EVOLUTION

J O H N Z A M U D I O

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T H E B E S T W A Y T O P R E D I C T T H E F U T U R E

I S T O D E S I G N I T

C O N T E N T S

R H Y T H M I N N A T U R E

N A T U R E P A V I L I O N

A S T R O N O M E R ’ S R E T R E A T

O R N I T H O L O G Y C E N T E R

B A R E L A S E X C H A N G E

V A L L E Y O F F I R E M O T E L

1 S T S E M E S T E R H A N D D R A W I N G

2 N D S E M E S T E R D I G I T A L

1 S T S E M E S T E R

H A N D D R A W I N G

1 S T S E M E S T E R

H A N D D R A W I N G

R H Y T H M I N

N A T U R E

In the exploration of na-ture, rhythm and repeti-tion were to be found. After identifying them, an image was selected. It developed into a sequence of three drawings closely related to the nature ima-ge. They were transformed into abstract and ortho-gonal representations.

Materials: pencils and white Strathmore 80#.

Dimensions: 3.75”x3.75”

Technique: smooth rende-ring and a combination of line and tone.

After developing the drawings, abstraction was then to be continued by extruding the composi-tions into three dimen-sional relief models. Fo-llowing the same idea of rhythm and repetition in nature, the models were to be created using a more abstract idea, which be-gan to emphasize archi-tecture forms.

Materials: white 2 ply museum board.

Dimensions: 3.75”x3.75”

Technique: museum board model making with precise craft.

N A T U R E

P A V I L I O N

To develop a better unders-tanding on how the spaces work, it was essential to acknowledge how from an abstract composition ar-chitecture could be for-med. An architecture spa-ce was to be designed, and this was a pavilion in the New Mexico dessert. In this pavilion, equili-brium is represented in a way that it follows the balance of the earth’s equinox, by dividing the day into 12 hours of light, and 12 hours of darkness. It is a space where people challenge themselves to find harmony in their li-ves by following six di-fferent stages.

The drawings demonstrate the capacity of converting 3-dimensional information into a graphic using iso-metric and orthographic projections.

Materials: pencils and white Stra-thmore 80#.

Dimensions: Isometric drawing (8”x8”). Plan, elevations, and sec-tion in one sheet of (8”x19.75”). All drawn at 1/8”=1’.

Technique: different line weights were inverted with the background with the aid of Photoshop.Smooth rendering was used for isometric drawing.

WEST ELEVATION

SOUTH ELEVATION

SECTION FACING EAST

L E G E N D

1ST STAGE

2ND STAGE

3RD STAGE

4TH STAGE

5TH/6TH STAGE

PLAN VIEW

A S T R O N O M E R ’ S

T O W E R

Draco was a mythical creature that protected the golden apples (eternal life) of Hespe-rides. This myth was then taken and inte-grated with the verb “to connect”. Creating a concept where protection was emphasized with the figure of the dragon and the con-nection among the different elements repre-sented this sense of a creature revolving in a tree. The astronomer’s tower repre-sents this idea. In the tower, the concept materializes in the way that all the fenes-trations connect from top to bottom. This connection represents the dragon revolving around the tower, which indeed protects the knowledge of astronomy. Following the concept, the interior has the same circu-lation since the four different required spaces(bedroom, bathroom, library, kit-chen, storage room, and sky night viewing area) create this sense of revolving in the building.

ROOF PLAN

L E G E N D

VIEWING AREA

KITCHEN

LIBRARY

BATHROOM

BEDROOM

By the use of orthogra-phic projection methods, different drawings were sketched to explain the interior spaces of the tower, and also to repre-sent it in its environ-ment.

Materials: Pencils and white Stra-thmore 80#.

Dimensions: Perspective drawing (20”x20”). Plans, and sections in one sheet of (20”x44”). All drawn at ¼”=1’.

Technique: ortographic drawing, different line weights. Smooth rendering was used for the pers-pective drawing.

SECTION FACING NORTH

3RD FLOOR

2ND FLOOR

1ST FLOOR

E N T R A N C E

K I T C H E N

L I B R A R Y

B A L C O N Y

O R N I T H O L O G Y

C E N T E R

The Central Flyway is a bird mi-gration route that generally fo-llows the Great Plains in the Uni-ted States and Canada. The main endpoints of the flyway include central Canada and the region su-rrounding the Gulf of Mexico.

