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Projects from graduate school
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Sylvia VargasGraduate Portfolio
2010 - 2012
Experience
Lead Instructor for Freshman Design studio. Organized and monitored student progress and participation. Evaluated and graded student projects.
Scanned, Photoshopped and logged hundreds of images to increase the Institute’s Visual Media collection.
Held Leadership position for three years Organized both school-wide and club events in collaborative teams Lead peers by moral example and personal strengths
Used Autocad and Photoshop to develop exterior elevations and details for Senior Living project.
Education
Bachelor of Science in Design in Architecture GPA 3.44 Cum Laude
Master of ArchitectureGPA 3. 55
Arizona State University Tempe, AZ
Arizona State University Tempe, AZ
2005 - 2009
2010 - 2012
Fall 2011
Spring 2011
2006 - 2009
May - July 2008
Sylvia Andrea Vargas
[email protected]. 630.2391
1515 S. Extension rd. Apt 3145
Mesa, Az 85210
Arizona State University Graduate Teaching Assistant for ADE 121- Freshman Design Studio: Arizona State University Graduate Teaching Assistant for Visual Media Collection:
Arizona State University club affiliate, Tempe, AZ: Internship, Reece Angell Rowe Architects, Phoenix, AZ:
http://inhabitat.com/ethiopiastudio2-0-creates-a-vibrant-learning-center-for-students-in-addis-ababa/
Inhabitat
Architectural Record
ArchDaily
College of Design - Design Excellence Award
College of Design - Design Excellence Award
College of Design - Design Excellence AwardOn The Boards
Shebraber School
Intricacy in Architecture
Awards | Press
http://www.archdaily.com/197694/shebraber-school-ethiopiastudio2-0/
http://archrecord.construction.com/news/2012/03/ASU-Ethiopia.asp
Spring 2011
Fall 2011
Spring 2012
Software ProficienciesProficient in
AutoCAD Photoshop InDesign Illustrator Sketchup Microsoft Office
Experience with
Revit Archicad Rhino Grasshopper Kerkythea 3ds Max Coral Draw Solid Works
Casa MalpaisLocal Light Studio Fall 2010Springerville, Arizona
Instructor Chris Lasch
Situated on terraces of a fallen basalt cliff along the upper Little Colorado River is the Casa Malpais archeological site. A Visitor center is desperately needed to house the collection of artifacts and inform visitors prior to visiting the ruins.
Let us step across this threshold together, to a new journey. From asphalt to earth, our climb begins. Step by step, the slope becomes steeper, breath heavier, sweat saltier. With each step, fear, doubt, and irritation slip away while the rocks that define the trail begin to grow higher. As the soft breeze kisses skin, the golden stalks bend to its power; rippling through fields of grasses. The rocks have formed a wall now, just high enough to offer a place of respite. Only now can the sound of the leaves clanging against each other be heard. Growing ever higher the rocks show the way. Soon they will surpass, claiming victory in height. There is nothing, all the world is stripped away except for the towering walls, and sky. The same sky that the ancient peoples looked to, studied, relied upon. Racing to the end, the walls close in becoming tighter and tighter. Finally an end. Turn. Release. The gallery is dark, lit only by a crack of light running along the wall and a few meek spotlights on the artifacts. This wall is warm as the sun washes each stone with light. At the end of this wall and between the next, the cliff face punches through. Wrinkles of time can be seen on her face. Generations have looked upon her. If you can break from her gaze, the theatre is next in sequence. The people, culture and history are introduced. A new wall begins where the old left off, an exchange of the torch. Entering the second gallery, the wall breaks and lays at your feet a view over the entire valley. The same expanse that those before knew. One more compression. Turn. Release. The ruins lie in wait for the rocks to tell their story on a journey of immersion. You are ready, informed and able to see.
Current Casa Malpais Site Proposed Casa Malpais Site
imm
ersed
emerge
informed
process of emergence
Section through Gallery and Theatre
On The BoardsNational Traveling Studio Spring 2011Seattle, Washington
Instructor John KaneProject Team: Chris Curiel, Aaron LeGendre, Sylvia Vargas
Located in the heart of Seattle, On The Boards is an existing alternative theatre, continously experimenting with and evolving various forms of expression and performance art. The popularity of their performances has created the need for additional flexible space.
On The Boards 2 was desiged to include income-generating retail space, loft apartments, a coffee shop and an auxiliary performance space. A modest exterior hides the programmatic gem, an outdoor space intended for the use of both locals and performing artists.
