CHRISTIAN JUICA ARCHITECT PORTFOLIO

CURRICULUM VITAECHRISTIAN ANDRES JUICA CAMPOS.1983, [email protected]+1 (510) 830 8433

STUDIES

2002-2008 Architecture at Pontificia Universidad Catlica de Chile [PUC], Architects degree in September 2008.

2006 Exchange program at Pontificia Universidade Catolica do Rio, Brazil.

TEACHING EXPERIENCE

2003-2014 As a student and later as a young professional Ive been consistently involved in the academic practice. First as an assistant for courses such as Geometry, Introduction to Construction and several Design Studios in subjects ranging from housing, heritage buildings/sites and theory of architecture in both undergraduate an graduate programs.

2014-2015 Lately Ive been teaching together with a group of architects lead by Professor Rodrigo Prez de Arce in first and second semester Design Studio at PUC. The aim is to provide the student with the necessary tools to develop as an architect such as observation, drawing, model making, critical thinking and 1:1 fabrication.

WORK EXPERIENCE

My work experience includes a Professional internship at Mathias Klotzs studio (2009), a collaboration at Smiljan Radics studio for a private international competition (2010), and a long term collaboration with professor and architect Rodrigo Perez de Arce and OWAR architects (2011-2015).All of this together with proposals of personal authorship and/or co-authored projects for competitions.

The range of projects Ive been involved includes heritage buildings, public space, housing and art spaces at different stages of the development from overall design to detailing. My main interest are on the contemporary intervention of existing buildings and in man made fabrication.

I think architecture is a profession that gives order, measure and sensibility to human environment.

OTHER ACTIVITIES

Wood Working: Furniture, Model Making, Sculpture.

Photography: Self trained landscape/nature photographer and independent music photographer for La Torna Magazine

LANGUAGES

SpanishEnglishPortuguese

SOFTWARE

AutocadGoogle SketchupV-Ray for SketchupPhotoshopIndesign

2004 MICSA S.A. Construction Company. Work as bricklayer assistant, tracer assistant and general worker.

2004 Collaboration in technological research for applications to FONDEDOC [development fund to teaching] with professors Claudio Vasquez and Arturo Torres.

2006-2007 Group member of 0300TV.com, website of broadcast and criticism of architecture.

2006 Co-authorship. Open Chapel. Alto Tumn, Chile.

2007 Collaboration with the office of architecture COOPERATIVA URO1 in the competition for the reuse of former high school and theater Enrique Molina, in the city of Concepcin, Chile.

2007 Co-authorship, Competition, 2nd price. Holcim awards student competition Chile. Reuse of former sugar refinery into a housing complex.

2008 Co-authorship. Climbing Wall for the UC Climbing Club. Santiago, Chile.

2008 Co-authorship. Furniture for the Students Hall at UC Engineering School. Santiago, Chile. Built

2008 Co -authorship, Competition. Cultural center for the Chilean embassy in Buenos Aires. Buenos Aires, Argentina.

2008 Co -authorship, Competition. Mixed income housing proposal in Cerrillos former airport site. Santiago, Chile.

2008 Thesis Project, Approved with Distinction. Reuse of former gas plant. San Borja factory. Santiago, Chile.

2009 Professional Internship at Mathias Klotz Architects. Ducaud house expansion. Santiago, Chile.

2009 Collaboration at Cities Observatory UC (OCUC). Los Dominicos subway station Plaza. Santiago, Chile.

2010 Collaboration at Smiljan Radics studio, Competition. Guadalajara Museum of Science. Jalisco, Mexico.

2010 Co-authorship, Competition. Memorial for 27F 8.8 earthquake. Concepcin, Chile.

2011 Collaboration at Rodrigo Perez de Arces studio. Fog Garden. Iquique, Chile.

2011 Wood Models for the exhibition Fog Garden: The Architecture of Water at Nevada Museum of Art. Permanent Collection.

2011-2015 Collaboration at Rodrigo Perez de Arce + OWAR Architects. Design for the improvement of urban public spaces in Artillera Hill. Valparaso, Chile. Under Construction.

2011- Collaboration at Rodrigo Perez de Arce + OWAR Architects. Renovation of former Domingo Fenandez Concha Club and Goycolea House heritage buildings. Santiago, Chile. Under Construction.

2011 Collaboration at Rodrigo Perez de Arce + OWAR Architects ,Competition, Finalist. National Stadium Citizens Park. Santiago, Chile.

2011 Collaboration with architect Jean Petitpas, Competition, Honorable Mention. Pending Horizon for the Young Architects Program YAP. Santiago, Chile.

