S E LE C T ED W O R K S ALEJANDRA VALDOVINOS
CONTENTS DUMP VESTIGE 4 INDEXICALITY 12 GLASS HOUSE 16 OBJECT STUDY 20
DOMESTICITY JOINTS 22 G.O.O.O.P. 26 VG STUDIO 30 FRAGMENTED CRYSTALYZATION 34
DUM P V E S T I G E G ABR I E L E S Q U I VEL AN D JO R I S P U T T E N E E R S T4T L AB COLLABORATION WITH: EMILY MAJORS | CYNTHIA CASTRO | JEANNELLE FERNANDEZ As Timothy Morton asserts, “the fantasy we have regarding trash lies in that it disappears [and] dissolves.” In the United States alone, humans are generating trash at a rate of 4.6 pounds per day per person, which translates to 251 million tons per year. As a result, greenhouse gas production is increasing and studies indicate that the earth will become uninhabitable for human life by the year 2060. Hundreds of species rely on organic waste produced by human activity for survival. This raises the question of how an ecosystem dependent on the production of human waste, such as the garbage dump can survive without humans available to generate input? This machine uses big data collected from digital waste and physical waste in order to optimize dump emissions with the intent of sustaining both the earth and the ecology of the rubbish dump, privileging the dumps’ agenda to preserve itself in the case of human extinction through a process of machine learning and synthetic trash manufacturing. Occupying the territory of the dump, the self-generating structure operates cyclically, fluctuating, expanding, and contracting over time as more garbage accumulates and system optimization occurs. The cycle begins with the insertion of an algorithmic primitive that collects, learns, and expands until it begins phases of consolidation and optimization. The cycle begins again as the machine updates and refines its understanding of the dump. The machine determines the desired composition and form for optimized trash based on a gained understanding of the chemical composition of trash required for a positive impact on the ecosystem. The physical collection mechanism is interested in collecting samples of organic material and in rescuing lost data found in e-waste material such as computers, hard drives, mobile devices, etc. The machine combines on-site collection and observation techniques with its access to digital waste found in the cloud to better process garbage input. Although the preservation of human life is not the machine’s intent, the machine’s ability to produce optimized waste that could fertilize soil, purify water, or counter the effects of carbon emissions could potentially postpone human extinction. Human extinction or not, the machine is primarily concerned with selfpreservation through optimized synthetic trash manufacturing. The machine is not pushing any aesthetic agenda. The machine derives its aesthetic regime from its own assimilation of how the machine becomes a part of its ecology, acquires big data, and produces as needed. It establishes a completely new aesthetic regime based on the algorithm big data allowed it to produce, but it is not assimilating any known aesthetic. The media exhibited in the presentation represents our speculation on the qualities of the machine’s aesthetic at all scales. Largely, in elevation and plan. Smaller, in interior and exterior machine detailing. The smallest scale of speculation can be observed in our photography and film studies.
