exploration of an oval with inner pleats. The inner pleats are folded surface and the folded surfaces get repeated alongside the oval and become the initial units that compose the final construct. The measurements were not important at the beginning of the experiment, yet very precise and specific geometry was needed in order to make all the patterns work with each other. The precision within the final unit was very important because without the initial precision, the final model wouldn’t have work.
A
A C C
C
A A
B
A C
B B B
B
C
C
A
C
Final Model
B
A
B
B
C
A
Modular Composition Experiment D2 /Fictitious Precision /54
10 Materials Play
The process of trial and error was massively explored throughout a series of repetitive, at times, similar experiments which provoked different outcomes. Some of the materials explore were copper, aluminum, stainless steel, glass, patinas, and the process of rusting the metal. The level of experimentations was pushed through a series of mini-experiments where aluminum was rusted in specific patterns and patinas were used to accentuate lines or even to create lines.
Experiment /Materials Play /56
Material Experiment
1/16"
1'- 6"
16’-1/2"
1'-6"
0 1/4"
1'-1
0"
/4"
61 1’ -
6 1/2" 0 3/4"
Patters were given to the metal and the rusted away with a specific mixture of vinegar with salt, oxygenated water and lime. After a short period of time the aluminum was imprinted with rust. The rust in the aluminum fallows the patterns within the template. The same pattern was drilled into clear sheets of acrylic to simulate the continuity of the patterns. The main module of the structure was a deconstructed cube. The structure fallowed the lines of a cube, yet there were only a few lines from the original cube. The cube had aluminum sheet interlace within it to simulate a
Detail
Progress Work Experiment /Materials Play /58
Full Model Scheme a
a
a
Module
sense of continuity throughout the structure’s form. As the audience walked around the structure, one could trace the movement of the metal inserts that wrap around the deconstructed cube. Also due to the modulation of each aluminum insert, the structure would seem to change along Experiment /Materials Play /60
with the movement of the viewer. In some instances the structure closes to the viewer, but when the viewer gravitates around, the structure opens up and allows the viewer to see through it. The structure becomes transparent. It develops into a play of opposite and negative.
Final Construct Experiment /Materials Play /62
REHEARSAL
11Professional Practice
A hint of the real world was brought with the work for Professional Practice. The challenge was to design a house that surrounded the problem of comfort as thermal dynamics and best overall usage of square footages. The design takes advantages of big windows and great openings to filter in light and air. The height of the house is really important because it has a mezzanine sub-floor where the master bedroom is located. It was really important to understand the rehearsal of this knowledge to develop a sensibility towards the finite plans, construction plans, footings, limitations, zoning and construction code reading.
Rehearsal /Professional Practice /66
Site Plan
10'-1 1/2 " 5'-6 1/2 " 43'-10 " 18'-5 1/2 "
5'-6 "
4'-1 1/4 "
12'-0 "
11'-3/4 " 7'-6 "
18'-0 "
23'-4 1/2 "
1'-11 "
12'-10 1/4 "
9'-8 1/4 "
11'-0 " 3'-0 "
3'-0 "
5'-6 "
14'-0 " 21'-9 "
16'-9 "
Floor Plan
FLOOR PLAN
6
SCALE: 1/4" = 1'-0"
MEZZANINE FLOOR PLAN SCALE: 1/4" = 1'-0"
2-2X10
X6 2-2
KITCHEN
2-2X10
LIVING SPACE
2X10 @ 16" O.C. F.J.
2X10 @ 16" O.C. C.J.
2X10 @ 16" O.C. C.J.
