Architectural Portfolio Miguel Guzmán.

PORTFOLIOPORTFOLIO

MIGUEL GUZMN GARCA

PORTfOLIO

Its impossible to think this portfolio wouldve been made only by me, which is why I dedicate this to the following people:My parents and sister, for trusting me; my professors who had patience and guided me in the way; my friends and classmates; and a special mention to Caterina Russildi, who became my pilar and contributed actively in the elaboration of this project.

Without the aforementioned persons, none of this wouldve bee possible and for that I give them my gratitude.

DEDICATION

CONTENTS

ZAMBRANO MUSEUM

WALL HOUSE

LA VICTORIA LUMBERYARD

SUSPENDED CITY

HOUSES 100

CUAUHTMOC CONNECTION

C1

T2

T4

T3

E1

T1

CURRICULUM VITAE

ARCHITECTURAL PROJECT WORKSHOPS

VERTICAL WORKSHOP IPROF. VERNICA POZAS, PROF. JUAN ROBERTO ROMERORESIDENTIAL COMPLEX

VERTICAL WORKSHOP IIPROF. CLAUDIA CARREOMIXED USE BUILDING

VERTICAL WORKSHOP III PROF. EDNA GARZA, PROF. DARO CAMISAYLA VICTORIA LUMBERYARD

VERTICAL WORKSHOP IV PROF. MARCELA GONZLEZ, PROF. MAURICIO MAYCOTTESANTA CATARINA RIVER WALKWAY

VERTICAL WORKSHOP V PROF. RIGOBERTO ALMAGUER, PROF. DARO CAMISAYMUSEUM

EDUCATION

2009 - PRESENTBACHELOR OF ARCHITECTURESCHOOL OF ARCHITECTURE, ART, AND DESIGNINSTITUTO TECNOLGICO Y DE ESTUDIOS SUPERIORES DE MONTERREY, CAMPUS MONTERREY, MXICO

2006 - 2009HIGH SCHOOL DIPLOMA - BILINGUAL LEVELPREPA TEC CAMPUS PUEBLA, PUEBLA, MXICO

WORK EXPERIENCE

AUG - DEC 2009, JULY 2011OJTAT GROUP TALLER DE ARQUITECTURAALTERNATIVA WWW.OJTAT.ORG

JUL 2012 - MAR 2013OFICIO ARQUITECTURA WWW.OFICIOTALLER.COM

ARCHITECTURAL PROJECT WORKSHOPS

VERTICAL WORKSHOP IPROF. VERNICA POZAS, PROF. JUAN ROBERTO ROMERORESIDENTIAL COMPLEX

VERTICAL WORKSHOP IIPROF. CLAUDIA CARREOMIXED USE BUILDING

VERTICAL WORKSHOP III PROF. EDNA GARZA, PROF. DARO CAMISAYLA VICTORIA LUMBERYARD

VERTICAL WORKSHOP IV PROF. MARCELA GONZLEZ, PROF. MAURICIO MAYCOTTESANTA CATARINA RIVER WALKWAY

VERTICAL WORKSHOP V PROF. RIGOBERTO ALMAGUER, PROF. DARO CAMISAYMUSEUM

MIGUEL GUZMNGARCABIRTHDATE:MARCH 5, 1991BIRTHPLACEPUEBLA, PUEBLAEMAIL:[email protected]

SKILLS/ABILITIES

LEADERSHIPORGANIZATIONS AND ACTIVITIES: HIGH COMMAND MUNTCP 2009 STAFF EXPOTEC 2012 COLABORATOR OJTAT A.C.

LANGUAGES SPANISH (NATIVE) ENGLISH (587 INSTITUTIONAL) GERMAN (A2 LEVEL) NHUATL (BASIC)

COMPUTACIN Y TECNOLOGA MICROSOFT WINDOWS & OFFICE SUITE ADOBE PHOTOSHOP, INDESIGN, ILLUSTRATOR AUTODESK AUTOCAD, REVIT, 3DSMAX, IMPRESSION 2.0 GOOGLE SKETCHUP

CURRICULUM VITAE

Located in the center of the city of Santa Catarina, in the heart of a mass-produced housing con-text, the Houses 100 project is created.

The complex responds to the necessity of green public spaces in the city and resolves this by not using property divisions and compacting parking space to its minimum, generating linear parks in the middle of the three-house complex. It works as a gift to the city.

HOUSES 100 T1

Complex Section

Casa UnoCasa Tres

Casa Dos

Conjunto A.

Casa Uno

Casa Uno

Casa Dos

Casa Dos

Conjunto B. Conjunto C.

Casa Tres

Casa Tres

Public Space.

House One.

House Two.

Public Area.

Private Area.

The three houses give priority to the private patios, with minimal interior space (around 100 m2), demonstrating the possibility of generating a great spatial quality without needing a big construction area.

House Three Explosion. House One and Two Explosion.

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House One floor plan

House Two floor plan

House One and Two com-plete each other for optimal use of land.

House One is built from House Twos ceiling slab, creating a open plan in a simple one-level scheme in the middle of a patio and a garden in the middle.

House Two is in turn solved with a T-scheme with only one level, which permits the right separation between private and public areas.

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House One and Two Section

rea Pbica Casa Dos.

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20 20Upper floor plan House three Lower floor plan House Three.


