Architecture Portfolio

A R C H I T E C T U R E P O R T F O L I Or o x a n n a m a r t i n e z s a l c e d a

C O N T E N T Sf e a t u r e d p r o j e c t s

m o b i l e e x h i b i t i o n s p a c e

b r e a k o n t h r o u g h

f i e l d s k e t c h e s

l . a . m e t r o s t a t i o n

f l o c k w a l l

m o b i l e d a n c e s p a c e

t e s s e l l a t i o n c l o u d

n e u r a l s k y

s c h o a l w a l l

M O B I L E E X H I B I T I O N S P A C E

PROCESS

Left: sketches showng how popouts could

work and fit within the space. Above: Prelimi-

nary model maximizing popout spaces and

glazing withing the exhibition space. Right:

final model; bass wood, polycarbon, styrene

details. 1”= 1’-0”

February/March 2005

This course explored the ranging spatial qualities of align-

ment, lighting, and many more, by studying, interpreting, and

building upon the details of works by reknown architects. This

project in particular focused on the methodologies used in Le

Corbusier’s Villa Savoye. This exhibition space took

Corbusier’s idea of the house being a machine. By turning the

exhibition space mobile, the design maximized the program

requirements, in addition to making transportation efficient.

M O B I L E E X H I B I T I O N

S P A C EPROCESS

details. 1”= 1’-0”

February/March 2005

S P A C E

PROCESS

details. 1”= 1’-0”

February/March 2005

S P A C E

B R E A K O N T H R O U G H

Our studio’s project was in conjuction with the Great Park

Competition in Irvine. There were two parts of the competition,

and for our year, students were to individually design the

offices and cafe building for the Great Park.

Because the Great Park’s location on the former El Toro Air

Base, my concept for my particular project was the opportu-

nity for nature to regain its position. The ceiling/roof emulates

a singular piece of concrete- broken- as if some force of

nature pushed upon it and broke the slab into pieces. The

transparency of the building was achieved by using glazing

on the exterior, and concrete columns for its structure.

The use of extensive glazing was not intended to cause any

discomfort in the buildig during winter or summer, as studied

in sunpath diagrams for equinox and solstice. During winter,

sunlight is allowed in to warm the space; during summer the

overhangs (roof) procvides enough shade inside.

BREAK ON THROUGH

Top Left: floor plan (hand drawn)

Top Right: site diagram illustrating winds, and

the general overview of the sun paths.

below: section elevation (hand drawn)

Opposite Page: photographs of the 1/4”=1’-0”

scale model of the exterior of the building.

March-June 2006

Our studio’s project was in conjuction with the Great Park

Competition in Irvine. There were two parts of the competition,

and for our year, students were to individually design the

offices and cafe building for the Great Park.

Because the Great Park’s location on the former El Toro Air

Base, my concept for my particular project was the opportu-

nity for nature to regain its position. The ceiling/roof emulates

a singular piece of concrete- broken- as if some force of

nature pushed upon it and broke the slab into pieces. The

transparency of the building was achieved by using glazing

on the exterior, and concrete columns for its structure.

The use of extensive glazing was not intended to cause any

discomfort in the buildig during winter or summer, as studied

in sunpath diagrams for equinox and solstice. During winter,

sunlight is allowed in to warm the space; during summer the

overhangs (roof) procvides enough shade inside.

BREAK ON THROUGH

Top Left: floor plan (hand drawn)

Top Right: site diagram illustrating winds, and

the general overview of the sun paths.

below: section elevation (hand drawn)

Opposite Page: photographs of the 1/4”=1’-0”

scale model of the exterior of the building.

March-June 2006

F I E L D S K E T C H E S

SKETCHES

Left to right: Studies of my hand in outdoor

light, charcoal and eraser in sketchbook

8.25”x5” ; study of my foot in light, charcoal

and eraser in sketchbook 8.25”x5” ; sketch of

sculpture underneath the Loggia in Florence,

Italy, pencil in sketchbook 8.25”x5”

Opposite Page: sketch of Rape of the Sabine

Woman, pencil in sketchbook 8.25”x5” ; live

sketch of nude, 2.5 hours, pencil on paper

14”x8” ; building sketch, Florence, Italy, pen

in sketchbook ; Mission Inn facade sketch,

pen on lightweight sketch, 10.5”x10.5”

There was a time when drawing and figure drawing were con-

sidered prerequisites for not only artists but architects and

engineers. The aim of this course was to enable architecture

students to increase their flexibility in drawing. We were taught

to study the space the model occupies and the existence of

simple geometry underlying complex shapes. Different

medias were utilized. Because this course took place in Flor-

ence, Italy, the city was our classroom; we utilized sculptures

and buildings. Inside the classroom, we utilized live models to

paint and draw.

