PORTAFOLIO 2022 by Steph-Ibarra

STEPH IBARRA

Stepanie Guadalupe Ibarra istephanie707@gmail.com https://vimeo.com/user138411163 WeChat: Ibarra_Steph All rights reserved. No part of this book may be reproduced in any form without permission of copyright owner.

STEPH IBARRA

STATEMENT Stephanie Guadalupe Ibarra is a multidiscplinary artist and designer based in Los Angeles . At California Baptist University Fall 2021, she recieved her B.Arch as a first generation Mexican-American college student. Raised in the city of Compton, she found a passion for design while coming across a drafting class at Manuel Dominguez High School with no idea of what architecture was or could be. In fall 2019, Steph lead a team to compete for the Walt Disney Imagineering Competition of 2020 where she placed in the semifinals. Steph currently works as the creative coordinator of Gallery 90220 entirely run by minorities and the youngest generation of Compton creatives.

She is part of the team that got to name Gallery 90220 and see it come to life as it opened Summer 2021. Additionally, she participated as the NOMA scolarship receipient at the Southern California Institute of Architecture’s Making and Meaning Program and was featured in their blogpost “M+M Alumna Stephanie Ibarra on What Can Be Lost in Translation, and Found”. She has most recently debuted in Gallery 90220 as a contemporary digital artist with her piece “One Less On Welfare”. This piece was made for the first ever Gallery 90220 photo exhibition for the Oscar award winning short film Two Distant Strangers in November 2021 and currently sits as the only non-photo related piece in the exhibition.

CONTENTS

ONE LESS ON WELFARE Gallery 90220/ Two Distant Strangers Exhibition

88 DISTRICT Walt Disney Imagineering 2020 / Jacob Slagill

CORAL COVES Themed Entertainment/ Krysten Burton

HOOP HEIGHTS Commercial Design/Krysten Burton

OVERTURE’S ARTERY Peforming Arts / Susan Duemer

PAPEL PICADO Making and Meaning/Jermy Kamal Hartley

HIDDDEN OPTICALITIES Making and Meaning/Kumaran Parthibian

FISH BOWL Making and Meaning/William Virgil

CHAPEL NOVEAU Education Center/David Ogoli

ONE LESS ON WELFARE “One Less On Welfare” is an addition to the 2021 Gallery 90220 first ever photo exhibition featuring the Oscar-Award winning short film “Two Distant Strangers”, where a blackman makes his way home to his dog where he shortly realizes he is living out his worst nightmare of being caught stuck in a time loop of being inhumanely murdered by the same corrupt policeman. The piece is an abstract reimagined NYC cityscape that highlights some prominent architecture found in establishing shots of the short film. The monumental and detailed structures pull ones attention away as any ciity would do in real like to any passerby. However, the main focus is set to be the alleyway where the protagonist is last seen on his attempt to go home. The glass material police cars sit on the city streets and are transparent on the literal and figuritive sense in being present yet open to the public in their inhumane tactics to arrest and corner the antagonist while leaving the rest of the city unguarded. “One Less on Welfare” was inspired to be named in reference to the same way “Two Distant Strangers” was named, by the famous rapper Tupac’s song “Changes”. Tupac demands one to “See me as a brother instead of two distant strangers”. This phrase is one many minorities who have faced racial discrimination or execssive police force can relate to as the humanity is often lost in the exchange between law enforcer and “criminal”. Much like Two Distant Strangers, “One Less on Welfare” was also inspired by Tupac’s “Changes”. The phrase carries a duality in this art piece. One Less On Welfare is pulled from the lyrics of “Changes” where a black man is killed, a policeman is a hero and not caring about giving children “crack” because afterall it is “one less hungry mouth on welfare”. The title here takes the racial stigma enforced on black people in a hypothetical situation and enforces viewers to ask themselves whether the one less on welfare in this case is positive or negative. What does one think in the idea of “getting off welfare”. Is it death or is it success? And in what way? For standing up for oneself? Or through merciless murder? The piece aims to open conversation in topic of race in the manner of uplifting the voices black being heard and influenced the film.