2-2X6
14
BEDROOM
BATHROOM
SLAB ON GRADE
2-2X6
Roof Plan 9
ROOF PLAN
SCALE: 1/4" = 1'-0"
5
FLOOR FRAMING PLAN SCALE: 1/4" = 1'-0"
Rehearsal /Professioanal Practice /68
106
8'-11 31/2 "
100 DOUBLE GLAZED GLASS PANELS
WOOD PANELING FLUSH TO THE WALL
LEFT HOUSE WALL 630.10 FT
21'-11 3/4 "
METAL ROOF SHINGLES
106 RIGHT HOUSE WALL
100 101
8'-11 31/2 "
604.85 FT
RIGHT GARAGE WALL 585.30 FT
DOUBLE GLAZED GLASS PANELS
WOOD PANELING FLUSH TO THE WALL
LEFT HOUSE LEFT GARAGE WALL WALL 630.10 FT 579.40 FT
METAL ROOF SHINGLES
21'-11 3/4 "
100 FOUNDATION RIGHT HOUSE WALL 570.10 FT 604.85 FT
101
RIGHT GARAGE WALL 585.30 FT
LEFT GARAGE WALL 579.40 FT
11
FOUNDATION 570.10 FT
100
ELEVATION EAST SCALE: 1/4" = 1'-0"
East Elevation
11
ELEVATION EAST SCALE: 1/4" = 1'-0"
100
METAL ROOF SHINGLES DOUBLE GLAZED GLASS PANELS
RIGHT HOUSE WALL
LEFT HOUSE WALL
19'-8 1/4 "
METAL ROOF SHINGLES
24'-4 1/4 "
4'-0 "
22'-9 3/4 "
22'-0 3/4 "
4'-0 "
630.10 FT
100
604.85 FT
DOUBLE GLAZED GLASS PANELS METAL WINDOW TRIM RIGHTWALL HOUSE WALL LEFT GARAGE 630.10 FT 579.40 FT
19'-8 1/4 "
FOUNDATION LEFT HOUSE WALL 570.10 FT 604.85 FT
METAL WINDOW TRIM
West Elevation
LEFT GARAGE WALL
STUCCO FINISH WOOD PANELING FLUSH
24'-4 1/4 "
4'-0 "
22'-9 3/4 "
WOOD PANELING FLUSH TO THE WALL
22'-0 3/4 "
4'-0 "
STUCCO FINISH
579.40 FT
ELEVATION WEST
630.10 FT
LEFT HOUSE WALL 604.85 FT
META ROOFING
FLUSHED WOOD PANE
LEFT HOUSE WALL LEFT GARAGE WALL 585.30 FT
CONCRETE FINISH STUCCO WALLS
5'-6 1/4 "
630.10 FT
SOIL
LEFT HOUSE WALL 604.85 FT
RIGHT GARAGE WALL
LEFT GARAGE WALL 585.30 FT
5'-6 1/4 "
579.40 FT
FLUSHED WOOD PANELING
SOIL FOUNDATION 570.10 FT
RIGHT GARAGE WALL 579.40 FT
FOUNDATION
11
570.10 FT
ELEVATION SOUTH SCALE: 1/4" = 1'-0"
South Elevation
1'-3 1/2 " LEFT HOUSE WALL
SCALE: 1/4" = 1'-0"
METAL ROOF SHINGLES
630.10 FT
4'-10 3/4 "
11
ELEVATION SOUTH
RIGHT HOUSE WALL 604.85 FT METAL WINDOW TRIM
1'-3 1/2 "
DOUBLE GLAZED GLASS PANELS RIGHT GARAGE WALL
LEFT HOUSE WALL
585.30 FT
630.10 FT
25'-0 "
4'-10 3/4 "
METAL ROOF SHINGLES
LEFT GARAGE WALL
RIGHT HOUSE WALL
579.40 FT
604.85 FT
RIGHT GARAGE WALL
STUCCO FINISH
585.30 FT
WOOD PANELING FLUSH TO THE WALL
25'-0 "
10'-2 1/2 "
METAL WINDOW TRIM DOUBLE GLAZED GLASS PANELS
FOUNDATION 570.10 FT
LEFT GARAGE WALL 579.40 FT
10'-2 1/2 "