2012 Collaboration at Rodrigo Perez de Arce + OWAR Architects ,Competition, Finalist. Italia Factory Renovation. Santiago, Chile.

2013 Co-authorship, Competition. New Museum and Art Center for chilean artist Mario Toral. Santiago, Chile.

2013 Collaboration at Rodrigo Perez de Arce + OWAR Architects ,Competition. National History Museum Expansion. Santiago, Chile.

2014 Collaboration at Rodrigo Perez de Arces studio. Las Peas House expansion. Santiago, Chile. Built.

2014 Collaboration at OWAR Architects. Espacio Aculeo Events Center. Aculeo, Chile. Under Construction.

2014 Collaboration at Rodrigo Perez de Arce + OWAR Architects ,Competition. New Town Hall for Cunco. Cunco, Chile.

2015 Collaboration at Rodrigo Perez de Arces studio. Cabin in Malalcahuello. Malalcahuello, Chile. Under Construction.

LIST OF SINIFICANT WORKS

2004-2015

ARCHITECTURE

The idea of the project focuses on the transformation of what it is now an obsolete infrastructure into a new and unusual space for the city.

The aim is to generate a simple layout that recognizes the pre-existing conditions on the site, as to buildings, paths and tree planting, and to determine a development area for the project of the gas holders. Operations on the site look for to generate a development by stages and facilitate future integration of this piece to its context.

The general strategy can be divided into 3 main operations:

1- Occupy the buildings of the periphery as complementary programs to the core of the project2- The core of the project corresponds to the reuse of the 3 gas holders that together with new added structures would form a television station.3- Create a program of tree planting and landscaping to provide a new green area to the city which is justified in part by the concentration of existing trees on the site.

The industrial heritage is taking more importance as the city moves on into industrial sites that were previously peripheral and whose fate is now uncertain due to new technological developments.

These areas become very attractive for new uses for its size and connectivity, but the constant reconstruction can end up erasing the citys memory in terms of the significance of this constructions and in its way wasting formidable structures that are only obsolete in its program but certainly not has usable space.

For this project the idea is to replace the obsolete task of coal gas production and storing for a new contemporary industrial activity that can take advantage of its great spacial features has it is the television industry.

REUSE OF SANTIAGO GAS HOLDERS, SAN BORJA FACTORYSANTIAGO, CHILETHESIS PROJECT ARCH.PUC

2008

Program distribution Circulations

Section through main gasholders


2008


2008

GASHOLDERS DEVELOPMENT AREA

View from the public platform.

General plan. Gas holders area

This project starts with the idea of the Memorial as a permanent reminder of our fragile condition against nature. Unlike a war memorial, or other man-made tragedies, that bring to the memory the atrocities committed from people to people, the memorial of a natural disaster should follow different commemorative logics and its presence should awaken other attitudes.

Rather than a memorial-object that you look at, we seek for a memorial-place where you stay at. The circle is presented as the geometry for gathering, where the protagonist is the open space, the sky framed, rather than the object itself. At the same time, the circle also refers to natures cyclical condition; time condition in which events like the recent earthquake fall.

It is the park itself which is folded in order to generate a slightly isolated space and context -giving it a calmed atmosphere- while permiting the fluidity desired for the park. Occasional floods are considered as a possible and planned landscape and by this following its natural condition.

The latent energy in nature is present in a counterpoint between its destructive power and creative force; the site is crossed by a flow of water that falls violently and noisily from the top of the ring gnawing an initially cubic stone to make it sand over the years, making visible and audible its power. At the same time, at certain times of year, the memorial literally blooms between the stones repeatedly year after year.

Que se levante entonces como una bestia el da que aqu toda una llama que aqu nada ceniza.

Que se levante el fuego como un caballo de oro que aqu no pasa nada que puramente todo

Nicanor Parra

MEMORIAL FOR 27F 8.8 EARTHQUAKECONCEPCIN, CHILECOMPETITION / CO-AUTHORSHIP

2010

MEMORIAL FOR 27F 8.8 EARTHQUAKECONCEPCIN, CHILECOMPETITION / CO-AUTHORSHIP

2010

Aerial view. Memorial and park.

Sections through proposal.

GUADALAJARA MUSEUM OF ENVIRONMENTAL SCIENCESJALISCO, MEXICOCOMPETITION / COLLABORATION AT SMILJAN RADICS STUDIO

2010

Jalisco is interpreted as a territory where a concentration of natural systems confluences occurs. We understand the Environmental Sciences Museum as an Ark where these junctions and their relationships with the urban system are represented to the community.When we speak of representation we refer to the following concepts included in the design of architecture:

StagingThis is the direct exposure of some significant qualities of each of the natural and cultural systems involved, as sensory stimulus for the visitor. We are talking about topography, sound, materiality, light, humidity ... In our building every natural system -valley, coast, lake, mountain- occupies a specific area of learning inside one unique space.