CONTEXT CONDITION DURING MACHINE PHASE | 03
phase i. year 2020| human trash collection
dump composition| 0% synthetically generated artificial trash 100% traditional human input
human life status| 80% sustained
PHASE I. YEAR 2020 | HUMAN TRASH COLLECTION DUMP COMPOSITION | 0% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 100% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 80% SUSTAINED
phase ii. year 2030| human trash collection + data extraction machine learning for synthetic trash manufacturing
dump composition| 0% synthetically generated artificial trash 100% traditional human input
human life status| 60% sustained
PHASE II. YEAR 2030 | HUMAN TRASH COLLECTION + DATA EXTRACTION MACHINE LEARNING FOR SYNTHETIC TRASH MANUFACTURING DUMP COMPOSITION | 0% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 100% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 60% SUSTAINED
phase iii. year 2040| human trash collection + data extraction machine learning for synthetic trash manufacturing machine begines generating synthetic trash
dump composition| 20% synthetically generated artificial trash 80% traditional human input
human life status| 40% sustained
PHASE III. YEAR 2040 | HUMAN TRASH COLLECTION + DATA EXTRACTION MACHINE LEARNING FOR SYNTHETIC TRASH MANUFACTURING MACHINE BEGINES GENERATING SYNTHETIC TRASH DUMP COMPOSITION | 20% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 80% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 40% SUSTAINED
phase iv. year 2050| synthetic trash manufacturing machine learning for optimization
dump composition| 60% synthetically generated artificial trash 40% traditional human input
human life status| 20% sustained
PHASE IV. YEAR 2050 | SYNTHETIC TRASH MANUFACTURING MACHINE LEARNING FOR OPTIMIZATION DUMP COMPOSITION | 60% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 40% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 20% SUSTAINED
phase v. year 2060| synthetic trash manufacturing system fully optimized
dump composition| 100% synthetically generated artificial trash 0% traditional human input
human life status| 0% sustained
PHASE V. YEAR 2060 | SYNTHETIC TRASH MANUFACTURING SYSTEM FULLY OPTIMIZED DUMP COMPOSITION | 100% SYNTHETICALLY GENERATED ARTIFICIAL TRASH 0% TRADITIONAL HUMAN INPUT HUMAN LIFE STATUS | 0% SUSTAINED
OBJ CUT | 01
OBJ CUT | 02
OBJ CUT | 03
OBJ CUT | 04
a. infest composition: iridium (Ir) : 62% nitrogen (N) : 20% phosphorus (P) : 12% molybdenum (Mo) : 6%
cheese fly #a4576
diptera
maggo
#a0884
#a1050
nematocera
lucilia sericata
#a1047
#a6732
histeridae #a4412
b. gorno composition: bismuth (Bi) : 45% carbon (C) : 15% oxygen (O) : 19% nitrogen (N) : 10% hydrogen (H) : 2% iron (Fe) : 9%
baise-moi
ichi
concus
fester
blood syster
cannib
#b6468
#b9973
#b7505
#b4146
#b4290
#b0157
c. tissuu composition: carbon (C) : 34% calcium (Ca) : 21% phosphorus (P): 16% hydrogen (H) : 12%
stroma
strobili
#c0603
#c2700
placent
organelle
#c6715
#c3898
nitrogen (N) : 11% oxygen (O) : 6%
cavity #c2486
d. mocquo composition: astatine (At) : 44% nitrogen (N) : 31% carbon (C) : 10% phosphorus (P) : 9%
kalua #d8833
gaji
moco
hilo
#d1107
#d0578
#d3075
molybdenum (Mo) : 6%
miua #d6741
osir #d5282
ARCH 205 G ABR I E L E S Q U I VEL INDEXICALITY The project here shows Case study house, The Bailey House by Richard Neutra. The original organization is through a series of vertical bars. The thematics of my new organization are to connect the terrain with the orthogonal pieces of my original floor plan translating the new ‘figure’. By following the regulating lines, I did a series of shifts that fragmented my plan, reinforcing the inner poche where my reverberation occurs, defining the “figural edge” which produced the new organization of my figure. From my final diagram, the most relevant subject that I wanted to translate was the figural edge. Suggesting the interconnection of the curves, it reflects them becoming topological surfaces. By expanding the nurb surfaces all around my analog model, it creates an attitude in the figure where moments of crossing [overlapping] wrap around the surface, reinforcing the inner poche, where my reverberation occurs. While encapsulating the model within itself to show the direct consequence from 2 dimensional to 3 dimensional. My ground becomes receptacle and indexes completely onto my figure cradling the entire object, reinforcing the concept of my exterior figure connecting with the new organization of my figure.
SECTION | EDWIN LUTYENS
SPLITTING | GORDON MATTA CLARK
ELEVATION | EDWIN LUTYENS
DAY’S END | GORDON MATTA CLARK
TRANSGRESSED PLAN | BAILEY HOUSE
EN DS 108 SH ER ME E N Y O U SIF G L AS S H O U S E COLLABORATION WITH: MARIE CHAPA
The project discovers transparency and is achieved through the sensible use of glass. Transforming the enclosure of space into a lightweight structure that both blends naturally to its surroundings, while at the same time emphasizing its uniqueness. Furthermore, this concept of an open design gives the interior smooth and gradual transitions through space, that encouraged activity and movement, in order to keep the subject engaged. Throughout the building, there are numerous visual and physical connections of spaces through changes in floor levels and views to additional spaces, promoting an interesting and interactive environment for people of all ages to experience and enjoy.
