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PortfolioDesign+Architecture

Luis N Orozco

PortfolioDesign+Architecture

Student Works

Luis N Orozco

Experiment1A 1B

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MM1DC 2DC

CHEROKEE STUDIOS LOFTS751 NORTH FAIRFAX AVENUE

LOS ANGELES, CALIFORNIAPUGH + SCARPA

2010

PP 3A

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14

2B 4A2A 3BRehearsal Process

EXPERIMENT

The Animal Movement was the first labor intensive research base project which derived spatial conditions, joinery and points of force from a subject. The exploration develop though out a series of models. The models explored the movement of a septic module vs. the modulation of the matrix. Towards the end of the exercise, a comprehensive drawing explores the spa-tial conditions drawn from the movement of each of its mod-ules.

1 Animal Movement

Experiment 1A /Animal Movement /4

The models represent the movement of an insect in different di-rections. The movement was recorded from a set of still images from which the insect is flying up and rotating in the air. The lines and points correspond to the extent of the insect’s move-ments and the points are the maximum extension of each of the insects’s members. The planes also correspond with the position of the animal with respect to its surrounding space.

Final Model

Experiment 1A /Animal Movement /6

Animal Movement

The project began as the exploration of a normative activity developed into a project. The Project takes the basic concepts of the normative activity, which in this case is a handshake, and applies it to the final construct. The final construct takes the main concepts of the activity and deploys them in order to change the spatial conditions of the site. Once the project has consumed the site becomes a site corruptor.

2 Site Corruptor

Experiment 1A /Site Corruptor /8

Hybrid Diagram

Handshake


The process began with a 6 x 6 ft. hybrid diagram/collage that explains the assembly of the final model. Each one of the wood models takes into consideration different types of joinery that could be use to assemble the invading members to the final construct. The final construct resulted on a main structure aris-ing 6.5 ft. high with members that invaded 1.5 ft. into the site.

Wood Modules

Site Corruptor


Final Model

Detail

Light Cloud is an experiment developed around the idea of channeling light. The light was channeled in different sub-sections within the structure in a way that will make the viewer aware of light moving/shifting around the site. The use of an ex-treme amount of clear cylindrical tubes helped capture as much light as possible and concentrating it in different sections of the construct. In other words it became a cloud of light.

3 Light Cloud

Experiment 1A /Light Cloud /14

One of the main goals derived from this construct was the idea of not using any fasten-ers. It was going to be held together by a creating a matrix of interconnecting modules. A module was developed. The module consisted of 4 squares linked together with a fifth square yet for the squares to be able to link to each other a grid of punctures were made. Development Models


Density

Final Construct


Light Cloud


Light Cloud

The four outer squares con-nect to each other by link-ing their top corners with a wooden rod. Then those four squares are linked to the fifth square by assembling the rods with corresponding punctures within the firth square com-pleting the main module. The main module was self-struc-tural giving the final structure a massive rigidity. The reaming punctures were filled with the clear plastic cylinders finaliz-ing the construct.

The labor intensive process of drawing and exploring through drawing makes the work more labor intensive, yet at the same time it pushes the learning factor to a higher degree. The un-derstanding of complex geometry, sections, plans and their re-lationship was found by consistently taking sections of, in this case, a plaster mold. The drawing relationships are the main learning outcome from this exploration.

4 Sequential Sections

Experiment D1 /Sequential Sections /22

The project began with only two views of an object (front view and side view). With the two views we could get any geom-etry needed of the object and show that geometry in space us-ing geometric projections, oblique views and normal views. After projected, the object was dissected with a series of cuts; consequently, those cuts were transfer to the object. The final object resulted to be a model with very precise cuts but most importantly those cuts could be trace geometrically to the origi-nal object.


Projections


Rotation of 2D Space

Projecting planer objects in space was an exploration which taught us how to take an object in two dimensions, use its views or any geometrical information and alter it in a way that we could learn as much as we can from it. Using this knowledge of geometry, a plaster was constructed model from which we had to take a series of measurements. Once drawn the model was section horizontally and vertically 18 times (12 vertically and 6 horizontally).

Sequential Sections


Constantly sectioning the object derrived a profound under-standing of its mass. Using the newly gather information, the translation between plan and section was developed into an axonometric drawing which showed the volume of the plaster model. The process of gathering sections and plans gave way to developing an axonometric drawing that showed how minor nuance changes the model drastically. At the end of the project seven new sections were drawn from the axonometric drawing. From those sections a new model was build using unconven-tional modeling materials. The end result of the experiment was an exploration of different geometric processes and their overall outcome.

Final Model


The project Underground develops around the idea of an expe-rience. The experience of anyone to travel down the stairs into the main chamber was to be serenaded by the sound of water fall. The process of meditation was to be enhanced by the envi-ronmental conditions which the construct aim to imply.

5 Underground

Experiment 1B /Underground /32

Final Construct

Experiment 1B /Underground /34

Drawing-Underground

The project Slope was a preliminary experiment with modula-tion. Hexagons form a mat of geometric patterns applied in a way for them to take shape in many different forms. The hexa-gons were the floor tiles, the load bearing wall and they were also the skin of the building. The inner linkages of the modules fluctuate to allow air to come in and out of the building. Since it was design to be a hot water bath “temascal” then it needed to solve those issues.

