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P O R T F O L I OA R C H . A N D R E A M A G A L L Ó N Z E R T U C H E

A N D R E A M A G A L L Ó N Z E R T U C H EA R C H I T E C TCONTACT ME:E D U C A T I O N0 1C e n t r o e d u c a t i v o c o n t i n e n t a l2 0 0 9 - 2 0 1 80 22 0 1 8 - 2 0 2 1A u t o n o m o u s U n i v e r s i t y o f C a r m e n ( U N A C A R )0 32 0 2 1 - 2 0 2 6A n á h u a c M a y a b U n i v e r s i t y B a c h e l o r ' s D e g r e e i n A r c h i t e c t u r eMagallonzertuche@gmail.com+52 9381038931C E R T I F I C A C I O N SP E T C a m b r i d g e C e r t i f i c a t i o n ( 2 0 1 6 )S p a n i s h - N a t i v e E n g l i s h ( A d v a n c e d , C 1 )S K I L L SA u t o C a d R e v i t A r c h i C a d S k e t c h U p 3 d s M a x D 5 R e n d e r T w i n m o t i o n D y n a m o V - r a yL A N G U A G E SR e v i t f o r A r c h i t e c t u r a l a n d S t r u c t u r a l D e s i g n ( M a y 2 0 t h , 2 0 2 5 )D i g i t a l S k i l l s P r o g r a m ( A p r i l 2 0 2 3 )A r c h i t e c t w i t h e x p e r i e n c e i n B I M m o d e l i n g , p h o t o r e a l i s t i c r e n d e r i n g , a r c h i t e c t u r a l v i s u a l i z a t i o n , a n d p r o j e c t d o c u m e n t a t i o n . S k i l l e d i n c r e a t i n g h i g h - q u a l i t y v i s u a l p r e s e n t a t i o n s t h r o u g h R e v i t , 3 d s M a x , U n r e a l E n g i n e , a n d r e a l - t i m e r e n d e r i n g w o r k f l o w s . P a s s i o n a t e a b o u t i n t e g r a t i n g t e c h n o l o g y , A I t o o l s , a n d s u s t a i n a b l e d e s i g n s o l u t i o n s i n t o a r c h i t e c t u r a l p r o j e c t s .A r c h i t e c t u r a l V i s u a l i z a t i o n B I M M o d e l i n g P h o t o r e a l i s t i c R e n d e r i n g I n t e r i o r D e s i g n C o n s t r u c t i o n D o c u m e n t a t i o n C o n c e p t D e v e l o p m e n t A I - A s s i s t e d D e s i g n W o r k f l o w sE n s c a p e U n r e a l E n g i n e P h o t o s h o p I l l u s t r a t o r N a v i s w o r k s A f f i n i t y M i c r o s o f t O f f i c e S u i t e M i c r o s o f t T e a m s C a n v aINTERNSHIPVIRALMINDArchitectural Visualization Intern Developed 3D models and architectural visualizations using 3ds Max. Produced and managed architectural drawings in AutoCAD. Created architectural renderings using Unreal Engine.JAN 2025- APR 2026 MID, YUC. MX.WORK EXPERIENCED-CON• Modeled plumbing and building installation systems in Revit. • Worked with basic and advanced piping layouts and coordinated installation documentation. • Assisted in BIM workflow development and model accuracy verification.JAN 2024 - AGS 2025 GDL, JAL, MX.Designed residential and interior architecture projects for international clients. Produced photorealistic renderings, 3D visualizations, and presentation materials. Developed custom furniture designs, construction drawings, and project documentation. coordinated project development from concept through visualization and delivery.ARCHITECTURE EXPERIENCEINDEPENDENT2025 - 2026G e n e r a t i v e A I : E x p l o r i n g t h e L a n d s c a p e ( J a n u a r y 2 6 t h , 2 0 2 6 )T e a m C o l l a b o r a t i o n A t t e n t i o n t o D e t a i l P r o b l e m S o l v i n g C o m m u n i c a t i o n S k i l l s C o o r d i n a t i o n T i m e M a n a g e m e n t A d a p t a b i l i t y C o m m u n i c a t i o n S k i l l s S e l f - M o t i v a t e dT O O L SS O F T S K I L L S

A r c h . A n d r e a M a g a l l o n Z e r t u c h e . P O R T F O L I O E n t r e t e j i d o C u l t u r a l a n d R e c r e a t i v e C e n t e r.

