Tatiana Luzardo - Portfolio

TATIANA LUZARDO

M.ARCH | B.ARCH | AIA INTL’ ASSOC | LEED GA

WELCOME

THIS PORTFOLIO PRESENTS WORK SAMPLES OF DESIGNS CREATED OVER THE COURSE OF MY MASTERS (2015-2018), POST-GRADUATE (2010-2011), AND UNDERGRADUATE (2001-2007) YEARS.

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HOPPERINTIMACY

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BYPASS

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IDENTIKIT

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NATAL’S THEATER

THE PROJECTS REFLECT DIVERSITY IN TERMS OF LOCATION. SOME OF THEM WERE CREATED IN THE CONTEXT OF THE

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CITY CONCIL SQUARE

CITY OF HOUSTON, USA; OTHERS IN PORTO ALEGRE, BRAZIL.

06 DOWNTOWN PORTO ALEGRE: SIGNAGE SYSTEM

PLEASE VISIT MY WEBSITE WWW.TATIANALUZARDO.COM FOR MORE PROJECTS, TEXTS, AND IDEAS COLLECTED OVER YEARS OF PRACTICE AND STUDIES.

I HOPE YOU ENJOY THIS WORK COLLECTION.

TATIANA ZUCCO DA SILVA LUZARDO

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    

         “                      

 

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    

Bypass was designed for a competition called Castle Resort, proposed by the YAC – Young Architects Competitions – and Marlegno s.r.l. The aim of this contest of ideas was to convert a medieval fortress into an exclusive tourist facility combining architecture and nature in order to enhance the historic and landscape value of this dream location in Roccamandolfi, in Southern Italy.

Ribbon Study

Preliminary study - Castle

The Monolith Sketches

Entrance View and Roccamandolfi Castle

THE BYPASS TAKES YOU ON A JOURNEY OF DISCOVERY. AS YOU MOVE TOWARDS THE CASTLE RUINS, YOU VIEW ITS BEAUTY UNTOUCHED AND SEEMINGLY UNDISTURBED. NO VISUAL CUES ARE PRESENT, EXCEPT FOR THE CASTLE ITSELF AND A GUIDING ELEMENT CALLED “THE RIBBON”. AS WE ARE REPURPOSING THE WAY THE CASTLE IS ACCESSED, A TENSION BETWEEN OLD AND NEW IS ESTABLISHED. INSTEAD OF TAKING THE EXISTING PATH TOWARDS THE TOP OF THE MOUNTAIN, THE RIBBON TAKES YOU TO THE BACKSIDE OF THE MOUNTAIN, AND PROPOSES YOUR ASCENSION TO THE CASTLE RUINS BY THREE UNEXPECTED WAYS: WALKING THOUGH RAMPS AND STAIRS, ENTERING “THE MONOLITH” (ELEVATOR TOWER), OR CLIMBING THE TWO RIDGES THAT ENCLOSES ALL THE VERTICAL CIRCULATION. THE HOTEL ACCOMMODATIONS ARE CAREFULLY NESTED INSIDE OF THE CASTLE RUINS, DESIGNED TO BE CASUAL SPACES OF REST AND COMFORT. THE RIBBON IS A METAPHOR OF THE VISITOR (THE FOREIGN BODY), WHO PENETRATES THE HISTORICAL SITE AS A WAY TO DECOMPRESS FROM THE DAILY ROUTINES OF MODERN LIFE. IT IS AN ARCHITECTURAL MEAN, DESIGNED TO PROVIDE ADVENTURE, MOMENTS OF REFLECTION AND COMPLETE IMMERSION TO NATURE.

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Ribbon as an open path 2

Ribbon as a transition area: entrance of the resourt 3

Ribbon as an enclosure: penetration

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Ribbon as a flying element: cantilever

Individual Units Colective Restroom Twin Units - Lower Level Twin Units - Upper level Handycap Unit The Ribbon

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  

                “”                  

                                          

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NATAL’S THEATER - 2005 Prof Cláudio Calovi Pereira Prof Glênio Vianna Bohrer Prof Heitor da Costa e Silva

                                                                                                                       

