graphic design portfolio by Ricardo Garcia

GRAPHIC DESIGN

PORTFOLIO

ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

Contents: 01 02

PHOTOGRAPHY

PRESENTATIONS

BOOKLETS

04 FLYERS

NEWSLETTERS

01 PHOTOGRPAHY The following are examples of my photography work. This body of work focuses on the humanistic aspects of existence as well as the interaction with the built environment. Through this work I try to explore the play with light conditions, finding opportunities of shade and shadow.

Capturing the essence of human and built form

transmitting ideas through visual media

PRESENTATIONS

1960 70,381 inhabitants

1970

1980

116,493 inhabitants

217,481 inhabitants

2010

2000

415,007 inhabitants

360,716 inhabitants

= 1,000 People

Mexico

Mexico City

Borough of Xochimilco

1900

162%

1950

49%

1960

66%

1970

1980

87%

66%

2000

2010

15%

CHINAMPA CONSTRUCTION

1950

(5*"$%!#4$$#%

@$6#4"?"&)#"76%

E47@%!#4$$#%94"8@$%

".2.%."$)&0%/

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

ELEMENTARY SCHOOL

20 11

THICK

urbanism

RT1

Reynoldstown elementaRy school

FALL

REYNOLDSTOWN

RICARDO A. GARCIA ESCAMILLA

he idea of thickness in urbanism can be related to the anatomy of a sea sponge (Phylum Porifera). From afar the shape and structure seem consistent and homogenous, but upon a closer look one can see that the sponge is created by a series of interconnected filaments that give rigidity and support to the sponge. Similarly, a site is composed of many interconnected filaments that represent history, built environment, open space, physical barriers, etc. As a result of this compilation of elements a particular site acquires a certain degree thickness. But like the sponge, the site is not evenly “thick” some elements overlap each other more frequently in some places than others resulting in the formation of a solidvoid relationship that develops organically and overtime.

20 11

THICK

urbanism

PASSIVE STRATEGIES

PEDESTRIAN AND STREET CIRCULATION PATTERNS

Green roofs

Placement of green roofs to increase thermal capabilities and further emphasize the main axial direction of the building

light into the building while blocking direct northern light

Water collection tanks

Allocation of rain water collection tanks to use in green areas and toilets.

Central City Federal District Second expansion period

Area of exploration

Third expansion period

CANAL

CHINAMPA PLOT

'6@8/$N/OIK68/'@588@/

AHUEJOTE TREE

mud

CHINAMPA REGION

Dirt mud organic fertilizer canes

Metro lines

BOROUGH OF XOCHIMILCO

LOCATION OF HISTORIC CHINAMPAS

Public highway

Major inner city roadways

Entry point into the city

0 10

Chinampa agriculture has existed and continues to exist in different parts of the world. This type of agriculture yields excellent results, since it uses the characteristics provided by the site which include access to water and fertile soil. This environment makes this type of agriculture independent of rainfall. Nonetheless their exploitation depends on the development of a adequate and sustainable agro-hydraulic regime. The system requires a great understanding of the local environment and the implementation of a series of techniques and specialized agricultural care. Chinampa agriculture is an excellent example of a sustainable practice since it uses its environment in its totality. Until recent years Chinamperos ( farmers who tend the chinampas) used animals from the canals such as fish, frogs and small crustaceans fro substance and supplemental income. At the same time, farm animals were fed with the left over products of the chinampa; at the same time the the manure produced by the animals was used as fertilizer, thus forcing a cyclical symbiosis to the system.

