BRE ROUSE Selected Architecture + Design Work 2012-2015
CONTENTS NYU 2031 Desert Larva Lamp Vertical City Markethaus MRC Acqua Alta Sketch Student Involvement Curriculum Vitae
NYU 2031 Partner: Ignacio Bruni Critic: Mark McGlothlin Context: New York, New York
The community of Greenwich Village has been partitioned into two opposing sectors: New York University and the families who have inhabited the district for decades. The dividing factor? The development of New York University’s superblocks. While both the NYU committee and the residents of the Village agree that the area is unsuccessful in creating public space, the two groups have had difficulty coming to an agreement. In order to address both sectors in the debate,
the NYU 2031 proposal incorporates a physical porosity to the site: the ground pulls apart, creating an inhabitable layered system between ground and built environment. The circular nodes protrude through ground level, creating inhabitable light wells into the spaces beneath. These nodes provide natural light toward the classroom spaces below, as well as create large circulatory paths. In turn, the central areas of the nodes create dwelling spaces that serve both the community and the NYU student body.
Ground segmentation studies
Context:
Site Conditions, transportation, greenspace
Mapping of transportation including bike lanes, subway lines and bus routes
Location:
Greenwich Village, NYC
Mapping of NYU owned properties including classrooms, housing and offices
Mapping of greenspace including public and privates parks
Programmatic Division North + South Block
North Block
Public
NYU
Total: 210,685 sq/ft
Total: 557,315 sq/ft
Above: 586,000 sq.ft Below: 182,000 sq.ft
106, 895 sq.ft Parks: 92, 369 sq.ft Retail: Theaters: 11,421 sq. ft
Classrooms: 586,000 sq.ft Lec. Halls: 182,000 sq.ft 105,233 sq.ft Libraries:
South Block
Public
Total: 768, 000 sq.ft
North Block
Mapping of historic districts including pre-war buildings
Total: 1,115,000 sq/ft Above: 1,015,000 sq.ft Below: 100,000 sq.ft
South Block
NYU
Total: 329,308 sq/ft
Total: 785,692 sq/ft
Athletic: 136,500 sq.ft Retail: 105,623 sq.ft Parks: 87,185 sq.ft
Housing: 588,721 sq.ft Classrooms: 114,318 sq.ft 82,653 sq.ft Offices:
Subterranean Space Layered ground condition Unconditioned Space Conditioned Space
Ground Floor
Sub-level 1 (Underground)
Sub-level 2 (Underground)
Entry + Public Green Space
Detailed Floor Plans: Entry and Circulation 1.
3
2
4
6 7 5 1
2.
2 1
4
5
1. North Block Sub-Level -1 (Underground) Detailed Plan
2. North Block Ground Level Detailed Plan
1. 2. 3. 4. 5. 6. 7.
1. 2. 3. 4. 5.
Offices Restrooms Lecture Halls Classrooms Storage Commercial Spaces Core
Skylight Restrooms Core Lecture Hall Exterior Auditorium
3
In order to address both sectors in the debate, the NYU 2031 proposal incorporates a physical porosity to the site: the ground pulls apart, creating an inhabitable layered system between ground and built environment. The circular nodes protrude through ground level, creating inhabitable light wells into the spaces beneath. These nodes provide natural light toward the classroom spaces below, as well as create large circulatory paths. In turn, the central areas of the nodes create dwelling spaces that serve both the community and the NYU student body.
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DESERT Critic: Martin Gunderson Context: Unkown, Desert
The vast, empty, ever-changing desert landscape is a transitory trap. Its unforgiving nature leaves little opportunity for the existence and sustenance of life. However, the discovery of extremely large ancient castles in the Sahara desert of Libya has evoked the interest of archeological scientists. Eager to excavate the desert’s secret, archeologists must endure the desert habitat to reveal the ancient castles. The development of the new habitable space is adjacent to ancient ruin and attached via an archival threshold. As researchers engage in the excavation of the ruin, they are able to archive and understand how ancient civilizations attempted to survive it’s harsh conditions and in turn, apply it to the modern living structure.