Softwares: Rhino, Grasshopper, Keyshot Work Type: Art Gallery Piece Client: Gallery 90220

FINAL ART PIECE

PROCESS RENDERS

CORAL COVES

Located 60 miles away from the Great Barrier Reef, Coral Coves is an educational fam the Great Barrier Reef ’s coral bleaching events due to climate change which heavily aff of mistreatment for the wild-life and how to become a Reef Guardian that cares prope

By creating teaching opportunities at the interactive aquariums and inviting active pa guest and coral life, we create a lasting impression for caring for the ocean.

One major and effective way we are tackling the problem of the endangered reefs is by where guests restore their own coral by allowing users to create their own coral skelet providing a polyp to feed that will slowly grow around the skeleton as it continues to updated photos of the coral’s height, health status, and the marine life that lives in it. E be taken out of cativity and transported back into the ocean in the Great Barrier Reef

Softwares: SketchUp, Procreate Work Type: Theme Entertainment Supervisor : Krysten Burton

mily resort/educational facility created in light of the of ffect the ecosystem. The facility highlights the dangers erly for marine life.

CORAL DEVELOPMENT

SECTION CUT

CORAL CONES ICE CREAM STAND

articipation that inherits an empathetic bond between

by creating a coral restoration center within the facility ton through calcium carbonate mold compressing and be fed. Updates are then sent via a mailing list with Eventually, as climate change improves, the corals will f where it will be placed at the proper location.

CORAL TO HUMAN SCALE

Stephanie Ibarra - California Baptist University- Disney Imaginations- 2021

88 DISTRICT

Disney Imaginations 2020 Competition Participation : Semifinalist Group Member Role: Team Leader, Concept Artist This project is the sole property of Walt Disney Imagineering and all rights to use these ideas are exclusive to Walt Disney Imagineering.

88District is a revolutionary district that demonstrates cultural hybridity as the future of Los Angeles. The number 8 is a Chinese representation of wealth and happiness, yet as wealthy as LA is it is no wealthier than the rich cultures that reside in it. The duality of the number 8 in 88 represents double happiness, double joy, double the celebration that is due. This becomes a physical reality as we pay homage to the first ethnic settlers of Los Angeles which were those of Latin and Asian communities, respectively of Mexican and Chinese ancestry. This interactive installment allows for learning about their contributions, historic journeys, lasting traditions and opens for new traditions in Los Angeles.

Stephanie Guadalupe Ibarra -88 DISTRICT

88 District showcases the minority communities that helped make LA today. This storytelling will encase itself in the way of attractions, culinary arts, language, light and water shows, and architecture, that would let the guest immerse themselves in a past forgotten and guide them to a future united. The district gives space for new friendships to form as guests also learn the value of seeing through the lens of someone who has walked a different life. Essential to the experience, the Tap Specs are the tickets you need in order to really experince what isaround you. The glasses enhance the experience of the user by simple colour theory that reveals different sets of information and graphics that cannot be seen without them. This is a physical metaphor of what it means to see life through a different lens and thus create an educational experience as well as an entertaining one.

Softwares: SketchUp, Procreate, Photoshop Work Type: Competition Submission Supervisor : Jacob Slagill

FINALIZED BOARD SUBMISSIONS

HOOP HEIGHTS NIKE X HYPEBEAST (UNOFFICIAL) Hoop Heights morphs basketball specialty retailing into a refined experience between user and seller by integration of contemporary sneaker culture and known performance sports brands into a collaborative flagship store. Through this, different spatial outlets for novices and experts alike are provided that allow product use beyond sifting through racks and shelves of products. Hoop Heights allows sellers to develop a relationship with users by serving the users needs and peaking their interest in the forms product use on site such as trying out sneakers on the court for quality testing, customising sneakers, flexible mix-use basketball courts that cater to public interest and being up to date on the next contemporary basketball collections via runway shows as well as meet and greets. This creates an inclusive outlet for anyone to learn about basketball whether it is learning to perfect throwing form or being a spectator enjoying the sidelines enjoying a public game.