Maintain Existing
queen ann apts
potential site
intervention THEBoardsON
Floor to Ceiling Heights
13’ 6”
12’ 1”
17’ 0”
Like Circulation
Like Programs
RetailPerformanceMixed Use
Create an Extroverted Performance Space Connect Levels
UP
134
a
b
c
5
d
134
a
b
c
5
d
DNUP
UP
134
a
b
c
5
d
134
a
b
c
5
d
UP
DN
134
a
b
c
5
d
DN
134
a
b
c
5
d
open tobelow
North Elevation
Parking Level -01
Parking Level -02
Concept Model
Ground Level Level Two Level Three Level Four
Final Model
East Elevation South Elevation West Elevation
1
2 site 3 setback 5 max natural light
6 pedestrian 7 multi-use space
60’
4
10’
max height
8 core circulation 9 final articulation CoConcnccepept t MoModedell
Ground Level ree LeLevel Four
Light VesselMeditations in Making Summer 2011
Instructor Eric Weber
This class was an exploration of the poetic potential of materials and tectonics as generators of architectural production, and the cultural forces that inform this process.
Our first project was to cast a structure that explores the nature and possibilities of the material, ultimately resulting in a light vessel.
Project two was then to use the Light Vessel as a found object and design an assemblage that explores the nature and possibilities of a new material.
Study Model Top Study Model Bottom Exterior Formwork
Removing Formwork from Bottom
Project Two - Assemblage
Bottom View Finished Light Vessel
In collaboration with Mesganu Arga, Brian and Keri DeGuzman, Arizona State University, The Woreda Educational Bureau and DeBartolo Architects, Ethiopia Studio 2.0 had the unique opportunity to design a school for the children of the Shebraber community in rural Gurage, Ethiopia.
The renovation/addition will increase the number and quality of classrooms allowing children of the Shebraber community to complete up to 8th grade.
Ethiopia Studio2.0 developed a Master Plan, Landscape Design, Architectural Design and Construction documents for the immediate construction of this much needed renovation/addition.
Shebraber School
Patrick Bailey | Sergio Carrasco | Jeffrey Clancy | Jennifer Del Rio | Johanna Collins | Lauren Loosveldt | Ernesto Lopez | Jennifer Pankratz | Yan Ren | Matthew Willson | Sylvia Vargas
Project Architect | Jack DeBartoloProject Team |
International Traveling Studio Fall 2011
8º 02' 34.16" N
EQUATOR
37º
46' 5
0.13
" E
Big Ideas
phase 1
Optimized for the climate, location and use, the passive classrooms provide a quality interior learning environment.
Creates a threshold for security while creating a space for community activities.
Future electricity will make the heart of the campus a rich communal learning environment consisting of science and computer labs.
New restrooms and handwashing stations were strategically placed in order to educate about hygiene and battle widespread disease.
A place for memory and reflection and inspiring hope for the future.
The essence of Ethiopia is exemplified by overlapping cultural and social layers. This is translated into the interweaving of circulation paths, view corridors and indoor/outdoor space throughout the campus.
The culture of the place is one of community and generational existence. This is translated through nodes of interaction strategically placed throughout the campus that allow the different ages to interact not only throughout the campus, but with the greater community.
Memorial
Restrooms
Labs
Entrance/Administration
Classrooms
Cultural WeavingSocial Growth Master Plan
Landscape DesignBased on the importance of outdoor space in both the culture and in learning, care was taken to preserve and celebrate the lush pasture. In this, a governing rule of design was born. To create two distinct exteriors of each classroom. Four classroom blocks are grouped to create a plaza where circulation, noise and activity happens. The alternate exterior is then left untouched allowing for a view over the lush vegetation.
Another major landscape feature is the space in between the classrooms which was caused by the changing elevation of topography but which allowed a magnificent outdoor learning environment.
1” steel tube frame for bench seating | 12” dia. eucalyptus pole, locally grown | 2
sheet steel box frame | 1chalkboard surface | 29” hydroform block | 3
hopper window | 4
steel barn door track | 11” steel tube frame | 2
sheet steel door panel | 3fixed window | 4
1
11
2
2
2
3
3
3
4
4
The classrooms were created on a repeating module dependent on the length of the hydroform block.
Both rendered and undrendered axonometrics were created to internationally convey design intention and construction detail.
Facade Composition
Benchesh Benchesh
18 Desks 3_children/desk 50_students
Classroom 50_students
Scaled Circulation
EntryEntry
Pastoral
Plaza
Storage Blackboard
Classroom OrganizationIn keeping with the Woreda Educational Bureau standard of 50 children per classroom, the organization aims to ease circulation and allow views to the open pastoral.
active plaza space
space between
Intricacy in ArchitectureThesis Design Studio Spring 2012Phoenix, Arizona
Instructor John Meunier
This studio offered the opportunity to design an intricate building. The home, office and museum of Sir John Soane in Lincoln’s Inn Fields in London was taken as a point of departure in designing our own future home, office and collection based on our ideas, values and beliefs concerning architecture. The project is located in heart of downtown Phoenix, in the First Friday district.