E N T R E T E J I D O

I.Project approach.Study of the sociocultural users. IV. C O N T E N T .Historical context and study of the building. II.Study of the enviroment. III. V.Composition of architectural structure.Conceptual approach. VI. VII.Concept / Generative Idea.Architectural project. VIII.

C O N T E N T . I . P r o j e c t a p r o a c h 0 1 . U r b a n S t u d y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 0 9 I I . H i s t o r i c a l c o n t e x t a n d s t u d y o f t h e b u i l d i n g . 0 2 . H i s t o r y a n d p r e s e r v a t i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 1 2 C u r r e n t i s s u e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4 I I I . S t u d y o f t h e e n v i r o m e n t . 0 3 . T h e l i v i n g l a y e r s o f t h e s i t e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g , 1 5 I V . S t u d y o f t h e s o c i o c u l t u r a l u s e r s . 0 4 . T h e h u m a n f a b r i c a r o u n d L a I b é r i c a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 1 6 I n s t a n t c o n t e x t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 1 7 I m m e d i a t e C o n t e x t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g , 1 8 U s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 1 9 U s e r p r o f i l e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 2 0 V . C o m p o s i t i o n o f a r c h i t e c t u r a l s t r u c t u r e . 0 5 . E x i s t i n g a r c h i t e c t u r a l p r o g r a m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 2 2 F l o o r p l a n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 2 3 I n t e n t i o n s & p r o p o s a l . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 2 4 V I . C o n c e p t u a l a p p r o a c h . 0 6 . B u b b l e d i a g r a m & m a c r o z o n i n g . . . . . . . . . . . . , , , , , , , , , , , , , , , , , , , , , , . . . . . . . . . . . . . P a g . 2 5 C o n c e p t d e v e l o p m e n t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 2 6 V I I . C o n c e p t / G e n e r a t i v e I d e a . 0 7 . T h r e a d s a s a w a y t o c o n n e c t c i t i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 2 7 L a y e r s o f t h e c i t y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 2 8 D e s i g n p r o c e s s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 3 1

V I I I . A r c h i t e c t u r a l p r o j e c t . 0 8 . E n t r e t e j i d o . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 3 3 S e c t i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 3 4 A r t s & w o r k s h o p s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 3 5 W e l l n e s s & C a f e t e r i a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 3 7 R e n d e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 3 8 S t r u c t u r a l a n a l y s i s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 4 8 S t r u c t u r a l s e c t i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . P a g . 5 1

09C e n t r o c u l t u r a l l a I b é r i c a .M é r i d a .Y u c a t á n , M é x i c o .

10P l a z a d e t o r o sC e n t r o C u l t u r a l L a I b é r i c aP a r q u e d e l a s a m é r i c a sG r a n P a r q u e L a P l a n c h a

11 Urban study.C . 3 7 5 5 1 , G a r c í a G i n e r é s , 9 7 0 7 0 M é r i d a , Y u c .P L A Z A D E T O R O SC E N T R O C U L T U R A L L A I B É R I C AP A R Q U E D E L A S A M É R I C A SThe study area was defined based on urban, cultural, and social boundaries. García Ginerés, with its historic villas and plazas, represents the immediate sphere of influence. To the east, La Plancha acts as a metropolitan cultural hub, yet two wide avenues create a barrier that isolates La Ibérica from this dynamic node. A 500 m study radius was applied to analyze flows of movement, pedestrian activity, and cultural attractors. This revealed both the disconnect between La Ibérica and La Plancha, and the potential for new connections through corridors, public spaces, and programs that complement existing cultural infrastructure. The architectural proposal aims to rehabilitate and reprogram the existing buildings while inserting a new volume that complements them. The project seeks to consolidate the ensemble as a contemporary cultural and educational hub, improve public space, and strengthen the pedestrian connection between the neighborhood and the complex. The intervention is directed at local residents, students, cultural agents and visitors, and is structured around the idea of creating a permeable, inclusive and climatically comfortable environment01.