DriftOur proposal suggests that learning and interpretation at the Environmental Sciences Museum are treated as a system of signs and stimuli on a drift, where visitors can freely according to their means of understanding generate a

story and self-guided tour through an intelligent curatorship that allows them different intellectual approaches to the exhibition.

In accordance with this idea, conventional configuration of exhibit rooms and public areas are avoided: stagnant and hierarchical, linearly linked through thresholds. By contrast, it proposes a spatial simultaneity at all levels to increase the complexity of spacial relationships.

In this sense the building is not the reflection of a reality, but its itself the map of a new world that must be learned and performed at each visit as a communal experience-under the same sky- and yet, as an individual experience aimlessly on a new ground.

GUADALAJARA MUSEUM OF ENVIRONMENTAL SCIENCESJALISCO, MEXICOCOMPETITION / COLLABORATION AT SMILJAN RADICS STUDIO

2010

Components. Exploded axonometric view

FOG GARDENALTO PATACHE, CHILECOLLABORATION AT RODRIGO PEREZ DE ARCES STUDIO

2011

Fog Garden is a project and a demonstration. Conceived as a mechanism for the capture of fog water droplets, it also comprises the storage and distribution of water through irrigation devices, with the purpose of making a landscape. The garden celebrates the beauty of nature: in this case, it also fully demonstrates the water potential embedded in the Pacific Ocean coastal mist, a notorious climatic feature of the Atacama Desert. Once captured, this water can effectively supply much needed resources to the precarious enclaves that are interspersed amidst absolute aridity, along the coastal highway. The gardens emplacement by the ridge of a coastal cliff is strategic for the capture of fog water as it intercepts the oceans cloud formations that advance every day into the desert landmass at an approximate altitude of 750 meters. Once crossed this threshold, these fully dissipate giving way to pristine and permanently clear skies. The main project components are the fog catchers, awnings, and ground works that include water basins, terracing, and

dry wall constructions. Conceived as sails, the main water catchers utilize a well-proven technology whereby the textile membranes intercept the mist, leading the water drops into channels, storage elements and irrigation devices. Complementing this system the scheme also considers totem-like fog catchers, whose function is to trap water delivering it straight into the surrounding ground, thus acting as nursing devices, each of them feeding an area of vegetation. Bulbs presently dormant under the desert soil will blossom on these moist areas created around the totems.

Other types of vegetation considered include succulents and drought resistant species that combine color and texture.Water bodies usually mark the climax of a desert garden: a pond - protected from evaporation by an awning and lateral reed mats - becomes a place of rest and contemplation its basin facing straight on to the ocean. Within the field station, an indoor basin fronts a window that frames the ocean view excluding foreground and horizon. Secondary basins distributed along the site make use of traditional hand made clay technologies.


2011

Hanging columnar system. Elevations and plan.

Standing columnar system. Geometry studies.Possible array of irrigation systems. Plan.


2011

Field station. Sections and elevation.

DESIGN FOR THE IMPROVEMENT OF URBAN PUBLIC SPACES IN ARTILLERIA HILLVALPARAISO, CHILECOLLABORATION AT RODRIGO PEREZ DE ARCE STUDIO + OWAR ARCHITECTS / UNDER CONSTRUCTION

2011-2015

This project aims to comprehensively improve the state of the Artillera Hill by improving its streets (replacement of paving, lighting, retaining walls, storm water collectors), creating new pieces in public spaces (walks and viewpoints) and incorporating into the urban fabric landscape elements to consolidate the idea of a Park-Hill.

According to the diagnosis, over a period of one hundred years Artillera Hill had no significant urban contributions, and in the last 30 years -nevertheless small interventions- the overall picture shows a significant deterioration, perhaps exacerbated by the transfer of the Naval Academy to a new building.

Nevertheless, given its advantageous location in one of the ends of the Valparaiso amphitheater- and by that articulating the Valparaiso Plan and Playa Ancha- given the realization of an improvement plan in neighboring Barrio Puerto with obvious repercussions in the surrounding areas, its consolidation as a place of tourism and the quality of its architectural and landscape heritage this sector should

compete for a value equivalent to the hills Alegre and Concepcion (the most attractive for tourists and investment focus for urban improvement).

