This portfolio is the result of the Architectural Geometry course taken during the first year of architecture studies at Universidad Europea de Madrid. The course explores how geometry shapes architecture—from basic drawing skills to digital modeling and parametric design. It’s a hands-on class where each exercise builds on the last, combining logic, creativity, and precision. The portfolio brings together all the work produced throughout the semester, showing the learning process and personal interpretation of geometric principles.  

1. CAD Basics

This first chapter was all about getting familiar with Rhino and the fundamentals of 2D CAD drawing. Starting from scratch, I learned how to draw simple architectural elements (like mazes, towers, and basic plans) while understanding how to organize drawings with layers, line types, and scale. It set the tone for the rest of the course, teaching me precision, patience, and the importance of clean geometry.  

2. Hexagram

Inspired by the Tangram puzzle, this exercise replaced the square with a hexagon, challenging us to create new convex shapes using a limited set of pieces. It was an exploration of symmetry, proportion, and creativity within constraints. Playing with composition while following strict rules made it a perfect introduction to architectural logic through playful experimentation.  

3. Flatland

Based on Edwin A. Abbott’s Flatland, this project mixed geometry with storytelling. We translated abstract concepts of dimensions and social hierarchy into diagrams, drawings, and spatial representations. It was a unique way to visualize theory and brought a conceptual layer to the course reminding us that geometry isn’t just technical; it can also be narrative and political.  

4. Pythagoras

Here, we revisited the famous Pythagorean Theorem through seven different visual proofs. The challenge was to represent a mathematical concept graphically and creatively. To push it further, I designed geometric tattoos that reinterpreted the theorem in symbolic and aesthetic ways. This chapter bridged logic and imagination : where math meets design.  

5. Croissant

Inspired by Enric Miralles’ playful spirit, this exercise took a real-life croissant and turned it into a geometric study. Starting with point clouds and polylines, then moving on to arcs and finally Bézier curves, I explored how different curve types can affect the representation of the same object. It was a fun yet rigorous study of precision, abstraction, and drawing technique.  

6. Freeform Curves

In this chapter, we analyzed the Serpentine Pavilion by SANAA, translating its fluid, organic shape into a precise 3D model. Using Rhino and parametric tools, I recreated the plan, roof, and elevation, learning how to read and replicate freeform geometry. This was a key moment where digital design started to feel architectural and real.  

7. Planar Surfaces

This section focused on creating surfaces from flat elements. I explored how to connect points and lines to generate defined yet dynamic planar forms. The exercise helped me understand how flat geometries can still have strong spatial qualities, especially when layered or folded, offering potential for real architectural applications like facades or partitions.  

8. Booleans

Boolean operations were at the core of this chapter : cutting, merging, and intersecting solids to create complex volumes. It felt like sculpting with digital clay. Beyond learning the tools, I began to see how subtraction could be just as powerful as addition in shaping space and form. It was a great introduction to volumetric thinking.  

9. Solid I

The first in-depth study of volumes started with basic shapes and their transformation. By rotating, extruding, and scaling, I explored how simple solids can gain complexity through small changes. This exercise was essential for building spatial awareness and understanding the relationship between geometry and mass.  

10. Solid II

Building on the previous chapter, Solid II introduced more creative freedom. I began combining multiple operations to produce unique, expressive forms. Here, I really started thinking like a designer using geometry not just to construct objects, but to give them character and spatial intent.  

11. Parametric Design

This chapter marked the transition into parametric logic using Grasshopper. I learned to generate geometry through data placing points, drawing curves, and controlling parameters. It was a new way of thinking: instead of modeling shapes directly, I was setting up systems that generate them. It opened the door to a more flexible and experimental workflow.  

12. Parametric Coordinates

We pushed parametric design further by working with coordinates and mathematical rules. By controlling geometry through formulas and sliders, the process became both precise and playful. It was like coding with shapes, building relationships instead of just forms. This chapter reinforced the idea that design can be smart and adaptable.  

13. Ruled Surfaces I

Ruled surfaces are created by stretching straight lines between curves, a simple yet powerful concept. In this first exercise, I explored how two-dimensional curves could generate smooth, flowing 3D forms. It was fascinating to see how much variation and elegance could come from such a basic principle.  

14. Ruled Surfaces II

Here, we advanced the ruled surface idea by layering more profiles and introducing subtle changes in parameters. The result was a more architectural, almost sculptural quality to the forms. It made me reflect on how geometry can suggest structure, movement, and even atmosphere in a space.  

15. Terrain

This chapter was about digital topography. I simulated a terrain surface using contour lines and manipulated it using control points and digital tools. It was a study of slope, elevation, and landscape through geometry helping me understand how ground and form can interact in architectural design.  

16. Paper Model

To end the course, we brought our digital work into the physical world through a CNC-cut paper model. The process involved translating 3D geometry into a buildable format, then folding and assembling it by hand. It was a satisfying conclusion, watching the virtual become tangible, and geometry take shape in the real world.