Bryan Sportman [Core Design Portfolio] 2013-2014

bryan sportman

university of south florida school of architecture and community design

selected works fall 2013 machine de phenomena space into place

spring 2014 wall. tower. floor-ceiling. corner miami media center the cantilever

fall 2014 port tampa city library the highline

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machine de phenomena stair. door. window 5 weeks professor brandon hicks

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Machine de Phenomena consists of multiple spaces working together in a vertical manner to accomplish the manipulation of light, habitation, and circulation. These elements become the components of a machine in which interchanging experiences occur as one progresses through the spaces. Program was not assigned to said spaces due to emphasis being placed on the development of tectonics and experience.

The most prominent aspect to Machine de Phenomena is circulation. The issue of how one moves through the spaces was addressed in early iterations of the final model.

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In an effort to create spaces, the project began with a two-dimensional approach. An overlay of model photographs created a canvas where Machine de phenomena came to life. Pulling and extruding selected moments within the model paved way for space, circulation, and light to come together and create experiential conditions for habitation.

The two-dimensional sectioncollage was interpreted into three-dimensional sketch models. Within these models, the major moves playing a key role in spatiality came together, and creating edges separating spaces. These edges became tectonic pieces in the final iteration of the model.

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mapping circulation

The sections illustrate how all components [space, habitation, light, circulation] work together to create an overall combined experience. Circulation begins as an approach to the tower under a canopy leading to the ground level. From there, one flight of stairs leads to a turn in circulation bringing you into the central stairwell.

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The stairwell is used to reach various levels of spaces featuring a new condition of experience. Finally, the highest point of the tower is reached. Here individuals are given a downward perspective of spaces they previously experienced Not only does the central stairwell provide access to the various level changes, it also plays a key role in experiencing the tower. As one climbs the stairs, they find themselves wrapping around a column. By switching between an enclosed vertical node with minimal light conditions to a glass facade on the opposite side, different light conditions are displayed as the day progresses.

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space into place savannah. ga art gallery 5 weeks professor brandon hicks

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sense of place

The preliminary stages of this project consisted of identifying a place and deriving space and program based upon that place. Mapping the city through a twodimensional memory map was crucial in understanding Savannah as a place. The urban design is famous for a grid system connecting a series of public squares.

Streets, buildings, people, all interact with these squares in a specific manner.

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With a sense of place understood following the memory mapping exercise, the process of developing a sketch model for the art museum began. The new art museum would serve as a monument to Savannah’s already rich artistic culture. Savannah draws artists of all types to it’s rustic historic district where visitors can place themselves in historic times at sites such as Factor’s Walk. The site of the art gallery is based upon Savannah’s historic district north where the river’s edge meets urban development.

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process model

The spaces within the gallery were sculpted as well as development of tectonics surrounding each space. Reflection back onto the surrounding city was prominent while developing the spaces.

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artist showcase

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Each of the spaces within the art gallery hold a specific type of art. The ground floor features large, open space with verticality reaching high into the spaces above, making accommodations of large sculptural pieces possible. The second floor contains a gallery on the west side and a central cantilevered gathering space. Here, visitors to the museum can interact with one another and connect with other artists while also taking in views of Savannah from all angles. On the third floor, there are two spaces for galleries of work to be displayed. Medias such as paintings, drawings, photographs can be displayed on the walls.

third floor

The work being displayed in the museum come from Savannah’s own professional, student, and freelance artists residing within the city’s art district. the museum provides the city with a showcase of local art.

second floor

ground floor

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open public plaza

The art gallery sits upon a large terrace overlooking the Savannah River’s edge. The site provides access from Factor’s Walk. Visitors rise from the alley way below and begin their approach to the art museum through the tree-lined public plaza. The plaza acts as an outdoor version of the indoor cantilevered space in that it is a gathering space for artists and visitors alike to connect and learn about the arts.

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wall. tower. floor. ceil world war 1 memorial 8 weeks professor levent kara

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the c o r n e r The corner was treated as a preliminary exercise to the War Memorial Project. Keeping the idea of a spatial corner in mind, the goal was to simply create space in an axonometric drawing, and form a “seed.� The seed has a high level of detail at its core, but minimal detail leaks out into space. My approach to this assignment was folding of planes to create spaces within inter-locking surfaces, with an emphasis on revealing and concealing conditions. Linear elements were used as a secondary system to introduce tectonics into spatial thinking.