A Park-Hill, integrator of a dense and varied urban fabric with the benefits of a significant landscape and ecological heritage, integrator of a residential urban fabric with institutional and public fabric with a city level impact. This desired image suggests improvements by landscaping actions of the qualities of places T various scales on the hill.

There are nine projects in total, which together and interlaced form the urban improvement plan for Artillera Hill. Here are shown the two projects currently under construction (2015), Retaining Wall for San Gerardo pedestrian street and Muoz Gamero passage.

PLANTA PROPUESTAESC 1:100

AXONOMTRICA MURO DE CONTENCIN SAN GERARDOESC 1:75

PLANTA DE DEMOLICINES Y RETIROSESC 1:200

PLANTA TRAZADOESC 1:200

PROYECTO DISEO PARA EL MEJORAMIENTO DEESPACIOS PUBLICOS URBANOS CERROARTILLERA

MATERIAPLANTAS Y AXONOMETRICAS P-08MUROS SAN GERARDO Y SUBIDA ARTILLERIA

ARQUITECTOS

RODRIGO PEREZ DE ARCE ALVARO BENITEZEMILIO DE LA CERDATOMAS FOLCH

MANDANTE PROGRAMA DE RECUPERACION Y DESARROLLOURBANO DE VALPARAISO - PRDUV

PROVINCIA VALPARAISOCOMUNA VALPARAISOPOBLACION CERRO ARTILLERIA

JEFE DEPARTAMENTO TECNICO

JEFE UNIDAD DE INGENIERIA

NOMBRE Y FIRMA REVISOR

APROBACION SERVIU N DEL

ESCALA: INDICADASFECHA: ENERO

2011DIBUJO: JP

PLANO:

N:

DE20 25

L-20

Nota 1: El contratista deber considerar la construccin de gradas necesariaspara compensar el desnivel entre las aceras y acceso a la vivienda.

Nota 2: la ubicacin de las rampas de minusvlidos es referencial y seefectuara de acuerdo a las especificaciones fsicas disponibles y condicionesde topografas al momento de la ejecucin de las obras.

Nota 3: Los accesos vehiculares indicados en planta son referenciales, elcontratista deber ejecutar todos aquellos que estn existentes al momentode la ejecucin de la obra. De acuerdo al corte y detalle tipo indicado en losplanos del proyecto.

CORTE C-CÈSC 1:50

CORTE D-DÈSC 1:50

CORTE F-F'/ ELEVACIN MURO CONTENCIN 2 PASAJE SAN GERARDO ESC 1:50

CORTE E-EÈSC 1:50

PROYECTO DISEO PARA EL MEJORAMIENTO DEESPACIOS PUBLICOS URBANOS CERROARTILLERA

MATERIACORTES P-08MUROS SAN GERARDO Y SUBIDA ARTILLERIA

ARQUITECTOS

RODRIGO PEREZ DE ARCE ALVARO BENITEZEMILIO DE LA CERDATOMAS FOLCH

MANDANTE PROGRAMA DE RECUPERACION Y DESARROLLOURBANO DE VALPARAISO - PRDUV

PROVINCIA VALPARAISOCOMUNA VALPARAISOPOBLACION CERRO ARTILLERIA

JEFE DEPARTAMENTO TECNICO

JEFE UNIDAD DE INGENIERIA

NOMBRE Y FIRMA REVISOR

APROBACION SERVIU N DEL

ESCALA: INDICADASFECHA: ENERO

2011DIBUJO: JP

PLANO:

N:

DE22 25

L-22


2011-2015

Construction plans. Retaining wall for San Gerardo pedestrian street.


2011-2015

Xerophyte landscaping on Muoz Gamero passage.

Isometric view. Muoz Gamero passage.

Rustic vegetation of low water consumption, low maintenance and high contribution of color, environmental quality and soil stability.

RENOVATION OF (EX)DOMINGO FENANDEZ CONCHA CLUB AND GOYCOLEA HOUSE SANTIAGO, CHILECOLLABORATION AT RODRIGO PEREZ DE ARCE STUDIO + OWAR ARCHITECTS / FIRST STAGE UNDER CONSTRUCTION

2011 -

The project was created in response to the need to recover and add value to the Ex Domingo Fernndez Concha Club, belonging to the category Property of Historic Preservation of the National Monuments Council.

The project of reconstruction and restoration of the Club is inserted within the project of recovery of two houses of the late nineteenth century, located on Compaa street and located at the typical area Plaza de Armas, the National Congress and its environment. These houses, the first corresponding to Ex Domingo Fernndez Concha Club, designed by Lucien Henault Ambrorise, and the second called Casona Goycolea were both founded with severe levels of deterioration of their roofs and structural work due to decades of abandonment, vandals, the ransacking of the elements of interior decoration carried out by auction and finally by the February 2010 earthquake.