FUNCTIONAL LISTING
ASYMMETRY AND DISSONANCE
SITE PLAN
SPACE AND TIME
4 DIMENSIONAL DECOMPOSITION
GROUND FLOOR PLAN
ELEVATION | FRONT FACADE
SECTION | A-A
AR CH 205 G ABR I E L E S Q U I VEL OBJECT STUDY The thematics of my digital project reflect an interconnection of a low-fidelity generic house to a high- fidelity tenacity house of a well-recognized architect, Edwin Lutyens. Through the Gordon Matta Clark project ‘Days End’ which uses the idea of perforating holes through a surface and transgresses our understanding of privacy, with a section with booleans and splits. In correlation with my Edwin Lutyens Cockington house, I analyzed the sections of the generic house. The house lays on a curved terrain and the figure was used to cut through the house and then follow through a series of shifts, reorganizing the cuts to form an affinity to the Lutyens house. In addition, I did a series of boolean cuts of the continuous bars in the Lutyens house that disclose in the generic house. Creating a sectional study allowed the reveal of the new figure and poche thickness, allowing the volume to be shown.
1 LOW-FIDELITY GENERIC HOUSE
2 BOOLEAN INTERVENTION
3 SLICE INTERVENTION
4 NEW ORGANIZATION
AR CH 205 G ABR I E L E S Q U I VEL DOMESTICITY JOINTS The project became a chain of experiments creating new fragments through a low-fidelity generic house resulting in domesticity joints enhancing a more accessible way on the parts coming together through plan and section. I advanced the idea of my building sitting on an undulated ground as it articulates the wavy object, while it exposes the interstitial crawl spaces by unraveling and seeing through them. As the building is detached from the ground, enlightening the crawl spaces underneath, I approached the aesthetic materiality to contrast the culture of the Houston architectural expression. Elaborating in the manifestation of the materials in which they contribute to the aesthetic differences. Achieving this architectural expression was done by creating moments of tension between the mass of flatness versus the pieces of intense relief that show the materiality of wood and brick. At the same time, it portrays the relief on the flatness and intricate edges, exaggerating the appeal and creating something that cultivated the final design.
PLAN | 01
PLAN | 02
SECTION | 01
SECTION | 02
G .O .O . O . P . G AR B A G E - O B J E CT OR IEN TED ON TOL OGY PROCESSOR G ABR I E L E S Q U I VEL AN D JO R I S P U T T E N E E R S T4T L AB COLLABORATION WITH: EMILY MAJORS | CYNTHIA CASTRO | JEANNELLE FERNANDEZ The proposed Garbage-Object Oriented Ontology Processor, otherwise known as G.O.O.O.P., invades the territory of the landfill by inserting a parasitic Artificial Intelligence driven Object-Oriented digestive system for discarded objects to call for an architectural intervention into an infrastructure that traditionally did not belong to architecture. This research considers three main objectives: First, the implementation of Artificial Intelligence within the system both externally and internally. Externally, as a “smart-scavenger,” in service of the G.O.O.O.P., responsible for extracting objects from the landfill and delivering them to the system. Internally, A.I. is distributed throughout the digestive system as an object evaluation and sorting mediator. Second, the research asserts that implementation of artificial intelligence into a system such as the landfill sustains architectural agency by demanding an architectural presence and consideration within an infrastructure that traditionally is not expressed architecturally. Lastly, the project adopts formal strategies of estrangement to develop a series of digestive chambers responding to their intended functions. The landfill, a collection of broken tools and abandoned objects considered unworthy of human attention compose an ecosystem considered less than picturesque by human bias at surface level but each object within contains infinite layers of meta-data waiting to be digested. As Timothy Morton asserts, “the fantasy we have regarding trash lies in that it disappears and dissolves.” The implementation of an Artificial Intelligence-driven waste digestive system contests this fantasy by flattening the hierarchy in which we position garbage objects against ourselves through unbiased data collection, extraction, and archiving within the landfill territory. By integrating the impartial sorting capabilities of AI into the post-human life for an object, the real object becomes more accessible in order to acknowledge the intrinsic value broken tools contain. The system operates parasitically with the help of “Smart Scavengers,” A.I.driven dumpster-divers that search, select, and extract objects it considers essential from the landfill [reference elevation landfill context] to transport to the G.O.O.O.P. for organizing, optimizing and archiving.