Lake Texcoco

Lake Xochimilco

'6@8/#N//.C@E56L/'@588@/

SITE PLAN

LAYERING OF ELEMENTS TO FORM THE ARTIFICIAL ISLANDS OR CHINAMPAS

Area of exploration

Toll highway

WYLIE INTERVENTION

PEDESTRIAN AND STREET CIRCULATION PATTERNS

WALL SHIFT AS A NODE CREATING AN EXPONENTIAL INCREASE IN DISTANCE FROM ORIGIN

BASED ON THE RADIAL EXPANDING OF THE NODE A RHYTHM IS ESTABLISHED

DEFRAGMENTATION OF BOLEAN SURFACE

THICK

SITE EXPLORATION Chinampa areas

WATER PROCESS OF MEXICO CITY

PLANTING PROCESS

The CSX wall is subdivided into a grid. Each

Lake during 1929

Lake during 1959

Lake during 1980

Lake during 2000

Lake during 2007

MUD IS COLLECTED FROM THE BOTTOM OF THE CANALS

MUD IS POURED OVER THE SURFACE OF AN EXISTING CHINAMPA

MUD IS MIXED WITH OTHER TYPES OF SOIL AND MANURE

Openings are incorporated to allow for traffic movement

dyinamic shape responding to vehicular movement

DEFRAGMENTATION OF BOLEAN SURFACE

WALL SHIFT AS A NODE CREATING AN EXPONENTIAL INCREASE IN DISTANCE FROM ORIGIN

HIFT

Federal District Second expansion period

Lake during 1824

grid is added to modify the surface

basic plane Plane of intersection

Plane of intersection to allow for ambient

ESTORIA STREET

Central City

Federal District Area of exploration

COMMUNICATION ROUTES OF THE CITY

!"#$%&'(

1990 0

Central City

"&+$"90/$</2$"+&$/.'+$(&--$///////1$--/=>??/////

MUD AND MANURE DRIES, AND THE RESULTING DIRT IS DIVIDED ON 5 CENTIMETER STRIPS ON EITHER DIRECTION FORMING A GRID

ONCE THE GRID IS FORMED, ONE OR TWO SEEDS ARE PLACED ON EACH SQUARE OR CHAPIN.

PLANTS GROW ON EACH SQUARE, FACILITATING ITS HARVESTING OR RE- POTTING

Major topographical deformation

Site relationship to CSX wall

Implicit axis created by the deformation of the CSX wall

student is assigned a rectangle to maintain, giving the students a sense of involvement with their school and creating conciense of the enviorment.

RICARDO A. GARCIA ESCAMILLA

+,:1;;%<0://0%

FALL

*7?#!%

45678/ DBC<%

)0"%$90/

PREVIOUS INTERVENTION

CHINAMPA PLOTS

1930

RT1

/F1;G0H13%

(&--/ ABC<%

+,--,./0123%

)*&+, #$))-./01/$)-$%)$/

DIRECTIONALITY

CHINAMPA AGRICULTURAL SYSTEM

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M4$!$4>$%

GEOGRAPHICAL LOCATION

47,082 inhabitants

,0;,30,% *"##*$C!%@)48$6%

1950

17,980 inhabitants

?"4$%

8$&)5%

3.$"-/')"..)/ 1900

=$=74")*%84">$% 0-9/

HISTORICAL EXPANSION OF MEXICO CITY

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$!#74")%!#4$$#%

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This project addresses the hypothesis that with an increase awareness of urban expansion and a delineation of urban growth, the agricultural land will be preserved for future generations and become a catalyst for change on urban patterns.

LH<01:H+%

POPULATION GROWTH

!"#$%

REDEFINING THE EDGE BETWEEN THE URBANIZED TERRITORY AND AGRICULTURAL LAND

GEOGRAPHICAL REFERENCE

+,--,./%

REDEFINING THE EDGE BETWEEN THE URBANIZED TERRITORY AND AGRICULTURAL LAND

This thesis addresses the combined urban renewal and protection of the agricultural land in the borough of Xochimilco in Mexico City. It focuses on the design of a performative boundary between the urbanized area and the mostly agricultural land. This boundary is composed of walkways, bridges, water remediation systems, canal frontages and communal gardens. The thesis responds to the ongoing process of urbanization and expansion of the city by means of overtaking agricultural land. Xochimilco serves as an example of the ongoing process of changing the physical environment from lacustrine system to an urbanized mega-city.

9$*#%*"6$%

XOCHIMILCO:

XOCHIMILCO: THESIS STATEMENT:

4$567*8!#7(6

This section responds to graphic representations created for architectural presentations. They focus on the organization of ideas, concepts, diagrams and final images.

