Sandra Huezo Undergraduate Portfolio
sandra huezo
State University of New York at Buffalo School of Architecture and Planning Department of Architecture 274 Summit Ave. Orchard Park, NY 14127 sandrahu@buffalo.edu 1.716.462.8881
design work
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Living Wall Spring 2010 Building Wall Fall 2009 Composite Systems Fall 2011 Botanical Gardens Spring 2012 Construction Technology Spring 2012 Barcelona Study Abroad Summer 2012 Urban Housing Fall 2013 Additional Artwork Fall 2008-Present
The Living Wall Semester: Spring 2010 Course: Design Studio II Professors: Nick Bruscia, Shadi Nazarian, Chris Romano Site: Griffis Sculpture Park, East Auto, NY In Collaboration With: George Behn, Brittany Cohen, Alex Galante, Nate Gange, Bryan Lee Project Description: Begin with a 6’x6’x8’ volume, shifting it to allow program for three sleeping spaces, an entry, and a circulation path. The original volume is to be registered in the final design. Projects are to be joined together in a linear form in order to generate a micro community. Within this ”living wall,” groups are encouraged to communicate as well as to consider the impact of the design on their neighbors. The semester begins with 100 individual projects which are gradually eliminated from contention until larger groups are formed. These groups are to focus on a full scale design-build comprised of 14 projects which together form a 100’ linear community of dwellings. Urban density, housing, modularity, prefabrication, and efficiency were to be especially considered.
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Structural Axon
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Assembly Drawings
Process Models
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Building Wall Semester: Fall 2009 Course: Design Studio I Professors: Joe Dahmen, Joyce Hwang, Chris Romano Site: n/a Project Description: Gain an understanding of the elements of architecture; semantics, and how they correlate; syntax. Apply these concepts to scale, keeping in mind the essential roles that program and site play in the design process. Finally, through design, develop a knowledge of construction, structural systems, and their inherent expressive potential. Cut and distort two cubes so that combined, the union of the forms creates a shared living and working area. The smaller cube should be dedicated to the work program, and the larger will be given to living space, though there should be areas of overlap. I chose to design for landscape artists, and therefore cut both cubes diagonally to allow for maximum surface area and greatest opportunity for views. All openings were meant to serve as frames for the artist within.
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Process
Plans and Sections
Structural Axon
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Composite Systems Semester: Fall 2011 Course: Design Studio V Professor: Ken McKay Site: Strip District, Pittsburgh, PA Project Description Create a surface by using properties of a pattern found in nature and a pattern from a textile material. Analyze the elements which make up each pattern, and explore how these elements could be projected into three dimensions to create a spacial enclosure. Facade Develop a building facade from the previous exercise. Consider the ways in which this facade relates to: -connections to the structural frame of the existing building -air movement -light, shade, shadow -the mediation of views from both the interior and exterior Market/Office Design an office and market building in the strip district of Pittsburgh, PA with emphasis on regulated egress.
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Material studies
Extending from the sense of continual growth that the original natural and textile patterns conveyed, a kind of performance mechanism was created and green facade evolved. Plant nutrients and seeds were spread between rigid wooden frames and sealed with perforated felt. The panels they formed made up an operable facade in the style of a plantation shutter between two layers of glass. Water from the plants is trapped between the two layers and condenses as the temperature rises, acting as a secondary shading device.
Glass panels can be opened between floors to allow for clean ventilation.
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Ground Floor Plan
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Second Floor Plan
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Third Floor Plan
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Fifth Floor Plan
Fourth Floor Plan
Sixth Floor Plan
East Elevation
Section
North Elevation
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Botanical Gardens Semester: Spring 2012 Course: Design Studio VI Professor: Curt Gambetta Site: Erie County Botanical Gardens, Buffalo, NY Project Description Focused on systems and organizations in architectural design, LifeCycles considers the growing and evolving roles of time itself in the design process, planning, construction and use of complex, often hybrid programmed buildings. Task one, diagram an existing botanical garden. Task two, study the existing building, The Buffalo Erie County Botanical Gardens, and create chronograms, a diagram focused on space-time relations, interior and exterior relations as well as tectonic and material relations. The final task is to create a new intervention of the existing gardens that can house a new set of plant life. The new focus of the Buffalo and Erie County Botanical Gardens is to produce plants for consumption. By sinking the majority of the inhabitable space underground, we are left with a generous piece of land used primarily for cultivation. A market, cafe, and seed library will not only be the primary consumers of cultivated product, but will also entice the public to return to the site on a regular basis. The proposal fully engages the landscape, which is to be sculpted to optimize drainage in direct relation to the amount of water needed in any given area. This allows for sustainable features such as a rainwater collection/filtration system.