Laboratory
Residences
desert context
Structure protects itself embedded in landscape
Sectional studies engaging light as an element disclose how the invention seeks refuge by embedding itself within the landscape. In turn, the overhead condition is constructed receive and selectively locate light within the structure. entry
living
laboratory
desert context
LARVA Lamp Critic: Mick Richmond Context: Gallery
The luminere design is made to increase the spatial versatility of an art event space/ gallery. A series of these low hanging, transparent lamps can be hung sequentially creating “light walls.” These “light walls” utilize light as material, creating dividers that are able to separate spaces within the venue. The ability to arrange these lamps in multiple different sequences incresases the versatility of the gallery/event space. The lamp,
approximately 4 feet tall, is made of a series of plexi glass plates bolted by metal hardware, giving it a physical transparency. Ambient dim lighting is created by covering the plexi glass and 25 Watt incandescent bulb with a series of nylon slips. Thus, if the lamps are switched off, the lamp itself becomes transparent and opens up the room. Overall, the quality of the light is to dimly illuminate and create versatility within a modern event space/gallery.
Vertical City Critic: Martin Gunderson Context: Unkown
Inspired by maps of New York City’s urban landscape, the project began to explore the idea of a vertical datum that organizes a vertical urban context. Analyzing gridded street maps of New York into a sections of sectional studies, an assemblage of the components of a city began to emerge. Further sectional cues revealed the location of three urban conditions; the central public space is extends from the center to reveal green space above and is rooted in a base of technological development.
Markethaus Critic: Tom Smith Context: Vicenza, Italy
It’s a Saturday morning in Vicenza, Italy. The streets sur
rounding the Poste Italienne on ContrĂ Giuseppe Garibaldi are invaded with hundreds of stands selling cheese, milk, crafts, clothes, antiques, and books. The market is a huge part of Italian culture in this small town. However, this market proposes one architectural issue: it creates a boundary between permanent, local businesses and the street vendors. I began to explore how this boundary could be infiltrated and reworked. Markethaus seeks to celebrate the market while
opening up business to local, more permanent shops. The ground level floor consists of revolving glass panels that open the shop toward the street. As a result, this diffuses the stark boundary between businesses and the vendors. In turn, Markethaus seeks to blend in with its’ context, using local grey travertine and pulling the orange color of the rooftops covering Vicenza down toward the street level. By creating transparency, Markethaus creates a fluid spatial relationship between the temporary and permanent.
Mapping of Market and disconnectivity with permenant architecture
Markethaus in context
Ground-Floor Plan Commercial
Second Floor Plan Office Space
Third Floor Plan: Office Space
Roof Plan: Garden
Boathouse Critic: Martin Gunderson Context: Unkown, Desert
The project begins in the vast landscape of Fernandina Beach, Florida. A site set on a peninsula sitting on swampy waters, the construct begins to explore the carving of ground and its relationship to the surrounding water. Beginning with a diagramatic exploration of the local flora and fauna, I began by examing the flight pattern of the snowy egret. This diagram explores the way the egret engages with the ground physically while shifting its’ posture and
line of sight towards the horizon. The construct, gripping the land, carves down into the ground, engaging the land, while stretching out to the water. The program includes a marine research facility that houses a library, laboratory, storage, and housing. The building itself follows the curve of the terrian while digging in and forming manmade constructions and emergy from the land.
The project seeks to engage and expand the landscape as the facility explores and preserves the local flora and fauna. A water collecting roof takes rainfall and uses it within the facility. The recycling of rain water both promotes sustainability and gives an identity to the roof.
