pratt institute portfolio - freddie sotelo

Architectural WorkFreddie Sotelo

( Pratt Institute)

“When I am asked what I believe in, I say that I believe in architecture. Architecture is

the mother of the arts. I like to believe that architecture connects the present with the

past and the tangible with the intangible.”

– Richard Meier

Contents

Fall 2012Fall 2012

TechnicsGroup Project:Body Extensions 07critic: Brendon Kelly

Representations IFigure Studies and Projections: Sequential Drawings 12critic: Abigail Coover Hume

Core Design Studio IPoint and Lines: Understanding Space 16critic: Ezra ArdolinoPoint and Lines: Focusing in Space 18critic: Ezra Ardolino

Spring 2013Spring 2013

Representations IIMichael Graves: Hanselmann House Studies 20critic: Aaron WhiteHanselmann Scale Analysis 24critic: Aaron White

Intermediate Design Studio IVLibrary Studies: Winnipeg Addition 30critic: Richard ScherrDatum Study: Library Organization 32critic: Richard Scherr

Architectural Work

Pratt Institute04

Awards + Entries

Stickley Design Invitational CompetitionStickley Design Invitational CompetitionSecond Place Award

“An Artistic Discovery” - Congressional Art Competition for High School Students“An Artistic Discovery” - Congressional Art Competition for High School StudentsFinalist

A Midsummer Night’s Dream - Essex County Visual Arts CompetitionA Midsummer Night’s Dream - Essex County Visual Arts CompetitionSecond Place Award

Architecture For Humanity CompetitionArchitecture For Humanity CompetitionShort Listed

Education

Architecture TechnologyArchitecture TechnologyEssex County Community College2009 - 2012

Bachelor of ArchitectureBachelor of ArchitecturePratt Institute2012 - present

Freddie Sotelo

Resume05

Work Experience

Architecture i.S - Williamsburg, NYArchitecture i.S - Williamsburg, NYJuly 2012 - September 2012

Skills

AutocadAutodesk 3ds MaxEcotect AnalysisGoogle Sketch-UpAdobe Photoshop/PhotomontageAdobe IllustratorAdobe InDesign

Contact

Freddie Sotelo

252 Hornblower AveBelleville, NJ 07109

Mobile: (862) 220 - 6681Home: (973) 751 - [email protected]

Architectural Work

Pratt Institute07

Project involved careful examination between a

part of the body and how an object’s weight

and dimension affects its position. By deciding

an ideal method of reading a book, an structural

design was achieved to accommodate the per-

son and its comfortability in utilization. This design

behaved as a natural body extension between

the legs and the book. The process started with

measurements of the affected body part, along

with a model prototype. These were crucial to

the analysis, since the load of the book had to

be countered with joints and a truss system.

critic: Brendon Kelly

collaboration: Freddie Sotelo/Nathaniel Lee

Group Project: Body Extensions Group Project: Body Extensions / / fall 2012fall 2012

TechnicsTechnics

Freddie Sotelo

Technics/Fall 2012 08

( sequence of images depicting points of tension and compression as a person

holds a book )

Architectural Work

Pratt Institute09

After examining the affected joints and body parts, a prototype model was constructed. This process was necessary to have a glimpse at what parts of the thighs reacted upon the early design. This action and reaction analysis also determined the ideal location of the book in accordance with the way the person would be able to read comfortably.

Freddie Sotelo


The previous study model lacked the necessary

flexibility to measure the legs with precision. As a

group, a damped paper “surface” model was built

to mold around the thighs and lower abdomen. The

measurements of the arched surface were used to

design a preliminary wooden model.

Architectural Work

Pratt Institute11

( measurements needed for wooden model testing and preliminary function

of claw system)

Freddie Sotelo


Final model design implemented a truss like system which each point acted as a claw using the surface area of the leg for grip. This varied in length due to the measurements of the radius in the thighs. The upper most part, designed with a joint system, moved in ac-cordance to the way the book was placed. Therefore this body extension worked by naturally responding to its position along the legs.

Architectural Work

Pratt Institute

As part of becoming familiar with the usage of Rhinoceros, a computer

modeling software, basic commands were utilized to create drawings.

