Ralph Gutierrez Architecture Portfolio 2019

assembled
atmospheres
ralph gutierrez
ARCHITECTURE PORTFOLIO
2017-2019
works
academic - studio
01 e n g u l f e d
Environmental Design Studio 2
02 p a r a s i t e
Environmental Design Studio 2
g/ h o s t
03 Environmental Design Studio 2
04 c i n e m a r k e t
Architectural Design Studio 1
05 c i n e b u l a
06 p l a z a r o u g e
07 s l o w t h e a t r e
08 m n m a
academic - tech
09 g a l l e r i a
Architectural Technology 3
competition
10 c l e a r c u t
Festival International de Jardins 2019
in collaboration with Eduardo Aquino
other works
11 a r c h i t e c t u r a l
p h o t o g r a p h y
Winnipeg, Toronto, Arizona
01 WINNIPEG 2222
by Ralph Gutierrez
Some say the world will end in fire,

e n g u l f e d Some say in ice.
Some say in water, the confluence of both.
Site: Waterfront Drive, Winnipeg Water, a Leviathan, engulfed the concrete prairie. What
Programme: Projective Ecology is a river? What is land? Where does each realm end and
Course: Environmental Design Studio 2 another begin? The flat landscape exists only in memory,
Term: Winter 2017 tampered with the horizon of Adam’s ale . Decades since
Instructor/s: Kim Weise the river has last been frozen, fractals were left bathing in
the perpetual floods. They were not of ice but of ruins. A
Group Members: Vince Marante, Sumandy Young, Yujia Fan motley crew of compositions in wood, concrete, steel and
glass that once towered over the pastures of Winnipeg.
ENGULFED is an inquiry to the possibilties and
City, a titan that once ravaged every expanse, was
prospectives of what design, ecology and community would shrouded with a faint haze of desolation. But like a
offer to a half-submerged Winnipeg in a future setting. It seeks to true titan, it thrives. The city lives. Our city lives.
explore how place-making, urban transformation and resiliency
Our city lives afloat. On pedways untouched by the rising tides,
occurs with incredible changes in the environment. It seeks to held by scaffolds, we greet our peers. In levels uncolonized
show connectivity and symbiosis between social and ecological by waterways, we create communities. We revere our diverse
cultures and perhaps we create new ones. On skeletons of what
systems in a city amidst its ruins and water. used to be buildings, our dwellings cling like parasites ready
to crawl away from adversity. In Rauschenberg-esque fashion,
they are quilted together from debris around. In capsules
drifting through the fluid surface, we propagate cornucopias.
An ark for a few, the city is not. The city is for all. Our city.
Our city lives submerged. In mangrove like cultures, our

forests are anchored in our soil. Their roots spring out to
create new subaquatic wildernesses. In shallow waters, our
marshlands are revived. Between strong currents, we source
part of our power. In places that are dear to our collective
memories, we create markers. They are lit, below the line
where the water meets the sky. Sunken, they tell stories,
the once we made and the once that were laid before us.
A city amidst familiarity and terra incognita. Our city.
Our city lives hovering above us. Through kites dancing

below the clouds, we harness the force of the winds. Through
hydroponic-like systems that propagate mists that shroud us,
we seek comfort against the harsh rays of the sun. In the spare
nooks of our towers, we grow havens for winged creatures. In
suspended trams interweaved across the fabric of the city,
we renew our connections, we reconstruct our mental maps.
Under the unending cadence of the sun chasing the moon ,
the spirit of the city is continuously reanimated. Our city.
Water, a leviathan, engulfed the concrete prairie.