Once the spaces were developed, the mask was introduced as another layer of information within the drawing. The yellow geometric shape begins to talk about revealing and concealing certain moments. Perhaps the mask represents a skin system surrounding the seed controlling where light is allowed to penetrate through to the seed.

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speculation An abstract form of the floor ceiling, tower, and wall combined into one tectonic form. Highly detailed edges creating apertures for light to flow into the spaces. The two stacked horizontal planes represent the floor/ceiling, the dominant vertical element represents the tower, and the wall stands at the base of the tower holding the ceiling above. The tower was derived chiefly from the corner project [left].

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theg r o u n d .The site of the World War I Memorial is a historical battlefield, hence the incorporation of a centralized open battleground within the landscape design of the site.

Visitors to the site can place themselves on the original land where history had been made.

The architectural interventions take place on the northern and southern edges of the ground. In the site plan [right] the interventions encase the battlefield and begins to illustrate how movement throughout the site occurs.

Throughout the site the elevation of ground changes gradually, while at certain moments can drastically change. Although the ground today is kept as significance of a battlefield, the true ground lies beneath. In order for visitors to truly come in touch with the historical events that took place and remember the lives lost, the interventions recess into the ground to bring the experience to life.

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The northern portion of the site in time. It provides a place where represent grave sites for soldiers private and hold a minimal social

is devoted to those who have fallen during the the dead can me remembered and take part in of various armed forces that made marks on environment. Instead, visitors naturally encounter

battles that took place on this site at some point telling the story behind this land. The areas shaded the battlefield. This part of the memorial is more these spaces as individuals rather than in groups.

The southern portion of the site is devoted to the people of the present, those coming to visit the remains of the war. The floor and ceiling are located in this division of the site to provide a welcoming experience to visitors as the walk along the battlefield and submerge into the ground where the true history occurred. These spaces are more public and are likely to contain a more social environment amongst visitors.

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the wall The wall does not just play the simple role of acting as something to guide people while walking. It was designed to change direction of visitor traffic, suggesting the exploration of what lies beyond the wall. On it’s exterior, it seems serve as a surface for the names of those who fought to their deaths on this very site. Turning the corner reveals access ro the interiors, where apertures along the exterior direct light into these cores.

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The idea behind placing the wall underground was inspired by bunkers used in the first World War. Both sides implicated the use of bunkers and they were incorporated into the design of battlefields. Beyond the walls awaits compact, enclosed spaces, giving the sense of hiding behind a bunker, deep into the ground. Bunkers served as safer routes of moving throughout the field. The wall serves the same purpose, an underground, open air walkway.

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remember The existence of the wall is to provide a place of remembrance dedicated to those who lost their lives during a historical battle in the early twentieth century. Design of this intervention began with emphasis on structural components. With all major moves made through linear elements, planes were placed within these structural pieces and allowed further development of spaces to occur.

Planar surfaces interacted with the structure by weaving in and out of the wire-frame construct.

Small apertures and slivers were carved into surfaces for production of lighting conditions

One moment within the wall, visitors have the option to follow a ramp upward or downward. The ramp upward holds a lookout point where views of the ground come at eye level. This allows people to see how the ground interacts with the architectural interventions from a different perspective. As for the ramp leading further into the ground below, access to the enclosed bunker spaces along the northern edge of the wall can be found.

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floor ceiling Manipulation of light is the crucial component to the floor and ceiling element of the war museum.

The ceiling takes use of it’s apertures and folding elements in order to allow light to penetrate to the floor. The ceiling resembles a piece of ground folding over “sandwiching� the space for habitation between the floor and ceiling. The floor acts as a canvas for which light penetrating through the ceiling draws lighting conditions that change throughout the day.

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As visitors approach the tower set in the background, they become part of the ground in a special manner similar to that of the wall. The floor begins at ground level, drops underground and returns to ground level at the end. The floor ceiling is the opposite bunker in relation to the wall.

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Programatically, the floor and ceiling’s chief function is to act as an approach to the tower.

At the beginning of the journey toward the tower, visitors are faced with a visual map of their approach.

approach

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In these wire-frame models, the ultimate goal was to gather a strong sense of light manipulation. Linear elements laid out the possible locations for such phenomena to occur, surfaces applied after molded the components of the ceiling. Voids between surfaces act as the apertures for light to pour through.

