PORT

FO ARCH. KAMILA ARAYA

LIO
 BIO
Throughout my life I’ve had hobbies, like dancing,
playing violin and photography. These require discipline,
focus, high levels of responsibility, compromise and
effort, qualities which I can say I developed entirely.

Architecture has always been the career I wanted to

study and the dynamic focus of it is what makes me
passionate about it. Building specific and sensible
spaces for the people is my main interest, being all
about how they feel and remember them, not about
what they contain or the material fillers they might have.
 TADAO
ANDO
Through the years of my formation as an
architect, I realized that Tadao Ando is my go-
to architect. His spaces are, for me, sublime
and totally sensitive for the users, adding them
functionality. Thus wrapping the visitors in
the atmosphere he creates for each building.

WATER TEMPLE
1991

CHURCH OF THE LIGHT

1989
PRO JEC TS
Bº Otoya, El Carmen, San José

ÁUREA
AXONOMETRIC VIEWS

from the Noun Project

Created by Rhys de Dezsery
Based on the
diferent sizes of
the rectangles
and squares
created by the
Fibonacci golden
ratio, Áurea is
a building of
residential use in
Otoya.
DESIGN PROCESS
1
The volumes that
will define the
building structure
are distributed
within the terrain
both in 2D and
3D, taking in
consideration
each space
generated by the
golden ratio
2
Once the volumes
are defined,
overposition starts
for the making
of the height and
distribution of
them

3
An external
structure is
defined after
the definition
and distribution
of the volumes.

4
Finally, a center
is defined as
the core of the
building between
the volumes for
CONCEPT VOLUMES the vertical transit.
 NATUS
DESIGN
This full-of-life project
consists in 4 volumes
surrounding a big center.
Each volume represents
a diferent ecosystem for WEST FACADE
the user to experiment
face to face the nature in
the middle of the city.

NYMPHA

CACTA

OBLIQUE SECTION

PRADA FLORA

WEST FACADE
INTERIOR CIRCULATION
 RESCUE OF THE UNEXHIBITED MUSEUM HERITAGE

MUSEOTOPÍA 85%
methodology
OF THE NATIONAL MUSEUM
HERITAGE IS AT THE VAULTS OF THE HETEROTOPIA
Place in which all the other real
THESIS PROJECT CENTRAL BANK OF COSTA RICA sites that can be found within the
culture are simultaneously rep-
resented, disputed and inverted.

LOCATION

A / contrast

B / union

C / fusion

PASEO DE LOS MUSEOS

D / results
URBAN-CONTEXTUAL ANALYSIS MUS
EO
DE JADE
SEO

DE
U

ORO
CONTEMPOR M
EÑO ÁN
DIS

EO
EY
MUSEO DE ART
AL
ON

I
NAC
MUSEO
1/ Since it is desired to propose a cultural program, the existing
museums in the Center of San José are studied to analyze the
MAPA DE MUSEOS ACTUALES
urban relationship between them.

MUS
EO
DE JADE
SEO

DE
MU

ORO
AL
ON

I
NAC
MUSEO
2 / The initiative of the Paseo de los Museos is identified and
determined as an urban starting point for the location of the
PASEO DE LOS MUSEOS
museum to be proposed.
Avenida Segunda (Vehicular)
Avenida Central (Peatonal)
Límite Centro Histórico
 MUS
EO
DE JADE
SEO

DE
MU

ORO
CONTEMPOR
EÑO ÁN
DIS

EO
EY
MUSEO DE ART
AL
ON

I
NAC
MUSEO
3/ This initiative is analyzed in the context of the city and more

than half of it is located within the capital’s historic center.