SOIL
STUCCO FINISH WOOD PANELING FLUSH TO THE WALL
North Elevation Rehearsal /Professional Practice /70
LAMINATED COLUMN
METAL ROOF PANELS CONSTRUCTION PAPER 3/4" PLYWOOD FLASHING WEATHER PROOF LAYER 5/8" WOOD STR PANEL
2X8 FACIA SIMPSON TIE DOUBLE TOP PLATE
2 X RAFTER @ 16" O.C. INSULATION 2X BLOCKING
GYPSUM BOARD LIQUID APPLIED AIR BARRIER OVER SHEATHING
STAINLESS STEEL GLASS PANNELING CONNECTION 1" DOUBLE GLAZED GLASS PANELS
TORISON SPRING
7500 GLENOA BURBANK, CA
3/4" PLYWOOD FLASHING
2 X RAFTER @ 16" O.C.
WALL FINISHED STUCCO
TORISON SPRING MOUNTING BOARD
METAL ROOF PANELS CONSTRUCTION PAPER
2X6 DOOR MOUNTING
2X8 FACIA SIMPSON TIE DOUBLE TOP PLATE
INSULATION 2X BLOCKING GYPSUM BOARD
DOOR ANGLE TRIM OVERGEAD DOOR
WEATHER TREATED INSERTED WOOD
15
DETAIL
11
SCALE: 1' -1/2 " = 1'-0"
GLASS TO ROOF DETAIL
7
SCALE: 1' -1/2 " = 1'-0"
ROOF DETAIL
3
SCALE: 1' -1/2 " = 1'-0"
GARAGE DOOR TO WALL DETAIL SCALE: 1' -1/2 " = 1'-0"
2X4 TOP PLATE 2X4 KING STUD
1/4" WOOD STR PANEL
1
BUILDING PAPER
2"
DRYWALL
1
2
SHIM
1/2" PLYWOOD BUILDING PAPER
" STUCCO FINISH
1
INTERIOR FINISH
INSULATION
SEALANT, TYP.
4X10 HEADER
1/2" PLYWOOD INTERIOR FINISH
3/4" X 4" WOOD TRIM EMBEDED FLUSH W/ STUCCO FINISH
LAP G.S.M. FLASHING OVER PAPER WATERPROOFING TO WRAP FRAMING AND CONTINUE ABOVE WINDOW
1
2"
2
" STUCCO FINISH 31 4" GALVANIZED NAIL
DRYWALL 3/4" X 4" WOOD TRIM EMBEDED FLUSH W/ STUCCO FINISH
INSULATION
CONT. BACKER ROD AND CAULK SEALANT, TYP.
Z STUDIO
OVERGEAD DOOR TRACK
2X4 DOUBLE TRIMMER
DBL. GLAZED ALUM.
14
DETAIL TOP OF WINDOW
10
SCALE: 1' -1/2 " = 1'-0"
CONT. SEALANT, TYP.
CONT. SEALANT, TYP.
WALL DETAIL
6
SCALE: 1' -1/2 " = 1'-0"
WALL DETAIL
2
SCALE: 1' -1/2 " = 1'-0"
SCALE: 1' -1/2 " = 1'-0"
The drawings and spe represented hereby ar property of the Archite be used or reproduced the specified project fo prepared and develop consent of the Architec
INSULATION
2X4 BOTTOM PLATE
SHIM
CORK FLOORING
CONT. BACKER ROD AND CAULK SEALANT, TYP.
3
LAP G.S.M. FLASHING OVER PAPER WATERPROOFING TO WRAP FRAMING AND CONTINUE ABOVE WINDOW
4"
2X PRESSURE TREATED WD. PLATE AND ANCHOR BOLTS
PLYWOOD
INSULATION
2X4 BOTTOM PLATE
F.J. @ 16" O.C. WEATHER PROOF LAYER
3
4"
6"
PLYWOOD
JOB NO: SLAB FOUNDATION
NO.
ISSUE
DATE: 01
2X P.T. SILL W/ ANCHOR BOLTS AND WASHERS CONCRETE FOUNDATION
1'-6 "
2X10 RIM JOIST 2X P.T. SILL W/ ANCHOR BOLTS AND WASHERS CONCRETE FOUNDATION
PAGE TITLE:
DET
6"
F.J. @ 16" O.C.