6 Slope

Experiment 1B /Slope /36

Final Construct

Drawing-Slope

Experiment 1B /Slope /38

The project Gap developed around the idea of creating a struc-ture that could expand from one side of the gap to the other. The structure using the element of wind portrayed the charac-teristics of the element within the design and also with its pro-gram. The program of the building was a platform from where graffiti was not only legal but was looked as art. Moving back and forth the graffiti artist could take advantage of the open space and grandiose walls.

7 Gap

Experiment 1B /Gap /40

Final Construct

Experiment 1B /Gap /42

Drawing-Gap

The project Galactic Tower derived its design from the element fire and its main program. The program of the tower was star gazing. The location of the tower alongside with the height and different types of patterns made possible for any star gazer to locate a specific star and fallow the pattern throughout the year. The main circulation of the tower is a system of ramps and stairs that wrap around the structure.

8 Galactic Tower

Experiment 1B /Tower /44

Detail

The beginning stages of the design concentrated on the element fire for it transpire a sense of density and intensity which filter down to the specific pattern and its repetition. By triangulating a module, the structure was able to acquire structural rigidity. As the modules progressively juxtapose the tower grow, but also as it grow, it started to disintegrate while it framed views and located specific star constellations.


Pattern

Interior

At the highest section of the tower there is an interior space that is open to the public for star gazing. The translation of the patterns gets filter to the floor the interior space. Also the patterns create a very interesting interior condition since the constellations imprinted in the walls can be trance in the floor. The disintegration of the top walls further implies the element fire and its involvement with the final project.

Final Construct


Drawing-Tower

Fictitious precision is the development of a style of work de-rived from legitimate and very precise measurements which are then extrapolated to give validity to work. The laborious experiments lead to the development of modules utilized to construct very precise geometric patterns which then turned into structures.

9 Fictitious Precision

Experiment D2 /Fictitious Precision /50

The first modulation is an asymmetrical geometric pattern. This pattern was repeated to formalize a structure yet the structure was able to take shape from different modulations. The geomet-ric module was mirrored finding connecting point for structure and creating inner spaces where it could be occupied. Each one of the arches was derived using the geometric form of a hyper-bolic paraboloid.

Geometric Pavilion Plan


Pavilion

Final Model

The same rationality was used to create a form that contains more than 150 units. The construct and the module where de-rived from and initial exploration of an oval with inner pleats. The inner pleats are folded surface and the folded surfaces get repeated alongside the oval and become the initial units that compose the final construct. The measurements were not im-portant at the beginning of the experiment, yet very precise and specific geometry was needed in order to make all the patterns work with each other. The precision within the final unit was very important because without the initial precision, the final model wouldn’t have work.

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Modular Composition


The process of trial and error was massively explored through-out a series of repetitive, at times, similar experiments which provoked different outcomes. Some of the materials explore were copper, aluminum, stainless steel, glass, patinas, and the process of rusting the metal. The level of experimentations was pushed through a series of mini-experiments where aluminum was rusted in specific patterns and patinas were used to accen-tuate lines or even to create lines.

10 Materials Play

Experiment /Materials Play /56

Material Experiment

0 1/

4"

1'-6

"

6 1/2"

1'- 6

"

16’-1

/2"

0 3/4"

1'-1

0"

1’ -6 1/4"

1/16"

Patters were given to the metal and the rusted away with a specific mixture of vinegar with salt, oxygenated water and lime. After a short period of time the aluminum was im-printed with rust. The rust in the aluminum fallows the patterns within the template. The same pattern was drilled into clear sheets of acrylic to simulate the continuity of the patterns. The main module of the structure was a decon-structed cube. The structure fallowed the lines of a cube, yet there were only a few lines from the original cube. The cube had aluminum sheet in-terlace within it to simulate a


Detail

Progress Work

a

Full Model Scheme

sense of continuity through-out the structure’s form. As the audience walked around the structure, one could trace the movement of the metal inserts that wrap around the deconstructed cube. Also due to the modulation of each alu-minum insert, the structure would seem to change along

a

a


Module

with the movement of the viewer. In some instances the struc-ture closes to the viewer, but when the viewer gravitates around, the structure opens up and allows the viewer to see through it. The structure becomes transparent. It develops into a play of opposite and negative.


Final Construct

REHEARSAL

A hint of the real world was brought with the work for Profes-sional Practice. The challenge was to design a house that sur-rounded the problem of comfort as thermal dynamics and best overall usage of square footages. The design takes advantages of big windows and great openings to filter in light and air. The height of the house is really important because it has a mez-zanine sub-floor where the master bedroom is located. It was really important to understand the rehearsal of this knowledge to develop a sensibility towards the finite plans, construction plans, footings, limitations, zoning and construction code read-ing.

11Professional Practice

Rehearsal /Professional Practice /66

A

Site Plan

2X10 @ 16" O.C.F.J.

BEDROOM BATHROOM

LIVING SPACE

KITCHEN

SLAB ON GRADE

2X10 @ 16" O.C.C.J.

2X10 @ 16" O.C.C.J.

2-2X6

2-2X

6

2-2X

62-

2X10

2-2X

10

DATE

---JOB NO:

ISSUE

The drawings and specifications and designs represented hereby are and shall remain the property of the Architect, and no part thereof shall be used or reproduced for any purpose other than the specified project for which they have been prepared and developed without the written consent of the Architect

Written dimensions shall have precedence over scaled dimensions. The Contractor shall verify and be responsible for all dimensions and conditions on the jobsite and report any discrepancies to Architect.