PLAN | VIEW
In addition to the physical waste collected from the pre-existing ecosystem of the landfill, non-physical waste is channeled to the waste management center by pre-existing data collection mediums such as cookies, search history or lack thereof, surveillance, census data, etc. Examples of nonphysical waste include but are not limited to websites that have not been visited in years, cultural trends that have died, ideas that have failed, outdated ideological or theological practices, music that has never been heard, online shopping items that have never been purchased, etc. Physical and non-physical objects grind slowly against each other, shedding and absorbing sensual qualities from each collision. The system negotiates leachate and emissions as the residue of the sensual qualities objects excrete in pursuit of discovering the essence of things. The system collects data in order to trace an object’s origins, life cycle, descendants, ancestors, emotional baggage, memories, and regimes in which the object belonged to. Archived information about objects overtime can “reveal the manner in which objects reflect social structures or movements”. This data is stored within the system in both data servers [reference plan servers] and archival displays that are available for human interaction and observation. FORM + PROGRAM Any relation between two objects generates a new object by vicarious causation which Harman explains as the fusion and connection of objects in a conceptual fashion rather than a literal interaction. This fusion can be understood as “aesthetics’ or the way in which things understand other things. Kit-collision of objects belonging to different ontologies produces an ontological estrangement where objects fuse as they exchange leachate, implications, emissions, imprinting, etc. The outcome of these estrangements generated the object library that underwent an additional process of algorithmic estrangement which can be best understood here. The resulting forms of these series of estrangements were utilized for the aggregation of the functional chambers that make up the Digestive System of the G.O.O.O.P. Containing all of these digestive chambers is an active membrane represented as poche. This membrane operates functionally by assuming the position of object protection and regulation. As diagrammed, the program of the aggregated functional chambers are as follows: center for vicarious causation, general object archive, leachate reservoir, emissions refinery, object examination and inspection, artificial intelligence sorting, exhaust chamber, and archival display.
VG S T U D I O | S U MMER IN TER N SH IP VIC T O R I A G O LD S TEIN COLLABORATION WITH: VICTORIA GOLDSTEIN, JASPER GREGORY, JULIA VASILYEV The primary project, was a collaborative of VG Studio with an international team in China, drafting building plans for residential, and commercial projects. Project architects work with drafting software like AutoCAD, Rhino, and Grasshopper to design projects and then present these plans to clients and construction crews. We proposed the designing of a new hotel, bridge and public seating.