Written dimensions sh scaled dimensions. Th and be responsible for conditions on the jobs discrepancies to Archi
The drawings and spe general scope of work performance of the bu necessarily indicate or required for full perform the construction contra work indicated Contra required for the proper
1'-8 "
INSULATION
METAL GUTTER
2X P. TRTD. WD. SILL
2X10 RIM JOIST
1' DOUBLE GLAZED GLASS PANELS
CORK FLOORING
5/8" TYPE 'X' GYP.
HEADER DETAIL
PAGE NUMBE
13
DETAIL BOTTOM OF WINDOW SCALE: 1' -1/2 " = 1'-0"
9
GLASS FLOOR DETAIL SCALE: 1/2" = 1'-0"
5
FOOTING DETAIL SCALE: 1/2" = 1'-0"
1
FOOTING DETAIL SCALE: 1/2" = 1'-0"
A6
1" WOOD STR. PANEL + FINISH 3
4"
BASEBOARD
1
2"
7500 GLENOAK BURBANK, CA
DRYWALL STAINLESS STEEL HANDRAIL
INTERIOR FINISH INSULATION HANDRAIL 1
2
STAINLESS STEEL HANDRAIL BRACKET
" PLYWOOD
BUILDING PAPER 1
2"
STUCCO FINISH
3 4" X 4 TRIM EMBEDED WOOD FLUSH W/ STUCCO FINISH
Z STUDIO
2X JOIST
(2) 2X6 FLOOR JOIST
15
STAIR SECTION SHORT
11
SCALE: 1/2" = 1'-0"
HANDRAIL DETAIL
7
SCALE: 3" = 1'-0"
HANDGRIP PORTION DETAIL SCALE: 3" = 1'-0"
2X6 FLOOR JOIST LENDING (2) 2X2 JOIST 2X4 PLATE
2X4 PLATE (3) 2X10 STRINGER
STEEL BOLT BOTTOM NOSING OF HANDRAIL
SUB FLOOR
Written dimensions sha scaled dimensions. The and be responsible for a conditions on the jobsite discrepancies to Archite
(2) 2X4 PLATES 3'-1"
8'-0"
2X4 PLATE
The drawings and spec general scope of work a performance of the build necessarily indicate or d required for full perform the construction contrac work indicated Contract required for the proper e
FINISH FLOOR
1 1/4" 1'-0"
1" WOOD STR. PANEL + FINISH 6" 1"
4'-1 1/2"
The drawings and spec represented hereby are property of the Architect be used or reproduced the specified project for prepared and developed consent of the Architect
JOB NO: NO.
2X10 STRINGERS @ 12" O.C.
ISSUE
DATE: 01.1
5/8" GYP BOARD T.O. SLAB
2X6 FLOOR JOIST
(2) 2X6 FLOOR JOIST
PAGE TITLE:
STA SEC & DE
PAGE NUMBER
STAIR SECTION LONG SCALE: 1/2" = 1'-0"
9
STAIR DETAIL FOOTING SCALE: 3" = 1'-0"
5
A6
HANDRAIL BOTTOM NOSING DETAIL SCALE: 3" = 1'-0"
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
13
Rehearsal /Professional Practice /72
12 Modular Pavilion
A dress as the basis of inspiration for the construction of a modules was the challenge confronted. A system of modules based from a generic object, in this case a dress, served as starting point from which the final construct could be build. The module acted as building block for the construction of a Pavilion. The multipurpose module change its program from been a structural support to serve as benches and divisions within the building.
Rehearsal 2A /Modular Pavilion /1st and Central /74
Paper Models
1
2
Site
The site was located at 1st and central in Downtown LA (Little Tokyo). After experimentation with different types of modulations derived from geometry and origami techniques, a working module was found to be ideal for the formation of the final construct.
3
4
Module Rehearsal 2A /Modular Pavilion /1st and Central /76
Unfolded Dress Seam Partial Deconstruction
Flounce
Fold Over Seam Steam Heat Pressure
Fold Under Seam
Unfolded Dress Method
Inside Fold
Outside Fold
Knife Pleat
Knife Pleat Box Pleat
Diretion Inside Fold Fold Pattern Outside Fold
Dress Schematic
The module was a derivation from geometric figures and origami techniques of folding, yet the initial design began to be tested with the patterns derived from a dress designed by Issey Miyake. The dress is centralized repetitively from its central axes. The patterns alternate and fold within a complex method of expansion and contraction (all within geometric forms). The dress gave way to a series of studies that concentrated around specific patterns and techniques of inner folding modules.
