Portfolio double spread

PORTFOLIO
by Samanta Martínez

CONTENTS
01
02
03
RESUMÉ
01 CV professional
ARCHITECTURE
02 Mortuary
03 High rise design
04 Mitawi
05 Urban plan book
07 India Workshop
06 Art factory
07 Archivo nacional
08 UTLVT
09 Urban interventions
PHOTOGRAPHY
10 Architectural photography
11 Personal photography
03
05
07
09
11
13
14
19
22
23
26
34

SAMANTA MARTÍNEZ
samanta.martinez24@gmail.com
Architect
Quito, Ecuador
+593 992748323

EDUCATION
Richard Stromberg Institute | Chicago, USA
Photo I
2016
Universidad de las Américas | Quito, Ecuador
Architecture and Design
2017 - 2022
EXPERIENCE
Art exhibition montage | Quito, Ecuador
Inmanencia en línea, Andrés Marcial Coba
Aliaza Francesa
Photographer | Myrtle Beach, USA
Hollywood Pictures
2017
2018
Internship design - Iñaquito urban plan | Quito, Ecuador
APPA - College of architects Ecuador (CAE)
Internship construction and drawing | Cumbayá, Ecuador
Studio Alfa
2020
2020-2021
Informal Public Space Workshop | India - Ecuador
R+LAB | DGIV | Universidad de las Américas
2021
Market and farm design | Guayllabamba, Ecuador
Independent work
2021-2022
Project collaborator & Community manager | Quito, Ecuador
Bernardo Bustamante Arquitectos
2021- 2022
Photographer | Yasuní ITT (Samona) / Switzerland
Cocina sin Fronteras Ec | Cuisine Sans Frontières
Project collaborator | Quito, Ecuador
A1 Arquitectura Avanzada
2022 - present
2022 - present

ACHIEVEMENTS
HONORABLE MENTION | UDLA
1st Semester - Basic Design I
2nd Semester - Basic Design II
4th Semester - Project workshop II
5th Semester - Project workshop III
STUDENT COUNCIL PRESIDENT | UDLA
2018-2020 (4 semesters)
SELECTED ESSAY | BAQ 2022
CAE (Ecuador) - PUC (Chile) - Ediciones ARQ
‘’INFLEXIONES Y CONTRADICCIONES: Discursos y Propuestas espaciales para la
construcción y apropiación de las ciudades. Camilo Sitte y Dogma Studio’’
SKILLS
Team work
Highly creative
Inquirer
Critical thinker
Balanced
Resistant to work under pressure
Personally driven
Efficient and effective
SOFTWARES
CAD | 3D
Adobe CC
Rendering
Microsoft Office
Auto CAD | Sketch Up | Rhino | Revit
Psd | Id | Ai | Ae | Lr | Pr
V-Ray
Word | Power Point | Excel
LANGUAGES
SPANISH
ENGLISH CHINESE PORTUGUESE
expert expert intermediate intermediate
mother language
C2 level

ARCHITE

CTURE

02
MORTUARY
Proposal for a cultural and conceptual project
2nd year - college

COMPOSITION
BASED ON THE LENGTH AXIS OF THE
GROUND, A GOLDEN COMPOSITION IS
GENERATED
31,50m
20,50m
9,40m
6,40
THE ARCHITECTURAL VOLUMETRIC WAS
ADAPTED BASED ON THE FUNCTIONALITY
OF THE PROGRAM
The hig
for the
Coruña
the Fun
the imp
pedestr
of silen
carried
IT WAS NECESSARY FOR THE ARCHITECTURE
TO FLOAT IN ORDER FOR THE GROUND
FLOOR TO BE FREED UP FOR PUBLIC USE.
THE STRUCTURE SUPPORTS THE ARCHITEC-
TURE FROM ABOVE THROUGH TENSORS
METALLIC BEAM IPN
0,40 X 1,60 M
METAL COLUMNS C PROFILES
1,60 X 1,60 M
ENTRY 1
ALIVE
ENTRY 2
DEATH
SECTION
GRAPHIC SCALE
FACADE
GRAPHIC SCALE

h flow of pedestrians + the lack of a public space
enjoyment of the inhabitants of the area of La
, were the starting points for the development of
eral Home. The mass plan of the project proposes
lementation of an area for the stay of any passing
ian and that at the same time generates a picture
ce within the city that does not disturb the activities
out within the program.