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The last house, the biggest one, is divided into two levels depending on the surface space, locating public areas on the second level in a big open plan layout, where the private area is containedunderneath.

Corte Casa Tres.

Pasarela Casa Tres.

An intervention in an existing building is a great historical and social responsibility, even more so when the building is a city icon.

The art nouveau building has been unused ever since it closed its doors years ago but is still alandmark in its zone, which has fallen victim of Monterreys violent wave.

The project required a Trade School in said building and the lot next to it. By trying to give more to the city, the school is proposed as a community center so as to diminish violence through means of social integration.

LA VICTORIA LUMBERYARDT2

Section in perspective.

The building mantains its original sturcture with slight modifications to several walls and slabs, all while trying to keep an overall integral aspect. Nevertheless, the next lot projects a triple height deck where the workshops are located, functioning as a public plaza as well.

The structure of the westernmost part of the builiding eases the transition between old and new; the deck follows its path until fusioning with the central body of the building, unifying it as a whole. The scale of the project reaffirms the buildings status and gives it a public importance for users.

A pedestrian diagonal permits th crossing between main avenue Madero and residential street Arteaga, making the transition friendly for the users.

North Facade

South Facade

East Facade

West Facade

First floor plan.

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Second floor plan.

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Section A-A

Section B-B

Workshops.

A pedestrian bridge as a project permitted freedom in program and gave way to a moreimportant rehabilitation of the river, since it should be the very heart of the city.

More than just a walkway, its a real intervention of the river, taken from the creating a slope in each side to prevent future floods. The slopes work as great linear parks with diverse plazas, each with a different program, which help contain the river. The interior slopes are the connectionbetween the plazas and the river, where bridges with bike paths are located.

CUAUHTMOC CONNECTIONT3

The city of Monterrey has axes running from east to west like the Santa Catarina river, but none running from north to south.

In this workshop, a master plan was developed whichaddressed this issue by proposing an axis running from north to south to strenghten connections in the city.

Within the bridge intervention, three independent projects were developed: a multimodal station, a community center and the walkways which contained different types of activities within them.


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The walkways are independent structures which are connect-ed to the existing bridges in Cuauhtemoc and Juarez streets, taking one of the car lanes for pedestrian purposes. Theres a slight change of level which gives way to socialencounters, since it channels the users paths into the same space.

Section in perspective.

Market plaza.

Market floor plan

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Three plazas were projected in this proposal with the same materials, pavements and landscape, containing the space inhalls and different levels.Within the program different activities unfold, such as: a traditional market, an art pavilion and a restaurant zone which act as economic detonators for the nearby neighborhoods.

Pavilion floor plan.

Pavilion section.

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Restaurant Square.

Restaurant floor plan.

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The site is located in a priviledged area, next to the Macroplaza (biggest public plaza in Latin America) in the heart of the city of Monterrey. Within the site, a small church of historicalsignificance is still standing.The workshop demanded the development of a museum and its contents. Thinking about econom-ical ease and factual means, an art precinct which would contain an important family of the high societys art collection was proposed.

Reflecting on the site, it is evident that the importance of the project does not fall within the museum itself, rather than using this space as a point of social reunion for the city and a transition from commercial to residential use.

ZAMBRANO MUSEUM T4

Isometrias Primer Propuesta

Initially two buildings ofdifferent sizes wereproposed which would contain a central space and responed to the sitestopography.

Academically, the project turned interesting as the buildings were restructured as the initial idea evolved into responding to green areas in a better way. The project then turned into an extension of the Macro Pla-za, creating a building-plaza were people would walk freely and enjoy the natural space.

The church was intervened as well; a second entrance was created in the back, allowing total integration within the complex and be-coming an important part of the museums art collection.

Isometrias Proyecto Final.

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Plaza floor plan.

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Basement floor plan.

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Museum-Church Plaza

Museum-Church plaza.

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Section 1

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Section B

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The site, located in the town of San Martin Texmelucan in central Mexico, was originally a 19th century neighborhood which was later abandoned and left in ruins to this day and leavingbehind the remains of an adobe wall. Searching to save a bit of its history, a house was projected using the wall as its main focal point, helping in orientation and structuring a new building out of the old remains.

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WALL HOUSE E1

A T-scheme solved thelayout into two levels,distributing public space into the lower one and private on the upper floor., as well as an independent space in front which serves as an office and a workshop. The layout permits the existence of gardens and terraces ori-ented to the south.

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Planta Baja

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Planta Alta

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South facade.Street entrance.

Social area.

Located in Buenos Aires, in front of the Villa Soldati an extension of its pulbic area is called upon in this contest. As a solution to this, the public areas are prioritized and the private space is suspended so as not to interrupt the park and, at the same time, providing a new landmark of the space. This allows the private area to discover the horizon and contemplate the ideal of sports and other activities, which are in time, happening underneath. This achieves two different worlds tied together on site.

SUSPENDED CITY C1

The layout is resolved by creating a modulated typology capable of connecting and repeating itself. Reinterpreting its past, solving the present and visualizing the future, the Suspended City hopes to be atemporal, flexible and adaptable to future necessities.

Dorm bedroom.

Complex.

MGG 2013

Architectural Portfolio Miguel Guzmán.

Documents

house complex

private area

public area

city of santa catarina

rigoberto almaguer

marcela gonzlez

edna garza

campus monterrey