City, a titan that once ravaged every expanse.
Where do we live? The confluence of both.
NARRATIVE SECTION COLLAGE

graphics by Ralph Gutierrez
digital collage, 3D modelling
02
p a r a s i t e
Site: Waterfront Drive, Winnipeg

Programme: Parasitic Dwellings
Course: Environmental Design Studio 2
Term: Winter 2017
Instructor/s: Kim Weise
CONCEPTUAL MODEL
Clinging to ruins and buildings, parasitic dwellings (RIGHT)
provide shelter to the urban dwellers away from the rising water found media, collage, model
level. They are built from the debris of the ravage the river has making
inflicted, a pastiche of the sense of place of the city before the CONCEPTUAL ELEVATION
floods and a Rauschenberg-esque composition of steel, plastic, (BOTTOM LEFT)
fabric, wood or anything that could repurposed. Attached to found media, digital collage, ink
these dwellings are vegetable gardens which provides sustenance on paper
to its inhabitants. Humidifiers utilize the water to magnify the
alleviation of Urban Heat Island effect. CONCEPTUAL SECTION
(BOTTOM RIGHT)
found media, digital collage, ink
on paper
VIEW OF DWELLINGS ON BUILDINGS ALONG WATERFRONT DRIVE

model making, digital collage
03
g/ho s t
Site: Waterfront Drive, Winnipeg

Programme: Parasitic Dwelling
Course: Environmental Design Studio 2
Term: Winter 2017
Instructor/s: Kim Weise
The project is a probe in envisioning a scheme for a

dwelling specifically designed for a fictional cyborg character,
Motoko Kusanagi, in the context of a dystopic Winnipeg engulfed
with perpetual floods. The challenge for the project was to exhibit
the struggles of Motoko as a dualistic entity created with a human
mind and a mechanical body. Spaces were designed to help the CONCEPTUAL SKETCH
character to explore the realms of her mind and body. Elements (RIGHT)
that seek to understand the human mind through contemplation digital collage, ink on paper
such as meditative corridors and a large soaker tub were fused
into the dwelling. Features were also devised to accentuate her
NARRATIVE COLLAGE
mechanical prowess and dauntlessness through a martial arts
(BOTTOM)
dojo for training and through jumping platforms as means to exit digital collage
the structure.
LONGITUDINAL SECTION
3D modelling, digital collage
UP
DN
FLOOR PLAN
computer aided drafting
NORTHWEST ELEVATION
3D modelling, digital collage
INTERIOR VIEW
(TOP LEFT)
TOP VIEW OF MODEL

(TOP RIGHT)
modelmaking
ISOMETRIC VIEWS
(LEFT)
3D modelling
04
c i n e m a r k e t
Site: 238 Princess Street, Winnipeg
Programme: Temporary Cinema + Market
Course: Architecture Design Studio 1
Term: Fall 2017
Instructor/s: Liane Veness
mar·ket
1. noun
a regular gathering of people for the purchase and sale of
provisions, livestock,
and other commodities.
2. a need
economic and geographical issues on food access in the
neighborhood and the
adjacent communities
cin·e·ma
1. noun
a theatre where films are shown for public entertainment.
2. an invitation TOP VIEW OF SITE SITE PLAN FRONT VIEW OF THE SITE FROM ALEXANDER
the cinema was meant to invite people to come into the market graphite on vellum
36” x 24”
Cin·e·mar·ket
noun
A probe in merging the programme of a cinema and a market in
the context of
238 Princess Avenue.
FRONT ELEVATION
(TOP RIGHT)
digital collage, 3D modelling,
graphite on trace, printed on
mylar
36” x 24”
LONGITIDINAL ELEVATION
- DAY
(RIGHT)
mylar
40” x 24”
VIEW OF PROJECT FROM

ALEXANDER STREET
(LEFT)
modelmaking, digital collage,
photography
INTERIOR ENVIRONMENTS
(TOP)
modelmaking, digital collage,
photography
fabric as an awning
FLOOR PLAN
fabric as the ceiling ( TOP RIGHT)
fabric as the screen graphite on trace, printed on
mylar
40” x 24”
fabric as the floor
LONGITIDINAL ELEVATION
fabric as a wall - NIGHT
(RIGHT)
fabric as the seats digital collage, 3D modelling,
fabric as the market mylar
40” x 24”
fabric as the cinema CONCEPTUAL SKETCH
(LEFT)
fabric as a creator of space ink on paper
05
c i n e b u l a
Site: CN Railway Bridge, Waterfront Drive, Winnipeg