MASSING DEVELO

OPMENT

Softwares: Revit, Illustrator, Enscape Work Type: Mix-Use Supervisor : Krysten Burton

MIX-USE COURTS

Fabric Lab

Backstock

25 Storage

Sewing Room

Studio Work Room

Range

21' - 6"

Range

20' - 0"

Range

BIRDS EYE ANALYSIS -

Range

TECTONIC SECTION -

Range

Backstock

Range

FLOOR 6-8 -

STREET RENDER

OVERTURE’S ARTERY As Downtown Redlands continues to expand commercially and artistically within itself , a new movement is taking into effect. There are pockets of art installations coming up as new events happen and many reflect on the past yet look towards the future. However, as one looks around it feels like with all of these The new performing arts Center for Redlands is the next big move needed to lay into the new movement that is taking into effect. The Overture’s Artery will carry the long due foundational center for the arts to provide a strong spine for the arts of Downtown Redlands where muralists, musicians, and filmmakers come to serve and engage openly the public through the arts. The Overture opens to the public by a street axis integration of topographical engagement. This sequential experience takes them from the top of the site down through a series of compression and expansion via spatial relationships of public space. By doing this, we are allowing the human experience fully take into effect and successfully laydown the missing artery for the overture of the new art movement to begin.

SITE ENTRY SOUTH ELEVATION

Softwares: Revit, Illustrator, Rhino, Enscape Instructor : Susan Duemer Work Type: Theatre Design

EAST ELEVATION

AXON PROGRAM BLOCKING NORTH ELEVATION

EAST ELEVATION

NORTH ELEVATION

WEST ELEVATION

SOUTH ELEVATION

WEST ELEVATION

SOUTH ELEVATION

BLACK BOX THEATRE

EXHIBITION HALL

STAGE

CAFE

PROSCENIUM

GALLERY

DIGITAL EXHIBITION DOME

INTERMISSION HALL

Stephanie Ibarra - Southern California Institute of Architecture - 2021

VENUE

FIRST FLOOR (-30 FT ELEVATION)

MEZZA (-12 FT

BUILDING ENTRY 3

GARDEN VIEW 4

LIGHTWELL VIEW

GALLERY VIEW

PROJECTION DOME

BALCONY SEAT EXIT

LOBBY

INTERMISSION LOUNGE

DIGITAL EXHIBITION DOME

REHEARSAL

SECOND FLOOR (GROUND ZERO) Stephanie Guadalupe Ibarra -EXT. SCRIPTED FORMS

ANINE FLOOR ELEVATION)

GALLERY LOBBY

RAY TRACE DIAGRAM

Stephanie Guadalupe Ibarra - Southern California Institute of Architecture - 2021

The words“papel picado” are known to english speakers as “tissue paper” and “confetti” and yet, the materials carry distinct natures from each other despite being the the same origin of paper. Papel Picado, or miced/punctured paper carry many uses in Mexican heritage as a decorative motif as it is distnictly it is seen on banners, garlands, paper flowers and as the exterior layers of a piñata. These uses go into popular holidays such as Dia de los Muertos and Christmas. They also go into baptisms, weddings, birthdays, quincenerias, Dia de los Reyes. In the following images, papel picado is explored in its nature in motion from a spectator’s point of view. We see a pinata, the letter A in this case, in the middle of its demise. Being struck from its surrounding context in many different places. The horizon is but white noise as anyone who has hit a pinata before knows how much of an in the moment act it is to be in this secene. Papel picado flies out from every place it is struck as t detaches from the exterior of the pinata. Easily carried by the flow of the wind, the delicate paper is seen falling to the floor as the pinata continues to be struck until it withers down to its contents.

Softwares: Cinema 4D, Adobe After Effects Instructor : Jeremy Kamal Hartley TA : Katherine Gesing

A focal exploration of an early Mexican art form in the contemporary realm .

Stephanie Ibarra - PAPEL PICADO 29

FINAL RENDERS

The images on the left reveal the finalized product.

Stephanie Guadalupe Ibarra - Southern California Institute of Architecture - 2021

PROCESS CELL RENDERS

Stephanie Ibarra - PAPEL PICADO

Each render indicates an extrapolation of the material displacement on the spectable object in the overarching narrative of movement.

Stephanie Ibarra - Southern California Institute of Architecture - 2021

HIDDEN CONTINUATIONS

The following image series experiments the visual boundaries that can be pushed to split and meld the letter B in iterations where it can be read via hidden continuations of opticalities. The depicted object is placed on a flat site to convey a sense of gravity. The opened bottom gives one a sense of a monumental glass pavilion entrance which leads one into a tranisitional experience between distinct transparencies and opacities .