Routes used by birds are typically established because no mountains or large hills block the flyway over its entire extent. Good sour-ces of water, food, and cover exist over its entire length.

C E N T R A L F L Y W A Y

The Bosque del Apache National Wildlife Refuge, fondly known as “The Bosque,” is in New Mexico near the small town of San Anto-nio, NM, 9 mi. south of Socorro, and less than an hour and a half from Albuquerque.

The birds’ migration resembles a circle; starting from a point and returning to it after a year. Hu-mans can not make all this journey with them. That is why they are only able to see one segment of this circle. What humans see is no longer a circle; it is more like a “C” shape. Playing with this idea of migration, the lines presented in the site as vegetation, water and wind, were important for the development of movements and elements in the building.

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C O N C E P T

R I O G R A N D EMAJOR FLYWAY

PRINCIPAL ROUTES

MERGING ROUTES

SANTA FE

ALBUQUERQUE

SOCORRO SAN ANTONIO

LAS CRUCES

BOSQUE DEL APACHE NWR

L O C A T I O N

The Refuge is 57,191 acres located along the Rio Grande near Soco-rro, New Mexico.The Refuge is lo-cated at the northern edge of the Chihuahuan desert, and straddles the Rio Grande, approximately 20 miles south of Socorro, New Mexi-co.

-Over 340 species of birds and many species of reptiles, amphibians and fish live here.

-Elevations range from about 4500 at the ri-ver level to 6,272 at the top of Chupadera peak and includes riparian and desert habi-tats.

-The Bosque del Apache NWR is a Refuge for All Seasons.

-Max temperature: 95.5° F (July). -Min temperature: 20.9° F (January).

B O S Q U E D E L A P A C H E

N A T I O N A L W I L D L I F E R E F U G E

P R E C E D E N T S

CULTIVATED

RIPARIAN

SEASONAL WETLANDS

PERMANENT WETLANDS

BOARDWALK

R I O G R A N D E

D E S C R I P T I O N I M P O R T A N T F A C T S

Using the massiveness of rockite and the stiffness of wood, the concept of the different lines found in the site was expressed in the ornithology cen-ter. The purpose of this center is to educate the public and to provide them with the opportunity to observe birds that migra-te through this region.

Materials: rockite, gray chipboard, cardboard, reeds, plexiglass and basswood.

Dimensions: 15’x15’x60’ at 3/16”=1’. Three exten-sions at 5’x5’x20’.

Technique: rockite was poured in different molds, allowing the nega-tive spaces to create the positive spaces.

By the use of orthogra-phic projection methods, different drawings were done to explain the inte-riors of the ornithology center, and to represent it in its environment.

Materials: Pencils and white Stra-thmore 80#.

Dimensions: Perspective drawing, plan, elevation and section in one sheet of (”36x48”). All drawn at 3/16”=1’.

Technique: smooth rendering and a combination of line and tone.

L E G E N D

VIEWING AREA

EXHIBIT ROOM

COUNTER AREA/

RANGER’S OFFICE

EAST ELEVATION

SECTION LOOKING WEST

GROUND LEVEL

D I G I T A L

2 N D S E M E S T E R

B A R E L A S

E X C H A N G E

B A R E L A S

E X C H A N G E

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Barelas was an important part of the Camino Real route.

The settlement of Barelas be-gan as a far-ming communi-ty.

Atchison Tope-ka and Santa Fe Rail Roads arrived to Al-buquerque. The opening of shops and the rise in emplo-yment lead to the flourish of commerce and housing.

Decline in the rail road indus-try and replace-ment of Fourth Street by In-terstate 25.

4th street de-clared part of Route 66.

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1880

1900

1926

1950

2020

SUPERMARKET

F L O W E RS H O P

A u t h e n t i c N e w M e x i c a n F o o d

B a r e l a s

SUPERMARKET

F L O W E RS H O P

A u t h e n t i c N e w M e x i c a n F o o d

B a r e l a sSUPER

MARKET

PRECEDENTS

HISTORY

L E G E N D

EARLY AGRICULTURAL DEVELOPMENT

RAILROAD DEVELOPMENT

ROUTE 66 COMERCIAL DEVELOPMENT

Population density.(people per square mile):

13.5 % Albuquerque30.3 % Barelas

Percentage of population below poverty level:

2,483 Albuquerque3,136 Barelas

Median household income 2008:

Albuquerque $46,437 Barelas $25,013

Barelas has a relatively high youth population, particularly in the 10-19 age category.