Programme: Experimental Cinema
Term: Winter 2018
Instructor/s: Liane Veness
The screen of a cinema manifested through a cloud of mist.
Cinebula probed how the experience of the film projected on

the mist was articulated through various approaches, thresholds
and hindrances which aimed to generate an element of delayed
gratification created in film and space.
Cinebula explored parallels in framing in film and framing through

views and tectonics in architecture as well as the progression of
spaces in a train and the progression of scenes in a filmstrip.
SITE PLAN
(TOP RIGHT)
graphite on vellum, printed on
mylar, computer aided drafting
36” x 48”
TOP VIEW OF THE SITE

(RIGHT)
CN RAILWAY BRIDGE
(LEFT) SOUTH ELEVATION
photography digital collage, 3D modelling
40” x 40”
PROCESS
(TOP)
modelmaking, photography,
hollographic projection
FLOOR PLAN
(BOTTOM)
digital collage, computer aided
drafting
40” X 24”
A07
A06
1
CAFE PUMP RM
AUDITORIUM
PROJECTION
1 RM
1
A06 LIFT A06
UTILITY
WASHROOM UTR WASHROOM RM
LOBBY
A07
LONGITUDINAL SECTION
40” x 40”
ACT I: ARRIVAL ACT II: JOURNEY ACT III: ENCOUNTER ACT IV: IMMERSION
CONCEPTUAL COLLAGES
(RIGHT)
VIEW OF PROJECT FACING

NORTH
(BOTTOM)
modelmaking, photography,
hollographic projection
NARRATIVE COLLAGES
(TOP)
CROSS SECTION
(LEFT)
40” x 40”
creation through deterioration

refabrication in decay
the dying of a material
bringing magnificence
amalgamating entities
refinishing surfaces
announcing a rebirth
the new becomes old

the old becomes new
people
water
air
the river
the train
time
activators
catalysts
in Dürer fashion
they all sign
“A.D.”
06
BROADWAY AND RED
grit, from aging metal

or simply, rust
p l a z a r o u g e a river of lights from cars, an artery
continuously flowing
Site: Broadway, Winnipeg
Programme: Plaza bricks, 2 million
Course: Architecture Design Studio 3 signs for parking
Term: Fall 2018
Instructor/s: Carlos Rueda/ Alden Neufeld light posts, tattooed with marks from
posters
PLAZA ROUGE is a celebration of the importance of Broadway as cedar chips

a connector to important historical landmarks in the city. It also
seeks to weave the city to the rest of Manitoba with the use of a dead squirrel
“unofficial” iconography reperesenting the proince such as railway pavers, bordering the boulevards
bridges, industrial facilitites, and lighthouses. or a sidewalk for a toddler
the Manitoba Club
blood on Tyndall
nah, just a bad paint job
a historical landmark
shameless advertisments
arch
TOP VIEW OF SITE

(LEFT)
BROADWAY IN RED: A CATALOGUE

(RIGHT)
photography
obelisk
VIGNETTE OF STREET CONDITION
(BOTTOM)
digital collage, modelmaking
fountain
RED
B R O A D W A Y
market
bus station
AXONOMETRIC VIEW OF THE PLAZA

40” x 40”
07
s l o w t h e a t r e
Site: 499 St. Marys Road, Winnipeg

Programme: Theatre + Vertical Plaza
Term: Fall 2018
Instructor/s: Carlos Rueda/ Alden Neufeld
Slow Theatre is a theatre inspired by the play of verticality,

and the plurality of levels and screens created by the
billboards and signs around the site. It mainly explores the
relevance of the stage as an announcement, and as a piece
conversation between the street, the river, the community,
and the city. The projects also probes into the themes of
repetition, transparency, proximity, and identity exisiting
on the site.
IMAGES OF THE SITE
(TOP RIGHT)
TOP VIEW OF SITE EAST ELEVATION SOUTH ELEVATION WEST ELEVATION