The drawings and specifications indicate the general scope of work and required technical performance of the building systems and do not necessarily indicate or describe all the work required for full performance and completion of the construction contract. Based on the scope of work indicated Contractor shall furnish all items required for the proper execution of the project.

7500 GLENOAKS BOULEVARDBURBANK, CA 91510

LGR2ARQUITECTOS

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GERARDO SANDOVALLUIS OROZCOROBERTO BELTRANRODRIGO PELAYO

FRAMING49

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DATE: 01.17.12 05-01-12

ROOF PLANSCALE: 1/4" = 1'-0"9 FLOOR FRAMING PLAN

SCALE: 1/4" = 1'-0"5

12'-0

"

14'-0 "

DATE

---JOB NO:

ISSUE

The drawings and specifications and designsrepresented hereby are and shall remain theproperty of the Architect, and no part thereof shallbe used or reproduced for any purpose other thanthe specified project for which they have beenprepared and developed without the writtenconsent of the Architect

Written dimensions shall have precedence overscaled dimensions. The Contractor shall verifyand be responsible for all dimensions andconditions on the jobsite and report anydiscrepancies to Architect.

The drawings and specifications indicate thegeneral scope of work and required technicalperformance of the building systems and do notnecessarily indicate or describe all the workrequired for full performance and completion ofthe construction contract. Based on the scope ofwork indicated Contractor shall furnish all itemsrequired for the proper execution of the project.


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FLOOR PLAN

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FLOOR PLANSCALE: 1/4" = 1'-0"14 MEZZANINE FLOOR PLAN

SCALE: 1/4" = 1'-0"6

43'-1

0 "

18'-5

1/2 "

9'-8 1

/4 "

5'-6 1

/2 "

10'-1

1/2 "

18'-0

"

23'-4

1/2 "

21'-9 "16'-9 "

7'-6 "

11'-3

/4 "

4'-1 1

/4 "

1'-11

"

11'-0 "

3'-0 "

3'-0 "

5'-6 "

12'-10 1/4 " 5'-6 "

Rehearsal /Professioanal Practice /68

Floor Plan

Roof Plan

ELEVATION WESTSCALE: 1/4" = 1'-0"9

ELEVATION EASTSCALE: 1/4" = 1'-0"11

WOOD PANELING FLUSHTO THE WALL

METAL ROOF SHINGLES

DOUBLE GLAZED GLASS PANELS


STUCCO FINISH

DOUBLE GLAZEDGLASS PANELS

METAL ROOF SHINGLES

METAL WINDOW TRIM

LEFT HOUSE WALL

585.30 FT

579.40 FT

630.10 FT

604.85 FT

RIGHT GARAGE WALL

RIGHT HOUSE WALL

LEFT GARAGE WALL

FOUNDATION

570.10 FT

LEFT HOUSE WALL

579.40 FT

630.10 FT

604.85 FT

RIGHT HOUSE WALL

LEFT GARAGE WALL

FOUNDATION

570.10 FT

DATE

---JOB NO:

ISSUE





LGR2ARQUITECTOS

PAGE NUMBER:

PAGE TITLE:

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ELEVATIONS

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DATE: 01.17.12 05-01-12

101

100

100

106

100

19'-8

1/4 "

4'-0 "

22'-0

3/4 "

22'-9

3/4 "

4'-0 " 24'-4

1/4 "

21'-1

1 3/4

"

8'-11

31/2

"

ELEVATION WESTSCALE: 1/4" = 1'-0"9

ELEVATION EASTSCALE: 1/4" = 1'-0"11


METAL ROOF SHINGLES



STUCCO FINISH

DOUBLE GLAZEDGLASS PANELS

METAL ROOF SHINGLES

METAL WINDOW TRIM

LEFT HOUSE WALL

585.30 FT

579.40 FT

630.10 FT

604.85 FT

RIGHT GARAGE WALL

RIGHT HOUSE WALL

LEFT GARAGE WALL

FOUNDATION

570.10 FT

LEFT HOUSE WALL

579.40 FT

630.10 FT

604.85 FT

RIGHT HOUSE WALL

LEFT GARAGE WALL

FOUNDATION

570.10 FT

DATE

---JOB NO:

ISSUE





LGR2ARQUITECTOS

PAGE NUMBER:

PAGE TITLE:

NO.


ELEVATIONS

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101

100

100

106

100

19'-8

1/4 "

4'-0 "

22'-0

3/4 "

22'-9

3/4 "

4'-0 " 24'-4

1/4 "

21'-1

1 3/4

"

8'-11

31/2

"

East Elevation

West Elevation

META ROOFING

CONCRETE FINISH STUCCO WALLS

FLUSHED WOOD PANELING

SOIL

DATE

---JOB NO:

ISSUE





LGR2ARQUITECTOS

PAGE NUMBER:

PAGE TITLE:

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ELEVATIONS

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DATE: 01.17.12 05-01-12

ELEVATION NORTHSCALE: 1/4" = 1'-0"9

ELEVATION SOUTHSCALE: 1/4" = 1'-0"11

LEFT HOUSE WALL

579.40 FT

604.85 FT

630.10 FT

RIGHT HOUSE WALL

LEFT GARAGE WALL

585.30 FT

RIGHT GARAGE WALL

FOUNDATION

570.10 FT

SOIL


METAL ROOF SHINGLES


STUCCO FINISH

METAL WINDOW TRIM

585.30 FT

579.40 FT

604.85 FT

LEFT GARAGE WALL

LEFT HOUSE WALL

630.10 FT

LEFT HOUSE WALL

RIGHT GARAGE WALL

FOUNDATION

570.10 FT

25'-0

"

10'-2

1/2 "

4'-10

3/4 "

1'-3 1/2 "

5'-6 1

/4 "

META ROOFING



SOIL

DATE

---JOB NO:

ISSUE





LGR2ARQUITECTOS

PAGE NUMBER:

PAGE TITLE:

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ELEVATIONS

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LEFT HOUSE WALL

579.40 FT

604.85 FT

630.10 FT

RIGHT HOUSE WALL

LEFT GARAGE WALL

585.30 FT

RIGHT GARAGE WALL

FOUNDATION

570.10 FT

SOIL


METAL ROOF SHINGLES


STUCCO FINISH

METAL WINDOW TRIM

585.30 FT

579.40 FT

604.85 FT

LEFT GARAGE WALL

LEFT HOUSE WALL

630.10 FT

LEFT HOUSE WALL

RIGHT GARAGE WALL

FOUNDATION

570.10 FT

25'-0

"

10'-2

1/2 "

4'-10

3/4 "

1'-3 1/2 "

5'-6 1

/4 "

META ROOFING



SOIL

DATE

---JOB NO:

ISSUE





LGR2ARQUITECTOS

PAGE NUMBER:

PAGE TITLE:

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ELEVATIONS

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LEFT HOUSE WALL

579.40 FT

604.85 FT

630.10 FT

RIGHT HOUSE WALL

LEFT GARAGE WALL

585.30 FT

RIGHT GARAGE WALL

FOUNDATION

570.10 FT

SOIL


METAL ROOF SHINGLES


STUCCO FINISH

METAL WINDOW TRIM

585.30 FT

579.40 FT

604.85 FT

LEFT GARAGE WALL

LEFT HOUSE WALL

630.10 FT

LEFT HOUSE WALL

RIGHT GARAGE WALL

FOUNDATION

570.10 FT

25'-0

"

10'-2

1/2 "

4'-10

3/4 "

1'-3 1/2 "

5'-6 1

/4 "


South Elevation

North Elevation

1'-6 "

6 "

DATE

---JOB NO:

ISSUE





PAGE NUMBER:

PAGE TITLE:

NO.

DETAILS

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DETAILSCALE: 1' -1/2 " = 1'-0"15

DETAIL TOP OF WINDOW SCALE: 1' -1/2 " = 1'-0"14

DETAIL BOTTOM OF WINDOW SCALE: 1' -1/2 " = 1'-0"13

WEATHER TREATEDINSERTED WOOD

WALL FINISHEDSTUCCO

LIQUID APPLIED AIRBARRIER OVER SHEATHING

5/8" WOOD STRPANEL

1/4" WOOD STRPANEL

METAL GUTTER

WEATHER PROOFLAYER

WEATHER PROOFLAYER

LAP G.S.M. FLASHING OVERPAPER WATERPROOFING TOWRAP FRAMING AND CONTINUEABOVE WINDOW

SHIM

DBL. GLAZED ALUM.

SEALANT, TYP.

CONT. BACKER ROD ANDCAULK SEALANT, TYP.

CONT. SEALANT,TYP.

CONT. SEALANT,TYP.

5/8" TYPE 'X' GYP.

SHIM

CONT. BACKER ROD ANDCAULK SEALANT, TYP.LAP G.S.M. FLASHING OVERPAPER WATERPROOFING TOWRAP FRAMING AND CONTINUEABOVE WINDOW

GLASS FLOOR DETAILSCALE: 1/2" = 1'-0"9 FOOTING DETAIL

SCALE: 1/2" = 1'-0"5 FOOTING DETAILSCALE: 1/2" = 1'-0"1

WALL DETAILSCALE: 1' -1/2 " = 1'-0"10

GLASS TO ROOF DETAILSCALE: 1' -1/2 " = 1'-0"11

2 X RAFTER @ 16" O.C.INSULATION

GYPSUM BOARD

2X BLOCKING

METAL ROOF PANELSCONSTRUCTION PAPER

3/4" PLYWOOD

FLASHING

2X8 FACIASIMPSON TIEDOUBLE TOP PLATE

STAINLESS STEEL GLASSPANNELING CONNECTION

1" DOUBLE GLAZEDGLASS PANELS

1/2" PLYWOODBUILDING PAPER

12 " STUCCO FINISH

3/4" X 4" WOOD TRIM EMBEDEDFLUSH W/ STUCCO FINISH

INTERIOR FINISH

12" DRYWALL

INSULATION

1' DOUBLE GLAZEDGLASS PANELS

34" PLYWOOD

INSULATION

2X10 RIM JOIST

2X P.T. SILL W/ ANCHORBOLTS AND WASHERSCONCRETE FOUNDATION

2X4 BOTTOM PLATE

CORK FLOORING

F.J. @ 16" O.C.