The project is an attempt to explore intricacy following the principles of origami; using folding at a variety of scales to define space, manipulate light and shadow and strengthen sheet materials.
Criteria for Intricacy (given by instructor)
_An Intricate building rewards a careful “reading” by telling an Architectural story._An Intricate building has a rich array of scales, from that of the hand, the foot, the arm, and the body, up to the scale of the city or landscape of which it is a part._An Intricate building rewards the senses: sight, sound, touch, smell, through its orchestration of light and shade, silence and echo, rough and smooth, cool and warm, high and low, close and far, soft and hard, simple and complex scents._An Intricate building both conceals and exposes._An Intricate building is both diverse and unified._An Intricate building, like an Intricate city, can have multiple authors, so it can include older structures, but it must be coherent._An Intricate building may derive its intricacy from the interaction between its formal language and a rich program, its physical and social context, and its technology._An Intricate building not only responds to but also contributes to the richness of the culture of which it is a part. It accepts and celebrates its role in a historical continuum._An Intricate building can be compared to serious music, literature, film, art in that it rewards multiple encounters._An Intricate building is rich in resonance with other phenomena and experience._An Intricate building may be formally complex or formally simple, but it cannot be incoherent or banal.
Context- Residences, Abandoned, Studio, Cafe
Culture of Place - Artists and First Fridays
Art Studio directly across the street from site. Array of scales in Origami
Second FloorOfficeFF= 8’162 sq ft
ApartmentFF= 12’
504 sq ft
Ground FloorOfficeFF= 0’ 0”1049 sq ft
StudioFF= 0’ 0”455 sq ft
Second Floor
FF= 8’ 6”724 sq ft
Ground FloorHouse
FF= 0’ 0”1280 sq ft
Section through Apt | OfficeOffice Interior Rendering
House Interior Rendering
1/2” Terra-cotta tileBond CoatDrainage MatBond CoatTiledek Membrane7 3/4” SIP Panel 1/2” OSB 7 1/4” Insulation 1/2” OSB1/2” Gypsum Board
7 1/2” x 2” Cast Aluminum6 1/2” Cast Aluminum1 1/2” x 2” LED Holder 1/2” lapped wood Finished Floor
From Exterior
Wall Section
Section through House
pane
l a
panel b
constant panel widthconstant connection constant right angle
variable length
While the structure appears complex, it can be built using standard construction techniques utilizing Structural Insulated Panels (SIP).
Since SIPs are both structure and insulation in one panel, the quantity of custom cuts is greatly reduced as compared to a traditional framing method. Also, SIPs can be cut in the shop and simply assembled on-site, further reducing the number of errors in dealing with the custom angles of the project.
The most important question when detailing the project was how to accommodate the differing angles with relatively few custom details. The panel to panel detail and the panel to ground detail were the most crucial.
At the panel to window connection, the panel also serves as a light-shelf, reflecting light into the interior spaces.
The panel to panel detail was handled with the principles of parametrics in mind, understanding constants and variables. By varying one length parameter of an ordinary SIP connection detail for a 90° angle, the detail accommodates each varying angle.
The interiors are standard wood framed construction. The floors are independent of the exterior SIPs being supported by the interior walls and columns.
The panel to ground detail was handled by designing a cast aluminum hinge for the panels to sit into. This allows for multiple angles and micro-adjusting during construction. This connection was also an opportunity to place a LED for interior uplighting.
Panel to Window
Panel to Panel
Panel to Interior Floor
Panel to Ground
From the scale of the neighborhood, to the site, building, wall section, furniture, mailbox, showerhead down to the scale of the handrail on the stairs the project has a rich array of scales.
Showerhead MailboxHouse Furniture StairsOffice Furniture
Array of Scales
Axon of SiteFront of House
The entrance to both the studio and office were recessed to mimic the art studio across the street.
Roosevelt Row Arts District (RoRo) is a walkable, creative district in the urban core of downtown Phoenix that is nationally known for its arts and cultural events, award-winning restaurants, galleries, boutiques and live music. RoRo is fostering an urban renewal with rehabilitated bungalows and new infill projects.http://www.rooseveltrow.org/about/
Contextual Relationships
Art studio directly across the street
mic
The office was pulled away from the street in order to create a public plaza for the street.
The facade of the art studio across the street folds in and out.
The concrete base folds into benches for the plaza area.