(BOTTOM) 3D modelling 3D modelling 3D modelling
ELEVATION FACING VIVIAN STREET (NORTH)

60” x 40”
LONGITUDINAL SECTION NEW OLD ST. VITAL
digital collage, 3D modelling digital collage, photography
60” x 40” 40 cm x 120 cm
LOBBY EXTENSION MAKE-UP
STATIONS
PARKING
AREA (2)
BACKSTAGE
LOBBY
LIFT
VESTIBULE WASHROOM
CHANGING RM.
BACKSTAGE
LIFT LIFT
ROOF LIFT LIFT LIFT LIFT LIFT
DECK
WASHROOM
UTR
VESTIBULE
AUDIENCE SEATS AUDIENCE SEATS AUDIENCE SEATS
JUICE BAR
VIVIAN ST.
AUDIENCE SEATS
EXISTING
BUILDING
SMALL GATHERING
AREA
VESTIBULE
STAGE ENTRANCE
CONTROL ROOM
STAGE FLY +
LIGHTS
STAGE
STAGE STAGE
ST. MARY’S ROAD

VIEWING
PLATFORM
VIEWING
PLATFORM
FLOOR PLANS LEVEL 01-08

(TOP, RIGHT TO LEFT)
computer aided drafting, 3D modelling
FRONT VIEW OF THE PROJECT

(RIGHT)
photography, modelmaking
VIEW OF THE PROJECT FROM

VIVIAN STREET
(LEFT)
photography, modelmaking
08
m n m a
Site: Broadway, Winnipeg

Programme: Art Gallery + Dwelling Units
Term: Winter 2019
Instructor/s: Carlos Rueda/ Alden Neufeld
SITE
MNMA or the Museum of New Media Art is a repository of 20 DWELLING UNITS
contemporary art installations and works either created or
transmitted through electronic and non-traditional media. It
aims to showcase interdisciplinary and multimedia forms of
expressions linking art, cinema, music and theatre to technology.
The programme of the structure is greatly inspired by the liminal
conditions of the CENTER STAGE site where the art galleries
and Cinematheque of the Exchange District meets the iconic
performance spaces of the Burton Cummings Theatre and the
Garrick Cinema. The MNMA features a multi-use exhibition hall,
ART PLAZA
galleries intended for art installations, a cinema, a library and
archive space, and also 20 dwelling units.

The design of the MNMA evokes the simplistic and brutalist
EET
STR
character of the current building on the site, Towne Cinema ART PARK
8. The redevelopment of the site seeks to challenge the overt E
aID
DEL
seclusion of spaces inside of the Towne Cinema 8 as well as the
archetypal exclusive characteristic of art galleries and cinemas
which denies the potential for more lively street conditions. The
A
project aims to reify the relationship with the exhibition spaces
and cinema theatre in the gallery to the street, the neighborhood
and also to the rest of the city. The proportions of the ground
level of the museum also exists as a palimpsest of the previous
structure.
ISOMETRIC VIEW OF SITE ART GALLERY
NO
TR
ED
AM
EA
VE
NU
E
EET
STR
CESS
PRIN
ELEVATION FACING NOTRE DAME AVE ISOMETRIC VIEW OF MNMA
digital collage, 3D modelling digital collage, 3D modelling
FROM SMITH ST
VIEW OF MNMA FROM THE PLAZA

digital collage, 3D modelling ART GALLERY LOBBY
OPEN AIR CINEMA
ELEVATION AT PRINCESS ST DWELLING UNITS -ART GALLERY CROSS SECTION ART GALLERY CROSS SECTION ELEVATION AT ADELEIDE ST
HANGING CINEMA
level 07 gallery
level 05 gallery
atrium
level 04 gallery
level 04 gallery
LEVEL 05 GALLERY
level 04 gallery
hanging cinema
open
multi-purpose exhibit hall lobby loggia
gallery b1 tickets
archives offices gallery b2 offices
LEVEL 06 GALLERY LONGITUDINAL SECTION