Despite its remarkable abandonment, the set of the two houses is in condition to be recovered in structural and spatial terms to respond to a new program horizon.

Its location allows to consider the proyect as a key part of the development of the west side of Plaza de Armas square, where a number of restoration projects are being carried out.

Apart from its complementarity in programmatic and morphological terms, opening the set of houses and courtyards for public use will give continuity to Sotero del Rio street, opening the interior of the block to public pedestrian transit and transforming the ailing Sotero del Rio street into a new utility corridor connecting Catedral, Compaa and Hurfanos streets.

The project involves the reconstruction and restoration of the Ex Domingo Fernndez Concha Club as a whole, however, the intervention work is being implemented in stages. Currently the restoration of the southern facade of the building facing Compaa street together with the structural reinforcement of the supporting elements is performed. The project envisages the creation of a new square and the construction of additional buildings for office or mixed use on the site.


2011 -

Section through Domingo Fernandez Concha Club, looking east.

Section through Casa Goycolea, looking west.


2011 -

Casa Goycolea.

Ex DFC Club.

Ex DFC Club.

NATIONAL STADIUM CITIZENS PARK SANTIAGO, CHILECOLLABORATION AT RODRIGO PEREZ DE ARCE STUDIO + OWAR ARCHITECTS / COMPETITION / FINALIST

2011

Born from the monumental expression of the urban game (originally manifested in the creation of the National Stadium) the park articulates three distinct areas: entertainment, action and contemplation.

Entertainment: a sports campus of international standard.Associated with the figure of the sports arena (an urban colossus) the mass entertainment revolves around the panopticon space of the arena, place of great feats and triumphs, measure and expression of the crowd, culminating expression of the sports game, and privileged geographical viewpoint. Simultaneously high standard sport campus and theater for the masses.

Action or participatory games: Matrix of ludic parterres.Seedbed of game, initiatory place towards the regulated game, expression of the polarity between norm and random. Soil and activated frames, citizen action theater. Flexible, adaptable and ever-changing array in its applications. Focus of intensity and action.

Contemplation: Citizen esplanades.A large beach-park open to gregarious or independent uses, environment of varying temperatures, light, shadow and color, place for recreational water demonstrations, expression of a suitable landscaping to long droughts, privileged viewpoint of the geographical basin. Space for a relaxed crowd.

As proposed, this three things are interlaced in defining the Citizens Park, as link elements are distinguished alamedas, ring and circuits.

The extensive urban perimeter (3.285m) represents a design challenge and a potential element of urban attraction: the perimeter must be not only the space of transfers and interfaces between Park and City but also in itself a destination of interest endowed with its own space programs, thickness and public programs. The perimeter is platform, ride, connection and hall.


2011

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E3229

E192

E2121

ES1617

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E1N ESTACIONAMIENTOS ACCESO METRO ACCESO VEHICULAR ACCESO PEATONAL

PLAZA DE ACCESO

ESTADIO NACIONAL

COURT CENTRAL

PISCINA OLMPICA Y GALERA

CANCHAS DE TENIS Y ESTACIONAMIENTO SUBTERRNEO

JARDINES PISCINA OLMPICAESTACIN DE METRO

MARQUESINA Y PROGRAMA SUGERIDO RETAIL - VIVIENDA - OFICINASCOMISARA Y SUGERENCIA PROGRAMA ANEXO

HOTEL CARPISTA ATLTICA

CARNUEVOS GIMNASIOS Y PROGRAMA SUGERIDO

MEDIALUNA

ESTANQUE DE AGUA Y SILO EXISTENTE

VELDROMO Y EDIFICIO PROPUESTO PROGRAMAS COMPLEMENTARIOSLAGUNA DE ACOPIO / JUNCAL

EDIFICIO PORTICADO PROGRAMAS COMPLEMENTARIOS

ALAMEDA

PASEO SUR GUILLERMO MANNPASEO PONIENTE CAMPOS DE DEPORTES

PABELLN USO MIXTO PROGRAMAS COMPLEMENTARIOSANILLO DEL AGUA Y MARQUESINATALUDES PROPUESTOS EXCAVACIN METROPLAZA A LA MEMORIA

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CANCHA HOCKEY26PATINDROMO27SISTEMA VARIABLE DE CANCHAS27

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1 ETAPA: FUNDACINSu objetivo es la transformacin de los terrenos del estadio nacional en parque de la ciudadana La estrategia fundacional base es la consolidacin del anco mas degradado del com-plejo, sus veredas poniente y sur y los paos actualmente pavimentados asociados a Campos de Deporte. La etapa inaugura una nueva condicin de parque pblico urbano, de imagen signicativa y de gran capacidad de convocatoria, afectando en lo menos posible los usos actualmente establecidos como son las actividades de masas y el deporte organizado.

