Graduate Portfolio

PATRICK THOMAS SU ÁREZ ARCHITECT

SELECTED WORKS 2015-PRESENT

TABLE OF CONTENTS

GRADUATE PROJECT 1 // A HOUSE

GRADUATE PROJECT 2 // A CATHEDRAL

UNDERGRADUATE PROJECT // ANAPOLIS PORTAL

ASSORTED ART AND DRAWINGS

PROFESSIONAL WORK

NOTE: THIS DOCUMENT HAS BEEN OPTIMIZED FOR VIEWING IN TWO PAGE SPREADS WITH THE FIRST AND LAST PAGES BEING SINGLE LEAF COVERS.

DRAWING FROM THE VICTORIA AND ALBERT HALL MUSEUMOF CASTS, LONDON, 2019

PROJECT FOR A HOUSE

This project sought to ground the dynamic free plan of Mies inside the morphological tradition of classicism, and, vise versa, to replant the language of classicism in modern space. The two primary precedents (among many) were the Brick House Plan (1923 AD) by Mies and the Temple of Apollo Epikourios at Bassae (5th C. BC) by Ictinus.

The programmatic requirements of the house consist in both landscape and living space intended for a single family’s weekend use. The landscape includes fruit orchards, gardens, forest and fields. In the house, the first floor contains formal and informal entertainment areas as well as a master suite, study, art studio, and terraces. The second floor contains the children’s and guest bedrooms as well as a playroom and terrace. The peninsular site extends into the bay with the principal view of the bay to the south. This generates the principal division of the site, with the private informal program to the north, and the public, formal program and elevation to the south and the view.

TEMPLE OF APOLLO BY ICTINUS - PLAN

BRICK HOUSE BY MIES - PLAN

Critics // Professor James McCrery , Wouter Boer, Allen Greenberg, David Jameson, Steven Chrisman Location // Oyster Bay, Long Island

PLAN 1

The project is comprised of a central, stoafied temple mass which engages the landscape, differently in each cardinal direction, via pinwheeling spatial adjacencies. Both classical and modern forms are hybridized to create a single and consistent design language.

1 ENTRANCE STAIR HALL

2 FORMAL DINING ROOM 3 LIBRARY / HIS STUDY 4 LIVING / KITCHEN 5 COURTYARD 6 MASTER BEDROOM

ART STUDIO / HER STUDY

TRICLINIUM

POOL CHANGING ROOM

COAT ROOM

PLAN 2

The complexities of the first floor plan are resolved on the second floor where the edges of the central temple mass are clearly visible, but contain alternating perimeter density based on use.

STAIR HALL

PLAY ROOM

GIRL’S ROOM

BOY’S ROOM

GUEST BEDROOM

TERRACE

LAUNDRY ROOM

10’ 20’ 40’

THE PROPYLAEA

The experience of the plan is an episodic arrangment of edge alignments from the moment of arriving at the property to the moment of arrival at the door.

THE PORCH

THE ENTRY

THE GREATROOM

TRAVEL SKETCHES FROM ROME

THE POOL TERRACE

NORTH ELEVATION

SOUTH ELEVATION

EAST ELEVATION

EAST ELEVATION

The details of the house consist of simple list of adaptable elements that allow for variant but related conditions between the main house mass its accessory spaces.

PROJECT FOR A CATHEDRAL

The world is inherently meaningful. Buildings will always convey meaning. The ideal city is one in which each building embodies the institution that it represents, expressing its civic purpose while housing its private functions. It is only by embracing effective architectural symbolism and clarity of meaning that it will be possible for human beings to be at home in the built world, and also to be reminded, by the placement and design of the cathedral, of the home that is yet to come.

The design of the cathedral consisted of three major components, (1) typology, (2) organizing geometry, and (3) the architectonic language. (1) The cathedral is a cruciform basilica plan with the apse transformed into a tholos with the proportional qualities of the Pantheon. (2) The variant forms of the cathedral are generated by inscription and rotation of a single square 144’x144’ module. (3) Vertical, attenuated compound piers. generous clerestory, and stained glass windows give the interior a super-luminous quality.