García Ginerés emerged in the early twentieth century as one of Mérida’s first garden suburbs, with a regular grid softened by generous setbacks, trees and public parks. The area illustrates the city’s westward expansion and the transition from compact colonial fabric to lower-density residential typologies. Over time, the neighborhood has maintained its domestic scale and vegetation, while incorporating institutional and cultural buildings that now structure its identity The main building within the site dates from approximately from the late 19th – early 20th century and originally functioned as a Hospital (La Casa de Salud “La Ibérica). Subsequent additions and adaptations have modified its internal layout and extended its built area, while preserving the general volumetry and façade composition. Secondary buildings were incorporated in different phases, responding to programmatic needs rather than to a unified master plan. The current state of conservation is heterogeneous. Structural elements and the main envelope are generally stable, but there are degrees of deterioration in finishes, carpentry, roofs and services. Pathologies include moisture, surface cracking and obsolete installations. A general diagnosis classifies the complex as having moderate deterioration, with localized areas of severe damage that require immediate intervention The historic façades establish a strong relationship with the street and with neighboring properties through alignment, height and rhythm of openings. This relationship is essential for the urban image of the area and is taken as a reference for the new intervention. The project assumes the existing buildings as fundamental components to be preserved, repaired and reactivated rather than replaced History and preservation. 1202.

13 Forum. Multipurpose room. Emilio Seijo. Open area.

Lacks lighting.Lacks seating areas.Lacks shaded areas.Lacks active zones.Despite these problems, the pavilions retain strong architectural character, and the gardens have mature vegetation that creates microclimatic comfort. These conditions make La Ibérica an ideal candidate for adaptive reuse and landscape activation. Current issues. 14

The project is located in a warm-humid climate with high solar radiation, prevailing winds from the northeast and southeast, and intense seasonal rains. These conditions impose the need for effective shading, cross- ventilation, controlled solar gain and permeable surfacesThe Living Layers of the Site study of the environment and the physical biotic estate.03. Services & storageWorkshops & classroomsAccess Administration 15

Study of the sociocultural and urban–user environmentThe Human Fabric Around La Ibérica04.Col. García Ginerés Road Jacinto Canek Street 60 Prol. Montejo Street 21 and 32 Col. García Ginerés Road Jacinto Canek Schools Health Center Bank Park Goberment Offices La Iberica Macro analysis. Micro analysis. 16

Bus Stop. Schools Goverment Facilites Stores and Supermarket Medical Centers Fire Station Hotels Monuments Main Road: Av. Reforma Instant context. North. Symbology. 17

A i r B & B H o u s eP u b l i c N o t a r yS c h o o l .B l a c k s m i t h W o r k s h o pB a l f o u r & C o .M a y a n H o u s eC a s a S y m p h oi n f o n a v i tPedestrian Flow: Low Vehicular Flow: Medium, the higgest concentration is on 39th street Sidewalk quality: Medium Public Lighting Furniture: Not all are functional Immediate Context.The study area includes residential blocks, educational facilities, religious buildings, small commerce and cultural equipment. The road network combines local streets with collector avenues that connect García Ginerés to Mérida’s historic center and to other neighborhoods. Public transport routes and bus stops provide access to the site from different parts of the city, while sidewalks and park networks support walkability.Land use around the site is predominantly residential with pockets of mixed use and institutional functions. Vacant or underused plots appear as opportunities for future public or cultural programs. The property participates in the urban structure as a potential urban node, capable of linking existing routes and open spaces. 18

Users include neighborhood residents, students, teachers, cultural workers, children, families and visitors from other parts of the city. Pedestrian flows concentrate along main streets and at key access points to parks, schools and the cultural complex itself. Within the property, current use generates specific patterns of circulation, gathering and waiting areas that inform the location of future program and entrances. Users.Under 14 years old.15 to 29 years old.30 to 59 years oldOver 60 years old31%31%11% 27% Age range of students: 55-88 years old.This profile shows both a strength (elders actively using the site) and a challenge (low engagement from youth and families). There is also a demand for safer environments, more diverse workshops, and spaces that invite intergenerational exchange.0 100 200 300 400 2019 2024 There was a renovation in 2019 which improved the people enrolled in the workshops. 19

Childhood 5–12 Children account for about 20.0% of participants, bringing dynamism and ensuring intergenerational exchange within La Ibérica. Adolescent / Teenager Adolescents make up only 1.2% of users, highlighting a generational gap and an opportunity for inclusion Family member or caregiver Family members and caregivers support vulnerable users; while numbers are unknown, their role is essential in daily dynamics Older adult / Senior Older adults represent approximately 78.8% of enrolled students, forming the core of the active community in workshops and activities Collective / Group “node- group” Collectives or groups use La Ibérica as a meeting node, strengthening cultural and community networks Neighbor who uses the park without attending workshops The site also functions as a public park, attracting neighbors who do not participate in workshops but expand the range of users. Administration / Maintenance / Security Approximately 20 members sustain daily operations, administrative management, and care of the facility. Teacher / Instructor The teaching staff, with at least 15 instructors, guarantees continuity and diversity in the educational and cultural programs Currently, several community members remain on the waiting list to become part of La Ibérica’s active users. Their integration is uncertain given the facility’s full capacity. While the center provides a welcoming environment, spatial limitations remain a critical barrier User profiles. 20