LOGGIA FOR DWELLING UNITS
TYPICAL DWELLING UNIT GROUND FLOOR PLAN

HALLWAY/BALCONY FOR DWELLING UNITS
IMAGES OF THE MODEL
LIVING AREA FOR DWELLING UNITS

09 GENERAL NOTES
g a l l e r i a
Programme: Art Gallery + Dwelling Units
Course: Architectural Technology 3
Term: Fall 2019
Instructor/s: Neil Minuk
Group Members: Reanna Merasty, Clarisse Camiguing,
Paul Valencia
Typical design development exercies intended to

reveal the precise coordination and integration
of a number of technologies and materials
and systems in a multi-storey building.
Culminating in a very detailed set of drawings.
GENERAL NOTES
WASHROOM REQUIREMENTS
[3.7.2.2.A] ART GALLERY: 184 OCCUPANT LOAD: 4 MALE, 8
FEMALE
[3.7.2.2. (11)] RESIDENTIAL UNITS: AT LEAST ONE WATER

CLOSET FOR EACH DWELLING UNIT
LAVATORIES
[3.7.2.3. (1)] ONE LAVATORY SHOULD ACCOUNT FOR ONE
OR TWO WATER CLOSET’S OR URINALS; AN ADDITIONAL
LAVATORY SHOULD BE ADDED EVERY TWO ADDTIONAL
WATER CLOSET’S OR URINALS.
BARRIER-FREE ACCESS
[3.8.3.3. (10B)] A VESTIBULE SHOULD HAVE A MINIMUM OF
3.94 FT PLUS THE WIDTH OF THE DOOR SWINGS IN BETWEEN
DRAWN BY DOORS
RALPH DANIEL GUTIERREZ
REVIEWED BY [3.8.3.3. (10A)] 2FT BEYOND THE EDGE OF THE DOOR ON THE
REANNA MERASTY
APPROACH SIDE
NAMES [3.8.3.3. (10B)] 1FT BEYOND THE EDGE OF THE DOORWAY

REANNA MERASTY FROM THE APPROACH SIDE
CLARISSE CAMIGUING
RALPH DANIEL GUTIERREZ [3.8.3.12. (D)] WATER CLOSET CLEARANCE - NOT LESS THAN
PAUL VALENCIA 0.94 FT AND NOT MORE THAN 1 FT ON ONE SIDE
PROJECT
B.1 MAJOR ASSIGNMENT
EVAR4002 TECHNOLOGY 3
DEPARTMENT OF ARCHITECTURE
DRAWING
SITE PLAN
DATE
11.09.18
SCALE
NOT TO SCALE
SHEET NO.
A1.1
SITE PLAN
drawn by Ralph Gutierrez
GENERAL NOTES
DRAWN BY
REANNA MERAST
REVIEWED BY
PAUL VALENCIA
NAMES
REANNA MERAS
CLARISSE CAMIG
RALPH DANIEL G
PAUL VALENCIA
PROJECT
B.1 MAJOR ASSIG
EVAR4002 TECH
DEPARTMENT OF
DRAWING
LEVEL 100 PLAN

100 LEVEL FLOOR
DATE
drawn by Ralph Gutierrez 11.09.18
SCALE
1:300
SHEET NO.
A1
WINDOW SCHEDULES
DRAWN BY
ALL
REVIEWED BY
REANNA MERASTY
NAMES
REANNA MERASTY
CLARISSE CAMIGUING
PAUL VALENCIA
PROJECT
DOOR SCHEDULES EVAR4002 TECHNOLOGY 3
DRAWING
ASSEMBLIES AND SCHEDULES
DATE
VIEW OF GALLERIA FROM THE STREET 11.09.18
digital collage, 3D modelling DETAILS AND SCALE