Percentage of single-mo-ther households (among all households):

9.1 % Albuquerque13.3 % Barelas

Percentage of people in arts, design, entertain-ment, sports, and media occupations:

4.8% Albuquerque4% Barelas

2020

SUPERMARKET

F L O W E RS H O P

A u t h e n t i c N e w M e x i c a n F o o d

B a r e l a s

SUPERMARKET

F L O W E RS H O P

A u t h e n t i c N e w M e x i c a n F o o d

B a r e l a sSUPER

MARKET

SUPERMARKET

F L O W E RS H O P

A u t h e n t i c N e w M e x i c a n F o o d

B a r e l a s

SUPERMARKET

The majority of commercial and retail spaces are located along the Fourth Street.

The containers show the history behind Barelas. Containers begin to form architectural spaces blen-ding themselves with new ideas and modernism. Here we begin to see how the history connects with new ideas.

D-Maria Desgin AssociatesHouse in California

Espace MobilePrefab Homes Platoon Kunsthalle

CURRENT TIMES

CONCEPT

4th street

STREET VIEW

IDEA

Because the main comercial spa-ces are located along the four-th street, the creation of a brand in Bare-las will promote more businesses to open and to form a commer-cial area.

The idea is to create a pla-ce where people can take their clothes to sell them. Then, the-se clothes can be fixed, re-designed, and sold.

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PACIFIC AVENUE

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CROMWELL AVENUE

ROOF PLAN

L E G E N D

HOUSING RETAIL

1 BEDROOM

2 BALCONY

3 KITCHEN

4 LIVING ROOM

5 GARAGE

6 DESGIN AREA

7 REPAIRING AREA

8 EXCHANGE STAND

9 STORE

10 CASHIER

11 FITTING ROOMS

12 PLAZA

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3RD FLOOR

2ND FLOOR

1ST FLOORS2

S1

S1

S1

EAST ELEVATION

SECTION LOOKING WEST (S1)

BUILDING IN CONTEXT

SOUTH ELEVATION

SECTION LOOKING NORTH (S2)

L E G E N D

HOUSING

RETAIL

CONTAINERS

STRUCTURE/BARELAS

SEWING/BETWEEN HISTORY AND NEW IDEAS

CONNECTION

CONTAINERS AND STRUCTURE

SEWING

RECYCLING CONTAINERS

PUBLIC VS. PRIVATE

CONTAINERS

L E G E N D

HOUSING

WORK AREA

COMMERCIAL AREA

CIRCULATION

RECYCLING CLOTHES

1ST FLOOR

2ND FLOOR

3RD FLOOR

1ST FLOOR

2ND FLOOR

3RD FLOOR

V A L L E Y O F F I R E

M O T E L

V A L L E Y O F F I R E

M O T E L

LOCATION

The Valley of Fire is located in the southern central part of New Mexico. This solidi-fied lava flow (Malpais) is crossed by the 380 road. This road travels through a barren scenery of grassy prairie, stark mountains, sandy des-sert and basaltic lava.

NEW MEXICOVALLEY OF FIRE

CAMP SIDE

TALLEST POINT IN CAMP SIDE

DIRT ROAD

DIRT ROAD

380

380

The volcanic action, responsible for the solidified lava, took place between 1500 and 1000 years ago.

Little Black Peak, lo-cated in central NM, is only 27 meters tall, and surprisingly re-leased the entire 4.3 cubic kilometers of lava. The solidified lava covers 125 squa-re miles.

Plant life is still able to grow on this lava-covered ground.

A large variety of plants grow in the soil around the lava’s edge but only the very rug-ged, hearty, drought-tolerant plants, and cacti grow on the lava surface.

Vegetation is esti-mated to be over 400 years old. The roots of plants weather the lava down into par-ticles, which become part of the soil-for-ming process.

The protective natu-re of small and large cracks allows water to collect, soil to accu-mulate, and offers an habitat to plants and animals.

Precipitation

Max 0.42 in.

Humidity

Max 95%

Min6%

Presurre

Max 30.50 in.

Min29.29 in.

Wind Speed

Max 46 mph. from the west

Average12.8 mph.

Temperature

MaxNormal: 58 FRecord: 69 F

Min Normal: 34 FRecord: 21 F

CONDITIONS

FACTS

1924 CARS

Henry Ford introduced the mass production of the autombile with his famous model T.