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tower The tower is the most important structure within the war museum in that it is the hierarchical piece in which can be viewed from any point on the site, and in some cases, even miles away. It was important to design the tower in such a way that touches the ground in a spatial, harmonious manner. To access the stairways, one can enter either underground, or from the plaza adjacent to the second floor. Movement consists of shifts in directions of circulation, and interchanging experiential phenomena as you proceed to the top.

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A second point of entry inside the tower is through the plaza. Here, visitors to the memorial find a place of resting and contemplation on their experiences thus far. Architecturally, the plaza’s design was inspired by the ceiling. After witnessing the ceiling from below, the plaza gives a sense of walking on top of the ceiling. Rather than serve a light apertures, folds become potential seating.

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floors 5-6 observation floor 4 artifacts floors 2-3 gallery space underground floor/ceiling approach

Since the tower is set on the south end of the site, the spaces within it hold a more sociable, yet low volume environment. Inside the tower visitors will find special artifacts retrieved from the battles that marked this land. The spaces extend to great heights in order to accommodate such artifacts. Also serves as a gallery space for artwork created from the early 1900s, a time of war.

These pieces can give visitors a new perspective on the war. Throughout the tower, vantage points on the western facade hold remarkable views of the site from all levels.

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reflect

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The top two floors of the tower hold observation spaces for people to reflect back on the approach [toward the tower] they just previously completed. From this point, looking west, the entire landscape of the site can be viewed. The observation decks give a whole new perspective to experiencing the memorial from the sky.

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miami media center miami. fl center for media arts 5 weeks professor levent kara

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site plan

Situated between two of Miami Beach’s busiest streets, the site is a narrow ‘alleyway’ stretching from Collins to Ocean. The new media hub will serve as both a public pathway and a place of creativity. Visiting artists to the Miami Beach area will set up displays and performances of their work. The grounds beneath these ‘floating’ spaces create a series of walkways and raised gardens for people to access both ends of the site, with the option of ascending into the media center above.

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preliminary sketch

Beginning this project, the site was simplified into a 15 ft. wide rectangle to achieve the lighting conditions required to bring natural light into the ground floor. The model consisted of a five level children’s library with the challenge of capturing and diffusing light into spaces below.

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program - divided into volumes

In the western-most section of the building are spaces where the physical work happens.

Visiting artists can utilize this space as a studio for producing their work. This allows the artists to create and display their work all in one place.

The centralized spaces of the media hub have much more of an open feel to them when compared to the studio spaces. The expansive spaces can serve as reception and gallery showcasing pieces produced within the media hub.

The eastern-most section is home to the performance space. Here, artists can perform their pieces, project their work onto the projection screens, or even utilize both medias at the same time. Featuring a theater-style seating area for small audiences.

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Miami Beach has a copious amount of charming hotels for artists to call home.

Instead of including living quarters within the media hub, emphasis was placed on approaching the center. From Collins Ave. artists experience a surprise factor when they reach the greenery extending beyond the street facade. Once looking through the site, When approaching from Ocean Dr. visitors experience the network of pathways and garden spaces leading up to the stairwell into the galleries and studios above.

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cantilever project materials and methods spring 2014 3rd place

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design concept

The form and structure of the cantilever was inspired by a bonsai tree and the idea of these trees acting as cantilevers in nature. Structurally, bonsai trees have one point of support, similar to a cantilevered space in architecture. This observation played a key role in development of the form of the cantilever. The wall played a similar role in this exercise by serving as the one point of support that held up the “tree.’ The geometries of the cantilever itself was derived from the form of bonsai trees. After researching and visiting nurseries in the Tampa Bay area, the shape and geometries of the arm could be drawn.

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process

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Each of the three required concrete blocks represented a part of the bonsai’s life.

The first block, anchored into the large concrete pour on the reverse side of the wall, represented the seed. This seed was embedded into the “ground� below the tree. The second block represents water as a critical component for a bonsai to grow to its full size. Since water is essential to all life, this concrete block was placed between the other two, bridging the gap from start product to end product. Lastly, the third concrete block represented a fully formed bonsai tree, with a live bonsai tree planted within it.

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high-rise g ardening Throughout the design process of the cantilever, we wanted to create something that could potentially be used beyond the competition.