ALPHA STAMPS 32

Stephanie Guadalupe Ibarra -HIDDEN CONTINUATIONS

The final images are an accumulated abstract meld of Alpha stamp process and materiality render studies made to experiment different levels of diminishing the legibility of the letter directly and heightening the indirect comprehension.

Softwares: Zbrush, Keyshot Instructor : Kumaran Partihibian TA : Matthew Pak FINALIZED RENDERS 33

Softwares: Zbrush, Twinmotion, Keyshot Instructor : William Virgil TA : Charite Carballo

During the development of Fish Bowl, the familiarity of the letter D in various fonts became a priority for a starting point in the project to later make Alpha stamps that would encapsulate the form of the structure. The play of materials continued as the development of material renders began.

Finalized Renders

The following renders depict the final product of the alpha stamp extrusions molded around organic and inorganic masses to create the scene where the viewer sees things in the perspective of a fish in a grand aquarium, the bigger “ Fish Bowl”. Viewers can visually experience the movement underwater throughout the space.

Animations available on : https://vimeo.com/user138411163

CHAPEL NOVEAU The University of Michigan is currently in the midst of major changes in addition continuing in the university’s Diversity Equity and Inclusion (DEI) strategic plan in committing to increase in diversity, the university is creating a Christian Study Center. Given that, we found an opportunity to elevate the belief that welcoming all walks of life is the first step to becoming inclusive in both the Christian belief and direction towards promoting inclusivity. By means of architecture we aim to create a place where open conversations in racial equity in a theological sense that inhibits the general agreement between both beliefs of Christianity and inclusivity that all walks of life are welcome here to have burdens lifted. In this, a solidarity can be formed between users who inhibit the space who identify with the newfound safe-space for any welcomed guests. This is done by the technique of processional dissolution, the monumental scale of architecture humbles itself down to a human scale as Christ does in service to anyone, and as guests make their way in they also process upwards (in life and this journey), one gets closer to Christ. This allows there to be a metaphorical spiritual tethering in the architectural journey for guests and as they reach the Chapel alongside others, this becomes also an experince of solidarity where guests come to lift their burdens to a greater purpose.

MASS BLOCK

Softwares: Revit, Rhino + Grasshopper, Twinmotion Instructor : David Ogoli Work Type: Education Center

MINIMALIST FACADE

FORMULATIVE DISSOLUTION

TRADITIONAL FACADE

FORMULATIVE DISSOLUTION

FACADE NOVEAU

CONCEPTUAL ORNAMENTATION

STUDY CENTER + LIBRARY

CHAPEL NOVEAU CAFE

CIRCULATION ARCHES

AXON PROGRAM

GENERAL BLOCKING

EAST PERSPECTIVE

DEFORMATION

DETAILING

FIRST FLOOR

MEZZANINE + SECOND FLOOR

CHAPEL OUTVIEW GOLDEN HOUR

WEST PERSPECTIVE

CHAPEL SECTION GHANA UMBRELLA

SAGRADA FAMILIA

CHAPEL OUTVIEW MID DAY

While designing Chapel Noveau, we took into consideration 3 precedents of Christian architecture to influence the design. To make the journey of procession, we looked at the Tabernacle from the bible as it gets people from the outside of the gate into a courtyard space and directly into the Holy of Holies. As for Chapel Noveau we created extra layers for procession. We created the entry of site to a courtyard and at the gate there are 3 options to go into the next courtyard, the Cafe, or the Study center for there to be wayfinding but ultimately all the program spacesaim to guide guests to go into the Chapel.

TABERNACLE The curved composite columns andd arched structural interiors pull directly from the monumental inspiration of Antonio Gaudi’s sagrada familia but more from The National Cathedtral of Ghana’s symbolic gestures when inspired by the ceremonial umbrellas and tents. These tents and umbrellas were used for maintaing the chiefs in hot temperatures. The idea was designing a cathedral after a space typically used for kings and chiefs for everyone who stood in the cathedral. With that exact sentiment, we decided to be inspired by the umbrella. To add on, with more research it was found that slaves and servants were the holders of these umbrellas. We saw a spiritual narrative within this as Jesus would wash the feet of his disciples as a servant would as well. Both acts were done taht no one would typically want to do,but taking that umbrella and treating everyone like kings and chiefs to elevate them ties the architecture with a spiritual tethering.

SOUTH ELEVATION