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Construction Technology Semester: Spring 2012 Course: ARC 453 Professors: Annette LeCuyer
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Coffread House Clark & Menefee
OUTLINE SPECIFICATIONS 1. FOUNDATION -18x10 inches thick site cast concrete strip forms with 2 #5 reinforcement bars
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2. EXTERNAL WALL BELOW GRADE -8 inches wide cast-in-place concrete with #5 horizontal reinforcement at 16 inches O.C. and #5 vertical dowel re inforcement at 24 inches O.C. in both directions 3. EXTERNAL WALL AT GRADE -Spandrel glass panel -Aluminum curtain wall system 4. EXTERNAL WALL AT SECOND FLOOR -Compensation channel -Aluminum curtain wall system 5. GROUND FLOOR -2 inch concrete slab -Radiant heating system -4 inch cast-in-place concrete slab on grade -Vapor barrier -4 inch crushed gravel -2 inch rigid insulation
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6. INNER FLOOR AT GRADE Raised floor sytem -4 inch concrete slab on grade -Vapor Barrier -2 inch rigid insulation -4 inch crushed gravel -2 inch sand 7. SECOND FLOOR -2 inch concrete slab with radiant heating system -6 inch concrete slab 8. INNER FLOOR AT SECOND LEVEL -Raised floor system -2-1/2 inch concrete slab -8 inch hollow core pre-cast concrete plank
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9. ROOF -Single ply vented roofing membrane -4 inch rigid insulation -2-1/2 inch concrete topping slab -Sloping 8 inch hollow core precast plank
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10. EXTERIOR -16 inch diameter cast-in-place concrete column with 8 - #8 vertical reinforcement bars and #4 spiral ties with 3 inch pitch -4 inch concrete paving
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Pierce County Environmental Services Building Miller & Hull
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Pierce County Environmental Services Building Miller & Hull Partnership
Jennifer Dow Sandra Huezo Leah Kiblin Justina Zifchock
Barcelona Semester: Summer 2012 Course: Design Studio Abroad Professors: Dennis Maher, Nerea Feliz Site: La Rambla, Barcelona, Catalunya, Spain Project Description We began by sketching Barcelona’s most famous street, La Rambla. Those sketches were then placed on the floor relevant to their location on the street. The sketches were drawn over, collaged over, taped over, and walked on, resulting in a new representation of La Rambla. The following task was to create a Vertical Rambla, imagining that our drawing would pivot 90 degrees and the southernmost end of the street. Each of us were responsible for developing a portion of the drawing into an architectural construct as well as to work as a group to create a collective structure to hold each of our individual proposals. A Monumental Error - History of Fallacy Built for the Universal Exhibition of Barcelona in 1888, the Cristóbal Colón (Christopher Columbus) Statue is a symbol of the discovery of the New World. Lifted onto a 40m tall column, it is said that the 7.2m statue is pointed east, towards Colon’s home city of Genoa instead of west towards the Americas. However, Colon is pointing neither towards Genoa nor towards the Americas, but southsouthwest - towards the exit of Barcelona’s harbor, and an almost perfect extension of the Rambla. On the base of the monument are smaller statues and relief panels depicting important scenes in Colon’s first voyage.
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What intrigued me most about the Colon statue were its flaws. He is not pointing towards the Americas as tourists are led to believe. An elevator ride up the center column offers one of the most beautiful views of the city, but it is not at all obvious that the top of the statue is habitable. Finally, this is a statue memorializing a man who succeeded in his most famous achievement because of a mistake. Inspired by the misconceptions surrounding the existing statue, I propose a history museum focused on the errors of Barcelona. It is organized as an anti-museum, with its content being errors which are improperly displayed, with a lack of sensible circulation. Collections within the museum focus on political, cultural, environmental and geographical errors. However, the spaces labeled with a specific collection will house parts of every other collection except for the one named on the door. This will either convince the user that the museum truly doesn’t make any sense, or force them to try to make their own connections between the label on the door and the content of the room. The forms for the spaces themselves and the connections between them are drawn from our marks on the drawing. I searched for three different kinds of errors in my section of the drawing and marked them as BLUE, RED, and GREEN. I then used this color coded system to abstract the marks in different directions while translating them into architectural errors. 26
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collective drawing
collective model
collective digital model
diagram showing how were translated arch
BLUE BLUE
BLUE Connections that didn’t work
or perform correctly Connections that didn’t work Connections that didn’t work together. or perform correctly or perform correctly together. together.
RED RED RED Tears or breaks in material. Tears or breaks in material. Tears or breaks intorn, material. Where photos weretorn, Where photos werewere Where photos and imagewas wassplit splitoror torn, andand image image was split or distorted butstill still somewhat distorted but distorted butsomewhat still somewhat legible. legible. legible.
plan
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plan
GREEN GREEN GREEN
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Missed connections.
Missed connections. Missed connections. Marks that could have been Marks that could have been connected, but the Marks that could have been connected, but the opportunity was missed. connected, thethe marks were translated architecturally Diagram showingbut how opportunity waswas missed. opportunity missed. BLUE Connections that didn’t work or perform correctly together. RED Tears or breaks in material. Where photos were torn, an image was split or distorted but still somewhat legible. GREEN Missed connections. Marks that could have been connected, but the opportunity was missed.
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Urban Housing Semester: Fall 2013 Course: Design Studio VII Professor: Brad Wales Site: Elmwood Ave, Buffalo, NY Project Description The required deliverables for this building were to accommodate various unit types ranging from 600sq. ft. to 1,200 sq. ft. and at least 5,000 sq. ft. of public program. The site was located on Elmwood Ave, in Buffalo, NY. When developing a social housing scheme, we chose to focus on refugees as the inhabitants. The city of Buffalo has a long history of refugees as many had come with the final intention of moving on to Canada. Canada has tightened its immigration laws, causing many to decide to stay in the Buffalo area. We found it important to keep cultural references as part of the scheme when moving forward through the design process. Moving forward with an interlocking “L� scheme, one heavier, sheltered residential L and one lighter, inviting public L were created. The theatre/lecture area of public L lifts up, allowing public access to a community courtyard which would double as spillover market space during the warmer months.
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ground floor
third floor
fourth floor
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Additional Artwork Semesters: Fall 2008-present Media: Graphite, Charcoal, Acrylic Paint, Digital Photographs
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