2 ETAPA: TRANSFORMACIN Y APERTURALa sustitucin del actual mosaico de canchas de juego por amplias explanadas introdu-cir una nueva dimensin urbana por el tamao de los espacios y su capacidad de convocatoria con un efecto anlogo al del coliseo cuando se inauguro. Constituida por paos de csped, cubresuelos, y material xerto la explanada y la laguna de acopio gestan nuevos escenarios colectivos que son una contraparte de las arenas de pblico masivo. Los nuevos circuitos interiores multiplican los recorridos al tiempo que hacen por primera vez de la totalidad de la sper manzana predial un espacio atravesable.

TIEMPO Y PARTICIPACIN: UN PARTERRE DE CAMPOS El mosaico de campos representa la principal rea de participacin: esencialmente indetermi-nado y verstil en los usos, esta trama de parterres es determinante y especca en su estructura urbana. Usos alternativos: juego deportivo, juego infantil, pozos de arena, juegos del verano, plazoletas de reunin, jardines, huertos, granjas urbanas o almcigos, todos ellos posibles espa-cios de concesin o uso segn horario , cuentan con una infraestructura de apoyo (camarines baos y pabellones ).

PLAN GENERAL

3 ETAPA - JUEGOS ODESURCoincidente con la apertura del metro y la insercin del predio en la red de transpor-te masivo, esta etapa marca un salto cualitativo en la implementacin de equipa-mientos especializados a nivel metropolitano. En esta instancia se implementan los terraplenes y elementos topogrcos creados como resultado del acopio de material extrado de la construccin de la nueva lnea de Metro. Con los terraplenes culmina la construccin del horizonte visual del parque mientras que se consolida su contra-cara- constituida por los equipamientos del campus de deportes de alto rendimiento.

TIEMPO, PROGRAMA Y ESPACIOEl parque articula tres esferas distintivas: espectculo, accin y contemplacin. Espectculo, un campus deportivo de estndar internacional, imultneamente campus de alto nivel y teatro de actos masivos. Juego participativo, matriz de parterres ldicos. Suelos y tramas activadas, matriz exible adaptable y cambiante en sus usos. Contemplacin, explanadas ciudadanas. Un gran parque-balneario abierto a usos grega-rios o independientes.

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View of central water ring.

General plan.


2011

Xerophyte landscape, human rights memorial.

Xerophyte landscape, esplanade and alameda.

NEW MUSEUM AND ART CENTER FOR CHILEAN ARTIST MARIO TORALSANTIAGO, CHILECO-AUTHORSHIP / COMPETITION

2013

The proposal as an extension of public space:

The new center for diffusion, development and artistic research of Mario Toral Foundation is part of the cultural infrastructure of the municipality of Las Condes and is inserted in a residential neighborhood whose community is intended to serve. As such we believe that the proposal should contribute both spatially and functionally to urban space.

That is why we propose to extend the public space by adding it to the existing vegetation on the site, what we recognize as the capital of the place. This is achieved by proposing an open front, which adds visually and spatially to the urban profile.

In functional terms it would be landscaped and wooded space for public use and controlled access by security terms. The transparency of its main front and sidewalk widening mark a counterpoint in the continuity of the streets. The proposal is presented as an open garden.

The proposal preserves and thickens existing vegetation and creates a glade between Mario Torals house and the area of greater density of trees. It is located in the middle third of the site.

From the surface the proposal is understood as a continuous ring, one floor high, around a central courtyard. This volume is semi-buried in the topography of the site, being continuous with the existing ground on top and fully glazed towards the tree mass on the lower level. Over this ring it is proposed a soft and translucent volume for exhibitions and events. We understand this piece as a landscape intervention in contrast to other builted forms and of strong atmospheric and sensory attributes.

Under the first floor 2 basements serving the main areas are proposed. The proposed distribution includes two separate entrances to be the main by Autumn Road street.


2013

Program. Exploded axonometric view


2013

Level +2

Level -1

Level -2 Ground plan Site plan


2013

Long section trough the courtyard.

Section trough Auditorium hall.

Auditorium hall.

Main access trough the woods.

Soft volume.