1920 GAS STATIONS

By 1920 gas stations be-came popular thanks to the invention of gasoline pump.

From here on, the gaso-line stations turned into gas stations with car care centers and minimarkets.

1925 HIGHWAYS AND THE GA-RAGE

By 1925 there were more than 250 named highways.

The popularity of the automobile promoted the creation of a new archi-tectural form.

The first drive-in strcu-ture, the garage, was the link between the house and the outside world.

1945-- POST WAR YEARS (DRIVE-IN FACILITIES)

The house trailer and drive-in movies, banks, churches, funerals, sho-pping facilities, restau-rants etc., became part of the DRIVE-IN society.

As the U.S. became a rub-ber-civilization, a new kind of roadside archi-tecture was created, the motel. It was associated with the fast-moving tra-veler.

1954-1984 DRIVE-IN/TROUGH

The legacy of the drive-in culture that has endu-red over time is the motel and the drive-in/through restaurant.

DRIVE-IN CULTURE

Looking at the inmensi-ty of the desert, flow is present in the sand and vegetation. Looking at the mountains the flow can be appreciated as it comes down the hill. Looking at the solidified lava, flow is present everywhere. Then along comes the road that divides this flow and takes presence. The flow blends with the Malpais features. This creates a smooth connection of so-ciety and nature.

Architects have found ways to translate movement of nature into man-made spa-ces. Architects can make people to question them-selves. Architects can take people into journeys they did not expect. Ar-chitecture can emphasize individuality as well as collectivism. Architectu-re can make you feel sa-dness, happiness, intri-gue, loneliness, relief, among others. Architectu-re can reach a point where it is able to control your emotions and experiences.

CONCEPT

PRECEDENTS

Curten Steel Wood

Amangiri ResortWendell Brunette

Paul Klee MuseumRenzo Piano

Gazebo KuusiJuhani Pallasma

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S U N R I S E R O O M S / V A L L E Y O F F I R E V I E W

S U N S E T R O O M S / M O U N T A I N S V I E W

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W I N T E RS O L S T I C E

S U M M E RS O L S T I C E

S P R I N GA N D F A L LE Q U I N O X

S U N S E T S U N R I S E

N O R T H E L E V A T I O N

S U M M E R

W I N T E R

Looking at the spinal chord, or-ganization and duality was found. This pattern also represents the road flow, which by being in the center separates this architec-ture into two symmettic parts. Here, people are found with the opportunity to select from two views, the lava flow and the sun-rise, or the mountain and the sunset.

NORTH ELEVATION

ARRANGEMENT

SPINAL CORD ORGANIZATION

E A S T E L E V A T I O N ( 4 )

As the car approaches the motel, people begin to feel this experien-ce of privacy created by the two natural walls(the mountians to their left, and the lava flow to their right). This makes people to wonder what is at the end of this inifinite road. Finally, an expres-sion of architecture is found at the site. The people’s first encounter is with the recpetion. Here they select their room and meals, which will be taken to their rooms. From there on the car goes directly to the room, whe-re the garage door opens letting people appreciate a magnificent view.

EAST ELEVATION (3)

1/16”=1’

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ENTRANCEE/RECEPTION (4)

PLAN

NORTH ELEVATION

EAST ELEVATION

S1

A DRIVE-IN RECEPTION

B OFFICES

C DRIVE-IN RESTAURANT/KITCHEN

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SECTION LOOKING WEST (S1)

STANDARD ROOM (2)

PLAN

NORTH ELEVATION

WEST ELEVATION

S3

SECTION LOOKING SOUTH (S3)

R2

SUITE (1)

PLAN

NORTH ELEVATION

WEST ELEVATION

S2

SECTION LOOKING SOUTH (S2)

R1

FORM REPRESENTING LAVA FLOW

FLOW RECEPTION CAR FLOW

FLOW

VIEW

Lava starts flowing massively from a sour-ce, and then breaks down into smaller routes. This flow is always downward.

MASSIVE

SCATTERED

CAR AND PERSON FLOW IN ROOM

VIEW FROM THE ENTRANCE POINT

PRIVATE VS. PUBLIC

CIRCULATION

PRIVATE

PUBLIC

CAR

PERSON

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P R E S E N T A T I O N

B O A R D S

B A R E L A S

V A L L E Y O F F I R E

J O H N Z A M U D I O

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