SCHEDULES
NOT TO SCALE
graphics by Ralph Gutierrez drawn collectively by

SHEET NO.the group
A1.2
GENERAL NOTES
NOTES
GALLERY: IN-FLOOR RADIANT HEATING SYSTEM
SYSTEM AIMS TO PRESERVE THE ARCHITETURAL FEATURE OF
THE CONCRETE SLAB, SYSTEM PREVENTS THE CIRCULATION
OF DUST MADE IN ALL AIR-SYSTEM IN THE ART GALLERIES,
SYSTEM REDUCES ENERGY NEEDED TO FORCE HOT AIR IN A
HIGH CEILING
RESIDENTIAL: PACKAGED CENTRAL HEATING AND COOLING

EQUIPMENT (SPLIT TYPE)
VAC MULTIZONE CONFIGURATION MAXIMIZES INDIVIDUAL
CONTROL OF TEMPERATURE PER UNIT, SPLIT TYPE PACKAGED
EQUIPMENT IMPROVES BUILDING EFFICIENCY BY REDUCING
DUCTWORK ON THE EXTERIOR OF THE BUILDING
GENERAL NOTES
DRAWN BY
REVIEWED BY
REANNA MERASTY
DATE
REANNA MERASTY
CLARISSE CAMIGUING
PAUL VALENCIA
PROJECT
DRAWING
100 LEVEL HVAC - BAY
DATE
11.09.18
SCALE
1:200
SHEET NO.
M1.1
HVAC LAYOUT(BAY SECTION)
drawn by Ralph Gutierrez
ART GALLERY AND RESIDENTIAL COMPLEX

4 5 Winnipeg, MB
GENERAL NOTES
• A COFERED CONCRETE CEILING (WAFFLE SLAB
SYSTEM) ACTS AS A STRUCTURAL ELEMENT AND AN
ARCHITECTURAL DETAIL FOR THE ART GALLERY.
AREA OF THE BAY FOCUSED ON

•THE USE OF DIRECT LIGHT THAT IS FROM ABOVE AND
SLIGHLY TILTS TO THE SIDE SHOULD BE IMPLORED IN
LIGHTING SCULPTURES TO MAXIMIZE THE CLARITY OF
THEIR SHAPES, TEXTURES AND SHADOWS.
G •ARTWORK COVERED IN GLASS SHOULD ONLY BE LIT WITH

AN AIMING ANGE OF 60°
•THE DAYLIGHT
DRAWN BY FACTORS SHOULD BE FROM 4-6.
RALPH DANIEL GUTIERREZ & •A PARTITION WALL ALLOWS THE DIFFUSION OF DIRECT
CLARISSE CAMIGUING SUNLIGHT FROM THE EAST TO THE EXHIBIT SPACE.
REVIEWED BY •THE LOWEST ANGLE OF INCIDENCE THAT CAN PENETRATE

THE BUILDING INFORMED THE DESIGN OF THE PARTITION
REANNA MERASTY WALL AND THE LARGE WINDOWS FACNG THE COURTYARD.
• A NON-REFLECTIVE MATERIA,L SURROUNDING THE

DATE WINDOWS OF THE COURTYARD SHOULD BE CONSIDERED
REANNA MERASTY TO MINIMIZE ANY GLARE PIERCING THROUGH THE EXHIBIT
SPACE.
CLARISSE CAMIGUING
PARTITION WALL
PAUL VALENCIA
EXHIBIT HALLWAY COURTYARD
PROJECT SPACE
DEPARTMENT OF ARCHITECTURE 1
1 EXTERIOR GALLERY WALL 2 GALLERY TO COURTYARD WALL L02 LIGHTING COMPUTATION FOR
DRAWING
A3.1 SCALE: 1:25 A3.1 SCALE: 1:25
WALL SECTIONS (GALLERY)
ART GALLERY HALLWAYS (FOR BAY INDICATED)
TYPICAL HALLWAY WIDTH : 1.52 M