21

The existing architectural program of Centro Cultural La Ibérica is composed of a series of historical buildings and complementary outdoor areas that currently host cultural, administrative, and community activities. Each building operates independently, and the program reflects a fragmented distribution of uses, circulation, and services. Pre existing areas. 1.Access / Vigilance & Control (78 m²) 2.Administration & Music (590 m²) 3.Workshop (388 m²) 4.Direction, Library & Computer Room (323 m²) 5.Multipurpose Hall & Yoga (410 m²) 6.Ensayódromo / Performance Rehearsal + Storage (223 m²) 7.Old Morgue (60 m² – repurposable) 8.Restoration Workshop (42 m²) 9.Forum / Camerinos / Stage (existing) 10.Parking Lot 1 – 13 cars 11.Parking Lot 2 – 22 cars 12.Green Areas (2,113 m²) 13.Plazas & Paths 14.Lake Existing architectural program. 220103021406070409051011081213131205.

The current program operates as a cultural complex with strong potential but limited cohesion, lacking defined circulation hierarchies and unified spatial axes. Floorplan. 23

The proposed program reimagines La Ibérica as a contemporary cultural hub that unifies heritage structures with new programmatic extensions. The intention is to expand community impact, incorporate new creative industries, and reorganize circulation to enhance accessibility, performance, and spatial legibility. The proposal introduces new activities that respond to evolving cultural, educational, and recreational needs. The goal is to create a flexible, inclusive, and multi-layered program that merges existing heritage structures with new architecture in a respectful yet innovative manner. The new program fosters community exchange, supports digital and artistic production, and strengthens wellness, sustainability, and ecological preservation. Intentions & proposal. 24

ACCESS EMILIO S. ROGELIO. S. PARKING ALADINO G. RAMONACCESS ACCESS ACCESS ACCESSREST. sv PARKING PARKING Arts & workshops. Food court. Wellness plaza. Recreation. Social. Forum. Lake. Symbology. ACCESS 25 Bubble diagram & Macrozoning.06.

BCDEFAOld axes. New axes. New accesses. 26

Cities are often understood as systems defined by streets, which in urbanism can be read as borders. These borders separate neighborhoods, create limits, and shape the way people move. La Ibérica sits within a network of these urban borders. For residents of García Ginerés, reaching La Plancha requires crossing Avenida Reforma, an edge that behaves more like a barrier than a connection. But what happens when we reinterpret these borders? Instead of seeing the city as divided by lines, we can view it as a continuous textile ; layers, fabrics, and threads that join one piece to another. Under this perspective, La Ibérica becomes a stitching point, a place where disconnected fragments of the city can be woven together. The concept is grounded in connection, permeability, and continuity. By rethinking circulation and access, the project transforms the site into a public thread that ties together different parts of the city. New internal paths act as woven strands, allowing people to move across the site not only as visitors but as pedestrians who use La Ibérica as a passage, as a connector, and as a shared urban room. La Ibérica becomes a fabric node, a point where multiple urban threads converge. The project achieves to reinforce this role by opening the site, integrating its green areas, and stitching together the city with pathways, programs, and spatial continuity. The result is a place that respects its heritage while expanding its meaning within the urban landscape: a cultural center that not only hosts activities, but also connects people, neighborhoods, and everyday routes, weaving the city back together—thread by thread. Threads as a way to connect cities Statement of the concept and generating idea.07. 27

COLDER WINDSLAYER 1 - CITY. LAYER 2 - SITE STUDY & ACCESSES. Accesses are connected to the site’s streets.ABCDEFCOLDER WINDS ACCESSES. SITE. REFORMA AVENUE. CONECTIONS TO ACCESS. SITE AXIS. LAS AMERICAS PARK. PLAZA DE TOROS. EL PINAR.NORTH. Layers of the city. 28

LAYER 3 - TREATMENT OF THE ENTIRE COMPLEX 29EB23FBHHHA4DD5G8C

EB23FBHHHA4DD5G8C38373624341919273420352933313023222114151012111628 LAYER 4 - DETAILED ZONING AND LAYOUTS. 30

Design process. FIRST PROPOSAL. ORIGINAL PLAN FINAL PROPOSAL. 31

32

cNursery, Taichi & Yoga.DIntermittent PremisesBSculptural park.FReading Area.H Parking Lot.IServices.BCommunity Garden.DFORUMECafeteria & Fixed Premises.7Lake.HParking Lot.Gallery, Media library, Labs & Workshops.AHParking Lot.33 Entretejido Architectural Project08.