NORTH FACADE

SOUTH FACADE

PRUDENTE DE MORAES AVENUE

ROMUALDO GALVÃO AVENUE

MANUEL PROCÓPIO DE MOURA STREET

MIGUEL DE CASTRO AVENUE

INSULATED GLASS GUTTER

INSULATED ROOF PANEL

NORTH FACADE STEEL FRAMEWORK

METALIC PILLARS, INTERNAL DOWNSPOUTS DISTANCE BETWEEN TWO PILLARS: 63,70 METERS THEATER’S ROOMS GAP

INCLINED PLANE: DETAIL. ALL MEASUREMENTS IN METERS

SECTION E

FLOOR PLAN

E

SECTION C

C

B

SECTION B

THE ACCOMMODATION OF THREE THEATER ROOMS IN AN AREA WITH JUST A FEW HIGH BUILDINGS WAS A “VOLUMETRIC CHALLENGE”. THE FIRST SKETCHES WERE ESSENTIAL TO ESTABLISH THE CONCEPT OF ONE SINGLE PLANE COVERING THE WHOLE THEATER AREA. IN A SECOND MOMENT, IT WAS CLEAR THAT THE HUGE INCLINED PLANE NEEDED TO BE DEVELOPED IN ORDER TO DEAL WITH TECHNICAL FEASIBILITY (HOW TO DRAIN RAIN WATER FROM THIS GIGANTIC INCLINED PLANE AND KEED THE INITIAL CONCEPT?). THE THIRD ATTEMPT POINTED TO THE FINAL SOLUTION: TO WORK WITH A “PUNCTURED PLANE”. THE WINDOWS ON THE CEILING WOULD ALLOW A CONTROLLED EXPOSURE TO THE AGRESSIVE SUNLIGHT OF NORTHEAST BRAZIL’S TERRITORY. IN THE FINAL DESIGN, THE WINDOWS’ POSITIONS WERE DETERMINED ACCORDING TO THE CIRCULATION USAGE: THE PATTERN FORMED

BY THE WINDOWS IS MORE DENSE IN THE CIRCULATION AREA AND IN THE HALLS FORMED BETWEEN THE THEATER ROOMS.

DESIGN PROCESS

ARCHITECTURAL MODEL

INTERNAL CIRCULATION STREET

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CIVIC SQUARE CITY CONCIL

HOTEL AND CONVENTION CENTER

CITY COUNCIL SQUARE PORTO ALEGRE - 2006 Prof Gilberto Cabral Profª Célia Ferraz Profª Maria Almeida

MAIN ENTRANCE

MONUMENT

ACCESS STAIRS

“CUBE”CEILING WINDOW

ACCESS STAIRS

The docks area located on the port of the city of Porto Alegre (located on the Downtown area) is considered an area with a great urbanistic potential. The huge amount of underutilized spaces and the lack of infrastructure justify the study of significant interventions.

One of the case studies was the area located besides the Porto Alegre City Council. The absence of urban limits causes the area to be confused with a public park located next to the Council (Parque Marinha do Brasil). The outcome is a big area with low vegetation and without any specific purpose. The creation of a civic space next to the edification preserves the existing government buildings on the area along the avenue (Av. Loureiro da Silva). Taking advantage of the leveling difference between the soil and the existent dike at Eduardo Pereira Paiva Avenue, bars and comercial stores were allocated with the intention of cheer up the region. Due to the strong tendency of business tourism in Porto Alegre, a hotel and a convention center were located after the City Council.

- Urban design for the area next to the Porto Alegre City Council - Tatiana Zucco. - - Global design for the revitalization of Guaiba waterfront, on the surroundings of the docks area of Cais do Porto, Porto Alegre-RS-Brazil, developed in partnership with students Patricia Hartmann and Alan Tedesco.

“CUBE”CEILING WINDOW

BARS AND RESTAURANTS

MUSEUM

MONUMENT

MAIN ENTRANCE

LOUREIRO DA SILVA AVENUE

CITY CONCIL

PROJECT’S AREA EDUARDO PEREIRA PAIVA STREET SOURCE: Geossistema: Orla de Porto Alegre http://dict.space.4goo.net/city/100144?q=Porto+Alegre

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DOWNTOWN PORTO ALEGRE: SIGNAGE SYSTEM Prof Marcelo Halpern

Downtown areas in Brazilian big cities are constantly suffering from a degradation process as time passes, mostly because of the lack of planning and infrastructure to follow the growth trend of urban populations.

