CARLOS ALBERTO RIVASFUNDAMENTALS STUDIO II

PROF. VARLANDSPRING 2015

THIS PORTFOLIO IS MADE TO HELP EXPLAIN THE PROJECT I WAS ASSIGNED IN THE QUARTER OF SPRING 2015, MADE FOLLOWING THE PROCESS CRONOLOGICALLY FROM BEGINNING TO END. HERE YOU WILL SEE THE CREATION AND EVOLUTION OF MY PROJECT.

LEGEND

1-INTRODUCTION2-CONCEPT STATEMENT

3-ARTIST PROFILE4-CONCEPT MODELS5-CONCRETE STUDY6-LIGHT STUDIES 7-SITE ANALYSIS

8-SKETCHES9-STAIR STUDY/MODEL

10-PROGRAM11-PROJECT

12-VIEWS/RENDERS13-SOLAR STUDY14-DEDICATION

1-INTRODUCTION

DURING THIS QUARTER I PERSONALLY LEARNED TO FOCUS A GREAT DEAL OF MY TIME ON THE NON-PHYSICAL CONNECTION THAT CAN BE CREATED AND IS ALWAYS PRESENT BETWEEN A BUILDING AND THE VISITORS, CREATING A VERY UNIQUE INTERACTION. ALSO I FOCUSED ON CREATING VERY PERSONALIZED SPACES FOR MY CLIENT, IN THIS CASE THE ARTIST ROBERT IRWIN. I FELT THIS QUARTER REPLICATED A REAL PROJECT SCENARION AND I ENJOYED THE CHALLENGE.

2-CONCEPT STATEMENT

MY PROJECT CONSISTED ON CREATING A SERIES OF SPACES (LIVING, GALLERY AND WORK-ING) FOR THE ARTIST ROBERT IRWIN, SITED ON THE RAILROAD MUSEUM OF SAVANNAH. ROB-ERT IRWIN IS A VERY MINIMALIST ARTIST THAT HAS CREATED SEVERAL PIECES IN DIFFERENT MEDIUMS. CURRENTLY HE IS AN INSTALLATION ARTIST AND I FOCUSED ON THIS ASPECT OF HIS WORK. FROM MY INVESTIGATION I ADMIRED IRWINS CAPABILITY TO CREATE SPACES USING LIGHT AND I WANTED TO KEEP THAT ASPECT PRESENT IN MY PROJECT. SOMETHING THAT CARACTERIZES IRWIN IS THE FACT THAT HE IS CONSTANTLY QUESTIONING EVERYTHING SPECIALLY HIS WORKS. HE KEEPS DOING SO IN ORDER TO IDENTIFY WHAT HE ISN’T SAT-ISFIED WITH UNTIL HE ARRIVES AT THE POINT IN WHICH HE IS. MY PROJECT FEATURES A VERY TAILORED SERIES OF SPACES FOR ROBERT IRWIN. ALTHOUGH THEY ARE THREE DIF-FERENT STRUCTURES THE RELATIONSHIP BETWWEN THE THREE IS OBVIOUS AND COHERENT.

3-ARTIST PROFILE

ROBERT IRWINARTIST STATEMENT

Every time you do something, make something, it's final in a way, but it's not. It immediately raises a great set of ques-tions. And if you become a question addict, which I am, you immediately have something you need to pursue. -Robert Irwin

As his quote suggests, Irwin is man who guides his works by questioning everything he does. When he makes a desicion to start a new project he dosent ever leave it half way done, even if he isn’t pleased. Once doen he starts questioning permanently his own work to find the aspects of it that don’t please him. Thereore he continues this behaviour until his fi-nal work is achieved and he is satisfied with the end result.

As we can see in this images Irwin’s work is guided by a playfull interaction between light, space and what the human eye captures. He has shown the uniquely amaz-ing capability to create spaces using lighting and trans-lucent objects to challenge the human perception.

4-CONCEPT MODELS

THIS MODELS WERE MADE TO EXPERIMENT WITH THE ASPECTS I WANTED TO PORTRAY IN MY PROJECT SUCH AS REFLECTION AND MANIPULATION OF LIGHT. ON THE MODEL IN THE FAR RIGHT I TRIED TO FOCUS MORE ON REPLICATING ON OF THE ARTIST’S TALENTS WHICH WAS THE CREATION OF DIFFERENT SPACES BY USING LIGHT. I USED SEVERAL LAYERS OF PLEXI GLASS THAT WHEN HIT BY LIGHT IT’S EDGES WOULD BRIGHT UP THERE FORE DIFERENTIATING THE DIFFERENT LAYERS. I ALSO PLACED A SHEET OF VELUM PAPERS ON ONE OF THE ENDS SO LIGHT COULD BE FILTERED WHEN HOLDED AND POINTED AT A LIGHT SOURCE. THE MODEL BELOW AND ON THE LEFT WAS MADE TO EXPERIMENT WITH MA-TERIALISM AND REPLICATE A SCENARIO IN WHICH NA-TURE LIGHT AND BUILDING HAVE A CLOSE INTERACTION.

