ARCHITECTURAL PORTFOLIO
| 7 PROJECTS
THE ARCHITECTURE OF M. A. AGUIRRE | 2018
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EDUCATION
WORK EXPERIENCE
RHODE ISLAND SCHOOL OF DESIGN B FA S E P T 2 0 1 3 - J U N E 2 0 1 8 BArch SEPT 2014 -JUNE 2018
3SIXØ ARCHITECTURE
PROVIDENCE, RI
DESIGN PROPOSALS.
BROWN UNIVERSITY COURSES IN ECONOMICS, COMPTEMPORARY P H I LO S O P H Y, A N D G E R M A N L A N G U A G E . PROVIDENCE, RI
GREEN B. TRIMBLE TECH HIGH SCHOOL SEPT 2009 - JUNE 2013 ARCHITECTURAL DRAFTING + DESIGN C O N C E N T R AT I O N . FORT WORTH, TX
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INTERNSHIP
SITE VISITS, CLIENT MEETINGS, BIM MODELING, CAD D R A W I N G S , P R E L I M N A R Y A N A LY S I S A N D S C H E M A T I C JAN 2018 - MAR 2018
U LT R A M O D E R N E A R C H I T E C T S
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INTERNSHIP
A S U M M E R C C R I D E S I G N B U I L D F O R A M U LT I U S E P O LY C A R B O N A T E C O M M U N I T Y P A V I L L I O N . JUNE 2016 - SEPT 2016
CORESLAB STRUCTURE
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DESIGN FELLOW
D E V O LO P E D M E T H O D O F M O D U L A R FA B R I C CASTED CONCRETE. JUNE 2016 - AUG 2016
N O R M A N WA R D A R C H I T E C T S
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INTERNSHIP
M O D E L M A K I N G , D I G I TA L D R A F T I N G , A N D C O N TA C T I N G C L I E N T S F O R R E S I D E N T I A L P R O J E C T S . JUNE 2013 - SEPT 2013
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RELATED EXPERIENCE
SKILLS
ACE MENTOR I HIGH SCHOOLS OF CENTRAL RI G A L L E R Y A S S T. I D E P T.O F A R C H , R I S D PRESS COORD I MADE STUDENT BOUTIQUE EXHIBITION COORD I GELMAN GALLERY W E B A D M I N I O I T, R I S D
DESIGN ARCHITECTURAL DRAFTING & DESIGN, METHODS OF CONCRETE CASTING, WEB/GRAPHIC DESIGN P U B L I C AT I O N D E S I G N C A M PA I G N D E S I G N
AWARD & DISTINCTIONS
PROGRAMS R H I N O , R E V I T, A U T O C A D , A D O B E C R E AT I V E S U I T E ,
AMERICAN CONCRETE INSTITUTE | GRANT M AT E R I A L D E V E L O P M E N T + R E S E A R C H
WA L L S T R E E T J O U R N A L | F E AT U R E “MINIMALIST MUSIC’S LIQUID ARCHITECTURE”
MICROSOFT SUITE, GOOGLE APPS.
LANGUAGES S PA N I S H ( N AT I V E )
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E N G L I S H ( N AT I V E )
A R TA N D S E E K . N E T | F E AT U R E
PERSONAL
“SINAGE WORKS”
AMBITIOUS | CRITICAL
D A L L A S C A S A O R G A N I Z AT I O N | C O M P E T I T I O N
RESOURCEFUL | CURIOUS
PA R A D E O F P L AY H O U S E S
E N I G M AT I C | F E T C H I N G
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p.20 1. SOUTHLIGHT 2. PARK CENTER VILLAGE PLACE 3. BEAST ON THE BRIDGE 4. CONCRETE VITALE 5. SUBLIME PAPERCLIP 6. CHARACTER BUILDING 7. THESIS PROJECT p.32
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TABLE OF CONTENTS
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SOUTHLIGHT CULTURAL CENTER Summer 2016, a group of students along with Aaron Forrest and Yasmin Vobis (Principles of Ultramoderne Architects), built a multi-use public pavillion and community garden for the Southside Cultural Center for Rhode Island (SCCRI). The site of Southlight, as it would be later named, began as a large unused asphalt park in the middle of a neighborhood. The Community, in need for a center, joined RISD and UltraModerne to brainstorm a platform for the neighborhood to exhibit its cultural variety and generate income for future programs. From it sprang the multi-use, cost-effective, and economically generative community pavillion and garden. A publication was called for to memorialize the struggles, good times, and architectural details that made Southlight possible. It would be a manual and archive to the design-build process. Favorite quote: “In the end, the decision is meant to be shared and there is no place for one leader, but a necessity of a community, goverment, and designer to work as a network. The real task is to find a dream everyone can identify with and an identity that everyone can be included in.�
Photo by Naho Kubota
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Photo by Naho Kubota
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SOUTHLIGHT CULTURAL CENTER
The pavillion itself was a polycarbonate green house structure flipped inside out. Taking a common steel frame green house kit, the students reworked the arrangement, from arraying operable doors all along the perimeter, to taking upright triangular trusses and flipping them to create a smooth box-like envolope. The inverted trusses would also be the base for a dynamic lighting layout which brought a cookie-cutter barn into the 21st century.