03
HIGH RISE DESIGN
Proposal for a high rise building
2nd year - college

STONE
TECTONIC ELEMENT IS THE BASE OF
THE PROJECT AND CONNECTS THE
CONTEXT ON THE GROUND FLOOR
HEIGHT
CONTINUOUS ROCK IN LOWER
DIMENSION UPWARDS WITH AN
ELEMENT FLOATING ON IT
DIRECTION
THE ‘‘LIGHT ELEMENT’’ IS DIVIDED
INTO TWO PARTS, LOOKING AT THE
PICHINCHA MOUNTAIN AND THE
BICENTENARIO NEIGHBORHOOD
DIVISION
TECTONIC ELEMENT IS THE BASE OF
THE PROJECT AND CONNECTS THE
CONTEXT ON THE GROUND FLOOR
EXPLODES
BY INCREASING THE HEIGHT, THE
ELEMENT MAKES EVIDENT THE FACT
THAT IT EXPLODES, BY HAVING MORE
HANGING WALLS

04
MITAWI
Temporary housing
3rd year - college

05
URBAN PLAN
‘‘Tejiendo Escalas en la Ciudad del Tiempo Robado’’
Urban diagnosis and plan for El Bicentario, Quito
Book - Spanish

NUEVO
EN
DIVERSIDAD
CONTIN
TRANS
POROSIDAD
PERMEABILIDAD
AM
LEGIBILIDAD

30
30
30
PARQUE
BICENTENARIO
UIDAD A LÍNEAS DE
PORTE PÚBLICO
INTERVENCIÓN DE
EQUIPAMIENTOS
NUEVOS PUNTOS DE
ENCUENTRO
DIVERSIDAD DE USOS DE
SUELO
CICLOVÍAS
POROSIDAD EN PLANTA
BAJA
RED VERDE URBANA
POROSIDAD EN LA
ARQUITECTURA
INORAR SUPER
MANZANAS
PUNTOS ACCESIBLES A
MANZANAS DE MAYOR
ESCALA
CONECTAR LA PIEZA A
TRAVÉS DEL TRAZADO
URBANO
DESPRIVATIZACIÓN DEL
ESPACIO PÚBLICO
CALLE LOCAL
PARQUE
BICENTENARIO
AV. LA PRENSA
S EQUIPAMIENTOS
ANTIGUA ZONA
INDUSTRIAL
ACCESIBILIDAD UNIVERSAL ZONIFICACIÓN DE ALTURAS DESPRIVATIZACIÓN DE
NODOS

06
WORKSHOP INDIA
Cultural project about informal space
India - Ecuador
R+LAB - DGIV - UDLA
CITIES
urban l

ife
URGENCY TO SOLVE PROBLEMS
PRIVATE SPACE
LIMITS ARE
ALTERED
PUBLIC SPACE
INFORMALITY
AS AN ‘‘ILEGAL’’
ACTION
Adaptability
Ownership
Transformative
Non-programmatic
Flexibility of use
Socio - political exlusion
Monetary associations
BREAK POINT
Non - informal inhabitants
CITIES
1. Squatter settlements
2. Informal vending
3. Protests (expression of dissent)
4. Expression of Sexual Nature
INFORMALITY SURGES AS RESISTANCE
EMBRACE THE PROBLEM GUIDE TO BE INFORMAL
Coexist
Non - informal inhabitants
RADICAL
SOLUTION
1. Squatter settlements
2. Informal vending
3. Protests (expression of dissent)
4. Expression of Sexual Nature

07
ART FACTORY
Cultural center proposal, part of the urban
plan for El Bicentenario, Quito
5th year - college

ARCHITECTURE AS A
The art factory is a monument that responds on one hand to the canons of
universal beauty, rising like a sculpted stone without falling into an extravagant
or unfounded form but rather as a sober and classic volume, which responds to
the morphology of the lot and the function of the program; while on the other
hand, the volume is the reflection of the actions taken place within the academic
space such as the classes and workshop, thus projecting the artistic moment
that happens inside the building outside of it. By defining it as a monument, its
materiality accentuates the result of human plasticity in the design process, at
the end of the day, this one, like most buildings, are the resulting product of our
hands for the enjoyment of our hands.
Zumthor proposes atmospheres as intangible architectural environments than a
general space just by living it. The Art Factory seeks an environment is meant to
experience art in the materiality and form of architecture itself.