5-CONCRETE STUDY

DURING THE QUARTER WE EXPERIMENTED WITH DIFFER-ENT TYPES OF CONCRETE AND HOW THEY COULD BE MOLDED INTO HAVING A WIDE RANGE OF TEXTURES. DURING THE PROCESS WE MADE A SERIES OF MOLDS WITH DIFFERENT OBJECTS INSIDE THEM IN WHICH WE WOULD POUR THE CONCRETE IN ORDER TO CREATE A SAMPLE OF THE OBJECT WE PLACED INSIDE AND HOW THE CONCRETE REACTED TO IT. THE POINT OF THIS PROJECT WAS TO ALSO FIND A TEXTURE THAT WOULD BENNEFIT THE USE OF CONCRETE IN OUR BUILDING.

AFTER WE LET THE CONCRETE DRY OF FOR THE AMOUNT OF INDICATED BY EACH TYPE WE GATHERED IN THE STUDIO TO REVEAL THE RESULTS AND SHARE SOME FEEDBACK. MY FA-VORITE MODEL IS THE CUBE-LIKE ONE YOU CAN SEE ON TOP. I FOUND THAT TO BE THE MOST INTERESTING ONE BECAUSE OF ITS SCULPTURE-LIKE APPEARENCE. THAT I MADE BY RAN-DOMLY PLACING A SERIES OF WOODEN CUBES OF DIFFERENT SIZES AT THE BOTTOM OF MY MOLD. THE ONE I GOT MOST ATTENTION OUT OF IS THE STRIPED ONE YOU CAN SEE ON THE BOTTOM LEFT CORNER. IT WAS VERY SUCCESSFUL GIVEN THAT I CREATED A TEXTURE THAT COULD EASILY BE USED ON MY PROJECT. I MADE THE MOLD BY PLACING A SERIES OF PLASTIC DRINKING STRAWS ONE NEXT TO THE OTHER AT THE BOTTOM OF THE MOLD, THE FINAL RESULT CAME TO BE A VERY GRIPPY TEXTURE THAT I SUGGESTED COULD BE USED FOR THE EXTERIOR STAIRS LEADNG UP TO THE ROOFTOP IN THE GALLERY BUILDING.

6-LIGHT STUDIES

-Cube 1 (GREEN): This cube is made to play with natures reflection I chose this col-ors to see how the actual gloss or reflec-tion capabilities could attribute natural colors. The cube showed the transparency factor and filtered light passing through.

-Cube 2 (RED): This cube was made with the same idea in mind as the first one. This was a bit more specific. It focused on the com-bination of colors on a well lit sunset and how the glass serves as a color mixer. The cube can be used to mix different colors depending on the angle it is viewed from.

-Cube 3 (BLUE): This cube was made with layers of cotton to replicate Robert Irwin’s use of cloth to filter light. Also I used different shades of blue and clear glass to see how the cloth reacted to colored glass. The interaction be-tween glass light and cloth delivered various results depending on the viewer’s perspective.

-Cube 4 (WHITE): This was the most successful out of the four. One side of the inside was made out of mirroring material that created the sensation of duplicating the space in the cube thus creating a sense of virtual depth.

7-SITE ANALYSIS

8-SKETCHESSITE SKETCHES

9-SKETCHESBUILDING SKETCHES

10-STAIR STUDYSKETCHES/MODELS

10-PROGRAM

1-FIRST LOOK: AT FIRST, FROM A DISTANCE THE BUILDINGS ARE BEARLY NOTICEABLE. ICREATED THIS “FOREST-LIKE” LANDSCAPE TO PLAY AROUND WITH THE VISITORS INTERACTION WITH MY PROJECT THE FOREST IS MADE TO FOLLOW THE CRITERIA OF QUESTIONING EVERYTHING AND MAKE THE VISITORS WONDER WHAT IS BEHIND THE DENSE VEGETATION. MY BUILDINGS ALSO CREATE A VERY INTERESTING CONTRAST WITH THE LANDSCAPE GIVEN HOW STRAIGHT THEY ARE AS WELL AS SOME OF THE MATERIALS HELP CREATE A RELATIONSHIP SUCH AS THE CONCRETE, GLASS AND WHITE PAINTED WALLS.

2-ENTRANCE: AS I STATED BEFORE, THE BUILDINGSARE MADE TO EMERGE FROM THE VEGETATION AS VISITORS GET CLOSER . THE PEDESTRIAN WALKWAY WILL TAKE VISITORS THROUGH THE GALLERY AND WORKSPACE OF ROBERT IRWIN. THEY WILL BE ABLE TO GET A GLANCE OF IRWINS HOUSE FROM CERTAIN LOCATIONS IN THE VISITOR ZONE.