Location // Albany, New York

Graduate Thesis // Professor James McCrery

Critics // Carroll William Westfall, Ankie Barnes, John Tordi

EXISTING URBAN PLAN WITH ALIEN FORMS HIGHLIGHTED

EXISTING VOIDS AND BROKEN URBAN FABRIC PRESENTS AN OPPORTUNITY FOR INFILL AND REINTEGRATION

The current city of Albany, New York is dominated by an freeway, parking structures, and the state office park towers of Rockefeller Plaza. This project’s masterplan proposes a new urban center to replace the antiurban forms and create a new forum, commodious and delightful to the pedestrian and vehicular traveler alike, fostering urban life and public discourse. Monolithic superstructures are to be replaced by a forum of residential, commercial, mixed use, and public buildings.

VIEW 3 - EXISTING

CATHEDRAL ACROPOLIS WEST SITE ELEVATION

CATHEDRAL PLAZA

CATHEDRAL GARDENS

NEW GALLERIAS

CATHEDRAL ACROPOLIS NORTH SOUTH SECTION

PROJECT FOR A PORTAL

Building on the city’s historical identity as a trading port on the Chesapeake Bay, this project proposes a radical new master plan for the Annapolis waterfront. A new yacht corridor is formed by two rows of mixed residential and retail buildings to draw in vessels from the bay to the newly

Undergraduate Studio // Professor James McCrery

Critics // Carroll William Westfall, Ankie Barnes, John Tordi

The tower is not a new architectural form in the city of Annapolis which has already several. By using the tower type in the proposed Commerce Square, the new square is established on an equal footing with the Statehouse and the Naval Academy.

The two symmetrical public buildings, the National Sailing Hall of Fame and the National Maritime Museum, work together as one to form Commerce Square and to frame the Yacht Corridor to the Chesapeake Bay.

section from yacht corridor

ELEVATION FROM NEW COMMERCE SQUARE

naval academy chapel

1 / HOUSE TYPE TO RELATE TO ALLEY

2 / TEMPLE TYPE TO RELATE TO COMMERCE SQUARE

3 / TOWER TYPE TO RELATE TO CITY

4 / SHIFT TO ALLEY TO FRAME VIEW TO CHESAPEAKE COMMERCE SQUARE SITE AXON

WATERCOLOR AND INK WASH

I learned to use the traditional method of the Ecole de Beaux Arts, precicely constructing shade and shadow and rendering with a mechanical approach of layering ink washes. These larger works were greatly informed by the experience of drawing shade and shadow from life. Below are drawings made while studying abroad in Rome of classical manerism.

IN THIS TEMPLE AS IN THE HEARTS OF THE PEOPLE FOR WHOM HE SAVED THE UNION THE MEMORY OF ABRAHAM LINCOLN IS ENSHRINED FOREVER

PORTRAIT DRAWINGS

I learned the skill of cast drawings in the method of the Traditional Boston School of Thought at Ignbretson Studios in Merrimack Newhampshire. This expreience was formative in teaching me that visible form is the relationship between the worlds of light and shadows. Since then I have explored drawing the human person from life, photographs, and statues.

P. T. WYTON, 2019

FR. JAQUES HAMMEL, 2017

E. M. FAIRBOUGH, 2015

M. T. SUAREZ, 2018

IN SITU SKETCHES

Spanning my interests in fine art drawing and architectural is the act of drawing in situ. Sketching buildings and spaces at various scales representationally, analytically, and through careful measurement brings me far closer to understanding what I see. While I take photographs prolifically, these samples of drawings represent my use of the simple medium of pencil to commit spatial experiences to memory. Once drawn, these drawings form my personal refference and also invite others who see them to take in the world more intently.

BUILT - WESLEY HEIGHTS, DC

This new house is sited on a steep Wesley Heights lot which overlooks Glover Archbold Park and backs to a wooded lot adjoining the Krueger Museum. The project is acually a renovation and sits on the foundations of an older two story house, and was the first project that I worked on that has since been built. The small size generated a simple diagram which provided a challenge in precise detailing.