The basic figures were arranged in patterns or sequences based on the

commands. As the project further developed, the figures were physically

constructed and were drawn in the program. By applying the foremost

basic principles of the commands, These shapes were projected using

construction lines in order to revel new forms and views. As the figures

were re-interpreted, other methods such as cutting or slicing the figure

were used as an understanding of section and oblique drawings. In the

end, all of these methods were combines to deform the shapes and bring

our own interpretation of sequences.

critic: Abigail Coover HumeFigure Studies and Projections: Sequential Drawings Figure Studies and Projections: Sequential Drawings / / fall 2012fall 2012

Representations IRepresentations I

( drawing of preliminary ar-

ranged figures

with slices and frames )

13

Freddie Sotelo

Representations I/Fall 2012

( drawing derived from elevations

and projections )

Projection lines were the main emphasis

throughout each project. By understanding

the many ways it can create different views,

the starting drawing simply creates the next,

creating a series of sequential drawings.

Lastly, the same lines were used to imple-

ment shadows.

14

Architectural Work

Pratt Institute15

Freddie Sotelo

Representations I/Fall 2012 16

( oblique cuts and scale drawings of assembled

blocks )

The wooden model served as a visual

aid for oblique and perspective drawings.

The course also included a representation

of the assembled blocks with different

scalar and sectional drawings.

Architectural Work

Pratt Institute17

First year studio focused on the introduction of the ability to develop space from reference points. These points were a reference to an ideal nine-point square grid. This grid shifted as the points were placed on dif-ferent space locations after a series of dice rolls. As the new points were marked, lines were drawn in the space therefore connecting each dot. This process further developed until a concept was created. The concept emphasized the behavior and architectural qualities that the new reading of lines depicted. This idea was represented in both two-dimensional draw-ings and a version of a three-dimensional model. The model demonstrated architectural characteristics such as linear flow from each organ or clusters of space. The lines became a continuous transition from one side to the other, as if each pocket of space transitioned from one room to another. This idea captured the sense of sequence from one area to another, pocket to pocket, open to closed.

critic: Ezra ArdolinoPoint and Lines: Understanding Space Point and Lines: Understanding Space / / fall 2012fall 2012

Core Design Studio ICore Design Studio I

Freddie Sotelo

18Core Design Studio I/Fall 2012

( linear model with nodes )

Architectural Work

Pratt Institute19

Second phase of the course focused on a surface mod-

el taken from the original line drawing. In order to do

this, the original drawing’s lines were extended trough

the rest of the sheets, thus reinterpreting the drawing in

a new way. Furthermore a section of the new drawing

was taken and represented in three dimensional form.

This form became a spatial interpretation of a two di-

mensional line. This new form still maintained its former

qualities. This new form was reinterpreted in a wooden

model and along sectional drawings to depict possible

uses for people.

critic: Ezra ArdolinoExtending Lines: Focusing in Space Extending Lines: Focusing in Space / / fall 2012fall 2012

Core Design Studio ICore Design Studio I

( original line drawing along with an extended drawing of

the previous )

Freddie Sotelo

20Core Design Studio I/Fall 2012

( sectional and plan drawings of portion in wooden chunk

model )

Architectural Work

Pratt Institute21

Using the knowledge from previous Representation course,

the objective was to document a project, in this case Michael

Grave’s Hanselmann House. Research of the house was need

to draw a series of plans, sections and elevations that matched

the architect’s work. Using construction lines, every completed

drawing became a projection from the first, As each drawing

was completed, a spatial interpretation was recognized. In this

case, the architect implemented the sense of shifting. This idea

was recognized in the way the walls were placed in plan and

the movement of the facade in the perspective drawings.

critic: Aaron WhiteMichael Graves: Hanselmann House Study Michael Graves: Hanselmann House Study / / fall 2012fall 2012

Representations IIRepresentations II

Freddie Sotelo

22Representations II/Spring 2013

( detailed house drawings derived from construction

lines )

A

A

A

A

A

EAST ELEVATION SCALE: 3/16"=1'

SECTION A-A SCALE: 3/16"=1'

WEST ELEVATION SCALE: 3/16"=1'

EAST ELEVATION WITH STUDIOSCALE: 3/16"=1'

SOUTH ELEVATION SCALE: 3/16"=1'

FIRST LEVEL PLANSCALE: 3/16"=1'

