Roxanna Nisuel PĂŠrez Architecture & Design Portfolio
Roxanna Nisuel PΚrez 6 5 B u r b a n k S t. A p t 8 B o s t o n, M A. 0 2 1 1 5 (787)202-6248 perezroxanna@outlook.com
Education 2017
University of Pennsylvania, School of Design Master of Architecture
2014
University of Puerto Rico, Rio Piedras Campus Bachelor of Environmental Design
Work Experience 2015-2017
Laser Cutter Operator, University of Pennsylvania School of Design Prepared digital files for laser cutting in AutoCAD and Adobe Illustrator.
2015-2016
Information Center Specialist, Penn Residential Services Provided onsite customer service and support for the residents and staff of College Houses, signed in guest and residents, issued lock-out keys, processed facilities issues, and assisted RHS staff during Move-In/Out periods.
Summer 2015
Consultant at EST Consultants, Guaynabo, PR Doral Bank/BPPR Migration and Integration Project Entered data analysis on Microsoft Excel, Project and Access, designed flyers and posters with Adobe Creative Suite, scanned, filed, and emailed documents, assisted project managers and subject matter experts.
Spring-Summer 2013
Community Design Workshop, University of Puerto Rico Organized meetings with clients, drew detailed drawings in AutoCAD and diagrams in Adobe Creative Suite, led project design team.
Summer-Fall 2012
Design Intern, JFCR Architects, Hato Rey PR Design Competition for the New Cathedral in Haiti Drew detailed drawings in AutoCad and Rhino, collaborated with design ideas and decisions, created 3d models and renderings.
Technical Skills Rhino Revit Sketchup
AutoCAD Maya Grasshopper
Adobe Creative Suite Vray Keyshot
Laser Cutting Cnc Milling 3D printing
Languages Fully Bilingual (English, Spanish) Awards 2017 2015,2016 2010-2014 2013-2014 2009-2010
VSCO Selects Honor Award - Photograph Showcase Hispanic Scholarship Fund Recipient 2015 & 2016 - HSF Scholar Dean’s List American Institute of Architecture Students (AIAS) - UPR Chapter National Honor Society
Table of Contents 01
06
Tokyo Drift
Laminar Engagements
Parking Hybrid Tokyo, Japan 01 - 12
Cultural and Recreational Facility Delaware River Waterfront, Philadelphia, PA 33 - 36
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07
Shifting Landscapes
Line Matrix Pavilion
Mixed-use Megablock Shenzhen, China 13 - 20
Digital Fabrication
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08
37 - 40
Polyhedra
Revit Work
The Mathematics of Tiling in Architectural Design 21 - 24
Graduate Course Office Building 41 - 44
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09
Interference
Photography
Bank Headquarters Hunter’s Point, Queens, NY 25 - 31
Film Photography Graduate Course 45 - 48
05 Fissure Residential Building Philadelphia, PA 29 - 32
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01 Tokyo Drift 704 Studio|Critic: Ali Rahim Team: Gesu Almonte & Ricardo Hernandez Spring 2017 Parking Hybrid Tokyo, Japan The proposal for a new parking garage in the city of Tokyo drew inspiration from Tokyo’s rich subcultures. Focusing on three main subcultures – the shironuri fashion, the cyborg, and kurata- we developed a new aesthetic of a parking hybrid, one that would integrate the robotics aesthetic of the cyborg and kurata with mechanical parking systems and the softness and cuteness of the shironuri fashion. The parking structures were modified to include the required measurements to allow for drifting to happen inside the building. Japan was one of the earliest birthplaces of drifting, a cross between drag racing and trackless driving. It originated in rural Japan with drivers racing through mountain roads, navigating hairpin curves at high speeds. The parking garage is a mixed-use building where the subculture related programs weave through the parking structures. The interior spaces become locations for performance and group engagement, all the while allowing the density of Japan’s subcultures to grow thanks to innovative mechanical parking structures. These cylindrical structures allow for users to place their vehicles on a platform that automatically places them inside, stacking them vertically to maximize the number of parking spaces while minimizing land usage.