THICK +

URBANISM

URBANISM URBANISM WYLIE INTERVENTION

WYLIE INTERVENTION

RICARDO A. GARCIA ESCAMILLA

THE CSX WALL SERVES AS AN ORGANIZING SPINE CONNECTING CABBAGETOWN TO REYNOLDSTOWN. THIS CONNECTIVITY ALSO SERVES AS MEANS OF ENCAPSULATION AND DISCONNECTION TO THE LARGER REALM OF THE CITY OF ATLANTA. AS A RESULT OF THIS JUXTAPOSITION OF ELEMENTS, A SERIES OF NODES ARE CREATED ALONG THE WALL, THUS CREATING POCKETS OF SPACE THAT COULD BE MODIFIED, DISTORTED AND STRATIFIED. THIS PARTICULAR NODE, CONNECTS THREE DIFFERENT STREETS THAT TERMINATE AT THIS NODE, FURTHER EMPHASIZING THE IMPORTANCE OF THIS SITE. THE GREEN SPACE BETWEEN THE WALL AND THE SIDEWALK HAS A COUNTER INTUATIVE EFFECT ON THE SITE. AS OPPOSED TO SOFTENING THE FENCE AND PROVIDING A MORE WALKABLE CONDITION, THE TREES AND BUSHES CREATE AN UNSAFE ENVIROMENT, MANYTIMES FORCING THE PEDESTRIANS TO USE THE OTHER SIDE OF THE STREET. THE NARROW SIDEWALK ALSO PRESENTS A CHALLENGE IN THE NAVEGABILITY OF THE STREET. THE PROPORTIONS AND PROXIMITY TO THE ROAD, WHITOUT A BUFFER ZONE, EXPOSE THE USERS TO AN UNSAFE PROXIMITY TO THE STREETS WELL BEYOND ONE’S COMFORT ZONE.

RICARDO A. GARCIA ESCAMILLA

perspectoidal view intervention

BASED ON THE RADIAL EXPANDION OF THE NODE A RHYTHM IS ESTABLISHED

ELEVATION

MAPPING OF THE DRIVER’S VISIVILITY APPROACHING THE CURVE

CREATION OF BOLEAN MODEL THROUGH THE USE OF LINES

XOCHIMILCO: REDEFINING THE EDGE BETWEEN THE URBANIZED TERRITORY AND AGRICULTURAL LAND

GEOGRAPHICAL REFERENCE

POPULATION GROWTH

1900

1950

17,980 inhabitants

47,082 inhabitants

1960 70,381 inhabitants

1970

1980

116,493 inhabitants

217,481 inhabitants

2010

2000

415,007 inhabitants

360,716 inhabitants

= 1,000 People

Mexico

Mexico City

Borough of Xochimilco

1900

162%

1950

49%

1960

66%

1970

1980

87%

66%

2000

2010

15%

CHINAMPA CONSTRUCTION

DIRECTIONALITY

CHINAMPA AGRICULTURAL SYSTEM

1950

1930 0

1990 0

Central City

Federal District

Area of exploration

Second expansion period

CHINAMPA PLOTS

HISTORICAL EXPANSION OF MEXICO CITY

GEOGRAPHICAL LOCATION

THESIS STATEMENT:

Central City Federal District Second expansion period

Area of exploration

Third expansion period

CANAL

CHINAMPA PLOT

AHUEJOTE TREE

LAYERING OF ELEMENTS TO FORM THE ARTIFICIAL ISLANDS OR CHINAMPAS

Area of exploration

mud

COMMUNICATION ROUTES OF THE CITY

CHINAMPA REGION

Dirt mud organic fertilizer canes

Metro lines

Public highway

BOROUGH OF XOCHIMILCO

LOCATION OF HISTORIC CHINAMPAS

Major inner city roadways

Toll highway

Entry point into the city

Lake Texcoco

Lake Xochimilco

Chinampa areas

WATER PROCESS OF MEXICO CITY

PLANTING PROCESS

Lake during 1824

Lake during 1929

Lake during 1959

Lake during 1980

Lake during 2000

Lake during 2007

MUD IS COLLECTED FROM THE BOTTOM OF THE CANALS

MUD IS POURED OVER THE SURFACE OF AN EXISTING CHINAMPA

MUD IS MIXED WITH OTHER TYPES OF SOIL AND MANURE

MUD AND MANURE DRIES, AND THE RESULTING DIRT IS DIVIDED ON 5 CENTIMETER STRIPS ON EITHER DIRECTION FORMING A GRID

ONCE THE GRID IS FORMED, ONE OR TWO SEEDS ARE PLACED ON EACH SQUARE OR CHAPIN.

PLANTS GROW ON EACH SQUARE, FACILITATING ITS HARVESTING OR RE- POTTING

SCHOOL

RICARDO A. GARCIA ESCAMILLA

20 11

THICK

urbanism

RT1

Reynoldstown elementaRy school

FALL

ELEMENTARY

FALL

RT1

REYNOLDSTOWN

20 11

THICK

urbanism

PASSIVE STRATEGIES

Plane of intersection

Plane of intersection to allow for ambient light into the building while blocking direct northern light

0 10

Green roofs

Placement of green roofs to increase

thermal capabilities and further emphasize the main axial direction of the building

Water collection tanks

Allocation of rain water collection tanks to use in green areas and toilets.