1. W
BRIDGE TOP +5.00
STREET +3.50
STAGE TOP +0.60
STEP +1.50
BRIDGE TOP +5.00
WATER LEVEL -3.45
BRIDGE TOP +5.00
SIDEWALK +1.00
CENTRAL PLAZA SECTION 3
WATER LEVEL -3.45
ENTRANCE PLAZA SECTION 1
N
VG S T U D I O | S U MMER IN TER N SH IP VIC T O R I A G O LD S TEIN RESHAPE | BLUSH HOODIE COLLABORATION WITH: VICTORIA GOLDSTEIN, JASPER GREGORY, JULIA VASILYEV Blush Hoody is an invitation to reflect on the quality of the air that directly surrounds our body. We are the start of a generation to carry this amount of technology around our environment and modifying our air, yet the results have already been felt. But what exactly is polluting our air that we are not aware of already? Electro Smog Exposure to technology everywhere is leaving our bodies vulnerable to free radicals that discharge toxic chemicals and microwaves to the body. We envision blush-hoody as the intention of protecting our body with this second layer that generates negative ions around our personal air space by using the heat our body generates and trace metals in pink salt that get activated. Generating negative ions cleanses our air of hazardous airborne particles, bacteria and viruses. The hoody is self-regulating, so it has the capacity of producing extra heat when needed. Comfort meets detox. The prototype is a combination of technologies, from extremely analog and tailor-made fabric molding to achieve a desirable outfit to a network of a 3d printed mesh that holds and distributes both the salt pockets along the fabric and the heat conductors. This mesh is printed with the latest 3d printing capabilities used for orthopedic technology, using a polyamide (nylon) material that is tensile, impact resistant and can insulate the conductors within them. The Himalayan salt pockets are made of stretchy fabric to allocate more or less salt granules where needed. The granule’s own weight shapes the hoody’s “spikes”, that we’ve used generative techniques to simulate the density and movement of these aggregations. Blush hoody seeks to generalize wellbeing, a preventive measure, as a generous spreading of cleaner air, meanwhile harvesting our own body heat.
GENERATES NEGATIVE IONS
USES BODY HEAT TO ACTIVATE METAL TRACES IN SALT
A STATE OF PHYSICAL WELL BEING GENERATED BY THE AIR AROUND YOU
3d printed Nylon with heat transfer network conceled inside fabric path heat sensors BODY HEAT HARVESTING
CAR C 301 M IG U E L R O LD A N FRAGMENTED CRYSTALIZATION COLLABORATION WITH: MARIE CHAPA The project is focused on the longitudinal axis of the site created by the street Passeig Picasso. A new entrance was proposed with the intention of breaking the axis and drawing the circulation from the street, through the Mineralogy building and into the Ciutadella Park. The disruption of the original organization of the site was done with a subtle change in topography consisting of a slight slope. This removed the need of the stair-steps, allowing the subject to experience a delicate movement as they are led up to an organic geometrical form that resembles the fragmentation of mineral crystallization. We define the concept of fragmented crystallization, as the division of a whole into modules, allowing the design to ‘atomize’ in both program and structure. Each serving for its own independent purpose, ranging in size and function, from the biggest pavilion dedicated for the library and auditorium to the most private structure, consisting of offices and conference rooms. The new organization becomes a constellation of modular pavilions that are connected on the 1st level through a connection of cantilevers. The design develops the concept of transversality of the site and emphasizes it through the addition of multiple entrances from the street. In addition, the atomization of the program draws people to walk through the pavilions, seeing different exhibitions and experiencing the multiple functions that work independently on different timetables. A contrast of “the old and the new” is present in organization and materials. The decision was made to remove the Mineralogy Museum, making possible the reuse materials and space, which is sustainable and economical. The structures contain additional sustainable solutions. One of them is the use of ETFE, a plastic-like material incorporated into windows that allows light into the structures, while working as shading and insulation. Another adaptation is the metal framework of the structure, which will serve multiple functions, including using solar heat as thermal energy to heat water and use as electricity for the building. Adapting this into the structure will be an investment that will increase the initial cost, but will significantly reduce the expenses of the building, which will save money over time.
3. Recyclable Materials Steel trusses working as structural framework. Connected to concrete walls and supporting glass.
Lightweight concrete.
Truss to concrete connection.