SCULPTURAL PIECE
‘’The sculptor’s work actually begins before
the actual carving, with the choice of block.
Any first-rate sculptor knows precisely what
his needs are at this point. Michelangelo, for
example, did not trust anyone for this mission,
and he came to spend years in the quarries of
Carrara and its surroundings, near Florence”
(Wittkower, 1983: 16-17)
There are very different situations in terms of the
artist’s emotional link with the material and its
ability to act as a stimulus for the creative act,
one of the most common is: TRANSCEND
STONE
CONCRETE
MATERIAL
MATERIAL
Materialidad que tracienda el tiempo
Manual process
ARQUITECTURA
ART
ART FACTORY
Being a cultural facility, it is completely linked to
time, which is why the temporality of materiality
plays an important role in transmitting that thirst
to transcend, concrete is one of those materials
that symbolize the past, the present and the future
of a community that is valued to spread
through the years, weaving its own fabric. In this
conceptual exercise, that duality between filled
with emptiness, the public and the private, art
and architecture is blurred for a moment, giving
way to that sensitive membrane of human questions
and answers, which allow this building to
be defined as an archisculpture.
William Edmondson, 1831
Marta Y Mery

ACADEM
MASS PLAN - DESIGN STRATEGIES
LOT
The morphology of the lot gives a guideline of what the
shape of the building should be. The withdrawals stipulated
by regulations are taken into account and an offset of
the same morphology is generated and later the block that
dictated the first axes of the project is raised with the same
shape.
NORTH - SOUTH BREAK
One of the strategies of the urban plan was to break the
super blocks to reduce the distances of pedestrian travel. The
longitudinal dimensions of the assigned lot suggest a northsouth
break, which is 100% linked to the public space so
that neighboring pedestrians can cross without problem from
the proposed pedestrian street to the north of the project to
the Casa de la Música located to the south. of the batch
and vice versa.
SCULPTURE VOLUME
As mentioned above, the building is built respecting the
same morphology that the lot suggests. To this is added the
programmatic analysis and it is defined that there will be
two main blocks, one academic and the other expository.
‘’Academic’’ to the west block, given that this has greater
privacy unlike the east block which is connected to Av. Nueva
Amazonas and El Parque Bicentenario, the east block is
assigned ‘’Expositive’’
INTERNAL BREAKS
Finally, the previous strategy is replicated and more internal
breaks are made in each of the blocks to open the way to
voids with interesting spatial relationships. Just like a sculpture
sculpts from the mass to the detail.

31.42
10.63 10.66 10.12
D
C
2
3
5
6
D
D
E
E
B
ESCULTURA
B’
27.15
27.09
F
13
14
17
18
19
20
21
23
2
15
16
3
4
5
6
7
8
10
11
12
V/D
2
1
105.28
8.33 8.10 4.82 6.18 4.94 5.30 4.91 11.73 6.88 8.05 5.00 5.30 6.29
A
E
F
TALLER PRODUCCIÓN DIGITAL
N +3.60
IMPRESIÓN 3D
TALLER FOTOGRAFÍA Y VIDEO
N +3.60
IMPRESIÓN 3D
10
11
12
13
14
15
16
17
18
CUARTO
OSCURO
G
9
8
7
6
5
4
3
2
1
G
14.97
84.09
83.90
J
J
10 9 8 7 6 5 4 3 2 1
11 12 13 14 15 16 17 18 19 20
HALL
K
K
V/D
N +3.60
A
E
L
L
FOYER
N +3.60
A’
A
BODEGA
SALA DE
PROYECCIÓN
M
M
41.87
EXPOSICIÓN
PERMANENTE
N +3.60
N
N
O
O
ESCENARIO
N +0.00
1 2 3 4 5 6 7 8 10 11 12 13 14 15 16 17 18 19 20 21 22 23
P
P
2
5
3
6
D’
C’
2 3 5 6
N
SECTION B-B’
GRAPHIC SCALE
34.00
34.00
9.08 12.71 12.21
7.62 7.80 8.21 10.35
27.15 41.96
6.20 11.18 9.37 6.04 4.90 8.14 10.20 4.95 7.43
8.76 5.38 4.89 8.12
9.06 5.08 12.95 19.34 16.40
12.55 6.03 7.99 8.71
14.95
5.84
6.13
FLOOR PLAN L +5,80
GRAPHIC SCALE
11.24 7.84 10.35 4.80 7.73
7.76 2.16 8.19
18.83
18.83
N M
L K J
I H
G
F
E
D
C B A
SECTION C-C’
GRAPHIC SCALE
EXHIBITION BLOCK
IC BLOCK
Kitchen
Main gallery
Cafeteria
Workshops
Creative room
Library
Inside patio
Main gallery
Creative room
Auditorium
Workshops