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01 / Tokyo Drift / Parking Hybrid 45째 2-bay
45째 3-bay
sloped typology, single ramp
flat typology, single bay ramps
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30째 2-bay
sloped typology, 2-bay double tread
staggered typology, 2-bay center ramps
60째 2-bay
sloped typology, end to end ramp
staggered typology, 2-bay split ramps
Roxanna Nisuel PĂŠrez
Left: parking typologies Top Right: regular turn radius; drifting turn radius Bottom Right: regular turn radius; drifting turn radius
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01 / Tokyo Drift / Parking Hybrid
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Top Left: mechanical parking plan, section, and axon Bottom Left: hybrid parking typology Right: middle floor plan
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01 / Tokyo Drift / Parking Hybrid
Left: sectional physical model Top Right: tower floor plan Bottom Right: roof plan
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01 / Tokyo Drift / Parking Hybrid
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01 / Tokyo Drift / Parking Hybrid
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Left: section Right: interior perspective
The interior reflects the robotic aesthetic of the cyborg and kurata robots while at some instances the robotic starts to evolve into detailed folds reminiscent of the shironuri softness. The section shows the relationship of the regular parking structure with the mechanical parking structures as well as the interweaving subculture programs around them.
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01 Shifting Landscapes
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701 Studio|Critic: Tom Verebes Team: Sammi Cheng Mixed-use Megablock Shenzhen, China The project challenges the isolation of Urban Megablocks from the subtropical green urbanism which pervades the infrastructural spaces S h ioffthe t icity n gof Shenzhen L a n dwith s acproposition a p e s of a densely stratified complex of urban landscapes, topographies and building massing. A layered mat system of porous surfaces and volumes is developed as the stratification of701 discrete differences atTom various scales, densities, programs/uses, material Studio|Critic: Verebes expressions, as a result of shifting, rotating, peeling and extruding the mat system at specific instances, altogethTeam: Sammi Cheng er creating extreme urban and architectural heterogeneity. Fall 2016 Mixed-use Megablock A complex, artificial and highly varied topography articulates different spatial and scalar elements that Shenzhen, China create a variety of ambiences within the urban field. The mat system develops a meshing of diverse landscapes, sectional routing, and variegated building types. Workspaces and habitation are intricately connected to each other and with public leisure spaces and facilities. As an alternative to conventional typologies of work environin isolatedchallenges high-rise towers, have shifted role toMegablocks a residential use.from Thesethe challenge the ments located The project theweisolation of the Urban subtropical notion of the existing workspaces in Shenzhen and the relationship of the building to the city. green urbanism which pervades the infrastructural spaces of the city of Shenzhen with
a proposition of a densely stratified complex of urban landscapes, topographies and The landscapes are programmed different usesof at porous different scales, while and the voids (courtyards, sunken building massing. A layeredwith mat system surfaces volumes is developed spaces, atria, etc.) create a multitude of differentiated experiences of qualities migrating across interior and as the stratification of discrete differences at various scales, densities, programs/ exterior spaces. Residential towers peel away from the matte massing but remains highly connected on several uses, material expressions, as a result of shifting, rotating, peeling and extruding the levels. As the matte building shifts from high density areas to lower density and spread out, larger scale programs mat system at specific instances, altogether creating emerge to be configured as discrete masses in the stratified fields. extreme urban and architectural heterogeneity. A complex, artificial and highly varied topography articulates different spatial and scalar elements that create a variety of ambiences within the urban field. The mat system develops a meshing of diverse landscapes, sectional routing, and variegated building types. Workspaces and habitation are intricately connected to each other and with public leisure spaces and facilities. As an alternative to conventional typologies of work environments located in isolated high-rise towers, we have shifted the role to a residential use. These challenge the notion of the existing workspaces in Shenzhen and the relationship of the building to the city.