PREVIOUS INTERVENTION

SITE PLAN WYLIE INTERVENTION

PEDESTRIAN AND STREET CIRCULATION PATTERNS

WALL SHIFT AS A NODE CREATING AN EXPONENTIAL INCREASE IN DISTANCE FROM ORIGIN

BASED ON THE RADIAL EXPANDING OF THE NODE A RHYTHM IS ESTABLISHED

DEFRAGMENTATION OF BOLEAN SURFACE

THICK SITE EXPLORATION

The CSX wall is subdivided into a grid. Each Major topographical deformation

Site relationship to CSX wall

Implicit axis created by the deformation of the CSX wall

student is assigned a rectangle to maintain, giving the students a sense of involvement with their school and creating conciense of the enviorment.

PEDESTRIAN AND STREET CIRCULATION PATTERNS

DEFRAGMENTATION OF BOLEAN SURFACE

WALL SHIFT AS A NODE CREATING AN EXPONENTIAL INCREASE IN DISTANCE FROM ORIGIN

THICK +

URBANISM

URBANISM URBANISM WYLIE INTERVENTION

WYLIE INTERVENTION

RICARDO A. GARCIA ESCAMILLA

perspectoidal view intervention BASED ON THE RADIAL EXPANDION OF THE NODE A RHYTHM IS ESTABLISHED

ELEVATION

MAPPING OF THE DRIVER’S VISIVILITY APPROACHING THE CURVE

CREATION OF BOLEAN MODEL THROUGH THE USE OF LINES

&!'%()**%'*!)2!%/*0!'./

45678/ DBC<%

+,:1;;%<0://0%

)*&+, #$))-./01/$)-$%)$/ =$=74")*%84">$% 0-9/

,0;,30,% *"##*$C!%@)48$6%

3.$"-/')"..)/

,IJ/+/3+K

(5*"$%!#4$$#%

@$6#4"?"&)#"76%

)0"%$90/

?"4$%

)4#% :8;/

8$&)5%

/F1;G0H13%

+,--,./0123%

+,--,./%

!"#$%

(&--/ ABC<%

$!#74")%!#4$$#%

4$567*8!#7(6

*7?#!%

9$*#%*"6$%

LH<01:H+%

#78)5%

E47@%!#4$$#%94"8@$%

M4$!$4>$%

".2.%."$)&0%/

'6@8/$N/OIK68/'@588@/

'6@8/#N//.C@E56L/'@588@/

"&+$"90/$</2$"+&$/.'+$(&--$///////1$--/=>??/////

!"#$%&'(

grid is added to modify the surface

RICARDO A. GARCIA ESCAMILLA

ESTORIA STREET

HIFT

basic plane

Openings are incorporated to allow for traffic movement

dyinamic shape responding to vehicular movement

“

PRELIMINARY The SKETCHES ache for home lives in all of us, the

STRUCTURAL FRAMING

safe place where we can go as we are and not be questioned.

TRANSVERSE SECTION

MAYA ANGELOU

PRELIMINARY SKETCHES

third level plan

HOMELESS

ASSISTANCE

second level plan

CENTRE 615 PEACHTREE STREET ATLANTA, GA BUILT AREA: 100,000 SQ. FT. SPI-16/ SA 1 NUMBER OF UNITS: 52

GROUND PLAN

PROGRAMME ALLOCATION

BASIC HOUSING UNIT

ORTHOGONAL ARRANGEMENT OF UNITS

THE UNITS ARE PUSHED CREATING A BALCONY

UNITS ARE OFFSET TO SHADE AND CREATE GREEN TERRACES

HOUSING UNIT PLAN

SOUTH ELEVATION

NEUROTECHTONIK

M P

D P R O C T

T R U C T U R A L S U P P R K

OR M W

LTI

FOR

X M E

PROCESS

PRELIMINARY SKETCHES

U WAX CASTING

The most prominent feature of the ALIBABA OFFICE COMPLEX is the DOUBLE SKIN system used to filter and control solar conditions. The skin features a BIFURCATION and DEFRAGMENTATION of a regularized grid, thus creating an IRREGULAR shaped skin. The lamp uses the concept of a double skin system as a way of FILTERING light. The outermost skin responds to the defragmentation of the facade, and becomes a REINTERPRETATION of the visitorâ&#x20AC;&#x2122;s EXPERIENCE from inside the building. MATERIAL exploration was key for the development of the fixture. With an understanding of the PROPERTIES of wax,we reinterpreted the idea of a traditional CANDLE into a fixture. Having LIGHT pushing through the TRANSLUCENCY of the material and finding its way through the VOID SPACES, the result is a SPECTACLE of light that captures the essence of the Alibaba Complex.