SKETCHES

Left to right: Studies of my hand in outdoor

light, charcoal and eraser in sketchbook

8.25”x5” ; study of my foot in light, charcoal

and eraser in sketchbook 8.25”x5” ; sketch of

sculpture underneath the Loggia in Florence,

Italy, pencil in sketchbook 8.25”x5”

Opposite Page: sketch of Rape of the Sabine

Woman, pencil in sketchbook 8.25”x5” ; live

sketch of nude, 2.5 hours, pencil on paper

14”x8” ; building sketch, Florence, Italy, pen

in sketchbook ; Mission Inn facade sketch,

pen on lightweight sketch, 10.5”x10.5”

There was a time when drawing and figure drawing were con-

sidered prerequisites for not only artists but architects and

engineers. The aim of this course was to enable architecture

students to increase their flexibility in drawing. We were taught

to study the space the model occupies and the existence of

simple geometry underlying complex shapes. Different

medias were utilized. Because this course took place in Flor-

ence, Italy, the city was our classroom; we utilized sculptures

and buildings. Inside the classroom, we utilized live models to

paint and draw.

SKETCHES

Left to right (in no particular order): sketches

done during study tours with DIS to Finland

(kiasma Museum, Rock Church, Aalto house,

and a city hall done by Aalto), and outside of

Copenhagen in the Open Air Musuem. Pen

on sketch paper (Moleskine)

Opposite page (clockwise from top left): Holy

Cross Chapel, pen on white sketch and sepia

pencil rubbing on white sketch; Koldinghus,

pen on sketch (Moleskine).

In this particular series of sketches (opposite and current page), quick studies were to

be made of the architecture, details, urban layout, and landscape. These were meant

to be relatively quick in order to capture the essence of the subject matter. Although

some were actually more meticulous than others, these sketches- which were done

during the summer study abroad program through DIS in Denmark, Sweden, and

Finland- made me realize the hidden details in the everyday, and sometimes

mundane, architectural elements .

L . A . M E T R O S T A T I O Nw i l s h i r e - b u n d y

WILSHIRE-BUNDY METRO STATION

Left: preliminary sketches showing how

stacking and arranging blocks like books can

create spaces. Above: diagram of a

metro/library user Right: floor plans of all

levels of the library, including the metro

station levels.

Opposite: Renderings. Clockwise from bottom

left: street view (day); street view (night), train

platform view; mezzanine/ticketing view.

October/November 2008

The purple line extension of the Los Angeles Metro provided

this course an opportunity to create designs of new metro

stations within the “Subway to the Sea” line, starting from L.A.

Union Station and ending in Santa Monica. Each station was to

have a unique program in addition to a metro stop. This

station, the Bundy-Wilshire station, was designed as a library,

in a location where retail shops and midrise business build-

ings exist. Because of such an environment where businesses

are on every corner, an investigation was made of relation-

ships between libraries and bookstores. What was gained was

insight on how a library can be successful by adopting a book-

store program, thus aiding in furthering the design of the build-

ing and its relationship with its surroundings, including that of

the metro station.

L . A . M E T R O S T A T I O N

[ B U N D Y - W I L S H I R E ]

the ground floor is the main circulation hub to bothmetro and library. it creates a constant motion emulating wilshires traffic- the library’s main circulations run horizontally through the building- the the vertical circulations being staircases, elevators, and escalators. here is the filter inwhich the users get separated between metrousers and library users.

lobbymain circulationstairway from belowground to terrace

elevatorsentrance

secondary staircasedirect access from ground fl to terrace

circulation to below

emergency exitthrough secondarystaircase

this room provides maximumflexibility within the program. it can be a computer room, a conference/meeting room, a community room, study area............