DATE TYPICAL HALLWAY LENGTH: 16.50 M
LUX LEVEL FOR HALWAY: 50-100 LUX
11.09.18 LUMINAIRE: 2 - 60 WATT A19 LED
SHR: 1.18
TOTAL FLOOR AREA OF HALLWAYS 25.02 SQM.
SCALE NUMBER OF LUMINAIRES: 1
AS NOTED F MOUNTING HEIGHT: 15.3 FT.
INITIAL OUTPUT:85 LUMEN PER WATT
LEGEND MAINTENANCE FACTOR: 0.70 (L70)
SHEET NO. UTILIZATION FACTOR: 0.70
TRACK LIGHTING
A3.1
TOTAL WATTAGE OF FIXTURES: 120 WATTS
FLUSH-MOUNT LIGHTING Number of Lamps: 2
LUMEN PER FIXTURE: 10 200
PENDANT LIGHTING
MINIMUM SPACE BET. FIXTURES: 3.728 M
UNIVERSITY OF MANITOBA NAME DRAWING SHEET NO.

TYPICAL WALL SECTIONS FOR THE ART GALLERY FACULTY OF ARCHITECTURE RALPH DANIEL GUTIERREZ LIGHTING LAYOUT
ART GALLERY LIGHTING (BAY SECTION)
LAYOUT
MAIN ART GALLERY BAY LIGHTING LAYOUT
drawn by Ralph Gutierrez and Clarisse Camiguing 1 ENVIRONMENTAL DESIGN DATE drawn by Ralph Gutierrez
L01 1:50 M EVAR 4002
2018-2019 Term 1
PROJECT TITLE
A.4. LIGHTING DESIGN
OCT. 10,7 2018
L01
10
c l e a r c u t
Site: Jardins de Metis, Grand-Métis, Quebec

Programme: Public Art
Category: Festival international de jardins 2019
Collaboration: Eduardo Aquino
"The ongoing destruction of forests around the globe,

mostly for extraction of hardwoods, and the cultivation
of new crops or pastures, represent a signicant loss
for the environment, producing great unbalances in
the ecosystems of the earth. CLEARCUT plays with the
double meaning of the word: “completely evident”, or
“area where all the trees have been cut down.” CLEARCUT
critiques this inhumane destruction and at the same
time memorializes the devastation of forests around the
world through the monumentalizing of a large dead tree
in the upside-down position. The project will use a large
dead tree harvested in the region of Métis, to be charred
through the traditional Japanese technique of shou sugi
ban, and hung using a scaolding structure. The duality
upside-down, life-death, play-work is emphasized through
a square double helix staircase around the tree that will
give access to visitors in a loop all the way to the canopy
of the green garden room, concurrently exposing in close
proximity the root system of the dead tree. CLEARCUT
reveals the contradiction of destruction through the dead
tree, and the playfulness of the experience through the
helix loop"
-Eduardo Aquino
TOP VIEW OF CLEARCUT FRONT VIEW OF CLEARCUT

graphics by Ralph Gutierrez graphics by Ralph Gutierrez
10
A R C H I T E C T U R A L
P H O T O G R A P H Y
WINNIPEG ART GALLERY

(1971)
(LEFT)
WINNIPEG, MANITOBA
designed by Gustavo Da Roza with
Issie Coop
ART GALLERY ONTARIO

(RIGHT)
TORONTO, ONTARIO
designed by various architects
shot on 35 mm film
BURTON BARR CENTRAL LIBRARY
(1995)
(TOP LEFT)
PHOENIX, ARIZONA
designed by Will Bruder
ASU ART MUSEUM

(1989)
(RIGHT)
TEMPE, ARIZONA
designed by Antoine Predock
ARCOSANTI
(1970-)
(BOTTOM LEFT)
YAVAPAI COUNTY, ARIZONA
designed by Paolo Soleri
TOWNE CINEMA 8
(1981)
(TOP LEFT)
WINNIPEG, MANITOBA
TALIESIN WEST
(1937)
(RIGHT)
SCOTTSDALE, ARIZONA
designed by FRANK LLOYD WRIGHT
BURTON CUMMINGS THEATRE