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site plan
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02 / Shifting Landscapes / Mixed-use Megablock
Top Left: site plan Bottom Left: ground floor plan Right: exploded axon
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02 / Shifting Landscapes / Mixed-use Megablock
The landscapes are programmed with different uses at different scales, while the voids (courtyards, sunken spaces, atrium, etc.) create a multitude of differentiated experiences of qualities migrating across interior and exterior spaces. Residential towers peel away from the matte massing but remains highly connected on several levels. As the matte building shifts from high density areas to lower density and spread out, larger scale programs emerge to be configured as discrete masses in the stratified fields.
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02 / Shifting Landscapes / Mixed-use Megablock
Left: site massing physical model Right: sectional physical model
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03 Polyhedra ARCH 724|The Mathematics of Tiling in Architectural Design Critic: Joshua Freese Spring 2017 Team: Aaron Dewey
Repetition and difference in geometric tiling patterns produce visual complexity, intricacy, economy and articulation. From textiles and ceramics to architectural design, the tradition of tiling has culled from mathematical systems that inscribe two and three dimensional geometric conditions. The project establishes conditions for scripting new assemblies for generating three-dimensional patterns and assemblies. The structure, known as Weaire Phelan Structure, is a complex 3-dimensional structure comprised of two kinds of polyhedral with the same volume. One is the pyritohedron, an irregular dodecahedron with pentagonal faces. The other is the truncated hexagonal trapezohedron, which has two hexagonal and twelve pentagonal faces. Together they form an aggregation that perfectly fills a 24’ x 24’ cube, our only constraint in the project. The aggregation would then follow a series of curves designed to touch all six edges of the invisible cube in different ways. Once we deemed the structure suitable to withstand its own weight, we used the invisible cube to cut off the edges of the structure, therefore allowing to view the inside of the polyhedral. The next step was to add a series of scripted patterns to each of the faces of the polyhedral. Using variables such as scale, distance from the center, and rotation, we designed a series of orthogonal patterns that would cut through the faces and allow to glimpse into the interior. To add another layer of complexity, the patterns would shift in scale according to the distance from the center of the structure; the further away from the center, the thinner the pattern would be.
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03 / Polyhedra
Top Left: powder print model Bottom Left: polyhedra aggregation; darkest to lightest layer indicates density of patterns; polyhedra modules Top Right: plan perspective Bottom Right: section
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04 Interference 602 Studio|Critic: Nate Hume Team: Benita Trenk Spring 2016 Bank Headquarters Hunter’s Point, Queens, NY The project explores an interest in interference occurring within and between two volumetric fields - cones and bars. This interference provides a spatial and organizational framework for the building’s exterior and interior. On the exterior, the result of this interference between truncated, tilted cones is a blurring of recognizable boundaries between the volumes. This blurring is heightened by a color-changing facade - a cloak-like draping that conceals the building’s form while facing the site’s street corner. This cloak both conceals the swirling, cascading, clustered figures and reveals curved surfaces lifting off the ground. On the interior is the result of a different interference - between a field of staggered, tilted intersecting bars. These bars cross through each other, breaking down the implied continuity of the building’s exterior and dividing the interior into a series of Xs. Together, the two fields provide a new spatial, organizational and experiential framework for the building’s exterior and interior. Circulation and service programs are placed in vertically orthogonal (wider) bars, while bank-related programs - offices, conference rooms, etc - are positioned in vertically slanting (narrower) bars. Bars have floor slabs, while the negative spaces in between the bars are left open and used as public spaces, such as atriums, lounges, ATM booths and dining areas. Bars are made of concrete and designed to safe-keep money and enclose more private programmatic spaces. The facade, which is made of glass tubes coated in a color-changing film, works in contrast to the bars. The tubes follow the curvature of the building’s form while also exposing the public spaces to the city and casting colorful hues into the building over the course of the day. Overall, these two systems of interference - the bars and the cloak - heighten the experiential qualities of the spaces inside and outside the building.
