M O N I C A
M E N D O Z A
W I N T E R 2 0 1 5 |ANGELA BRACCO CALIFORNIA POLYTECHNIC STATE UNIVERSITY
M O N I C A M E N D O Z A i s a q u i et p e rs on t h at sp eaks t hrou gh he r wor k. She voi ce s h e rse lf a nd h e r t h ou ght s t h rou gh ev e r y det ai l i n ever y th i n g s he make s . Sh e i s a p e r fe ct i oni st . M o nica lov e s s i n gi n g an d dan ci n g l at e night s i n st u di o w h e n no one i s looki n g. She fo cuses on t h e br i ght si de of ev e r y t h i n g an d t r ies to mot i vat e h e r p e e rs w h e nev e r t h ey get dist ract e d by t he dow nsi de s of ou r wor k. M o nica t r u ly lov e s and e n j oys ar ch i t e ct u r e .
“ T H E D E TA I L S A R E N OT T H E D E TA I L S THEY MAKE THE DESIGN.”
-CHARLES EAMES
03:PARASITE
01:SLIPCASE
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0 0 :TOT E M
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C O N T E N T S
0 2 : S LO S CO P E
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T O T E M
0 0 : A T E C TO N I C I N V E S T I G AT I O N
Operation totem is a tectonic investigation that challenges how to connect two different materials. I learned how to navigate myself in the shop, using tools to manipulate the metal. My connections from the wood to the metal were mostly made using friction and folding.
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S L I P C A S E
01: A LITERARY INTERVENTION IN SITE DESIGN
E X C A V AT I O N
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01 01
01 01
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01 01
Excavation, the first part of slipcase is an analysis of the contents of the book. The cuts into the solid form highlights the individual graphs within the pages that branch out. The incisions made mimicked the differences between the light and heavy components of the graphs.
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01 01
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01 02
C O N J O I N
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CONNECT
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01 02
01 02
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Conjoin, the second part of slipcase, challenged me to create a connection that becomes a part of the e x c a v a t i o n s I m a d e e a r l i e r. I decided to extend the folds and cuts, and created pieces that also mimicked the graphs found within the book. The extensions began to transform with the cuts, and formed an unfolding and changing movement.
01 03
S L I P C A S E 21
01 03 R E L AT I O N S H I P
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M O V E M E N T 01 03
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01 03
Slipcase is a mediator between the book and the desk. It challenged how the book was oriented on the existing site. I decided to further extend the idea of unfolding and branching into the slipcase form. My slipcase is a transformation. It transformed as its’ form spread to surround the desk. The transformation formed a changing movement that spilled into different levels of space.
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S LO S C O P E
02: A SPACE IS EXPERIENCED AS A SEQUENCE IN TIME
P R O P O R T I O N
02 01
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Slosite, the first part of sloscope, was an analysis of a microspace found in downtown San Luis Obispo. I created a timelapse, analyzing how the space is proportion to the body. The creation of a photo joiner also allowed me to further analyze the surrounding space and views of the microspace.
02 01 T I M E L A P S E
J O I N E R
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02 01
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02 02 SCOPE 37
02 02
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Sloscope challenged the idea of how a body interacts with a made piece. The scopes I created framed the sky in a different perspective than if you were to just look up. The scopes took fragmented views which can be seen when interacting with the scope. The scopes framed and situated the body to p ro m o t e i n t e r a c t i o n w i t h t h e m .
F RA ME 41
I N T E R A C T I O N
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P A R A S I T E
0 3 : R E S P O N S E TO C O N T E X T C A N TA K E M A N Y F O R M S
03 01
S I T E
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03 01 The first part of parasite, is the site analysis, in which I made digital renderings, drafts, and synthesis photos. In my analysis I focused on the empty space above the stairwell on the site. Those walking up and down the stairs are influenced by this space. This space became a starting point for the parasite.
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03 01
D I G I TAL
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03 01
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F O R M 03 02
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03 02
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I N T E G R A T I O N 03 02
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M A N I P U L A T I O N 03 02
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DE V E LOPME NT
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03 02
03 02 D E T E R M I N E
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The development of the parasite first started with a form that extended from the rails and utilized the empty space. The form was shaped by the idea of engulfing a person into it. The form followed a person’s movement as he or she walks up and down the stairs. As my team developed ideas on how we were going to create this form, we changed our materiality to string, which could be more easily manipulated to create the original form. After several study models, the final parasite was decided.
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03 02
03 02 R E N D E R
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03 03
CONSTRUCTION
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A S S E M B LY 03 03
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I N S TA L L AT I O N
03 03
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F I N A L I T Y
M O V E M E N T
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L I G H T
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CONNECTION
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EXPERIENCE
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BIG 87
M OODY
Parasite has challenged me both physically and mentally. It challenged me to think of solutions to how we were going to create this. To create something simple and yet very complicated took endless hours in designing and thinking. Figuring out the details pushed me to use a different kind of thinking. Installing the parasite was difficult and time consuming, but what I’ve learned the most here is that nice things take time. I was lucky enough to have such an amazing team in which every one of us were able to use our ideas and each of us were motivated to create our parasite. Having a team that supported eachother and put in the hard work was the basis of our parasite. The fact that we’re all perfectionists pushed each of us to make this experience. This quarter I tried to challenge myself to grow. I felt like I had a reputation to uphold to my professor and to my peers. Since I am a crazy perfectionist I spent most of my hours in studio, trying to make every project perfect. Athough this can be very exhausting, I still enjoy it. I love being able to create while keeping in mind the intention and purpose of what I am creating. I love seeing other people’s projects and what their ideas are. I love learning more and more about architecture, how simple ideas executed well can be absolutely brilliant. I also realize that if I want to continure to grow I have to be continually challenging myself and devoting time to perfect everything I do.
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