-90

organizing ideas for knowledge sharing

BOOKLETS

Booklets provide a simple and efficient way to organize ideas that can be easily understood. The following body of work represents samples of the booklets made for different classes. The design of the cover pages and interior layouts respond to my personal design aesthetic.

D&G LIGHTSPRING COLLECTION 2011

RICARDO A. GARCIA ESCAMILLA TIETONG LU STEVEN WEEKS

20 11

SPRING

D&G DOLCE AND GABBANA

Dolce and Gabbana NEW YORK STORE

YSIOS Designer: Ricardo A. Garcia Escamilla

D&G DOLCE AND GABBANA

LIGHTSPRING COLLECTION 2011

7.0 APPLIANCE SPECS.

FIXTURES SPECS.

6.0

5.0

ELECTRICAL PLANS 3.0

PANELBOARD LAYOUT

LIGHTING PLANS

4.0

3.0 ELECTRICAL PLANS

2.0 PRECEDENTS

1.0 DESIGN INTENT

TABLE OF CONTENTS

Designer: Ricardo A. Garcia Escamilla

DESIGN INTENT 1.0

PRECEDENT RESEARCH 2.0 CHANEL SOHO

Architect: Peter Marino Architect Location: 139 Spring Street, New York City, New York, USA Project Area: 4,170 sqf

The proposed use of the commercial space is intented for a high-end retail store. This includes clothes, shoes and accessories. Consequently, the lighting of the establishment should be well controlled and manipulated in order to properly and effectively highlight the articles being displayed.

SHOE SHOP IN VALLETTA

The boutique flows through open space, with each product area leading into the next. Upon entering the store from Spring Street, clients are immediately drawn to an acrylic bottle of Chanel No.5 that stands over ten feet high, whose surface displays constantly changing Chanel-themed video. A specially commissioned black and white woodblock pattern by artist Richard Woods encases the columns in the Accessories area. Further into the space is a new handbag “bar” displaying exclusive handbags. Opposite this area is a custom created Fragrance and Beauty area. “Flying Eyeballs”, a commissioned piece by Alan Rath, complements the new sunglass wall beyond the designated F&B area.

Architects: Chris Briffa Architects Design: Chris Briffa, Bernard Vella, Marcia Calleja Location: Valletta, Malta Client: One Fashion Ltd

The primary users of the space would be a young population between the ages of 17 and 40, therefore less limitations apply in respect to light levels.

PANEL BOARDS

5.0

Project year: 2007

CENTAURO CONCEPT STORE

The site for a new shoe shop in Valletta, presented a very limited volume – one 3x7m room with an underlying basement – which provided the most significant challenge. From the early sketches, we adopted a vertical approach rather than a horizontal one, and the volume was fragmented into one giant staircase which would combine display, seating, storage and all services into one. We imagined clients walking up, down and around the stairs, choosing their favourite shoes and actually sitting next to them to try them on, rather than looking at the merchandise through a glass. The experience of being surrounded by the products, together with the constantly changing vistas while exploring the shop enhances both the shopper and the shopped in a surreal, stepped space reminiscent of Japanese shoe-box architecture adorned by traditional Maltese textures; wrought iron railings, the Maltese eight-pointed cross, traditional lace.

The project for a concept store for Centauro at Shopping Cidade Jardim in São Paulo, Brazil, exploit Architect: AUM arquitetos – André Dias Dantas, Bruno some strong elements that the brand already has. The Bonesso Vitorino, Renato Dalla Marta, Ana Maria Montag, idea started from a design that shows, somehow, Maíra Baltrusch similarity to the existing brand and not a complete rupture. Location: São Paulo, Brazil The use of the red and white colors, which are characteristics of the brand, and exploring the race Client: Grupo SBF track, which exists in all stores, were important elements in the new project. Constructed Area: 830 sqm The fundamental concept that guided the work was the creation of continuous areas that could be deformed Project year: 2008 and turned into structural elements of the store or even product supports, breaking the regularity of the space.

APPLIANCE SPECS. 7.0 WHIRLPOOL MICROWAVE/ HOOD COMBINATION

1ST FLOOR PLAN

Electrical Requirements -15 Amps. 60 Hz. 120 V.