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The project was devised as a three-part design-build. One: the three-season landscape and rain garden to catch runoff from the remaining asphalt lot. Two: the wood fence and anamorphic signing. Three: the pavillion, the lighting, and the concrete barriers/seats.
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SOUTHLIGHT CULTURAL CENTER
Photo by Naho Kubota
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SOUTHLIGHT CULTURAL CENTER
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Park Center Village Place Park Centre Village Place
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Sage Dumont Marco Aguirre Paola Martinez An Intergrated Building Systems design Nickoffice Meehan 60,000sf speculative building on
porject, Park Center Village Place (PCVP), students undertook the design of a +/the Quonset Point campus near the Narragansett Bay. The project requirements included detailed design for circulation and detailing of structure and enclosure. In addition to the zoning issues controlling the site, teams were given 4 standard building systems (structure, skin, core configuration, and roof).
Park Centre Village Place
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Sage Dumont Marco Aguirre Paola Martinez Nick Meehan
O.A.M.M. ARCHITECTS
INTEGRATED BUILD
INTEGRATED BUILDING SYSTEMS - JIM BARNES - 2017
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The goal was not only to explore and apply the building systems given, but also explore design hybrids to make and translate the those ideas into a concise set of drawings. Our design received recognition for the lowest annual energy use, and clever combination of photovoltaics, water collection, living machine, rain garden, and glazing distrubution.
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Enviromental Strategirs - Living Machine and Drain Strategy Ground plan
Roof plan
PARK CENTER VILLAGE PLACE
Wall Section Performance - Cavity wall, greef roof, and water collection intergrated
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Enviromental Metrics - R-Value Calculations (Inside and Outside) Roof R= Ceiling tile .5” Structure cavity .5” 1 Metal Decking 1.5” Concrete Slab 3.5” 4.5 Vapor barrier rigid insulation 5.5” 25.3 Roof barrier Gravel drainage 1” Raised concrete rood deck 4” Turf Total: 28” >30.8
Wall R= Gypsum Board .5” 0.5 Vapor barrier batting Insulation 4” 16.8 Air barrier 0.7 Rigid Insulation 3” 13.8 Air gap 2” 1 Masonay 3” 2.4
Floor R= Tile .5” Concrete slab 4” 5.2 Vapor barrier rigid insulation 2” 9.2 Granular Drainage 4”
Total: 12.5”
Total: 10”
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Building Envelope Performance - Weather Location: Providence, RI
Glazing and Orientation Strategy
Photovoltaic Strategy 2800 sf photovoltaic 42,100 kwh/yr
PARK CENTER VILLAGE PLACE
Water Collection Strategy 15,000 sf 390,000 gallons/yr
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BEAST ON THE BRIDGE Beast on the bridge is a creature that wondered into our universe and settled on a highway overpass in Providence. Born from the armature of a fox in hunt, it’s final design is a semi translucent iridescent shell with wood frame structure, sizing up to be over 20ft high. The beast is a character whose purpose is to bring joy and or nuisance to those who encouter it, most notable for the daily traffic jams it causes below by it’s glimmering beauty.
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BEAST ON THE BRIDGE
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Concrete Vitale From a precast concrete course sponsered by Coreslab Structues, Concrete Vitale is a material exploration which would be showcased in a final exhibition. This project is an experiment with concrete as a drawing medium, born from a series of concepts by each group member, Fan Wu, Linfeng Ke, and I. Subjects such as gravity, directionality, and performance of a line were developed and manufactured to fill a room with lines. Each line tooks its form by being first developed in a simple point-cloud line drawing then would be realized in a series of 2x4 scaffolding structures. This construction methods and Industry sponsorship alllowed us to continuely cast, measure, and repeat numerous lines and precast methods, to where we were able to predict the difference between the ideal and actual’ final form.
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The lines were exhibited in the department gallery, across three rooms where they could be installed to simmulate the ideal experience, a bayside concrete jungle. From its conception on the page to its birth in material the project was a liberal take on the transformations in architectural practice, a closer look of how our drawings come to life.
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THE SUBLIME PAPERCLIP For a studio called “Sublime and Monstrous,� students were asked to find a device which one could derive a project. The device was likened to a McGuffin, an object at the beginning of a film that serves merely as a trigger for the plot, the plot of course being an architectural course. My device was the paper clip and from a recent drawing done for a dying family member, my program became a multi-building city-wide hospice institution. From an 88 paper clip alphabet (right), I began to construct a vocabulary that would bring drawing compositions to a hospice institution.