SECOND LEVEL PLANSCALE: 3/16"=1'

THIRD LEVEL PLANSCALE: 3/16"=1'

NORTH ELEVATIONSCALE: 3/16"=1'

A

Architectural Work

Pratt Institute23

Freddie Sotelo


Architectural Work

Pratt Institute25

critic: Aaron White

Representations IIRepresentations IIHanselmann Scale Analysis Hanselmann Scale Analysis / / spring 2013spring 2013

Representing Hanselmann House’s spatial characteristics required to look beyond its actual form. These studies had to be broken down. The design needed to be depicted in an exploded view, allowing each individual window and wall to be pulled out and mea-sured in a rule of thirds. This idea was not of self representation, rather it was the way Graves emphasized his works.

( projection lines with early study of scale )

Freddie Sotelo


x

3x

6x

12x

x

3x

6x

x3x

6x

x

3x

6x

x

3x

6x

9x

( Hanselmann House in exploded view. drawing

became a reading of parts )

Architectural Work

Pratt Institute27

This scalar sequence was evident in the way the space transitioned from one room to the next. In other words, a simple floor plan is not only the product of a concept, rather the whole identity of the house has a language of scale, from plans, elevations, section, walls,

Freddie Sotelo


Architectural Work

Pratt Institute29

Freddie Sotelo


( analytical analysis of Hanselmann House scalar

sequence )

Architectural Work

Pratt Institute31

The library is ordered in a series of zones that run parallel to the window wall and across the long dimen-sion of the space. The strips accommodate the pro-grammatic components of the library in categories.The library is ordered in a series of zones that run parallel to the window wall and across the long di-mension of the space. The strips accommodate the programmatic components of the library in catego-ries. The first band is the park. The second are tables, chairs, and casual seating. Third are reference collec-tions, help desks, and computer stations, and fourth is high masses, such as shelving running in sequences. The fifth category are closed reading rooms, offices and meeting rooms. The strips progress from park to interior, from open to enclosed, from low to high, from areas of greatest public access and interaction to areas of privacy and quiet. This spatial order allows all visitors to see and understand the general arrangement of col-lections and functions.

critic: Richard ScherrLibrary Studies: Winnipeg Addition Library Studies: Winnipeg Addition / / spring 2013spring 2013

Intermediate Design Studio IVIntermediate Design Studio IV

Freddie Sotelo

32Intermediate Design IV/Spring 2013

( precedent studies space, program, and design implementation diagram )

Architectural Work

Pratt Institute33

Set of manipulations for a library design were imple-mented through the process of a datum. By using a wall as a reference condition, a series of push and pull commands are applied. By applying these actions to the wall, the datum, programs are created. Pulling com-mands creates the study carrels, which along a series of book shelves, shapes one side of the wall. Another moment takes place on the other side, where by ex-truding the wall, it forms seating space and computer stations. Furthermore, pulling the wall creates openings, emphasizing the unification of the programs.

critic: Richard ScherrDatum Study: Library Organization Datum Study: Library Organization / / spring 2013spring 2013


( small library configuration. diagram shows program

divided through datum line )

Freddie Sotelo


( datum wall pushes and pulls forming required programs )

( computer station and shelves )

( reading carrels )

( study areas pulled from datum wall )

Architectural Work

Pratt Institute35

Organizing a space requires more than simply placing programs at one side to another. One must be able to have a well studied organization strategy that both satisfies the type of program and its inhabitants. A library not only serves as a place to store books, it is also a place of historical significance that becomes a gateway for people to gather and explore the social and cultural sides of its location. By layering the programs to satisfy a connection between the book and its relationship to the reader, a strong connection is established.

critic: Richard ScherrLibrary Organizational Design Library Organizational Design / / spring 2013spring 2013


Location: Chinatown, NY

Reference Separation Layering

Shifting Zone Interaction

( integration analysis )

( circulaton analysis )

( conceptdiagram )

Freddie Sotelo


( first level plan ) ( second level plan) ( third and fourth levelplan )

( fifth level plan )

Architectural WorkFreddie SoteloFreddie Sotelo

( Pratt Institute)

pratt institute portfolio - freddie sotelo

Documents

affected body

body parts

nyarchitecture i

early design

structural design

body extensions group

natural body extension

technicsgroup project