PAOLA GOMEZ PINA
UNDERGRADUATE PORTFOLIO USF SACD | 2019
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TABLE OF CONTENTS
KIT OF PARTS
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CUBIST ARTIST
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LE PETIT CABANON
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INHABITABLE WALL
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PLENUM
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3D STUDIO ART
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KIT OF PARTS DESIGN I - HCC | FALL 2017 JOSEPH TISDALE
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Draft Model
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The first phase of Kit of Parts involved the creation of a collage that would represent nine architectural terms given. The terms were: solid, void, transparent, translucent, stereotomic, tectonic, datum, axis, and threshold. From there, students were asked to extrude said terms, constructing a 6” x 6” x 6” volume. A final model was created from the extrusions. The task involved weaving a tapestry of spaces from the terms, in which all were intertwined while keeping the volume’s squared dimensions. Axonometric Drawing showing primary datum to which the rest of the spaces were anchored.
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Final Model: wrapping notion of tectonics that interweave spaces harmoniously, creating an intriguing, cubic composition without compromising the void essence of the model.
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CUBIST ARTIST DESIGN II - HCC | SPRING 2018 JOSEPH TISDALE
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The Cubist Artist project focused on the Cubist Art Period and its most prominent artists. Each student was required to choose an artist from the period and analyze their art and their influences. The research was then used to construct an abstract structure that would represent the artist. The Artist I chose was Jean Metzinger. He was a painter and founder of Cubism. He often challenged the distinction between space and time, and was interested in showing objects in constant movement. His art involved geometric fracturing, flattened forms, and bright colors, in an abstract manner. Conceptual sketches.
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Final process model.
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Section and Floor Plan (right) drawings depicting light/shadow conditions within spaces and throughout Final Model.
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The final assignment was to design a conceptual studio for the artist based on the abstract structure previously built. The challenge was to create spaces and introduce circulation to the project with as little alterations as possible to the initial design.
3D section sketches of individual spaces.
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Detail shots showing circulation throughout model.
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Final Model.
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LE PETIT CABANON INTRO II | FALL 2018 HALA BARAKAT
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Circulation layer
Floor plans layer
Envelope layer
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Axonometric drawing of The Bianchi House by Mario Botta. Highlighting the interior/exterior circulation and the negative space within the solid structure.
The first part of the project consisted of the analysis of three well-known houses. The purpose of the assignment was to develop an understanding of the different building components as well as their relationship to the environment. Each building was broken down into layers through the use of axonometric drawings in order to study the separate spaces and systems. This investigation exposed the thought process behind each structure and emphasized their unique features. Delta Shelter by Olson Kundig. Showcasing the circulation and movable panels.
4x4 House by Tadao Ando. Highlighting the circulation and openings.
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Le Petit Cabanon was inspired by the three houses studied beforehand. The concept proposed for it was focused on a harmonious relationship between the cabin and its site. Its visually lightweight armature gives the illusion that the building is almost floating around its vertical landscape, wrapping around it, instead of disrupting it. It incorporates a hierarchy of spaces, with a more private, grand space at the upper level. A moving element allows circulation to the lower, public levels of the cabin as well as more privacy in an otherwise partially open structure. Draft model
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Final Model
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Side view showing moving panel.
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Detail of small scale tectonics within model.
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Collage highlighting armature and its connection to the site.
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Section and plan (right) drawings showing spacial qualities within the model. Representing the attachment to the site in light gray.
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INHABITABLE WALL INTRO II | FALL 2018 HALA BARAKAT
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The wall would create a direct path between the southeast entrance to the building and a small gazebo-like seating area at the park.
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The emphasis for the Inhabitable Wall was to analyze architecture and the relationship between a larger, urban scale space and the landscape associated with it. To accomplish it, students were required to integrate spatial itineraries, rhythm and sequence, and the issue of public realm into a hypothetical site on USF campus. The site chosen for this project was a vacant space between the College of the Arts and Simmons Park. The purpose of the wall was to attract students to this quiet and relaxing, yet neglected site on campus. Draft Model: experimenting with canvas material to create a dynamic roof, inspired by the pre-existing seating space.
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Axonometric drawing of Final Model, depicting the unique aspect of the inclined, glass roof.
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Perspective drawings of Final Model.
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Hybrid perspective renderings of Final Model spaces.
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The Wall starts at the ground, progressively elevates off it, and ends back at the ground level. It was designed this way for several reasons. First, it adds a sort of complexity to a completely flat landscape. In addition, it transforms a simple, straight walk into a journey, creating an attractive experience to the public. Finally, this design allows for more intimate spaces, creating breaks without interrupting the traffic flow.
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Pictures showing extension towards the site.
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Detail shots showing spatial qualities in Final Model.
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PLENUM INTRO II | FALL 2018 HALA BARAKAT
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Plenum introduces light as a design tool and the section as a spatial determinant, to create space. To begin the research, three types of light were studied: chromatic light, direct light, and diffused light. The lights were represented and defined through a series of collages, each inspired by a famous work: The Chapel of St. Ignatius by Stevel Holl (chromatic light); The Menil Collection by Renzo Piano (direct light); The Kimball Art Museum by Louis Kahn (diffused light).
Chromatic light: effect resulting from dispersion, in which a filter does not process all colors equally.
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Direct light: lighting provided from a source to a target without any interruption or reflection from another surface.
Diffused light: soft light that is directed upward to bounce off evenly, leaving not shashadows.
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The following phase involved the creation of three experimental lightwells to study how the different types of light manipulated spaces. The goal was to explore the relationship between tectonic and stereotomic forms of making. The models were designed carving out and layering spaces. From there, a final experimental model was created focusing on sections as the main spatial determinant, using the three previous models as inspiration.
The last draft model was built totally stereotomic, stacking up foamcore layers to create spaces.
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Chromatic Light
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Direct Light
The experimental models were compiled into a final model. This C-shaped wood construct would incorporate different thicknesses and depths, and serve as a light filter to a “shadow garden” in which spaces would be created by three inhabitable lanterns that would connect the ground to the roof. Each lantern was constructed to handle a different type of light (chromatic, direct, and diffused). The purpose of these spaces was to study the light/shadow conditions within and near them.
Diffused Light
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Final Model
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Section Drawings highlighting light path within lanterns.
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3D STUDIO ART
“Movement in Geometry” is a series I created for my 3D Studio Art class. The concept behind this concentration series was to study movement and rhythm in abstract forms. The simple wood structures were heavily influenced by geometric shapes, which combined through tension with waxed thread created these complex, dynamic sculptures.
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PAOLA GOMEZ PINA PGOMEZPINA@MAIL.USF.EDU (727) 310-8138
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