Design Portfolio Marco V. Rosero
Massachusetts Institute of Technology - Bachelor of Science in Architecture
Contact mvrosero@mit.edu (631) 456-7493 Location Phoenix, AZ
Contents Pop-Up Tower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 - 5 Soft House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 - 7 Shallow Stairs - Dense Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 - 9 Transforming Pine Cube . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 - 11 Glass House Rolled Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 - 13 Plywood Desk Chair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 - 15 Digital Graphene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 - 17 Natural Traces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 - 19 3
Pop-Up Tower 05.2015 Collaborators: Sofie Belanger, Johanna Greenspan-Johnston, and Anthony Kawecki. Exhibited at MIT International Design Center Courtyard.
Inspired by pop-up books and origami, this structure bursts into existence from 4x8 foot sheets of 1/8 inch-thick polypropylene, a polymer material that behaves like paper at the building scale.
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CNC-Milled, folded, and stacked into a 15ft tall structure, this Pop-Up Tower demonstrates that thin materials can be used to construct free-standing structures at the human scale.
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Soft House 05.2017 Collaborators: Natalie Bellefleur, Xhulio Binjaku, Frank Fang, Joseph Faraguna, Ciera Gordon, Kylie Kawano, Ann Hughes, Khaoula Msaaf, Jingwen Wang, Calvin Zhong, and Yifen Zhong. Exhibited at MIT East Campus Courtyard.
Soft House is a tensile polyester structure designed to be anchored to trees. Assembled through braiding and knotting techniques, this structure is strong enough to safely hold one person. Under the instruction of Janet Echelman, this structure was designed as part of an experimentation phase for an art installation for the Philip Johnson Glass House. The project’s successful completion necessitated a combined effort of structural analysis, photogrammetry, and architectural design.
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Shallow Stairs - Dense Spaces 10.2016
V1
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P4 P3 V3 P1
P2
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P4 V4
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P1
V1 C2
C1
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This building’s exterior geometry is derived from traditional Japanese wood-joinery. The looping corridors of shallow stairs form a dense circulation creating an claustrophobic cave-like interior. No corner of the geometry is left unexplored. The four rooms within the circulation serve simple purposes. One provides a view of the ground, another provides a view of the sky, the third provides a view of the horizon, and the last has no view but is sunlit. These rooms are not extrusions from the circulation, but are rather formed through the broadening of the passageways themselves.
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Transforming Pine Cube 11.2015
An interlocking wood puzzle composed of three pieces, only the correct moves will disassemble this uniform cube into its constituent parts.
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The series of motions needed to achieve the cube’s open configuration force the user to collapse the cube into a form whose height is 5/6 that of the closed cube. Both the form and the motion for the cube opening were inspired by a painting from the natural traces series (p. 18-19), therefore the moves are contained within the boundaries of two dimensions and emulate the horizontal movement and settlement of the ink that formed the painting.
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Glass House Rolled Up 04.2017 Collaborator: Xhulio Binjaku
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The “Glass House Rolled Up” is a mass reproducible floor plan of Philip Johnson’s Glass House textured onto a concrete cylinder. The cast cylinder picks up the forms of the floor, the herringbone brick pattern, furniture, base of sculptures, bed and rug – all the living objects of the house. The casting uses techniques of archaeological preservation to make an object that allows for the reproduction of the floor plan.
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Plywood Desk Chair 12.2015
A desk chair precision-milled by a CNC Mill from a single sheet of 1/4”x4’x8’ plywood. This piece of furniture is designed for mass production and can be shipped in a single flat package. Requiring no glue, nails, or screws, this chair is held together only by the friction between each of its precision-milled parts, and can be quickly assembled with a mallet, making it as assembly-friendly as possible.
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In order to promote good posture, this chair provides a back rest not-designed for reclining, but for stretching. In addition the shallow yet comfortable seat allows for the weight to be shifted from the user’s back muscles to the leg muscles.
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Digital Graphene 04.2015 A digitally displayed representation of graphene, coded in Java, that demonstrates how the fragile graphene system can degenerate through the erasure of a few lines of code.
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Using the data-visualization software Processing, graphene is modeled in the digital realm. The mouse becomes the pencil as graphene is scattered through 3D space, much like graphite on paper. With minor disruption to the code, the predictable honeycomb structure of graphene will disappear and degrade into uncontrollable carbon atoms attempting to find covalent bond partners in the chaos of free space.
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Natural Traces 09.2015 Exhibited at MIT Keller Gallery. A series of paintings shaped not by hand, but by the natural forces of cohesion, adhesion, and capillary action.
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To produce these paintings pieces of paper of varying thickness and texture were sandwiched between two acrylic sheets, the contraption was then dipped into a shallow pool of water whilst being drizzled with drops of sepia ink. The ink traces out natural pathways of rapid liquid flow within the paper’s fibers where forces of friction preventing the ink’s flow are minimized. Through its tonality, the sepia ink helps to reveal where in the paper the most liquid was able to flow and settle.
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