3-EXPERIENCE: ONCE THE VISITORS APPROACH THE SITE THE FIRST BUILDING THEY WILL ENCOUNTER WILL BE THE GALLERY SPACE. THE BUILDING WILL CAPTURE THE VISITORS ATTENTION FROM THE FIRST MOMENT GIVEN THAT THE TWO HUGE GLASS FASCADES THAT REECH FROM FLOOR TO ROOF ALLOW PREVIEW OF WHAT IS SHOWN INSIDE. THIS BUILDING WILL FEATURE AN AVERAGE OF FIVE INSTALATIONS AT A TIME AND FEATURES REGULATED LIGHTIING IN TWO SPACES ONE IN EACH FLOOR. IT ALSO FEATURES A ROOF TOP GARDEN THAT WILL HOST ANOTHER OF IRWINS INSTALATIONS AND WILL ALLOW A UNIQUE VIEW OF THE TREETOPS AND A GLANCE AT IRWIN’S HOME AS WELL AS HIS WORKSPACE. AFTER VISITING THE GALLERY VISITORS WILL CONTINUE ON TO VISIT IRWIN’S WORKSPACE. THIS WILL BE A VERY MINIMALISTIC STRUCTURE THAT FEATURES A MAIN SPACE THAT REACHES 20FT IN HIGHT. THERE THEY WILL BE ABLE TO HAVE A CLOSER LOOK AT IRWIN’S METHODS OF WORK AND CONTINUE ON TO VISIT THE REST OF THE SITE.

4-FOREST: THE LANDSCAPE I CREATED PLAYS A EXTREMELY IMPORTANT ROLL IN MY PROJECT GIVEN THAT ALL OF MY BUILDINGS FEATURE A LOT OF GLASS. SO ONE OF THE PURPOSES IT FULLFILS IS CREATING A NAT-URAL BARRIER BETWEEN THE BUILDINGS THEREFORE PROVIDING PRIVACY TO EACH ONE. ALSO IT HELPS FIL-TER THE AMOUNT OF LIGHT THAT GOES INTO EACH BUILDING (PROVIDE NATURAL SHADING), AND LASTLEY IT HELPS RECREATE ONE OF THE ARTISTS ASPECTS WHICH IS QUESTIONING GIVEN THAT SINCE IT ONLY PRO-VIDES A GLANCE OF THE BUILDINGS FROM A FAR IT WILL MAKE VISITORS WANDER WHAT MORE THERE IS TO SEE.

11-PROJECTFLOOR PLANS (HOUSE)

11-PROJECTFLOOR PLANS (WORKSPACE)

11-PROJECTFLOOR PLANS (GALLERY)

11-PROJECTFLOOR PLANS (CONTEXT)

11-PROJECTELEVATIONS (HOUSE)

EAST NORTH

SOUTHWEST

11-PROJECTELEVATIONS (GALLERY)

WEST SOUTH

NORTHEAST

11-PROJECTELEVATIONS (WORKSHOP)

EAST NORTH

SOUTHWEST

11-PROJECTSECTIONS (HOUSE)

SECTION 1

SECTION 2

11-PROJECTSECTIONS (GALLERY)

SECTION 1

SECTION 2

SECTION 1

SECTION 2

11-PROJECTSECTIONS (WORKSHOP)

12-VIEWS/RENDERSSECTION VIEW

12-VIEWS/RENDERSEXTERIOR RENDER (NIGHT)

12-VIEWS/RENDERSEXTERIOR RENDERS (NIGHT)

12-VIEWS/RENDERSEXTERIOR RENDERS (NIGHT)

12-VIEWS/RENDERSEXTERIOR RENDERS (NIGHT)

12-VIEWS/RENDERSEXTERIOR RENDER (DAY)

12-VIEWS/RENDERSEXTERIOR RENDER (DAY)

12-VIEWS/RENDERSEXTERIOR RENDER (DAY)

12-VIEWS/RENDERSINTERIOR RENDER (NIGHT)

12-VIEWS/RENDERSINTERIOR RENDER (NIGHT)

12-VIEWS/RENDERSINTERIOR RENDER (NIGHT)

13-SOLAR STUDY

I WOULD LIKE TO DEDICATE THIS PROJECT TO BOTH MY PARENTS, AL-BERTO RIVAS AND ILEANA MOLEIRO. THEY ARE TWO OF THE BEST ARCHI-TECTS I HAVE MET AND HAVE ALWAYS BEEN MY INSPIRATION AND ROLE MODEL FOR EVERY DECISION I HAVE AND WILL TAKE IN MY LIFE. THEY TRULY ARE THE PERFECT EXAMPLE OF BALANCE AND UNITY AND I AM HAPPY TO SAY THAT I WAS RAISED IN A VERY LOVING AND SUPPORTING FAMILY. SO AS I SAID BEFORE I HOPE THEY FIND THIS AS A GIFT AND REPRESENTATION OF HOW THEIR WORK HAS INFLUENCED MINE. I WILL BE FOREVER THANKFUL AND HOPE THEY ENJOY THIS AS MUCH AS I DO.

14-DEDICATION