D&G Dolce and Gabbana NEW YORK STORE TIETONG LU STEVEN WEEKS

20 11

SPRING

RICARDO A. GARCIA ESCAMILLA

IBM TOWER

Architect: Kenneth Yeang Location: Selangor, Malaysia

[

1.4 Top lighting

2.2 Solar conditions

1.5 Lightwells

3.1 Programme

4.1 Plans

4.2 Sections

5.0

5.1 Shading device analysis 5.2 Testing data

CONCLUSIONS

1.3 light shelves

2.1 Climate information

4.0

ANALYSIS

1.2 Shading strategies

3.0

DESIGN

1.1 Projects

2.0

PROGRAMME

PRECEDENTS

1.0

SITE ANALYSIS

[CONTENTS

REAL GOODS SOLAR LIVING CENTER

Philip Merrill Environmental Center

Light penetration was the main consideration for this building. Using the solar geometry and light shelves, sunlight is able to penetrate deep into the building minimizing the need of artificial light.

Self- Sufficient was key for this project. Sun is filtered and controlled through a series of adjustable louvers that change with the seasons, thus sunlight to allowing enter all year long. The system also allows for passive heating and cooling using the louver system as a regulatory device.

Architect: Sim Van Der Ryn Location: Hopland, California

The project demonstrates how daylight is used to morph the building. The skin responds to the solar geometry maximizing sunlight while minimizing direct exposure .

Architect: Smith Group Location: Annapolis, Maryland

6.0

With the use of the stenographic diagram we were able to determine the solar conditions that directly impact our site. The results yield a narrow overheated period and a larger under heated period. Based on this findings we determined that the building should let the majority of the sunlight in the building during the winter months, and carefully choose the amount of light that should access the building during the summer months. The transitional period provides a challenge in the sense that enough light needs to enter the building, but at the same time careful consideration should be given to not overheat the building with direct light.

6.1 Concluding remarks 6.2 References

1.1

Building organization

[ PROJECTS]

RICARDO GARCIA ESCAMILLA + TIETONG LU + STEVEN WEEKS

[ SOLAR CONDITIONS ]

RICARDO GARCIA ESCAMILLA + TIETONG LU + STEVEN WEEKS

2.2

Programme Selection For this exercise we decided to design a clothing retail store. Given the location and solar conditions of the site, a high-end fashion store was the retail of choice.

Dec

The program is quite basic, consisting of fitting rooms, office, bathroom and storage. The nature of a retail store mandates for an open floor plan for the easiness of use for the costumers.

9:00 AM

Noon

5:00 PM

2ND FLOOR

The store is programmatically divided in 2 sections the back of the store (North End) contains the male clothes, while the front and upper level contain the female clothes. All the basic functions (storage office, bathroom...) are located in the middle of the building, since these rooms require little to no light.

Storage

Dressing Rooms

The lighting conditions for the store are carefully constrained. The store requires low direct light and specific point lights to highlight objects specialty articles.

Office

1ST FLOOR

Cashier RR

HOURS OF OPERATION MONDAY - SATURDAY 9:00 AM TO 9:00 PM Display

SUNDAY 11:00 AM TO 6:00 PM LIGHTING GUIDE FOR HIGH END RETAIL STORES Fashion stores provide an elegant environment. This type of stores will have a high-end lighting system that includes decorative, accent and ambient luminaires. Ambient light levels should average 20 to 40 fc. This lighting facilitates the personal attention given to each customer.

1ST FLOOR Front display Open retail space

2ND FLOOR Stairs Open retail space Restroom

Registers Fitting rooms

RICARDO GARCIA ESCAMILLA + TIETONG LU + STEVEN WEEKS

Office

Storage

[ PROGRAMME ]

1st Floor

3.1

RICARDO GARCIA ESCAMILLA + TIETONG LU + STEVEN WEEKS

2nd Floor

Site Plan

[ PLANS ]

4.1

RICARDO GARCIA ESCAMILLA + TIETONG LU + STEVEN WEEKS

[ TESTING DATA ]

5.2

YSIOS

BODEGAS YSIOS: POETRY IN MOTION

antiago Calatrava has systematically revolutionized the profession of architecture. The fluidity of his designs portray a deep understanding of nature and the human figure. In all of his designs, the combination of materials, forms, and concepts coexist to create cohesive compositions that respond to the larger realm of human existence.