The in-town site offered a unique opportunity to build a home that was both glassy and private at the same time. The plan of the house is defined by two solid walls placed on the side lot lines, and open glass walls on the long sides facing Glover Archbold Park and the open wooded lot to the rear. This serves to open up the house during parties and to block the view of the road from inside the house. A low retaining wall in the rear defines a pea gravel open court which is used for outdoor dining. When the glass doors of the first floor are opened the front terrace and rear pea gravel court become outdoor rooms, making the first floor feel expansive and open to nature. The house is an adaptation of the Farnesworth House, by Mies Van der Rohe.

Architect // Wouter Boer Architects

Location // Wesley Heights, Washington, DC

PHOTO BY MAXWELL MAKENZIE

PHOTO BY MAXWELL MAKENZIE

UNBUILT - CAPE NEDDICK, ME

One of many projects that I worked on with Wouter, this project was a great opportunity to use sketches, drafted drawings, models, and renderings in dialogue to inform design. Wouter was the generator, but each new sketch gave its own suggestions in the evolution of the project. It was a unique moment when hand and computer tools worked seamlessly together.

The site for this project is located in York Maine on a spectacular 3 acre ocean front property that has sweeping views of Cape Neddick beach, Pint Cove and the historic Nubble light house in the near distance. The brief was for a 3500 sf summer house to be designed on a one story plan with focus on three main site views; the Nubble Light house, various rock formations aligning Cape Neddick beach and a rocky peninsular stretching into Pint Cove. The plan is composed around a square entry courtyard the various spaces of the home being arrayed around the perimeter. This allowed unique and different views from each space within the house. Natural cedar wood and a large stone wall and fireplace make up the walls of the home, white metal columns and a flat roof are juxtaposed against the more vernacular wall materials. The effect is a modern home that feels both cozy, light filled and unique.

Architect // Wouter Boer Architects

CONCEPT SKETCH BY WOUTER BOER

RENDERING COLLABORATION WITH ROBERT CONWAY

RENDERING COLLABORATION WITH ROBERT CONWAY

RENDERING COLLABORATION WITH ROBERT CONWAY

BASSWOOD MODEL VIEW BY PATRICK SUAREZ

BASSWOOD MODEL STUDIES FROM UNDERGRADUATE DESIGN PROJECT

IN PROGRESS - COTSWOLD, UK

This project in historic and beautiful rural Swinbrook, UK, was a challenge in subtle interventions across a meandering farm complex built episodically over five centuries. The client’s aptitude for understanding hand drawn perspectives, gave us the opportunity to use these drawings not as final renderings but as design tools.

We explored many different formal solutions employing both architecture and landscape, to evaluate the best solution, balancing the client’s self expression against the continuity with the past.

NORTH FACADE FACING GARDEN

SITE PHOTO OF EXISTING SOUTH FACADE

SITE PHOTO OF EXISTING NORTH FACADE

IN PROGRESS - HOUSTON, TX

Here are featured some renderings and recent construction images of a poolhouse and guest house for a new family estate inside the River Oaks neighborhood. While the main house, which is also under construction, was a collaborative effort primarily under the pervew of another architect within the firm, these outbuildings are the first time in which I was given the leading role in the design process. While all work in the firm is collaborative, with input from the principles across the many stages of design production, design architects are given a great deal of personal ownership and take on the role of author with others as editors providing constructive criticism.

The house was influenced heavily by English and American Palladianism. The seccondary nature of these buildings set within the landscape of the site suggested a follyesque approach. They give deference to the main house which has a two story ionic order on the public and garden facades. These buildings, in order of scale and proximity to the main house, employ the simpler doric and the tuscan orders, however the simpler orders are animated by bold manerism in the guest house and ideal form in the poolhouse. Inspiration and direct refference came from the church at Covent Gardens, London, by Inigo Jones, and the Orangery at Kensington Pallace, by Nickolas Hawksmore and John Van Brugh. I was able to draw upon my own travel experiences, photos, and sketches (see sketchbook spread to left) for refference.

Architecture and Landscape // Curtis and Windham Architects

Location // Houston, Texas

RENDERING OF POOL HOUSE DESIGNED AFTER THE CHURCH AT COVENT GARDENS

RENDERING OF GUEST HOUSE PAVILION

PERSONAL SITE PHOTO OF CURRENT CONSTRUCTION PROGRESS

MYSELF IN PHOTO OF CURRENT CONSTRUCTION PROGRESS