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04 / Interference / Bank Headquarters
ground plan
Left: ground plan Top Right: section Bottom Right: detail section; facade system details
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4’ Cast in place concrete 2” Gypsum Panneling
Steel truss system
Steel truss system
Concrete panneling
2’ diameter Glass tubing facade system
2’ diameter Glass tubing facade system
Custom steel clips
Custom steel clips
12’ x 8’, 6” Glass panelling
12’ x 8’, 6” Glass panelling
2’ diameter Glass tubing facade system
Custom steel clips
12’ x 8’, 6” Glass panelling Steel truss system
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05 Fissure 601 Studio|Critic: Ben Krone Fall 2015 Residential Building 205 Race Street, Philadelphia, PA.
The edge condition is an important design element for the project. For there to exist an edge, there must exist two different conditions- or systems- at play, so that the edge of one is the edge of the other. With this in mind, the idea of a fissure drives the main idea of the design. This fissure will break apart the building into a series of clusters-or pieces- where each piece shares an edge with another. With the fissure dividing these pieces comes a third system between them that will link each piece. This third system is where the more dynamic and inclusive programs occur. The fissure not only links the building with itself, but it also links it at an urban scale, with the fissure beginning in the site and working its way inside the building. It is as if the landscape enters the building, or the building emerges from the landscape. This landscape is accessible to anyone in the city, adding to the interaction and inclusive nature of the design. As the fissure moves upward, the programs become more directed to the residents of the building. Areas of entertainment- lounging areas, game rooms- as well as courtyards, are all part of this fissure. The rest of the building- the pieces- house both public and residential programs. The first levels include lobby area, retail and gym. The higher levels house the residential programs, including 30 SRO units, 30 one-bedroom units, and 20 two-bedroom units.
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05 / Fissure / Residential Building
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1. Interior view of restaurant and garden 2. Top floor plan 3. Middle floor plan 4. Street view 5. Structure diagram 6. Units diagram 7. Circulation diagram
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06 Laminar Engagements 502 Studio|Critic: Joshua Freese Spring 2015 Cultural and Recreational Facility Delaware River Waterfront, Philadelphia, PA
The project seeks to define new ways or embedding, articulating, and interweaving layers and substrates to produce intelligent patterns: materially, spatially and temporally. This cultural and recreational facility on the Delaware River Waterfront investigates the layered patterns of the river and the city. Using these patterns, site massing strategies were produced that followed the systems of the patterns selected. Programs include and indoor theater, outdoor theater, olympic pools, gallery space, cafe, and restaurant.
Left: site plan Right: site massing studies
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06 / Laminar Engagements / Cultural and Recreational Facility
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1. Pool main area view 2. Main ramp & pool view 3. Roof exterior view 4. Street view 5. Static pattern studies 6. Ground plan
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Line Matrix Pavilion 501 Studio|Critic: Lasha Brown Fall 2014 Team: Haosheng Yu, Amanda Baker
The pavillion derives from the concept of a field of vectors freely navigating space, creating texture and pattern with dominant connection; and the physical representation of that concept using wooden bars. The bar is true to the concept of a vector, it provides a physical representation of two points connected. The bar also emposes a set of rules that a vector plain would remain unencumbered by. The aggregation of individual segments into a unit relies on a series of connection joints, which are made in a face to face connection. This joint provides structural integrity, but limits the system to a planar field, as in, the directional axis must remain constant.
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07 / Line Matrix Pavilion
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08 Revit Work ARCH 532|Construction II Graduate Course Office Building
Long section
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Detail section
Street view
Basement level
Level 3
Mezzanine
Reflected ceiling plan level 3
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08 / Revit Work / Office Building
Long section
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Transverse section
Wall section
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10 Photography Reflection Series Film Photography Graduate Course 11”x17” | Black & White Film Pentax K1000 Camera
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Reflection 11”x17” Black & White Film Pentax K1000 Film Camera
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09 / Photography
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Roxanna Nisuel Pérez perezroxanna@outlook.com (787)202-6248