INTERVENTION | 1
INTREVENTION | 2
INTERVENTION | 3
r: 120
r: 120 80 m
80 m
40 m
40 m
r: 25 m
r: 25 m
40 m
40 m
70 m
70 m
40 m
95 m
85 m
85 m
120 m
120 m
40 m
95 m
85 m
85 m
120 m
ORGANIZATION OF THE SITE |
120 m
PLAN | REPLATEO
PLAN | LEVEL 1
PLAN | LEVEL 2
PLAN | LEVEL 3
ALE JAN D R A V A LD O V IN OS EDUCATION T E X A S A& M U N I V E R S I T Y , C O L L E G E S T A T I O N , T E X A S BACHELO R O F ENVIRO NM E NT A L D E S I GN , M I N OR I N SUSTAINABLE ARCHITEC T UR E A ND P LA NN I NG
A LV A LD O V I N O S @TA M U .E D U | 8 3 2 5 9 2 3 0 6 1 LI N K E D I N .C O M / I N / A LE J A N D R A - V A LD O V I N O S
MA Y 2 0 2 1 GPR: 3.68
B A R C E L O N A A R C H I T E C T U R E C E N T E R, B A R C E L O N A, S P A I N , FAL L SE M ESTER STUDY A B R OA D
2019
LONE STAR COLLEGE, HOUSTON, TEXAS ASSOCIATE O F SCIENCE
A U G 2 0 1 5 - DEC 18
PROFESSIONAL VG STUDIO, HOUSTON, TEXAS ARCHITE CTURE INTERNS H I P -CONDU CTS PERIO DIC ON - S I T E OB S E RV A T I ON OF WORK D U R I N G C O N S T R U C T I O N T O MO N I T O R COMPL I ANCE W ITH DETA I LE D DE S I GN D OC UM E NT S -UTIL IZES CO M PUTER- A S S I S T E D DE S I GN S OF T WA R E A ND E Q U I P ME N T T O P R E P A R E P R O J E C T DESIGNS AND PLANS -CREATE THREE-DIMENS I ON A L B UI LD I NG I NF ORM A T I ON MO D E L I N G A N D TWO-DIMENSIO NAL CO NS T R UC T I ON DOCU M E N T S US I N G V A R I O U S S O F T W A R E
MA Y 2 0 1 9 - PRESENT
D I V E R S I T Y C O U N C I L, T E X A S A& M C O L L E G E O F A R C H I T E C T U R E STUDENT ASSISTANT -ENSURE STUDENTS G E T A HI GH- LE V E L A S S I S T A NC E -INPUT DATA TO BE TR A NS M I T T E D E LE C T RONI C A LLY -RESPONSIBLE FO R MAR K E T I NG
A U G 2 0 1 8 - M AY 2018
FINANCIAL AID OFFICE, LONE STAR COLLEGE STUDENT ASSISTANT -ENSURE STUDENTS G E T A HI GH- LE V E L A S S I S T A NC E -INPUT DATA TO BE TR A NS M I T T E D E LE C T RONI C A LLY T O V A R I O U S FEDERAL, STATE AND OT HE R A GE N CI E S , S C A N D OC UM E N T S T O BE TRANSMITTED TO F I NA N CI A L A I D OF F I C E
S E P T 2 0 1 5 - DEC 2017
ACADEMIC LEADERSHIP AMERICAN INSTITUTE OF ARCHITECTURE STUDENTS -SOCIAL CHAIR, FREEDOM B Y D E S I GN S E NI OR D E S I NGE R , MENTORSHIP PRO G RAM A N D M E M B E R T E X A S A& M I N T E R D I C P I L A N A R Y C H A R R E T T E F O R U N D E R G R A D S - SECOND PLACE SKILLS -FL UENT IN ENG LISH AN D S P A N I S H -COMMU NICATIO N SKILLS -ABIL ITY TO O RG ANIZE F UN CT I ONS T O E NS U RE C OM P LI A N C E WITH DUE DATES/DEADLI N E S A ND RE GULA T ORY R E QU I R E ME N T S SOFTWARE -IL L USTRATO R -HOUDINI -MODEL BUILDING -3 D PRINTING -INDESI G N -PHOTO SHO P
- R HI N OC E ROS -MAYA - B LE N DE R - Z B R US H - S K E T C HU P - K E Y S H OT
-WORLD CREATOR -MICROSOFT OFFICE -GOOGLE SUITE -REVIT -QGIS -AFTER EFFECTS
2 0 1 8 - P RESENT
S P R I N G -2 018
Alejandra Valdovinos alvaldovinos@tamu.edu 832-592-3061