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THE SUBLIME PAPERCLIP
The city of Providence would be saturated with the hospice’s presence. The living and dying would be intertwined and the aura of awareness and interaction would be formidable. The sublime paperclip is now the hospice city. The city will have an unmistakable presence, within it full of color, joy, and meaningful parting. 88 paper clips became 16 paintings, then 16 models, and last 16 buildings/installations.
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THE SUBLIME PAPERCLIP
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16 1’- 1/100”
THE SUBLIME PAPERCLIP
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THE SUBLIME PAPERCLIP
1' - 1/4" 1' - 1/128"
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1' - 1/32"
1' - 1/64"
1' - 1/16"
1' - 1/32"
1' - 1/64"
1' - 1/16" 1' - 1/128"
THE SUBLIME PAPERCLIP
1' - 1/64"
10. Monument for the Unattended Dead 12. Library of Memories 11. Large event space 8. Sound vortex 9. Dog Park 6. Botanical garden 1. Camera obscura in a cliffside 5. Light installation
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CHARACTER BUILDING Character Building, an advanced studio at RISD led by young architect Nick Safley, explored the ideas of shape and form and how they come to inform new methods of programming and aesthetics. Highly seduced by the ideas of shapey buildings, and with the program of an office tower for Boston’s quickly growing Seaport District, I began an investigation of shape and color and their inhabitation, to a resolution of a new kind of office experience.
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CHARACTER BUILDING
Intended to be a building for Silicon-Valley types who so constantly look towards the unconventional as catalyst for their own ideas, this building is not meant to be easy to occupy. Every corner, every boardroom, every “hallway” is meant to challenge the inhabitants. 30 unique shapes with rooms (up to 150) filled the (pre-requested) building envelope as free clearance catwalks lined the interior. Leebeus Wood’s writing was the inspiration.
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LW -- “In the spaces voided by destruction, new structures are injected. Complete in themselves, they do not make an exact fit, but exist as spaces within spaces, making no attempt to reconcile the gaps between old and new, between two radically different systems of spacial order and thought. These gaps can only be filled in time. the new structures contain free spaces, the forms of which do not invite occupation with the old paraphernalia of living, the old ways of living and
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CHARACTER BUILDING
thinking. They are, in fact, difficult to occupy, and require inventiveness in everyday living in order to become habitable. They are not predesigned, predetermined, predictable, and predictive. They assert no control over the thought and behavior of people. Rather they offer a dense matrix of new conditions as an armature for living as fully as possible in the present, for living experimentally. The freespaces are, at their inception, useless and meaningless spaces. They
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become useful and acquire meaning only as they are inhabited by particular people. Traditional links with centralized authority, with deterministic and coercive systems, are disrupted. People assume the beneifts and burdens of selforganization. Exsistence continously begins again, by the reinvention of itself. “ Woods, Lebbeus; “War and Architecture: Injections” New York, NY : Princeton Architectural Press, 1993
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DO M E C ITY THE SIS P RO JEC T The city where I struggle to speak, I am a prisoner. Dome city is the space of the human imagination that deals with freedom. Domes are anologies for the power structures that mark what is inside and what is outside, but never distinguishes how we should feel about either. Domes are our rooms, our cities, our wombs, our minds, domes have the scale we give to them and are, with effort, both our prisons and our sanctuaries. I have always had trouble reading, writing, and communicating so this is an attempt to move towards my own language and means of representation. To construct a line of thought which offers me the possibilty to construct an entrance to spaces, mental or physical, and the questions of freedom that comes with them. I believe language arises from inhabitation and that the complexity of the cacophony can be accessible to anybody willing to enter the city (my work). This thesis has been my attempt to understand the occupation of a city of work and find expression in the language of shape, color, light, and form--the language of an architect.
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THESIS PROJECT
From the mark becoming the cut that allows the hinge to open. A space was born inbetween the plan and the elevation. A space I began to occupy with casts. First came the square, the circle, and the triangle all lifted from the hinges in the grid. From them were born the cube, the dome, and the pyramid. From those were the brick, the womb, and the cross.
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THESIS PROJECT
Dome City is where consciouness confronts, amused/confused, entering in and out. Creation as the hunt, the treachery of images, Geography mapped and wombs sectioned. New keys hinged to their locks, prisons in construction, sanctuaries not.
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THESIS PROJECT
A city emerged, a cacophony of generations. The collision of language and drawing giving way for maps. These cities now discovered gave account to the epics occuring invisibly all around us. I want listen to these layers, learn about thier voids and expressions, and connect to the network that grows when we pursue free thought.
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THESIS PROJECT
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THANK YOU.
PROVIDENCE RI, 02903 +1 817.987.8706
MAGUIRRE@RISD.EDU 2 C O L L E G E S T. # 0 0 1 4
THE ARCHITECTURE OF M. A. AGUIRRE | 2018
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