NATIONAL HISTORY MUSEUM EXPANSIONSANTIAGO, CHILECOLLABORATION AT RODRIGO PEREZ DE ARCE STUDIO + OWAR ARCHITECTS / COMPETITION

2013

The competition asked to design an annex building to the Historical Museum of Chile in the available space on the north side of the site of the current building. The opportunities and challenges of the commission are in the relationships that are achieved with the heritage building and the possibilities of linking with the Fire Departments Garden in the neighboring site on north.

The museum as an urban link: a sequence of courtyards of the museum, and Fire Departments Garden encourages the new North-South route feeding programs on its way (temporary exhibition, events, cafeteria). The visual fusion of the new courtyard and garden adds value to the maximum dimensions within the block.

The character of this museum is in the relationship with the historic building and the sorroundings, and its own identity. Two textured walls contain the sloping volume of the bridge-auditorium. The roof garden is a unique piece for public functions.

The spatiality is made up of three interlocked parts and a system of gaps and transparencies establishing relationships in the north-south axis (Fire Departments Garden, historical building, tiled roofs and tower) and depths on the east-west axis (temporary exhibitions and Cafeteria).

The outward expression of the volumes is compact, solid and stone coated (opaque and translucent).Symmetrical folds in the side walls (east and west body) replicate the textures and shadows of the old roof. The interior lighting is obtained on these folds by translucent marble. We propose drawings and murals on -hall and auditorium- ceilings, one referring to the countrys geography, the other a plan of Santiago city in the nineteenth century.

NATIONAL HISTORY MUSEUM EXPANSIONSANTIAGO, CHILECOLLABORATION AT RODRIGO PEREZ DE ARCE STUDIO + OWAR ARCHITECTS / COMPETITION

2013

Section trough the new patio and bridge-auditorium

Section trough the new exhibition spaces.

ESPACIO ACULEO EVENTS CENTERACULEO, CHILECOLLABORATION AT OWAR ARCHITECTS / UNDER CONSTRUCTION

2014

This project is located in a medium-scale agricultural parcel heavily marked by its trees, shrubs and meadows. The assignment is to design a structure to hold events such as weddings, parties, corporate events or school day trips.

Our response considers the strong impression of being immersed in the vegetation and the difficulty of introducing a large volume on the site without affecting its natural qualities.

First we proposed a distribution of activities on site that allows to coexist the orchard, events center and a place of recreation for children. Then we design the spatial framework in which different activities would unfold, giving hierarchy to outdoor and indoor activities, and the interval between the two situations. The pathways on the site are considered as shady corridors large enough to be a place themselves.

This framework literally determines a spatial volume leaving open the possibility of enclosures depending on the time of year, weather conditions, special requirements for each event

and budget. The framework consists of a module of 3x3 meters, a module that considers habitability and the steel profiles factory dimensions.

The space frame system is sufficiently generic and abstract as to adapt to changing activities and can also expand if so required. More than a proper building this is a system of order and measure at low initial cost.

Regarding our landscape considerations we maintain direct relationship between the framed spaces (ballroom, pergola and kitchen) and nature on the site, its temperature, movements, sounds, colors, lights and shadows.

ESPACIO ACULEO EVENTS CENTERACULEO, CHILECOLLABORATION AT OWAR ARCHITECTS / UNDER CONSTRUCTION

2014

View from entrance corridor

View from the gardens through entrance corridor

NEW TOWN HALL FOR CUNCOCUNCO, CHILECOLLABORATION AT RODRIGO PEREZ DE ARCE STUDIO + OWAR ARCHITECTS / COMPETITION

2014

A large roof defines the strategy for the new town hall building. It shelters all activities and functions, ensures flexibility over time, and an appropriate and welcoming environment for all seasons.

ROOF: Main identifying element of the institution, the roof defines the buildings image while facing a complete side of the square which gives urban significance to the building. Simple outwardly and inwardly complex, the proposal relies on this element commonly associated with traditional architectures of this rainy areas. The unity of the whole in the manner of a great nave brings a significant and memorable size.

HALL: A spacius triple height civic hall acts as a central element of the complex and as counterpart of the leafy square. It connects with the courtyard to the north, with the auditorium on the east and the Mayors Office and services to the west.

PUBLIC AND PRIVATE CORRIDORS: The profile of the building generates significant covered corridors on the first floor, which are intended to accommodate the most demanding activities of public attention while, in the tradition of urban portals facing squares, offer room for activities and temporary fairs and events associated with the life of the institution.The stepped inner profile defines a private corridor on first floor for officials and two galleries for attention of public on the second floor. This profile also provides natural sunlight to the interior.