WALL DETAILSCALE: 1' -1/2 " = 1'-0"6

ROOF DETAILSCALE: 1' -1/2 " = 1'-0"7

2 X RAFTER @ 16" O.C.INSULATION

GYPSUM BOARD

2X BLOCKING

METAL ROOF PANELSCONSTRUCTION PAPER

3/4" PLYWOOD

FLASHING

2X8 FACIASIMPSON TIEDOUBLE TOP PLATE

1/2" PLYWOODBUILDING PAPER

12 " STUCCO FINISH

3/4" X 4" WOOD TRIM EMBEDEDFLUSH W/ STUCCO FINISH

INTERIOR FINISH

12" DRYWALL

INSULATION

34" PLYWOOD

INSULATION

2X10 RIM JOIST

2X P.T. SILL W/ ANCHORBOLTS AND WASHERSCONCRETE FOUNDATION

2X4 BOTTOM PLATE

CORK FLOORING

F.J. @ 16" O.C.

LAMINATED COLUMN

TORISON SPRINGMOUNTING BOARD

TORISON SPRING

2X6 DOOR MOUNTING

DOOR ANGLE TRIM

OVERGEAD DOOR

OVERGEAD DOOR TRACK

4X10 HEADER

2X4 KING STUD

314" GALVANIZED NAIL

2X4 DOUBLE TRIMMER

2X4 TOP PLATE

INSULATION

2X PRESSURE TREATEDWD. PLATE AND ANCHOR BOLTS

2X P. TRTD. WD. SILL

SLAB FOUNDATION

HEADER DETAILSCALE: 1' -1/2 " = 1'-0"2

GARAGE DOOR TO WALL DETAILSCALE: 1' -1/2 " = 1'-0"3

6 "

1'-8 "

1'-0"

1 1/4"

6"1"

8'-0"3'-1"

4'-1

1/2

"

DATE

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PAGE NUMBER:

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STAIR

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SECTION

STAIR SECTION LONGSCALE: 1/2" = 1'-0"13

STAIR SECTION SHORTSCALE: 1/2" = 1'-0"15

STAIR DETAIL FOOTINGSCALE: 3" = 1'-0"9 HANDRAIL BOTTOM NOSING DETAIL

SCALE: 3" = 1'-0"5

& DETAIL

1" WOOD STR.PANEL + FINISH

FINISHFLOOR

T.O. SLAB

(2) 2X6 FLOORJOIST

(2) 2X4 PLATES

(3) 2X10 STRINGER

(2) 2X2 JOIST

SUB FLOOR

2X4 PLATE2X4 PLATE

5/8" GYP BOARD

2X10 STRINGERS@ 12" O.C.

LENDING

2X6 FLOORJOIST

2X6 FLOORJOIST

2X4 PLATE

STEEL BOLT

1" WOOD STR.PANEL + FINISH

(2) 2X6 FLOORJOIST

34" BASEBOARD

12" DRYWALL

INTERIOR FINISH

INSULATION

34" X 4 TRIM EMBEDED WOOD

FLUSH W/ STUCCO FINISH

12 " PLYWOOD

12" STUCCO FINISH

BUILDING PAPER

HANDRAIL DETAILSCALE: 3" = 1'-0"11

HANDRAIL

2X JOIST

STAINLESS STEELHANDRAIL BRACKET

HANDGRIP PORTION DETAILSCALE: 3" = 1'-0"7

STAINLESS STEELHANDRAIL

BOTTOM NOSING OF HANDRAIL

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT


A dress as the basis of inspiration for the construction of a modules was the challenge confronted. A system of modules based from a generic object, in this case a dress, served as start-ing point from which the final construct could be build. The module acted as building block for the construction of a Pavil-ion. The multipurpose module change its program from been a structural support to serve as benches and divisions within the building.

12 Modular Pavilion

Rehearsal 2A /Modular Pavilion /1st and Central /74

Paper Models

The site was located at 1st and central in Downtown LA (Little Tokyo). After experimentation with different types of modula-tions derived from geometry and origami techniques, a work-ing module was found to be ideal for the formation of the final construct.


1

3

2

4

Module

Site

A

B

C

D

E

Unfolded Dress Method

Fold Under Seam

Fold Over Seam

Steam Heat Pressure

Unfolded DressSeam Partial

Deconstruction

Flounce

The module was a derivation from geometric figures and origa-mi techniques of folding, yet the initial design began to be test-ed with the patterns derived from a dress designed by Issey Mi-yake. The dress is centralized repetitively from its central axes. The patterns alternate and fold within a complex method of expansion and contraction (all within geometric forms). The dress gave way to a series of studies that concentrated around specific patterns and techniques of inner folding modules.

Dress Schematic

Outside Fold

Inside Fold

Diretion

Box Pleat

Knife Pleat

Fold Pattern

Outside Fold

Inside Fold

Knife Pleat


mm

m

m

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m

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m

Mountain Fold

Interlocking of the differ-ent Modules

Outside Pleat

Inside Pleat

Folding Module 3


v

m

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m

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m m

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mV

m

m

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Folding Module 2

Vally Fold

Mountain Fold

Outside Pleat

Inside Pleat

Primary Cut

Module

Secondary Cuts

Secondary Cut Slid Join

1” 3”

v

v

v

vv

m m

m m

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Folding Module 1

Vally Fold

Mountain Fold

Outside Pleat

Inside Pleat

Folds Designate the Shape

Join Point

Inversion

Module

Module Aggregation

Cut1” 3”


Circulation

Opposite Joint

Mirror Joint

Secondary Support

Primary Support

Main Structural Column

Ticket Booth Main Space

Gallery Space

Lounge Area & Exhibition Space N

Interior Lighting Conditions

The end resulting unit was able to create a form. The final mod-ule when connected by its central point or by its adjacent edges became stronger when assemble. By connecting the units in these key places, it acquired strength and became structural. The inner openings within the module created moments where the light comes in. Those openings created an interesting light condition on the floor of the pavilion.

