MARIO RODRÍGUEZ PORTFOLIO
801.669.6741 - 555 W 400 N Salt Lake City, UT 84116 - mrodriguez@ffkr.com
The Divine Paradox My grandfather was a carpenter who learned to converse with wood and make it a life companion. My father composed verses since his heart started beating for things that his mind could not explain. In me there is something from both of them, the poetry and physical creation of things which drew me to architecture. The duality of life has always been a powerful source of inspiration and part of what makes me who I am. The spirituality from my mom and the poeticism from my dad, the discipline and the total freedom, the practical and the conceptual, the tangible and the surreal, light and darkness. I find all these parts powerfully and beautifully assembled in architecture. I’ve always thought that architecture is where science and art meet to change people, families - to change society. And so architecture is the tool I have chosen to make a difference in the lives of people and the environment that surrounds us. Salt Lake City, 2015.
Preface
Parametric Screen
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Reliquary
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Room for Rumination
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Film Community Center
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“DAR A LUZ” Interfaith Retreat Center
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Sketches
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Watercolor
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Table of Contents
PARAMETRIC SCREEN EPICENTER. Green River, UT
Group project with Matt Myers, Meng Li and Sara Xu. (Spring 2015)
The purpose of this project was to control light through the construction of a screen. The site of this was Epicenter, a small office building in Green River, Utah. The existing storefront facing south presented a problem to the users for a large part of the day. As a group we had to study different construction methods in order to solve the issue. Masonry was our solution. We approached it through the concept of repetitive, stacked modules. The first step was to design the module or to re-use objects or material that would serve as the module.
MARIO RODRIGUEZ / Parametric Screen
Design Studio II Professor Dwigth Yee
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Finding the right module consisted of exploring with containers of colored water, cubes of analogous colors, aged plank wood, straws, and PVC pipe, among others.
Next was a sun study of the space. The worst scenarios were used in this study. Winter solstice presented the most critical moments.
MARIO RODRIGUEZ / Parametric Screen
Honeycomb became the module of choice. Straws were too small, so PVC pipes were deemed a more appropriate choice.
The location of the work units in the space and the most critical spots inside the space, guided the design. Each module had a different depth that were place according to the parameters mentioned. 2 ft 1 ft 9 in 6 in 3 in
Design Studio II Professor Dwigth Yee
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Picture above shows cutting process and assembly of each module. Below, the full scale mockup built with actual material. After 9 months, the model stands intact withstanding heat, rain and snow.
MARIO RODRIGUEZ / Parametric Screen
Design Studio II Professor Dwigth Yee
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RELIQUARY
Sculptural Object Academic Project (Fall 2015) i and Sara Xu. An object to store sacred items. This is a reliquary for the heart, inspired by the Mayan culture. For Mayans, science and religion was one whole. Mayans practiced human sacrifices by ripping the heart out of the body, leaving a void, then burning it. They timed this ritual with the movements of the stars.
MARIO RODRIGUEZ / Reliquary
Reap and tear models were made to study the best approach of enclosing an object using Mayans beliefs.
Material used: Carved wax and red stones. Here wax represent jade, a precious stone and one of the main trading assets of the Mayan culture. The shape represent the fusion between science and religion. Science is represented by the circular shape in the center, resembling the Mayan calendar. Religion is represented by the bright stone at the core, like the burning heart. The red beads symbolize the bloodshed during sacrifices.
Design Studio III Professor Anne Mooney
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REFUGE FOR RUMINATION PARAMETRIC SCREEN
Salt Lake City, UT PARAMETRIC Academic Project (FallSCREEN 2015)
A space for introspection. Inspired by the reliquary and the void left by the heart. An existing warehouse was re-used. Since it is already a dark space, the opening on the roof and the light coming in creates the void. Users can leave their daily life behind in a space surrounded by complete darkness, turning light into a necessary and profound source for the soul.