6
7
8
10
1
12
13
14
15
16
17
18
19
20
21
22
23
5
1
2
3
4
10
11
12
13
14
15
16
17
18
9
8
7
6
5
4
3
2
1
B
STORAGE
D
L -0.70
PAINTING AND SCULPTURE
WORKSHOP
SCULPTURE
RECEPTION
L -0.70
C
V/D
A
E
L -0.70
ARCHITECTURAL EXPLORATION WORKSHOP
STORAGE
B’

10
9
8
7
6
5
4
3
2
1
1 2 3 4 5 6 7 8 10 11 12 13 14 15 16 17 18 19 20 21 22 23
A
EXHIBITION 1
D’
L +0.00
EXHIBITION 2
L +0.00
EXHIBITION 3
L +0.00
V/D
A
E
11 12 13 14 15 16 17 18 19 20
AUDITORIUM STAGE
L +0.00
SLOPE AT 18% SLOPE AT 10%
C’
A’

DISCARDED ELEME
Fountain Ceiling De
N
08
ARCHIVO NACIONAL
Repotentialization project - heritage building
Bernardo Bustamante Arquitectos
INCORPORARTE ELE
Repository N
Patio
Main stairs
Investigat
Glass partition
Transparent
ceiling
Metalic
ceiling

MENTS
NTS
ck
ew facade
ion area
Visual connection
Repository- Research
area
ew vertical
circulation

The Casa García Moreno is a project promoted
by the Metropolitan Heritage Institute and
designed by Bernardo Bustamante Arquitectos.
The goal is transform an emblematic
building, which was originally for private use,
to provide the city and the Historic Center of
Quito with the a new Metropolitan History
Archive. Conceptually, it seeks to respect the
House in an essential way. Based on an analysis
of the current state, it is observed that
there are wrong interventions, where false
historical and clichés from different eras have
been proposed, structurally damaging the
construction system of the building. Thanks
to the great support of engineers and historians,
the original values of the House has
been rescued and revitalized; turning it into
a contemporary building, which meets the
highest conservation standards of the Quito
Archive, and at the same time providing an
equipment that responds to the place where
it is located.

09
UTLVT
Universidad Técnica Luis Vargas Torres (UTLVT)
design for Esmeraldas, Ecuador

10
URBAN INTERVENTIONS
Social work for low-income communities

01 Bajo Toctiuco, Quito - Ecuador

02 Toctiuco, Quito - Ecuador

PHOTOG

RAPHY

11
PHOTOGRAPHY
Architectural photography

ESPI
QUITO, E

RAL
CUADOR

CASA LA
BERNARDO BUSTAM

FINCA
ANTE ARQUITECTOS

ZOO GUAYL
BERNARDO BUSTAM

LABAMBA
ANTE ARQUITECTOS

CASA TR
BERNARDO BUSTAM

APICHE
ANTE ARQUITECTOS

CASA TO
BERNARDO BUSTAM

CACHI
ANTE ARQUITECTOS

JARDÍN B
BOGOTÁ, C

OTÁNICO
OLOMBIA

CDMX, M

ÉXICO

12
PHOTOGRAPHY
Personal projects

AMAZON RAINFO
VIDEO

REST, ECUADOR

PORTR

AITS

PORTR

AITS

AERIAL

SILKS