Light & Shadow

Site Plan5’ 15’

N

floor PLAN

section cut

Scale: 1/4"=1'-0"N

A

B

5’ 15’


Floor Plan

Longitudinal Section B

5’ 15’

N

Transverse Section A

The module, also took the shape of benches and interior partitions within the subsec-tion of the pavilion. The pa-vilion expanded alongside the existing building creating ex-tra space for exhibitions or any required square footage for the building’s program.


Final Construct

The bus station is an examination of a problem. Los Angeles is a very congested city with a very poor public transit. The centralization of a main bus station was very important for the development and growth of the site. The site’s main issues are heavy transit and substantial pedestrian circulation. The main goal was efficiency and the inter-connectivity of the site existing conditions.

14 Bus Station

Rehearsal 2B /Bus Station /Broadway and Cesar Chavez /88

Design Models


The site was extremely re-searched by different processes that examine not only the en-vironmental conditions, but also the social and metaphor-ical conditions. Throughout the production of a series of models, in some instances sec-tional models, the terrain was examine in order to under-stand potential connections from the site to the structure. Program and circulation were related to main streets and the different level of pedestrian at different times of the day. Traf-fic patterns, wind flow, traffic sounds, and more site condi-tions were represented within 6x6 wood model.

Sun Path

Site

Site Strategy 50’10’ 100’

N


Site Analysis

The main wood model not only was useful to determine all the environmental condi-tions within the site, but also it was useful to find interest-ing patterns and connections otherwise un-evident. The un-evident patterns found their involvement within the final construct as the overall shape of the structure. The final structure bridges over the street connecting the two section of the site. The ground connects to the structure creating green space needed on the site. Simple bus circulation makes traffic mini-mum and the bus station is in constant motion.


Canopy Structure Diagram Circulation Diagram

Underground Parking Plan

N

50’10’ 100’

1. Underground Bus Maintenance

1 2. Main Freeway Entrance

2


Street Level Plan

N

50’10’ 100’

1. Parking2. Main Freeway Entrance

N Broadway Ave.

1

2

First Floor Plan

N

50’10’ 100’

A

B

1. Freeway

1

2. Main Freeway Entrance3. Main Lobby4. Bus Terminal

2

3

4

Colum

ns G

rid

1


N Broadway Ave.

w. Cesar E. Chavez Ave

Second Floor Plan

N

50’10’ 100’

2

1. Restaurant

1

2. Roof Patio




Interior


Bus Terminal Final Model

PROCESS

The research was an examination of the linkages between hous-ing and the flexibility a floor plan could give to a design. The precedent used for the exploration was the Cherokee Studio Lofts by Fugh + Scarpa. The studios developed an interesting relationship between the interior and the exterior space. The relationship between what people wanted, thought they needed and what the architect offered not only complied to their needs but made the building hyper-efficient.

15 Housing Research

Rehearsal 3A /Housing Research /N. Fairfax and Melrose /106

Neighborhood Property Divisions Figure Ground Public and Private Space

MELROSE AVE

WILLOUGHBY AVE

HAYWO

RTH AVE

EDINBURGH AVE

WARING AVE

FAIRFAX AV E

OG

DEN AVE

ORANG

E GRO

VE AVE

FAIR

FAX AVE.

WILLOUGHBY AVE.

PREVAILING WINDS

MAIN CIRCULATIO

N

PARKING

BUILDING FAÇADE

INDUCED AIR FLOWTHROUGH COURT

SUN PATH

CHEROKEE STUDIOS

751 NORTH FAIRFAX AVENUELOS ANGELES, CALIFORNIAPUGH + SCARPA2010

Cherokee Mixed-Use Lofts is an urban infill, mixed-use, market-rate housing project. The building is inspired by the series of paintings by the British artist Patrick Hughes titled, “Prospectivity”, whose paintings appear to be ever changing and physically moving while being viewed. At Cherokee the main architectural feature of this project is the building’s owner-controlled operable double façade system. By allowing the occupant to adjust, at will, the operable screens of the building façade, the facade is virtually redesigned “live” from within the space, reflecting the occupants of the building within, in real time. The screens also enhance the existing streetscape and promote a lively pedestrian environment. By visually breaking up the façade into smaller articulated moving elements, the building appears to move with the passing cars and people. In effect, it becomes a live canvas to be painted upon daily or more often. Like many features of the building, the façade is multivalent and rich with meaning performing several roles for formal, functional and experiential effect.

Cherokee is 40% more energy efficient than California’s Title 24, the most demanding energy code in the United States.


MELROSE AVE

WILLOUGHBY AVE

HAYWO

RTH AVE

EDINBURGH AVE

WARING AVE

FAIRFAX AV E

OG

DEN AVE

ORANG

E GRO

VE AVE

FAIR

FAX AVE.

WILLOUGHBY AVE.