PROJECT: ARCHITECT: PRESENTED BY: PROFESSOR: COURSE:

alatrava presents himself as an artist before an architect or engineer. This proves to be of key importance to understand his design process. Since and early age, Calatrava was introduced to the arts by studying at the school of Arts and Crafts of Valencia2. This experienced allowed him to master the basic arts that would later be of primary importance on his creative processes. Through his life experiences, Calatrava developed a fascination with the human form and the many possibilities of motion as well as the sculptural qualities of the human shape. His paintings often depict the human shape in motion; he argues that this becomes the foundation for the built form from which the design radiates from.

alatrava has long been interested in incorporating movement into his architecture; his Ph.D. thesis was concerned with the foldability of threedimensional structures. He argues that movement is an essential part of human life and it directly relates to our interpretation of our surroundings. "Even if people want to do monuments that are timeless, like the pyramids of Egypt - well, they are moving," he says. "We don't see that, because they move very slowly, but they are now shorter than when they were built. The stones are falling down. Everything in our universe moves"1. His earliest studies for moving buildings begin in the model shop of his office in Zurich. It is only with this obsession of movement that we can see the effects of the motility of his designs and the trend that he has carried since his thesis to his work on the Bodegas Ysios. It is important to understand how his education has influenced his ability to link engineering, Urbanism and architecture to an astonishing scale of precision, thus creating a deep understanding of the complexity of the built form and the influence that this has on its surroundings.

Calatrava was really invested in the idea of understanding the wine making process, and trying to find a way to relate this process to the spatial sequence of the winery. Calatrava organized the program based on the sequence the wine is created, beginning with the cultivation of the grapes on the surrounding fields, and then the process of extraction and storage on one end, to the display and retail of the finished product on the opposite end of the building.

GRAPES

This basic understanding of the human form and the elevation of the individual, serves as a constant reminder of the essence of architecture, which is to provide shelter and procure well- being through the design of space. Calatrava approaches each project by understanding its nature and function as well as its surroundings. He then portrays this primary concept through painting. He finds this media to be full of life and fluidity, quite consistent with his design aesthetics. His paintings often portray the human shape in motion. He expresses this motion through simple gestures, and common human positions in which he explo explores the way light hits certain parts of the body, emphasizing the idea of shade, shadow and depth.

onsistent with Calatrava’s design process, he created a sculpture that mimics the undulation of the mountains. This was done through a series of rectangular pieces that sit on a central axis. The point of connection is not fixed, therefore each individual volume is capable of undulating. The sculpture was done in copper which through the process of oxidation acquired a green hue. This sculpture is currently located on his residence in London. The combination of painting and sculpture became the basic form giving elements to the design.

BODEGAS YSIOS SANTIAGO CALATRAVA RICARDO A. GARCIA ESCAMILLA DR. WILLIAM CARPENTER ARCHITECTURE THEORY

BOTTLED WINE

Born in Valencia, Spain in 1959, Calatrava has evolved to be one of the world’s leading architects. His unique approach toward architecture has lead him to win some of the most important commissions around the world. Compared to a modern day Da Vinci by Joseph Seymour, Calatrava’s designs present the perfect combination of art, man, and machine. Calatrava defines architecture as art in motion, whether implicit or actual, this is an omnipresent element in his designs. Calatrava is a true citizen of the world. He speaks 7 languages, and has offices in New York, Paris, Zurich and his natal Valencia. Through the exploration of the Bodegas Ysios one can see the combination of his multifaceted approach toward architecture and design. The Bodegas become a perfect canvas to explore his design process, influences, inspiration, approach to materiality, and the impact of his work on other architects.

n order to understand Calatrava’s design process, one must first explore his education, since this plays a key role on the development of his design aesthetics. Calatrava was destined to attend the Ecole the Beaux Arts in France, but upon his arrival he was caught on the mist of the student revolt of the school. As a result, he returned to Valencia to pursue a degree in Architecture at the Escuela Technica Superior de Arquitectura, followed by a postgraduate in urbanism. His masters in urbanism has constantly helped Calatrava understand the deep and quintessential connection between the built form and the urban fabric. His designs pay particular attention to their surroundings and context, thus resulting in compositions that become embedded in the larger context of the locality. Calatrava also pays particular attention to the interaction between the individual and the built form, he argues that the most important part of the building is the people that use them and give life to the space; therefore the spaces should be adequate for the human scale and proportion. After finishing his postgraduate in urbanism, Calatrava found himself without a concrete direction; as a result of this, he decided to pursue a postgraduate in civil engineering at the Federal Institute of Technology is Zurich. This last move proved to be of crucial importance for the development of his professional and personal life. It was in Zurich where Calatrava met his lifelong companion and spouse Robertina.