cafe kitchenprep area;service elevator provides serviceto users

one elevator becomes onlyservice from 2-roof levelsreading/study

covered cafe space

service bar

elevatorsserivce and public

covered cafe space

electrical/hacpersonnel only

sun roof

enclosed walkway

the terrace provides the users of the librarythe cafe experience. the small will filter throughthe whole building and onto the stree at well.this will bring the users through the library- they will experience the library as they move towards the cafe on the rooftop. this will not just function as a cafe, but as a meetingpoint, a social gathering point, a reading space, whatever the user may make of it.

at the mezzanine level we find a secondary entrance to the library and a small lending-vendingarea for those heading specially towards the metroand would like to pick up a magazine, journal, or just a quick read-book. the children’s area is located near the secondary circulation desk for added security. this is where the expected heavier traffic is to occur

restrooms

children’s area

circulation 2 automatic ticket sales

ticket gatesticket booth

book lending-vendingon the go

WILSHIRE-BUNDY METRO STATION

Left: preliminary sketches showing how

stacking and arranging blocks like books can

create spaces. Above: diagram of a

metro/library user Right: floor plans of all

levels of the library, including the metro

station levels.

Opposite: Renderings. Clockwise from bottom

left: street view (day); street view (night), train

platform view; mezzanine/ticketing view.

October/November 2008

The purple line extension of the Los Angeles Metro provided

this course an opportunity to create designs of new metro

stations within the “Subway to the Sea” line, starting from L.A.

Union Station and ending in Santa Monica. Each station was to

have a unique program in addition to a metro stop. This

station, the Bundy-Wilshire station, was designed as a library,

in a location where retail shops and midrise business build-

ings exist. Because of such an environment where businesses

are on every corner, an investigation was made of relation-

ships between libraries and bookstores. What was gained was

insight on how a library can be successful by adopting a book-

store program, thus aiding in furthering the design of the build-

ing and its relationship with its surroundings, including that of

the metro station.

L . A . M E T R O S T A T I O N

[ B U N D Y - W I L S H I R E ]

lobbymain circulationstairway from belowground to terrace

elevatorsentrance

secondary staircasedirect access from ground fl to terrace

circulation to below

emergency exitthrough secondarystaircase

this room provides maximumflexibility within the program. it can be a computer room, a conference/meeting room, a community room, study area............

cafe kitchenprep area;service elevator provides serviceto users

one elevator becomes onlyservice from 2-roof levelsreading/study

covered cafe space

service bar

elevatorsserivce and public

covered cafe space

electrical/hacpersonnel only

sun roof

enclosed walkway

the terrace provides the users of the librarythe cafe experience. the small will filter throughthe whole building and onto the stree at well.this will bring the users through the library- they will experience the library as they move towards the cafe on the rooftop. this will not just function as a cafe, but as a meetingpoint, a social gathering point, a reading space, whatever the user may make of it.

at the mezzanine level we find a secondary entrance to the library and a small lending-vendingarea for those heading specially towards the metroand would like to pick up a magazine, journal, or just a quick read-book. the children’s area is located near the secondary circulation desk for added security. this is where the expected heavier traffic is to occur

restrooms

children’s area

circulation 2 automatic ticket sales

ticket gatesticket booth

book lending-vendingon the go

F L O C K W A L L

FLOCKWALL PROCESS

Images on this page show- in no particular

order- the process of this project from initial

sketches to construction of the project. [1]

concept drawing by Sarah Hovsepian on the

movement of the ‘birds’ [2] motor attachment

to skin [3] assembled ‘birds’ [4] primary

whiteboard sketches [5] floor construction [6]

putting it all together @ our Coachella site [7]

motor assembly on campus [8] conceptural

rendering of the ‘birds’ by Daisy Yiu.

Opposite: photographs from Coachella

January-April 2009

Flockwall is a human-scale spatial environment composed of

discrete collaborative modules. The primary goals were to

develop and understand strategies that can be applied to

interactive architecture. The design and construction was

carried out in an academic context that was displayed to a

public audience of approximately 200,000 people over the

course of three days. In addressing the performance param-

eters of the prototype, the concept focused on several key

strategies: 1) geometry 2) movement 3) connections 4) scale

and 5) computational control, and human interaction. The final

objective of the approach was to create an innovative design

that was a minimally functional spatial environment with the

capability for evolving additional multi-functionality. Heavy

emphasis was placed on creating a full-scale environment that

a person could walk through, interact with, and experience

spatially.

Presented at Coachella Arts and Music Festival 2009.