PREVAILING WINDS

MAIN CIRCULATIO

N

PARKING

BUILDING FAÇADE


SUN PATH

CHEROKEE STUDIOS





MELROSE AVE

WILLOUGHBY AVE

HAYWO

RTH AVE

EDINBURGH AVE

WARING AVE

FAIRFAX AV E

OG

DEN AVE

ORANG

E GRO

VE AVE

FAIR

FAX AVE.

WILLOUGHBY AVE.

PREVAILING WINDS

MAIN CIRCULATIO

N

PARKING

BUILDING FAÇADE


SUN PATH

CHEROKEE STUDIOS




Neighborhood Property DivisionsFigure Ground

Public Vs. Private

1. Wind Movement

1

3

2

2. Sun Path

3. Circulation

UP

DOWN

DOWN

UP

UP

SIDE SIDE

Rehearsal 3A /Housing Research /N. Fairfax and Melrose /108

Impaired Movement

Section in Flux Final

The research played with the idea of flexibility and possible interventions from which the occupant could morph space to their needs and wants. The intervention introduced with-in the space was a mechanical transformation of the space from which tables, walls and partitions, television sets and more appliances are moved away so the occupant could have full access to his/her square footage.

The housing project developed around the idea of taking ad-vantage of an existing space and re-using it to maximize its potential. The project was, more or less, an urban in fill project where a portion of the Woodbury San Diego University was going to be used to create two apartments for adjunct faculty.

16 Housing

Rehearsal 3A /Housing /Woodbury University San Diego/110

ARCH.383/STUDIO 3A/LUIS N OROZCO/MICHAEL McDONALD/WOODBURY SAN DIEGO/DIAGRAMS

WO

OD

BU

RY

SA

N D

IEG

O

SU

RR

OU

ND

ING

HO

US

ING

IND

US

TRY

/ FA

CTO

RIE

S

WOODBURY SAN DIEGO

MAIN STREETS

5TH INTERSTATE FREEWAY

N

PAR

KIN

G

EXISTING/SITE CONDITIONS

Site Analysis

Site

Design Models

N


Site Programmatic Analysis

Park

ing

Woo

dbur

y Sa

n D

iego

Hou

sing

Indu

stry

/Fac

tori

es

Sun Path

Winter

Summer


Existing Building

Views

Maximum Height (30ft)

Window Openings & Accents

Views

Accents

The existing conditions provided for a maximization of the square footage given by the zoning code. The initial block was raised to the maximum height and gave way to two floors of housing with a ground floor with an open program. The shape of the building is a derivation of the existing conditions laid on the building. Sectioning the main mass divided the block into two apartments with a connecting patio. The openings relate to the main views and also to the pattern of the sun. The end results are two buildings that relate to the conditions of the site.


3-D Grid Derived From Site Conditions Building Subtractions

Substraction

Normative Window

Surface Subtraction

Implied 3-D Grid

Grid

Subtraction De-rived from Grid

Accents

Window Accent


Summer Sun

Winter Sun

Overhang

Grid

Window Diagram

Rendering

The building opens to the public by introducing a cof-fee shop as the main retail program. On top, two similar apartments are section by the site conditions laid on the fa-çade. Each section relates to each other and in some in-stances it creates windows, doors and balcony spaces. The interaction between inner space and outer space fluctu-ates depending on the need of each level. Natural light filters through the openings in win-ter and during the summer the shades block the radiant sun. The overall composition is the relationship of a structure to its location.



Final Rendering

The project arouse from the need of housing development within the site. The apartment complex takes into consider-ation the need of the occupants and the flexibility within the floor plans. The apartments have an interior relationship linked by green open areas for the residents. The building derives from the combination of two typologies and the site condi-tions which have a profound influence in the final outcome. The apartment complex not only provides housing, but also the ground floor is open to the public creating space for people to experience the building.

17 Apartment Complex

Rehearsal 3A /Apartment Complex /1229 Hope st, Los Angeles /124

Figure Ground

Site

Design Models

+

++

+

+


Final Construct

Site Perimeters

Sun Path Typology

Views

Site Perimeters

The apartment complex op-erates around the need of the resident and the site con-dition. The side condition changes the outlook of the project because as a common factor, each one of the apart-ments would have a view to downtown LA. The structure is punctured by the need of open areas within the floors. The building pushed up the first floor to allow an open ground floor. The public now can experience and inhabit the ground floor alongside with the commercial program.

ParkingN

Parking

Parking


Ground Floor

Hope st.

Restaurant

Coffee Shop

Lobby

Columns Grid

Water Feature

N A

B

N Second Floor

Up

Up

Up

Up


N Third Floor

N Fourth Floor

Down

Down


N Fifth Floor



15’

Commercial

28’

1 Bedroom Apartments

2 Bedroom Townhouse

2 Bedroom Lofts

41’

54’

67’


Unrolled Skin

Plan + Reduction in Scale

The Change in Scale of the Punctures, Aids the Ventilation Filtrate into The

Central Courtyard

Porosity Intensified Due to Wind Concentration

Ventilation

Light

Porous Skin Align to the Build-ing Windows

The building is wrapped with a skin derived from the plan of the building yet implemented at a different scale. The skin con-trols the amount of light that goes into each apartment and also regulates the ventilation. Each apartments deals with spe-cific conditions as flexibility, textures and lighting in a way that makes each apartment different while working with the same floor plan.