Rehearsal 2A /Modular Pavilion /1st and Central /78
Interlocking of the different Modules
m m m m m m m m m m
m Mountain Fold
m m
Outside Pleat
m m
Inside Pleat
m
m
m m
m
Folding Module 3
m m
m m m
m
m
m m
Secondary Cuts
Module
v Vally Fold
m v
v m
v
v m
m Mountain Fold
m v
v m
v
v m
Inside Pleat
m v
v
m
m
V
m
v
v m
Outside Pleat
Primary Cut Secondary Cut Slid Join
1�
m
3�
Folding Module 2
m
m
m
m Rehearsal 2A /Modular Pavilion /1st and Central /80
Module Aggregation
Module
Inversion
Folds Designate the Shape
m
v
m
v Join Point
m
v
m
v
m
v
v
v Vally Fold
m
m
m Mountain Fold
v
v
vm
mm
v
Outside Pleat
v
Inside Pleat
m
Cut
v 1�
3�
Folding Module 1
m
v
m
v
m
v
m
v
m
v
m
v
m
v
m
v
m
v
m
v
m
v
m
v
m
v
m
v
Circulation Ticket Booth Main Space Gallery Space
N
Lounge Area & Exhibition Space
Main Structural Column
Primary Support Secondary Support Mirror Joint Opposite Joint
Interior Lighting Conditions Rehearsal 2A /Modular Pavilion /1st and Central /82
N
5’
Site Plan
15’
Light & Shadow
The end resulting unit was able to create a form. The final module when connected by its central point or by its adjacent edges became stronger when assemble. By connecting the units in these key places, it acquired strength and became structural. The inner openings within the module created moments where the light comes in. Those openings created an interesting light condition on the floor of the pavilion.
N
B
5’
15’
A
Floor Plan N 5’
floor PLAN Scale: 1/4"=1
15’
section cu
Longitudinal Section B Rehearsal 2A /Modular Pavilion /1st and Central /84
The module, also took the shape of benches and interior partitions within the subsection of the pavilion. The pavilion expanded alongside the existing building creating extra space for exhibitions or any required square footage for the building’s program.
Transverse Section A
Final Construct
Rehearsal 2A /Modular Pavilion /1st and Central /86
14 Bus Station
The bus station is an examination of a problem. Los Angeles is a very congested city with a very poor public transit. The centralization of a main bus station was very important for the development and growth of the site. The site’s main issues are heavy transit and substantial pedestrian circulation. The main goal was efficiency and the inter-connectivity of the site existing conditions.
Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /88
Design Models
Site
The site was extremely researched by different processes that examine not only the environmental conditions, but also the social and metaphorical conditions. Throughout the production of a series of models, in some instances sectional models, the terrain was examine in order to understand potential connections from the site to the structure. Program and circulation were related to main streets and the different level of pedestrian at different times of the day. Traffic patterns, wind flow, traffic sounds, and more site conditions were represented within 6x6 wood model.
Sun Path Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /90
N
10’
50’
100’
Site Strategy
Site Analysis Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /92
The main wood model not only was useful to determine all the environmental conditions within the site, but also it was useful to find interesting patterns and connections otherwise un-evident. The unevident patterns found their involvement within the final construct as the overall shape of the structure. The final structure bridges over the street connecting the two section of the site. The ground connects to the structure creating green space needed on the site. Simple bus circulation makes traffic minimum and the bus station is in constant motion.
Canopy Structure Diagram
Circulation Diagram Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /94
N
1. Underground Bus Maintenance 2. Main Freeway Entrance
1
2
10’
50’
100’
Underground Parking Plan
N
N
e.