F L O C K W A L L[1] [2]

[3] [4] [5]

[6] [7] [8]

FLOCKWALL PROCESS

sketches to construction of the project. [1]

concept drawing by Sarah Hovsepian on the

movement of the ‘birds’ [2] motor attachment

to skin [3] assembled ‘birds’ [4] primary

whiteboard sketches [5] floor construction [6]

putting it all together @ our Coachella site [7]

motor assembly on campus [8] conceptural

rendering of the ‘birds’ by Daisy Yiu.

Opposite: photographs from Coachella

January-April 2009

Flockwall is a human-scale spatial environment composed of

discrete collaborative modules. The primary goals were to

develop and understand strategies that can be applied to

interactive architecture. The design and construction was

carried out in an academic context that was displayed to a

public audience of approximately 200,000 people over the

course of three days. In addressing the performance param-

eters of the prototype, the concept focused on several key

strategies: 1) geometry 2) movement 3) connections 4) scale

and 5) computational control, and human interaction. The final

objective of the approach was to create an innovative design

that was a minimally functional spatial environment with the

capability for evolving additional multi-functionality. Heavy

emphasis was placed on creating a full-scale environment that

a person could walk through, interact with, and experience

spatially.

Presented at Coachella Arts and Music Festival 2009.

F L O C K W A L L[1] [2]

[3] [4] [5]

[6] [7] [8]

M O B I L E D A N C E S P A C E

STUDIES + PROCESS FOR MOBILE DANCE

CENTER

From left to right: tensile study models with

mock buildings sustaining the tensile tent;

drawing mennequin in a fishnet stocking to

visually show stretch on a body; study of

movement with a dancer underneath white

stretch fabric.

Opposite: concept sketches for the Mobile

Dane Space form, keeping in mind motion

within tensigrity. Also shown: diagram by

Martin Bloom of a performer surrounded by

the audience.

April 2009

Dancers are constantly creating a space through their perfor-

mances that not only moves with their choreographies, but

with their touring schedule; it is important to realize that a

stronger and more popular performance from them might be

achieved through creating a space that flexes with them and

their tour by moving with them rather than the dancers accom-

modating themselves a new venue. It shall not only be a space

only for the dancers like a stage, but for the audience as well.

The audience yearns to be entertained and at the same time

dancers yearn for the approval and acceptance from the audi-

ence. The audience is the city. The audience help dancers

survive through this. By housing the dancers is to also house

the audience. Incorporating the two together in a design will

blur the traditional line between stage and audience and

further creates a stronger and enhanced experience between

the users and the venue. >>

STUDIES + PROCESS FOR MOBILE DANCE

CENTER

From left to right: tensile study models with

mock buildings sustaining the tensile tent;

drawing mennequin in a fishnet stocking to

visually show stretch on a body; study of

movement with a dancer underneath white

stretch fabric.

Opposite: concept sketches for the Mobile

Dane Space form, keeping in mind motion

within tensigrity. Also shown: diagram by

Martin Bloom of a performer surrounded by

the audience.

April 2009

Dancers are constantly creating a space through their perfor-

mances that not only moves with their choreographies, but

with their touring schedule; it is important to realize that a

stronger and more popular performance from them might be

achieved through creating a space that flexes with them and

their tour by moving with them rather than the dancers accom-

modating themselves a new venue. It shall not only be a space

only for the dancers like a stage, but for the audience as well.

The audience yearns to be entertained and at the same time

dancers yearn for the approval and acceptance from the audi-

ence. The audience is the city. The audience help dancers

survive through this. By housing the dancers is to also house

the audience. Incorporating the two together in a design will

blur the traditional line between stage and audience and

further creates a stronger and enhanced experience between

the users and the venue. >>

FINAL IMAGES AND DRAWINGS

Clockwise: Interior renderings and montages

in Chicago and Center Pompidou (Paris); floor

plan of the Mobile Dance Center; photograph

of the final physical model, made from stretch

fabic, tule, acrylic, and metal; section

drawings of the dance space. [drawings not

to scale]

Opposite: still images from animation showing

assembly of the space; main rendering of the

dance space.

June 2009

The world will be the stage for the mobile dance space

and its dancers. The sites of the mobile space will be selected

by following certain parameters. The goal is to encourage a

wide audience by selection of a site, not only limited to the

urban city dweller as most theaters typically treat it. Not only

will it accommodate ticket holders, but the surrounding will

also welcome others into experiencing the event from the

outside, which will offer a new perspective to the experience.