With regards to Porto Alegre, capital of the state of Rio Grande do Sul, the downtown district represents a synthesis of the whole city.The set of monuments and buildings from different ages and styles reveals a lot about the cultural diversity aspects, which guided the birth of the small village.

Beyond the essential functions found in central areas (commerce and services), Downtown Porto Alegre can be considered a huge connection terminal in terms of transport. People come downtown from all over the city to take another bus or train that leads to their final destiny. Everyday, a crowd of people walks through the same routes, just to reach the public transportation system. That being said, is reasonable to say that people don’t seek the downtown area for leisure. Many of its potential as a cultural and entertainment place during the weekends, for example, is missed, because there is this misconception of a place that is just a “hall” to another point of the city.

The aim of this work was to contribute to the discussion about solutions for the revitalization of the urban space, through the elaboration of a signing system to effectively communicate routes and interesting places to the users in their daily routes. Such system would support the establishment of a visual identity that could be easily identified, guiding the population to different parts of Porto Alegre’s Historic District.

As a guideline for the project’s visual concept, it was developed an analysis of the most common pavements found around significant buildings and open spaces, creating a visual link between the place’s function and graphic elements. This analysis was the basis for the color scheme used in the project.

Z1- SHORELINE

Z2- MUSEUMS

Z3- RESTAURANTS

Z4- SHOPPING

Z5- TRANSPORTATION

Z6- RESIDENTIAL

Z7- HOSPITALS

LOCATION

1

2

3

4

5

6

ZONE’S PAVIMENTS

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1- WATER 234ENCAUSTIC CEMENT TILES 567ZONES’ MOODBOARD: THE MOST REPRESENTATIVE POINTS OF INTEREST ARE REPRESENTED THROUGH HE FLOORS FOUND IN THIS PLACES. FOR THE SHORELINE, THE WATER ELEMENT IS REPRESENTED BY SHADES OF GREEN.

COLOR SCHEME

DOWNTOWN’S MAP: CULTURAL AND SHOPPING ROUTES

7

1- GUAÍBA LAKE 2- ART MUSEUM OF RIO GRANDE DO SUL 3- PUBLIC MARKET 4- CHAVES GALLERY 5- OTAVIO ROCHA VIADUCT 6- RESIDENTIAL AREA 7-”SANTA CASA” HOSPITAL

DOWNTOWN’S MAP:DEFINED ZONES

18

WALL SIGNAGE - AMENITIES

APPLIED SIGNAGE

19

PENDING SIGNAGE

UPPER SLAB INFORMATION: -ZONE’S NAME -SERVICES AND AMENITIES

MIDDLE SLAB INFORMATION: -”YOU ARE HERE” STREE’S MAP, POSSIBLE ROUTES AND INTEREST POINTS (STORES, MUSEUMS AND CULTURAL LOCATIONS, RESTAURANTS AND LEISURE) - DOWNTOWN GENERAL MAP, DIVIDED IN ZONES.

LOWER SLAB: -FINISHING SLAB

BASE -STAINLESS STEEL BASE

INFORMATION BOARD

LOGO BY ZONE

THE INITIAL APPROACH TO THIS VISUAL IDENTITY CONCEPT WAS TO INCORPORATE THE GRAPHIC ELEMENTS FOUND ON THE PAVEMENT TILES FOUND AT THE STREETS OF DOWNTOWN PORTO ALEGRE. A SECOND SKETCH INVOLVED SIMPLIFYING THE GRAPHIC ELEMENTS, REINFORCING THE CONCEPT OF TILES IN THE GROUND LEVEL.THE FINAL CONCEPT IS A SYNTHESIS OF THIS PROCESS: THE SQUARED SHAPE REFERS TO THE TILES, WHILE THE COLOR SCHEME LINKS THE ZONE’S FUNCTIONS TO THE MOST RELEVANT PLACES IN DOWNTOWN PORTO ALEGRE

DESIGN PROCESS

PROJECT’S FONTS INFORMATION BOARD: 3D SIMULATION IN FRONT OF MARGS BUILDING

INFORMATION BOARD: 3D SIMULATION AT RUA DOS ANDRADAS STREET