CENTRO HISTÓRICO Avenida Segunda (Vehicular)
Avenida Central (Peatonal)

(Calle 7, Avenida 10; Calle 10, Avenida 7)

Límite Centro Histórico

MUS
EO
DE JADE
SEO
DE

MU
ORO

3M PERSONAS/AÑO

AL
91M CARROS/AÑO ON
4/ The pedestrian and vehicular flow that circulates along the two
I
NAC
MUSEO

most important roads in the country (Avenida Central & Avenida

Segunda) is impressive, accentuating the importance of the

FLUJOS DENTRO DEL PASEO DE LOS MUSEOS
location of the axis of the Paseo de los Museos.
Avenida Segunda (Vehicular)
Avenida Central (Peatonal)
Límite Centro Histórico
USE
O
O DE JADE
DE

SE
MU
ORO

3M PERSONAS/AÑO

5/ From the analysis carried

NAL
91M CARROS/AÑO O
I
out, a variant is found within
NAC

the Paseo de los Museos.

MUSEO

Such is that an urban passage

is not found in the middle

of the existing museums,

which highlights the little

EATONAL Avenida Segunda (Vehicular) importance that is given to
Avenida Central (Peatonal)

passers-by to live the city.

Límite Centro Histórico
PLACEMENT/
MUS
EO
O DE JADE

DE
SE
MU

ORO
SEÑO CONTEMPORÁ
DI N

EO
EY
MUSEO DE ART
To create an urban balance, in

which there are two museums

NTRA RAMÍREZ VALID
E O
AC
to the east and two to the
Í

west, it is decided to take the

ER
GAL

lot of the existing Ramírez

AL
Valido Gallery, along with 5
ON

I
NAC
other lots that surround it in

MUSEO
order to have the necessary

square meters to insert

another museum of relevant

importance in the Paseo de Avenida Segunda (Vehicular)

Avenida Central (Peatonal)
Límite Centro Histórico

los Museos.
DESIGN GUIDELINES

The entrance to the museum is made in the central area, so that it forms an urban axis from

central avenue to second avenue so that pedestrians, when using this route, are tempted to ENTRANCE
enter the museum and observe all the objects that have been preserved. saved.

Due to the need for design, since the entrance is in the central area, a wide corridor must be MITAD DE CUADRA
made. This commonly in the history of San José, was called urban passage, when there were
in the middle of the blocks. In this way, the museum has an entrance that gives the desired
PASSAGE
essence of being “hidden” and also contributes to the urban planning of San José

PASAJE URBANO

To the north and south of the lot, there are two squares that invite and give shelter to pedestrians
on the aforementioned avenues, with the same intention always to invite the user to enter the PLAZA
passage and therefore the museum..

Finally, a large showcase is added to the entrance of the museum, as a sample of the great
exhibition that will be inside. Adding all the urban effects and architectural elements and
SHOW PLAZAS

adapting to its context, Museotopía has an incomparable program compared to the rest of the WINDOW
city’s museums.
 TRANSFORMADOR
A V E N ID A

DUCTOS

NIVEL 1 MUSEO
+0.OO
S E G U N D A

NIVEL 1 MUSEO
+0.OO

PLAZA AVENIDA CENTRAL

+0.95

PLAZA AVENIDA SEGUNDA

-0.95

NIVEL 1 MUSEO
+0.OO

FINAL DESIGN
plaza level
 C A L L E 7

Paso Elevado
+0.30

TRANSFORMADOR

Paso Elevado
A V E N ID A

A V E N ID A
+0.30

DUCTOS

NIVEL 1 MUSEO
+0.OO

C E N T R A L
S E G U N D A

NIVEL 1 MUSEO
+0.OO

PLAZA AVENIDA CENTRAL

+0.95

PLAZA AVENIDA SEGUNDA

-0.95

NIVEL 1 MUSEO
+0.OO

C A L L E 9

FINAL DESIGN / second level

PLANTA NIVEL 2
+10.4m
0 5 15 25 35 45 55 m
 C A L L E 7

A V E N ID A

A V E N ID A
DUCTOS

Tercer Piso
+4m

C E N T R A L
S E G U N D A

FINAL DESIGN / third level

C A L L E 9

PLANTA NIVEL 3
+14.4m
0 5 15 25 35 45 55 m
 C A L L E 7
A V E N ID A

A V E N ID A
DUCTOS

C E N T R A L
S E G U N D A

FINAL DESIGN / fourth level

C A L L E 9
MUSEOTOPIA