(1907)
(BOTTOM LEFT)
WINNIPEG, MANITOBA
designed by Howard C. Stone
shot on 35 mm film
THANK YOU

Ralph Gutierrez Architecture Portfolio 2019

Caricato da

Informazioni sul documento

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Ralph Gutierrez Architecture Portfolio 2019

Caricato da

Copyright:

Formati disponibili

assembled

Some say the world will end in fire,

Our city lives submerged. In mangrove like cultures, our

Our city lives hovering above us. Through kites dancing

Water, a leviathan, engulfed the concrete prairie.

NARRATIVE SECTION COLLAGE

Site: Waterfront Drive, Winnipeg

VIEW OF DWELLINGS ON BUILDINGS ALONG WATERFRONT DRIVE

Site: Waterfront Drive, Winnipeg

The project is a probe in envisioning a scheme for a

TOP VIEW OF MODEL

VIEW OF PROJECT FROM

Site: CN Railway Bridge, Waterfront Drive, Winnipeg

The screen of a cinema manifested through a cloud of mist.

Cinebula probed how the experience of the film projected on

Cinebula explored parallels in framing in film and framing through

TOP VIEW OF THE SITE

VIEW OF PROJECT FACING

creation through deterioration

the dying of a material

the new becomes old

grit, from aging metal

PLAZA ROUGE is a celebration of the importance of Broadway as cedar chips

the Manitoba Club

TOP VIEW OF SITE

BROADWAY IN RED: A CATALOGUE

AXONOMETRIC VIEW OF THE PLAZA

Site: 499 St. Marys Road, Winnipeg

Slow Theatre is a theatre inspired by the play of verticality,

TOP VIEW OF SITE EAST ELEVATION SOUTH ELEVATION WEST ELEVATION

ELEVATION FACING VIVIAN STREET (NORTH)

AUDIENCE SEATS AUDIENCE SEATS AUDIENCE SEATS

ST. MARY’S ROAD

FLOOR PLANS LEVEL 01-08

FRONT VIEW OF THE PROJECT

VIEW OF THE PROJECT FROM

Site: Broadway, Winnipeg

VIEW OF MNMA FROM THE PLAZA

OPEN AIR CINEMA

archives offices gallery b2 offices

LEVEL 06 GALLERY LONGITUDINAL SECTION

TYPICAL DWELLING UNIT GROUND FLOOR PLAN

HALLWAY/BALCONY FOR DWELLING UNITS

IMAGES OF THE MODEL

LIVING AREA FOR DWELLING UNITS

Typical design development exercies intended to

[3.7.2.2. (11)] RESIDENTIAL UNITS: AT LEAST ONE WATER

NAMES [3.8.3.3. (10B)] 1FT BEYOND THE EDGE OF THE DOORWAY

LEVEL 100 PLAN

drawn by Ralph Gutierrez 11.09.18

digital collage, 3D modelling DETAILS AND SCALE

graphics by Ralph Gutierrez drawn collectively by

RESIDENTIAL: PACKAGED CENTRAL HEATING AND COOLING

ART GALLERY AND RESIDENTIAL COMPLEX

AREA OF THE BAY FOCUSED ON

G •ARTWORK COVERED IN GLASS SHOULD ONLY BE LIT WITH

REVIEWED BY •THE LOWEST ANGLE OF INCIDENCE THAT CAN PENETRATE

• A NON-REFLECTIVE MATERIA,L SURROUNDING THE

TYPICAL HALLWAY WIDTH : 1.52 M

UNIVERSITY OF MANITOBA NAME DRAWING SHEET NO.

Site: Jardins de Metis, Grand-Métis, Quebec

"The ongoing destruction of forests around the globe,

TOP VIEW OF CLEARCUT FRONT VIEW OF CLEARCUT

WINNIPEG ART GALLERY