SECTION B-B’SECTION A-A’34

ARTS & WORKSHOPS - FIRST FLOOR.ARTS & WORKSHOPS - GROUND FLOOR. VOLUMETRY: Arts & workshops. The Arts & Workshops building is conceived as a continuous thread within the project, guiding circulation and weaving together the program along a curved geometry that embraces the garden. The ground floor accommodates flexible workshop areas and service rooms with direct outdoor access, while the first floor hosts quieter studio spaces with elevated views that support focused creative work. Throughout both levels, lattice screens are strategically integrated to manage privacy and sunlight: east–west façades receive filtered light to reduce heat gain, south-facing screens provide shade during peak sun hours, and garden- facing screens maintain visual connection while protecting interior activities but also serving the job as pillars so the building can work structurally. Volumetrically, the building behaves like a folded piece of fabric, bending and adapting to existing paths, reinforcing the project’s conceptual idea of threads by tying movement, program, and landscape into a unified architectural gesture. 35

ARTS & WORKSHOPS SECTION B-B’ARTS & WORKSHOPS SECTION A-A’ARTS & WORKSHOPS FACADE36

WELLNESS CENTER.CAFETERIA.Wellness & Cafeteria The wellness center organizes its rooms along the curved geometry of the project, creating a gradual transition from public to private areas. A continuous line of lattice screens filters direct sunlight and protects visual privacy, ensuring controlled illumination for activities such as yoga and physiotherapy while improving thermal comfort. The cafeteria acts as a social connector between the interior and the gardens. Its layout directs circulation toward the central path, while service areas remain contained for efficient operation. Along the façade, lattice screens soften sun exposure and provide comfortable, shaded dining throughout the day, reinforcing the project’s focus on permeability and visual continuity. 37

38 MASTER PLAN.

39 ARTS & WORKSHOPS - FACADE

40 ARTS & WORKSHOPS - FACADE

41 ARTS & WORKSHOPS - HALLWAY

42 ARTS & WORKSHOPS - GALLERY

43 ARTS & WORKSHOPS - GALLERY

44 ARTS & WORKSHOPS - GALLERY

45 ARTS & WORKSHOPS - FASHION LAB

46 CAFFETERIA - FACADE

47 WELLNESS CENTER-YOGA ROOM

Arts & workshops. 3D Model. 48

Arts & workshops structure. 49

Arts & workshops. exploited structure. 50

51 Structural section.

The constructive proposal for the present project is based on the climatic conditions of Mérida, the architectural organization of the building in two levels, and the need to combine structural clarity, environmental response, and technical coordination. The project is organized with a security room, Labs, Media Library, and Gallery on the Ground Floor, and Workshop A, Workshop B, Workshop C, Design Lab, Workshop D, and Workshop E on the First Floor. The Ground Floor height is 3.5 m with false ceiling, the First Floor height is 4.2 m with false ceiling, and the Gallery is a double-height space of approximately 8.3 m total height. The structural system is proposed as a mix of reinforced concrete frame and 20x25x56 mitza slabs, with footings, pedestals, columns, beams, and slabs forming the main load-bearing structure. This system provides durability, compatibility with conventional construction methods, and enough flexibility to accommodate the different room sizes and uses of the project. The roof system is conceived with concrete slabs, proper slopes, waterproofing, and parapets with well-resolved terminations. Enclosures are understood as part of the climatic strategy, combining solid walls and selective lighter elements according to each room’s requirements. The project incorporates passive environmental strategies such as north orientation, solar control through lateral columns, cross ventilation, and ceiling fans, but also requires active cooling due to the hot-humid climate, the number of users, and the presence of heat-producing equipment such as computers. For this reason, the proposal includes individual mini-split systems distributed by space, with larger capacity considered for the Gallery because of its double-height condition. False ceilings are used not only to improve the interior scale, but also to hide installations and reduce the effective conditioned volume in enclosed spaces.