Av
d
oa
Br
y wa
1
1. Parking 2. Main Freeway Entrance
2
10’
50’
100’
Street Level Plan Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /96
um
ns
Gr
id
N
Co l
3
B
4
A
1. Freeway 2. Main Freeway Entrance 3. Main Lobby 4. Bus Terminal
1
2
10’
50’
100’
First Floor Plan
N
w.
1
Ce
sa
rE
.C
ha
ve
zA
ve
2
1
d
roa
NB
y wa
e.
Av
1. Restaurant 2. Roof Patio
10’
50’
100’
Second Floor Plan Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /98
Transverse Section A
Longitudinal Section B Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /100
Interior
Bus Terminal Final Model
Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /102
PROCESS
15 Housing Research
The research was an examination of the linkages between housing and the flexibility a floor plan could give to a design. The precedent used for the exploration was the Cherokee Studio Lofts by Fugh + Scarpa. The studios developed an interesting relationship between the interior and the exterior space. The relationship between what people wanted, thought they needed and what the architect offered not only complied to their needs but made the building hyper-efficient.
Rehearsal 3A /Housing Research /N. Fairfax and Melrose /106
WILLOUGHBY AVE
WILLOUGHBY AVE
WARING AVE
WARING AVE
icient than California’s Title 24, the most demanding energy code
MELROSE AVE
MELROSE AVE
Neighborhood Property Divisions
Figure Ground
Neighborhood Property Divisions ighborhood Property Divisions
Figure Ground Figure Ground
K
G IN2
R PA
1
G
N KI
R PA
W
W
IL
IL
LO
UG
HB
Y
3
Public and Private Space
Public Vs. Private
LO
UG
HB
Y AV AV E. 1.EWind Movement . 2. Sun Path
3. Circulation
OGDEN AVE
ORANGE GROVE AVE
ORANGEAVE GROVE AVE FAIRFAX
HAYWORTH AVE
HAYWORTH AVE
EDINBURGH AVE
EDINBURGH AVE
FAIRFAX AVE
urban infill, mixed-use, market-rate housing project. ries of paintings by the British artist Patrick Hughes titled, appear to be ever changing and physically moving while ain architectural feature of this project is the building’s e façade system. By allowing the occupant to adjust, at will, ng façade, the facade is virtually redesigned “live” from within s of the building within, in real time. The screens also and promote a lively pedestrian environment. By visually er articulated moving elements, the building appears to move In effect, it becomes a live canvas to be painted upon daily or f the building, the façade is multivalent and rich with meaning al, functional and experiential effect.
The research played with the idea of flexibility and possible interventions from which the occupant could morph space to their needs and wants. The intervention introduced within the space was a mechanical transformation of the space from which tables, walls and partitions, television sets and more appliances are moved away so the occupant could have full access to his/her square footage.
UP
Impaired Movement
UP
SIDE
SIDE UP
DOWN
DOWN
Section in Flux
Final Rehearsal 3A /Housing Research /N. Fairfax and Melrose /108
16 Housing
The housing project developed around the idea of taking advantage of an existing space and re-using it to maximize its potential. The project was, more or less, an urban in fill project where a portion of the Woodbury San Diego University was going to be used to create two apartments for adjunct faculty.