FLEXIBILITY AND GROWTH: The scheme has advantages in terms of flexibility and adaptability in time, indispensable factor knowing the changing needs of the town hall program. The scheme allows for example to expand over the offices on the second floor and creating an attic office level or redistribute for wider/smaller spaces.

NEW TOWN HALL FOR CUNCOCUNCO, CHILECOLLABORATION AT RODRIGO PEREZ DE ARCE STUDIO + OWAR ARCHITECTS / COMPETITION

2014

Main building section

Main building section

View from main square

Auditorium section Hall section

TEACHING

FIRST AND SECOND SEMESTER STUDIO. SANTIAGO, CHILETEACHING AT PONTIFICIA UNIVERSIDAD CATLICA DE CHILE ARCHITECTURE SCHOOL. FADEU-UC

2014-2015

These courses, the first and second design studios of the career, guide the transition from a high school student to the university, emphasizing the development of their autonomy and reflective capacity.

Understood as Design and Representation Studio the first semester course aims to an introduction to the various areas of the discipline methods and tools. To this effect it proposes three areas of work outlined around survey, tracing and manufacturing. The first understood as interpellation of buildings and situations, tracing as a deduction of rational laws that underlie the construction of architectural form and transfer it to a real space, and manufacturing as a material modeling instance of new realities.The field work expands the understanding of reality from concrete, diverse and significant urban experiences.

Second semester Studio introduces the complexity of the city. The confrontation with the city will open the public dimension of architecture. The studio proposes a gradual accumulation of experiences and their implementation on

devices to transfer lessons learned from the field of research -from different sources- to the scope of the project in the urban context.

The experiences mentioned alternate between direct encounters with reality (observation, survey, measurement) and studies of reference material from the discipline (elements, buildings, complexes). These will intertwine in a pattern of repetition; the problem raised in one case also will be studied in the other.

The exercises exemplified here show the use of drawing and modeling as tools that question the natural and built environment.

Both tools through iterations allow the student to acquire the notions of measure, scale and space for the practice of architecture. Both are presented as design tools, constantly manipulated, and not just final rendering of a project.

FIRST AND SECOND SEMESTER STUDIO - MODELING NEGATIVE SPACESANTIAGO, CHILETEACHING AT PONTIFICIA UNIVERSIDAD CATLICA DE CHILE ARCHITECTURE SCHOOL. FADEU-UC

2014-2015

FIRST AND SECOND SEMESTER STUDIO - 1:1 TRACINGSANTIAGO, CHILETEACHING AT PONTIFICIA UNIVERSIDAD CATLICA DE CHILE ARCHITECTURE SCHOOL. FADEU-UC

2014-2015

FIRST AND SECOND SEMESTER STUDIO - SITE SURVEY, CEMETERY.SANTIAGO, CHILETEACHING AT PONTIFICIA UNIVERSIDAD CATLICA DE CHILE ARCHITECTURE SCHOOL. FADEU-UC

2014-2015

FIRST AND SECOND SEMESTER STUDIO - SITE SURVEY, FOOD MARKET.SANTIAGO, CHILETEACHING AT PONTIFICIA UNIVERSIDAD CATLICA DE CHILE ARCHITECTURE SCHOOL. FADEU-UC

2014-2015

FIRST AND SECOND SEMESTER STUDIO - MANUFACTURING MODELS AND INSTALLATIONSSANTIAGO, CHILETEACHING AT PONTIFICIA UNIVERSIDAD CATLICA DE CHILE ARCHITECTURE SCHOOL. FADEU-UC

2009-2015

WOOD WORKS

FOG GARDEN MODELSALTO PATACHE, CHILEEXHIBITION AT NEVADA MUSEUM OF ART.

2011

WOOD FURNITURESANTIAGO, CHILEHAND MADE WITH NON ELECTRICAL TOOLS.

2014-2015

PHOTOGRAPHY

LIVING WATER / AGUA VIVANY-CA, USA

2013

ANDESEDUARDO AVAROA NATIONAL RESERVE, BOLIVIA

2013

ANDESEL YESO, CHILE

2013

TODOS LOS SANTOS LAKEPUERTO VARAS, CHILE

2014

PACIFIC OCEANLOS VILOS, CHILE

2014

ABSTRACT PHOTOGRAPHYDIFFERENT LOCATIONS

2014

LA TORNA MAGAZINESANTIAGO, CHILE

2014-2015

LA TORNA MAGAZINESANTIAGO, CHILEATOM TM.

2014-2015

CHRISTIAN ANDRES JUICA [email protected]

+1 (510) 830 8433

Documents

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