ACQUA ALTA Partner: Alison Zuccharo Critic: Tom Smith Context: Venezia, Italia
The construct embodies the same porosity of the city of Venezia, a man made intervention in the Adriatic Sea. Made up of millions of piles driven into the ground, the city of Venezia is penetrated by two key elements: light and water. These elements are constantly shifting and have a great effect on the way the city functions. The density of the buildings and the varied way in which they are positioned affects the penetration of light and impacts the ability of light to enter spaces, making it an important building consideration. As for water, Venezia is highly susceptible to flooding
during high tides and periods of heavy rainfall, creating the need for buildings to have an adaptive response to water infiltration. By accommodating and protecting buildings from inevitable flooding, Venezia can remain a city distinctive in its construction and unique in the way in which it functions, working with the invading elements rather than retreating.
Methods of interlocking and infiltration
Interior entry slot accepts both light, water, and pedestrian walkway.
1. Sectional explorations of light and water
1. A study of the ways in which light and water can penetrate a building. The construct will utilize the water as a design driver, implementing it aesthetically and practically.
2. Site Map/Flood map
2. Seeing as the base of the campo is located in a flood zone and in an effort to have a positive impact on the campo and the surrounding buildings, this construct proposes to implement a water drainage system that will remove excess water from the public space. This maintains occupation of the campo during periods of high tide and heavy rainfall.
Elevations:
Penetrable, floating Facades
A. Northwest Elevation
B. Northeast Elevation
C. Southwest Elevation
1/2” metal fastener metal suspension cord 5/8” gypsum wall board
white suspension rod
4” steel rod
inside: single layer lamented glass wall system
3” polished concrete slab 3” metal decking
1’ channel glass 8” steel angle copper shading fin 8” standard steel beam
roof membrane
metal flash
rigid building insulation 3” concrete slab 3” metal decking
metal suspension cord 5/8” gypsum plaster board
8” standard steel beam
single panel glazing w/ aluminium frame
8” X 8” steel column
3/4” tongue & groove quarter sawn hardwood flooring and 3/4” blocking
metal flashing metal bracket
metal fastener white marble stone tile facade
The sculpture garden incorporates water at ground level as the city of Venezia does at ‘acqua alta’.
Negative public space sketches Campi in Venice
Campo San Polo
Campo de fiori
Campo de senori
Ground-level Plan
First Floor plan
Second Floor plan
SKETCH / TRAVEL Context: Europe
The following images are a series of sketches I completed during my final semester aborad living in Vicenza, Italy. The main purpose of this exercise was to develop a deeper understanding of architectural elements and their intentions. I sketched on-site in plan, section, axonometric and perspective to develop relationships beween architectural elements. Through these drawings I was able to discover rhythms, patterns, and details that were unseen at first glance. In turn, I was able to draw similarities through the works of Meier, Scarpa, Palladio, and many others who have contributed to the history of architecture.
Student Involvement Promoting collaboration and opportunity for the students was an important part of my time at the University of Florida. Upon entering the School of Architecture, I was excited by the tight-knit studio culture. However, UF is located in a very small town and lacks the architectural stimulation found at universities in larger cities. I wanted to help the architecture students at UF connect to the larger architecture community. During my time at UF, I had the opportunity to serve as the Treasurer of AIAS, Professor’s Assistant, and the Creative Director of UF SoA’s publication, Architrave. I used these positions to create a larger network for the students.
As treasurer of AIAS, I was able help collect funds and organize the second trip to the annual South Quad conference in over 5 years. We took a group of 15 students to Atlanta where they participated in workshops, tours, and networked with other architecture students from around the country. We also contacted the local AIA group and hosted a gallery exhibition of student and professional work for during downtown Gainesville’s Gallery Fridays. As Creative Director of Architrave, I lead the branding and conceptualization of the book. We sought to use the book as a platform for conversation within the university. We held ‘content screenings’ where we col-
lected student work for the publication, screen a film, and have students participate in a giant collaborative sketch. The University collected 1500 copies of Architrave 22 for distribution amongst firms. I was fortunate to have these opportunities at UF that gave me lessons beyond the studio: in leadership, collaboration, and organization. Most importantly, I believe our graduating glass created a network of opportunities and initiative for the students to carry on.
Thank you.