Rehearsal 3A /Housing /Woodbury University San Diego/110
EXISTING/SITE CONDITIONS
WOODBURY SAN DIEGO
Site
Design Models
Site Analysis
Housing
Parking
Industry/Factories
Woodbury San Diego
N
Site Programmatic Analysis Rehearsal 3A /Housing /Woodbury University San Diego/112
Summer
Winter
Sun Path
Rehearsal 3A /Housing /Woodbury University San Diego/114
Existing Building
Maximum Height (30ft)
Accents
Views
Views
Window Openings & Accents
Substraction
3-D Grid Derived From Site Conditions
Building Subtractions
The existing conditions provided for a maximization of the square footage given by the zoning code. The initial block was raised to the maximum height and gave way to two floors of housing with a ground floor with an open program. The shape of the building is a derivation of the existing conditions laid on the building. Sectioning the main mass divided the block into two apartments with a connecting patio. The openings relate to the main views and also to the pattern of the sun. The end results are two buildings that relate to the conditions of the site. Rehearsal 3A /Housing /Woodbury University San Diego/116
Grid
Normative Window
Subtraction Derived from Grid
Surface Subtraction
Implied 3-D Grid
Accents
Window Accent
Summer Sun
Winter Sun
Overhang
Grid
Window Diagram Rehearsal 3A /Housing /Woodbury University San Diego/118
Rendering
The building opens to the public by introducing a coffee shop as the main retail program. On top, two similar apartments are section by the site conditions laid on the faรงade. Each section relates to each other and in some instances it creates windows, doors and balcony spaces. The interaction between inner space and outer space fluctuates depending on the need of each level. Natural light filters through the openings in winter and during the summer the shades block the radiant sun. The overall composition is the relationship of a structure to its location. Rehearsal 3A /Housing /Woodbury University San Diego/120
Final Rendering Rehearsal 3A /Housing /Woodbury University San Diego/122
17 Apartment Complex
The project arouse from the need of housing development within the site. The apartment complex takes into consideration the need of the occupants and the flexibility within the floor plans. The apartments have an interior relationship linked by green open areas for the residents. The building derives from the combination of two typologies and the site conditions which have a profound influence in the final outcome. The apartment complex not only provides housing, but also the ground floor is open to the public creating space for people to experience the building.
Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /124
Site
Design Models
Figure Ground
+
+ Site Perimeters
Site Perimeters
+ + Sun Path
The apartment complex operates around the need of the resident and the site condition. The side condition changes the outlook of the project because as a common factor, each one of the apartments would have a view to downtown LA. The structure is punctured by the need of open areas within the floors. The building pushed up the first floor to allow an open ground floor. The public now can experience and inhabit the ground floor alongside with the commercial program.
Typology
Views
Final Construct Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /126
N
Parking
Parking
Lobby
Water Feature
B
mns
Colu
Grid
Restaurant
Coffee Shop
Hope st. N
A
Ground Floor Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /128
N
Second Floor
Up
Up
Up
Up
N
Third Floor Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /130
N
Fourth Floor
Down
Down
N
Fifth Floor Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /132
67’
54’
41’
28’
15’
Transverse Section A
2 Bedroom Lofts
2 Bedroom Townhouse 1 Bedroom Apartments Commercial
Longitudinal Section B
Plan + Reduction in Scale
The Change in Scale of the Punctures, Aids the Ventilation Filtrate into The Central Courtyard
Porosity Intensified Due to Wind Concentration
Unrolled Skin Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /134
The building is wrapped with a skin derived from the plan of the building yet implemented at a different scale. The skin controls the amount of light that goes into each apartment and also regulates the ventilation. Each apartments deals with specific conditions as flexibility, textures and lighting in a way that makes each apartment different while working with the same floor plan.
Porous Skin Align to the Building Windows
Light
Ventilation
Units Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /136
The subtraction of the floor opens up the building for it to let air go through and light to filter down the ground floor. The façade that faces the street fallow the normative outlook of the overall street scape, yet as it evolves, the building’s rotation crates inner spaces within the shifted planes and relates different floor with specific views of LA live.
Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /138
Final Construct Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /140
Final Rendering Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /142
18 Structure Systems
The project function is to express the specific structural system as an elegant way to solve a problem. The main program in the site is a seasonal view point from which referees are able to quantify scores, in the other hand, the structure also has to function as a view point from where people could bird watch en enjoy the panorama of the site.
Rehearsal 3B /Structure Systems /UCLA Marine Aquatic Center /144
A
Design Models
Site
Tertiary Structure Elements
Secondary Structure Elements
Primary Structure Elements
Structural System
The study for a structural form began with experimenting with string and finding load point. The load points are translated into a wood structure that could be able to sport the required program. The further development of the structure progressed into a system of three structural members. The primary members hold the overall structure while the secondary members give support the primary members and at the same time they interlock to bring the loads down to the footings. In the other hand the tertiary member serve as truss members that aid the expanding limbs of the main struc-
Rehearsal 3B /Structure Systems /UCLA Marine Aquatic Center /146
Section A
ture. The structure frames views that traced patterns of native birds from the site and also provided a bike stop for cyclist.