M D S c o n t i n u e d

FINAL IMAGES AND DRAWINGS

Clockwise: Interior renderings and montages

in Chicago and Center Pompidou (Paris); floor

plan of the Mobile Dance Center; photograph

of the final physical model, made from stretch

fabic, tule, acrylic, and metal; section

drawings of the dance space. [drawings not

to scale]

Opposite: still images from animation showing

assembly of the space; main rendering of the

dance space.

June 2009

The world will be the stage for the mobile dance space

and its dancers. The sites of the mobile space will be selected

by following certain parameters. The goal is to encourage a

wide audience by selection of a site, not only limited to the

urban city dweller as most theaters typically treat it. Not only

will it accommodate ticket holders, but the surrounding will

also welcome others into experiencing the event from the

outside, which will offer a new perspective to the experience.

M D S c o n t i n u e d

N E U R A L S K Y

NEURAL SKY PROCESS

sketches to construction of the project.

Top Left: photographs from set-up at the

Coachella campgrounds in April 2010.

Left: construction of spheres and fabric;

set-up at Beyond Wonderland, March 2010.

Right: concept sketch of the structure.

Opposite: photographs of final project @

Coachella

January-April 2010

Neural Sky is a massive networked nodal structure that con-

nects people via lightening fast bolts of luminescence. When

a person moves into close proximity to any of the legs of the

structure, an ultrasonic sensor detects their position and emits

beams of light that connect that person to another standing in

the 3D the nodal structure. As additional people occupy the

space the installation evokes a large 3D network of firing neu-

rons. The network is constructed of a light steel frame and

fabric-wrapped volumetric shells at each node.

Neural Sky was designed and built by Michael Fox in collabo-

ration with the students in his Architectural Robotics course at

Cal Poly and alumni from the architectural program. Darius

Miller provided custom electronics on the project.

Presented at Beyond Wonderland (March 2010) and

Coachella Arts and Music Festival (April 2010)

N E U R A L S K Y

NEURAL SKY PROCESS

sketches to construction of the project.

Top Left: photographs from set-up at the

Coachella campgrounds in April 2010.

Left: construction of spheres and fabric;

set-up at Beyond Wonderland, March 2010.

Right: concept sketch of the structure.

Opposite: photographs of final project @

Coachella

January-April 2010

Neural Sky is a massive networked nodal structure that con-

nects people via lightening fast bolts of luminescence. When

a person moves into close proximity to any of the legs of the

structure, an ultrasonic sensor detects their position and emits

beams of light that connect that person to another standing in

the 3D the nodal structure. As additional people occupy the

space the installation evokes a large 3D network of firing neu-

rons. The network is constructed of a light steel frame and

fabric-wrapped volumetric shells at each node.

Neural Sky was designed and built by Michael Fox in collabo-

ration with the students in his Architectural Robotics course at

Cal Poly and alumni from the architectural program. Darius

Miller provided custom electronics on the project.

Presented at Beyond Wonderland (March 2010) and

Coachella Arts and Music Festival (April 2010)

N E U R A L S K Y

S C H O A L W A V E

SHOAL WAVE PROCESS

sketches to construction of the project. [�]

‘scale’ assembly and materials for the wall

[�] site plan showing dimentions of the

proposed project [�] diagrams showing how

the scaled wall will work in the absence of

wind, moderate wind, and high wind. [�]

preliminary sketches of the form.

Opposite: renderings of Schoal Wave during

night and day settings.

In collaboration with the same group that brought Flockwall and Neural Sky, smaller

groups were formed to create separate proposals to be submitted for Coachella ��-

and subsequently other music and arts festivals for the next year.

Schoal wave is an installation designed to be environmentally interactive, harnessing

the power of wind to initiate movement along the facade of the wall. the movement is

inspired by A school of fish, otherwise known as a “schoal” in scientific communities.

the wall is clad in specially fabricated, hindged, scales that move with the wind; they

are � sided, with the inside scale bearing color while the outer side has a highly reflec-

tive surface (like the surface of water). with a gust of wind -provided naturally or by

integrated fans- the scales on the wall will cause a wave-like effect, accompanied by

changing color. At night, during periods of wind, mounted LED lighting along the wall

is exposed when the scales open. Once the scales closed back flat against the wall,

the leds provide a backlight to the structure.