aving painting as his primary approach to design, he then thinks about the abstraction of shapes and volumes from the initial painting. This is often done through sculpture. His sculptures capture a sense of wonder and movement that proves to be of key importance for his designs. His sculptures begin to show his engineering background in which the simplicity of form and juxtaposition of elements are perfectly calibrated to create an effortless composition. Through his sculptures he reinstates the idea of movement, in which the finely calculated physics and the precision of the form provoke a sense of movement. Many of his sculptures are actually capable of movement, further emphasizing his fascination with the idea of movement. A clear example of this is the sculpture in his house in Valencia. This piece is composed of a series of rectilinear volumes that tilt with a central axis, creating a hyperbolic curve with the aid of the wind. The entire piece is superimposed to a reflecting pool that further emphasizes the idea of movement and the resiliency of nature over the built form. It is incredible to see the rusted green copper structure undulate in an almost organic fashion, provoking a sense of tranquility and relaxation to the space. This piece proves to be of key importance for the exploration of the Bodegas Yasios, since this was the inspiration for a key component of the building. 5

he Bodegas Ysios in Laguardia, Spain summarize the design process of calatrava. The project was commissioned by the Domeq corporation, whose intention was to create the winery of the millennium3. The requirements where simple, to create a building that serves as both the processing plant for the Ysios Wines and a place where people can explore the process of wine making. The site was carefully chosen on the skirts of the hills of the wine country of Rioja Alavesa. This picturesque landscape proved to be of great inspiration for Calatrava. The surrounding mountains inspired sur Calatrava to do a water color painting, in which he depicted the mountain as a series of barrels of wine that float lazily on the landscape. His interpretation of the site, served as the initial concept for the building, where he began to explore the ideas of materiality, space and function. materialit

s one explores the interior spaces, the undulation of the roof becomes a focal point that is carried throughout. The beams that compose the ceilings are left on a natural state, thus expressing the clarity of materiality that is characteristic of Calatrava. In the presentation area, located exactly in the middle of the building, a hyperbolic window is added to create some spectacular views to the vineyard that dissolves into the horizon. It is remarkable the simplicity and elegance of this project, we can see how the organization, material ity and surroundings work together to create a cohesive composition that is consistent with the idea that function follows form, moreover the integration of Calatrava’s distinctive design aesthetics to the overall composition.

With this spatial organization, visitors and workers alike become aware of the intricacies of the wine making process, in which the wine becomes the focal point and the built form becomes secondary. Following his initial concept from the painting and the sculpture, the building is composed of an undulating roof and façade, directly mimicking the mountains beyond. Again, we can see the evidence of this implicit movement that is characteristic of Calatrava’s work, and the respect for nature and its surroundings. 8

distributing ideas through visual media

Flyers

Flyers provide the opportunity to capture the brief attention of people, therefore is important to understand the idea of color and proportion to create an effective flyer. My flyers focus on the idea of conveying a simple message, emphasizing the nature of the event through the use of color and graphics.

LATIN NIGHT MAY

6:00 SPSU

PM -

STUD

1:00

ENT CE

TOUR OF OUR NEW FACILITIES

NTER

MAY 7 -- INAGURATION -- 1:00 PM MAY 8 -- GUIDED TOURS -- 2:00 PM MAY 9 -- RECEPTION

FREE SALSA LESSONS!

-- 9:00 PM

CALL: 770-538-1000

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MONICA’S Milk Chocolate

Edición Especial de XV Aniversario MONICA’S Milk Chocolate

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TOUR OF OUR NEW FACILITIES

MAY 7 -- INAGURATION -- 1:00 PM MAY 8 -- GUIDED TOURS -- 2:00 PM MAY 9 -- RECEPTION

-- 9:00 PM

CALL: 770-538-1000

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LATIN NIGHT MAY

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OCHIMILCO

RECOVERING MEXICO’S WATERWAYS

Occupying the LACUSTRINE region of Mexico City, the borough of Xochimilco has witnessed the METAMORPHOSIS of the city from the Pre-Hispanic times to the current metropolis. In antiquity, the floating gardens served as the main WATERWAYS and fertile land. Today, the DILAPIDATED area tries to recreate a FAUX sense of LOCUS; portraying a MUNDANE sense of identity far removed from today’s REALM.

05 Newsletters

Newsletters mark the way share information and current events within an organization. The following newsletters where created in collaboration with other members of the organization to showcase our events.

sharing current events and ideas