ines gil portfolio 2015

INES GIL

University of Southern Californiagilines@mac.com

Project 01

SOLID,SURFACE,LINE

This project begins with a development of a series of digital and physical models that contained discernablespatial, structural and organizational logics based upon a systematized language of lines. This system of lines was then used for the development of a proposal for anobservation tower on a southwest facing shore-line in Southern CA . The tower was used to rep-resent the ideas of programmatic constraints,vertical movement and the sublimation of Lines to Solids. A horizontal element was added with the boardwalk, which encouraged looking at this sublimation in a horizontal way while de-levoping a larger site strategy to the beach.

TOWER RECIPE

SUBLIMINATION DIAGRAM

SECTION AA

SECTION BB

SECTION CC

A

B

C

C

B

A

PLAN CUT @ 4’ SITE PLAN CIRCULATION

Project 02part one, two, three

part one: LOS ANGELES PRECEDENT STUDYThis project began with venturing out to the city of Los Angeles, with the goal being looking for form in-side objects, buildings, parts of buildings, or systems in the city that are not typically considered architec-tual relevant form. This form is then documented to create a Sourcebook for use in the following projects. This project represents re-seeing the landscape of Los Angeles with formal potentials. My precedent was an art installation, placed on the border of a private neighborhood in Beverly Hills, to critique on neighborhoods like these by blurring the lines be-tween private and public areas. There are also two sides of the object when considering formal qualities, one side being more unified and one more broken.

8536 National Blvd., Los Ange-413 N Canon Drive, Los Angeles

8687 Melrose Avenue, Los Angeles 919 N Albany Street, Los Angeles

N Canon Drive, Los Angeles4700 W Slauson Avenue, Los Angeles

SOURCEBOOK OUTAKE

919 N Albany Street, Los Angeles

SOURCEBOOK OUTAKE

8536 National Blvd., Los Ange-413 N Canon Drive, Los Angeles

8687 Melrose Avenue, Los Angeles 919 N Albany Street, Los Angeles

N Canon Drive, Los Angeles4700 W Slauson Avenue, Los Angeles

SOURCEBOOK OUTAKE

919 N Albany Street, Los Angeles

SOURCEBOOK OUTAKE

8536 National Blvd., Los Ange-413 N Canon Drive, Los Angeles

8687 Melrose Avenue, Los Angeles 919 N Albany Street, Los Angeles

N Canon Drive, Los Angeles4700 W Slauson Avenue, Los Angeles

SOURCEBOOK OUTAKE

919 N Albany Street, Los Angeles

SOURCEBOOK OUTAKE

8536 National Blvd., Los Ange-413 N Canon Drive, Los Angeles

8687 Melrose Avenue, Los Angeles 919 N Albany Street, Los Angeles

N Canon Drive, Los Angeles4700 W Slauson Avenue, Los Angeles

SOURCEBOOK OUTAKE

919 N Albany Street, Los Angeles

SOURCEBOOK OUTAKE

SOURCEBOOK OUTTAKES

BRENTWOOD CIRCLE, 11513 Sunset Blvd., Los Angeles

BRENTWOOD CIRCLE, 11513 Sunset Blvd., Los Angeles

BRENTWOOD CIRCLE, 11513 Sunset Blvd., Los Angeles

BRENTWOOD CIRCLE, 11513 Sunset Blvd., Los Angeles

BRENTWOOD CIRCLE, 11513 Sunset Blvd., Los Angeles CHOSEN PRECEDENT

part two: ANALYSIS, TRANSFORMATION, TRANSANALYSISPart 2 the notion of the site shifted from the city-at-

large as a site of inquiry to the found form themselves as the site, and then to the drawing itself as a site of architectual generation, exploring analysis, transfor-mation, and transanalysis. The first drawing invents a system to enhance the multiple views we can have of the object. It introduces the object in a sphere and projects the geometry to that surface. This surface is then unfolded in the second drawing. It can be

unfolded in various configurations, and the geometry is deformed from straight lines into curved lines. This

creates a tattoo on the folded surface. The formal transformation extrudes these tattoos of the triangles and folds them back. The result is the third drawing,

being a pure geometry in the nucleus and broken geometry as an envelope. The cuts in the drawing emphasize this idea of pure geometry vs. fractured

skin.

ANALYSIS

TRANSFORMATION

TRANSANALYSIS

part three: HOUSE ADDITIONPart 3 assigns a house from the Mar Vista tract by

Gregory Ains. Using the transformed form from Proj-ect 2, an addition to the original house is created. This is an engagement of the old and the new which arises

from the conceptualization of the form in Project 2. The role or program of the addition is addressed indi-vidually, but is fundamentally influenced by the form

and systems that is started with. This project engages the reframing of what is needed to live in a house in 2014 rather than 1948. What this additin critiques is how in present times many people are able to work from home because of technological advances. The

house is split into two, the office space and the house. The main ideas in this addition are the tattoo and its

extrusions to a boundary, the instances between pure and complex geometry, and the interaction between the two sides of the house, one side being the office and the other being the home and how they function

simultaneously but never actually meet.

SITE PLANSITE PLAN

AXONOMETRICAXONOMETRIC

CUT PLAN @ 2’CUT PLAN @ 2’

VARIED SECTIONS

VARIED SECTIONS

PERCEPTUAL SECTION AASECTION AA

PERCEPTUAL SECTION BB SECTION BB

PERCEPTUAL SECTION CCSECTION CC

PERCEPTUAL SECTION DD SECTION DD