MARIO RODRIGUEZ / Refuge for Rumination
A 2 x 4 ft dark box was built to recreate the dark atmoshphere inside the wharehouse. Several iterations were explored to understand how light would work in the space, by changing shapes, material and openings.
Above to the right, the final model and the sculpted space. Wood was used. Bottom right, section showing how the object sits on the roof.
Design Studio III Professor Anne Mooney
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FILM COMMUNITY CENTER Salt Lake City, UT Academic Project (Spring 2015)
In this community center, film workshops are given and films projected as an informative tool, representing hispanic population. This project would serve as a bridge to fill the gap between cultures.
MARIO RODRIGUEZ / Film Community Center
DesignStudio Studio II Design Professor Dwigth Yee
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MARIO RODRIGUEZ / Film Community Center
The image of a bridge is implied by a canopy structure connecting the outdoor and indoor screening spaces. These are shown in yellow.
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MARIO RODRIGUEZ / Film Community Center
11 10 1. Outdoor Screening 2. Indoor Screening 3. Cultural Space 4. Reception 5. Offices 6. Restrooms 7. Dark Room 8. Mixing 9. Editing 10. Mechanical 11. Storage
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Design Studio Design Studio II Professor Dwigth Yee
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PARAMETRIC SCREEN PARAMETRIC SCREEN
MARIO RODRIGUEZ / Film Community Center
Design Studio II Design Studio Professor Dwigth Yee
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DAR A LUZ (TO GIVE BIRTH) PARAMETRIC SCREEN
Interfaith Retreat Center. Huntsville, UT.
PARAMETRIC SCREEN Academic Project (Spring 2015)
A place of re-birth using a common spiritual symbol: light. Light in the darkness represents sanctity. The drive across the Ogden canyon to the site is the return to the moment of birth, using the existing tree tunnel as a path to the womb (represented by the preluding architectural feature).
MARIO RODRIGUEZ / Interfaith Retreat Center
Design DesignStudio StudioIII Professor Anne Mooney
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Experiential sketches. The site is in the north country of Utah. Farming is the main economic activity in the area. A striking tree tunnel introduces the site.
MARIO RODRIGUEZ / Interfaith Retreat Center
Parti Diagram
The preliminary process included various iterations of light and darkness. The revealing moment of light when passing through darkness symbolizes the concept of receiving life again.
Design Studio III Professor Anne Mooney
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Several study models were constructed.
MARIO RODRIGUEZ / Interfaith Retreat Center
Design Studio III Professor Anne Mooney
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1. Prelude (Landscape feature) 2. Vestibule 3. Lounge 4. Public restrooms 5. Director’s office 6. Meeting room 7. Chapel 8. Storage 9. Mechanic 10. Laundry 11. Hermitages restrooms and showers 12. Individual room (typ.) 13. Two person room (typ.) 14. Lounge 15. Kitchen 16. Dining area 17. Library 18. Contemplation bridge 19. Study area
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Design Studio III Professor Anne Mooney
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Thatching
Chapel Wall Section. For the chapel (conic-shape elements, “thatching� was used as a way to incorporate materials found on site, like straw. Interior is cladded with wood planks.
Final model.
MARIO RODRIGUEZ / Interfaith Retreat Center
Wood Planks
Design Studio III Professor Anne Mooney
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MARIO RODRIGUEZ / Interfaith Retreat Center
Design Studio III Professor Anne Mooney
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SKETCHES
Building sketching session (Spring 2010 )i I enjoy sketching things quickly. The hand responds quick to the impulses the mind sends. There is also a sense of power and confidence in representing ideas in just a few seconds. A tool that I have used since I was a little child; I still use it in order to communicate mi ideas better, even when It is not architectural related (Spring 2010 )i and Sara
MARIO RODRIGUEZ / Sketches
Sketches
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“Samsara” (2014) 8.5” x 8.5” - Watercolor
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“Tortuga” (2013) 11” x 17” - Watercolor
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