Units


The subtraction of the floor opens up the building for it to let air go through and light to filter down the ground floor. The façade that faces the street fallow the normative outlook of the overall street scape, yet as it evolves, the building’s rotation crates inner spaces within the shifted planes and relates different floor with spe-cific views of LA live.


Final Construct


Final Rendering

The project function is to express the specific structural system as an elegant way to solve a problem. The main program in the site is a seasonal view point from which referees are able to quantify scores, in the other hand, the structure also has to function as a view point from where people could bird watch en enjoy the panorama of the site.

18 Structure Systems

Rehearsal 3B /Structure Systems /UCLA Marine Aquatic Center /144

A

Design Models


The study for a structural form began with experimenting with string and finding load point. The load points are translated into a wood struc-ture that could be able to sport the required program. The fur-ther development of the struc-ture progressed into a system of three structural members. The primary members hold the overall structure while the secondary members give sup-port the primary members and at the same time they interlock to bring the loads down to the footings. In the other hand the tertiary member serve as truss members that aid the expand-ing limbs of the main struc-

Site

Structural System

Primary Structure Elements

Secondary Structure Ele-ments

Tertiary Structure Elements

Section A


ture. The structure frames views that traced patterns of na-tive birds from the site and also provided a bike stop for cyclist.

Final Construct


Final Rendering

The Cuba project began with a new form of looking at com-merce. The need of income is translated into a new develop-ment in infrastructure. They city understands the needs and wants of society and its growing audience, and its making the necessary changes to accommodate the new found commerce. The growing commerce in the site is the explosion of tour-ism. The first section of the work began as a development of the Casa Blanca (site) urban master plan. The site’s urban plan located new hotels, apartment complexes, commercial space, a museum and a first class tower hotel.

19 Wet Studio Cuba

Rehearsal 4A /Wet Studio /Casa Blanca, Havana, Cuba /152

Design Models Parti

Site

Site research is translated into a relationship of specific site conditions that need to be ac-commodated within the new master plan. There is some-thing special, one could say romantic, about the site. To-day the main tourist areas in Havana are linked together by a series of plazas. The pla-zas are flanked by commercial program yet the translation between each plaza is merged with green areas and tourist at-tractions. Even though the site is very tourist friendly, there is a clear division from the native Cubans to everybody else. A tourist is massively privileged.


Overall Site

The scope of the project was to find an interesting relationship between the needs of the public and commercial space. The linkage is very difficult because in Cuba there is a minimum to non-declare retail space. None of the store fronts have adver-tisement. The lack of individuality between products is a reflec-tion of the regime existent in Cuba. In other words the project developed around the idea of a very clear circulation patterns alongside very functional floor plan. The simplicity could be utilized repetitively. The project would develop as a module that could reproduce itself alongside the sea front.

Melacon, Havana, Cuba

Project Module


Modulation on Site

Module

The project initial schemes involve the shifting and staggering of program in order to allow for a clear circulation. Given the shifts of each program, the structure will surround itself with great panoramic views such as the sea, overlooking the Mela-con or overlooking the historic section of Casa Blanca. The project developed into a series of schemes from which the only common factor was the footprint of the building, yet different circulation patterns could be applied. Each series of schemes introduce a variable in order to conform to the needs of the public.

Views

HOTELLOBBY

SUVENEERSHOPS

BAR

HOTELLOBBY

SUVENEERSHOPS

BAR

HOTELLOBBY

SUVENEERSHOPS

BAR

HOTELLOBBY

SUVENEERSHOPS

BAR


Floor Plan Development

Circulation Module Circulation

Links Between Program Modular Repetition


The circulation within the project was a very fundamental fac-tor that the project needed to develop around. To create a fluid circulation no stairs were needed to change from one floor lev-el to the other. A ramp system connected the two floors level seamlessly. Alongside the circulation, main programs within the modules anchored the building. The site conditions also changed the overall function of the bluing. The back of the building was more regimented and reacted to the urban fabric. On the other hand, the section of the building that faced the sea front, open up to the public pulling the spectator.

First Floor

Retail

Retail

5’ 15’

N

3 FT

5 FT 9 FT

N

N

Second Floor

Third FloorBA

5’ 15’

5’ 15’


Section B

Section A

Overall, the project develops to accommodate the existing conditions. Those conditions could be climatic, governmen-tal, functional, etc. The project located potential retail space without governing the pro-gram and allowing for public growth. As the site becomes more populated, the advantag-es of having an open platform from which specific require-ments could be achieved with a repetitive module gives the liberty to inhabit the architec-ture in a more organic man-ner. Also the flexural nature of the project assures longevity to the architecture.


Final Construct


Final Rendering

Luis N Orozco [email protected]

818.307.6561

Architecture is an assembly of parts

that labors within the mind of the ar-

chitect. Architectural form is derived

and constructed by the way members

juxtapose to one another. Structure,

program, circulation, ambiance, feeling,

systems, form, elements, all of them

are, essentially, parts of a whole. Parts

within architecture are architecture it-

self; all designate space and all interlace

to constitute a shape illustrated within

their program. Form is the intercon-

nection of parts, parts are the elemen-

tal condition of a single member, yet

every single member gathers impor-

tance not only for their particular at-

tributes, but because their integration

to different members. In other words

A.R.C.H.I.T.E.C.T.U.R.E. is a perfor-

mance of parts.