Final Construct Rehearsal 3B /Structure Systems /UCLA Marine Aquatic Center /148
Final Rendering Rehearsal 3B /Structure Systems /UCLA Marine Aquatic Center /150
19 Wet Studio Cuba
The Cuba project began with a new form of looking at commerce. The need of income is translated into a new development in infrastructure. They city understands the needs and wants of society and its growing audience, and its making the necessary changes to accommodate the new found commerce. The growing commerce in the site is the explosion of tourism. The first section of the work began as a development of the Casa Blanca (site) urban master plan. The site’s urban plan located new hotels, apartment complexes, commercial space, a museum and a first class tower hotel.
Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /152
Site
Design Models
Parti
Site research is translated into a relationship of specific site conditions that need to be accommodated within the new master plan. There is something special, one could say romantic, about the site. Today the main tourist areas in Havana are linked together by a series of plazas. The plazas are flanked by commercial program yet the translation between each plaza is merged with green areas and tourist attractions. Even though the site is very tourist friendly, there is a clear division from the native Cubans to everybody else. A tourist is massively privileged. Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /154
Melacon, Havana, Cuba
The scope of the project was to find an interesting relationship between the needs of the public and commercial space. The linkage is very difficult because in Cuba there is a minimum to non-declare retail space. None of the store fronts have advertisement. The lack of individuality between products is a reflection of the regime existent in Cuba. In other words the project developed around the idea of a very clear circulation patterns alongside very functional floor plan. The simplicity could be utilized repetitively. The project would develop as a module that could reproduce itself alongside the sea front.
Project Module
Overall Site
Module
Modulation on Site Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /156
The project initial schemes involve the shifting and staggering of program in order to allow for a clear circulation. Given the shifts of each program, the structure will surround itself with great panoramic views such as the sea, overlooking the Melacon or overlooking the historic section of Casa Blanca. The project developed into a series of schemes from which the only common factor was the footprint of the building, yet different circulation patterns could be applied. Each series of schemes introduce a variable in order to conform to the needs of the public.
Views
HOTEL LOBBY
BAR
BAR
HOTEL LOBBY
BAR
HOTEL LOBBY
BAR
HOTEL LOBBY
SUVENEER SHOPS
SUVENEER SHOPS
SUVENEER SHOPS
SUVENEER SHOPS
Floor Plan Development Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /158
Circulation
Module Circulation
Links Between Program
Modular Repetition
The circulation within the project was a very fundamental factor that the project needed to develop around. To create a fluid circulation no stairs were needed to change from one floor level to the other. A ramp system connected the two floors level seamlessly. Alongside the circulation, main programs within the modules anchored the building. The site conditions also changed the overall function of the bluing. The back of the building was more regimented and reacted to the urban fabric. On the other hand, the section of the building that faced the sea front, open up to the public pulling the spectator.
N
Retail
Retail
5’
15’
First Floor Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /160
N
5’
Second Floor
15’
N
3 FT 5 FT
A 5’
15’
9 FT
B Third Floor
Section A
Section B Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /162
Overall, the project develops to accommodate the existing conditions. Those conditions could be climatic, governmental, functional, etc. The project located potential retail space without governing the program and allowing for public growth. As the site becomes more populated, the advantages of having an open platform from which specific requirements could be achieved with a repetitive module gives the liberty to inhabit the architecture in a more organic manner. Also the flexural nature of the project assures longevity to the architecture.
Final Construct Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /164
Final Rendering Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /166
Luis N Orozco luis.orozco.a@live.com
818.307.6561
Architecture is an assembly of parts that labors within the mind of the architect. Architectural form is derived and constructed by the way members juxtapose to one another. Structure, program, circulation, ambiance, feeling, systems, form, elements, all of them are, essentially, parts of a whole. Parts within architecture are architecture itself; all designate space and all interlace to constitute a shape illustrated within their program. Form is the interconnection of parts, parts are the elemental condition of a single member, yet every single member gathers importance not only for their particular attributes, but because their integration to different members. In other words A.R.C.H.I.T.E.C.T.U.R.E. is a performance of parts.