This cantilever could be used as a gardening tool for those living high above the ground and streets below.

For example, high rises have very little space for greenery. With the cantilever, these residents can utilize the space beyond their balconies to house plants.

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port tampa library tampa. fl extension and renovation project 6 weeks professor mark weston

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precedent studies

The Port Tampa City was once a booming area in South Tampa. With the ports close by, a great amount of Tampa’s history took place here, although the area has declined since it’s peak in the mid 20th Century. In recent years however, there has been light of a rise to the old district. The site contains an existing neoclassical building [once used as a bank] built in the late 1920s. The intent of this project is a renovation and extension of the current library existing within this historic building. As the area continues to grow, the need for more public space is rapidly increasing.

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To develop ideas, the plans of libraries across the globe were analyzed for their organization of space and program, or how the building functions.

The Vyborg Library in Russia and the Phoenix Public Library in Arizona were chosen to develop an understanding of how libraries today function.

From here, the renovation and extension was taking shape, as I began to draw geometries and create space within them. Ultimately the new portion of the library consists of a grand open space, divided into three levels connecting all spaces and program throughout the building.

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The entrance to the newly renovated library is the same entrance as the existing library. Walking through the reception area. This guides people through the existing building into the new extension as they are greeted by the wide-open forty foot tall space.

The stairs are located along this path as well to create the same experience when transitioning from one level to another.

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section model

The section model begins to explore the structure and details composed within the walls and roof of the extension. The material palette of the new construction consists of a light wood, poured concrete and glass.

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ground model

The ground floor was constructed by small elevation changes. You progress upwards in elevation as you reach the southernmost portion of the building. This provides a fun pathway for children to approach the children’s library. Exiting from the existing shell, you are given the option of walking through the gallery, descending gently into the cafe, or climbing your way up to the lounge space and children’s section.

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the highline new york. ny pierpont morgan library annex 8 weeks professor mark weston

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Located adjacent to the Highline in New York City, the site is 99 ft. x 39 ft. with both access to 25th St. and the Highline above. The Highline was once a rail line in which played a major role in New York’s history. The railways were converted into an elevated linear public park extending nearly 1.5 miles through Chelsea. The pathways are lined with an array of greenery, providing ample green space for people to experience in such a dense urban area.

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The aim of this project was to design a library which connects to both the street and the Highline with a specific program. The library will have to provide space for the children’s library, young adults section, special collections, reading/study, cafe, and bookstore. In the early stages of design, focus was placed on the function of the building with the specified program.

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circulation

Diagrammatically speaking, the building is broken into two separate towers connected by a poured concrete wall. Each tower holds a different set of program.

For example, the southern tower contains special collections and the young adults library, while the northern tower houses the bookstore, cafe, and children’s library. Although the towers appear to be divided looking from the Highline, on the reverse side of the concrete wall is where the transfer between towers occurs.

The concrete wall serves as an anchor for circulation. Descent into the underground space, climbing from one level to another, and transfer between towers all occurs in and around the wall. As illustrated in the axonometric diagram, [right] stairs switch between towers every so often creating a unique experience of the wall on each floor.

As one progresses through the building, circulating around the wall, there are various apertures and voids creating unique opportunities for light filtration and vantage points for visitors. Due to the fact that all sections of the library span over multiple levels, each section of the library also has it’s own set of circulation. For instance, the young adult’s, children’s, and special collections all have their own circulation.

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street level

Although Chelsea is a booming district in Manhattan, 25th St. did not have nearly as much traffic as the Highline. In order to bring attention to the street below, the entire northern facade was sculpted from glass, giving those on the street a sense of a warm welcome into the library. Those on the street can also see directly into the building, realizing the building can be used as access to the elevated park above. 25th St. now has public access to the Highline via the library. This feature will bring in more clientele for the library and vendors.

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As you enter from 25th. you are greeted by an expansive atrium with the grand staircase as the centerpiece. You have the option of either ascending to the Highline level, where you’ll find the bookstore and young adults section, or descend into the underground space where special collections are held. When looking up into the tower, the interaction between the wall and circulation can be seen, as well as a preview of the spaces above.

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highline level

At Highline level, the library is accessible from the Highline. As visitors are navigating Chelsea at 30 ft. the towering library welcomes them. There is a steady flow of heavy traffic along the Highline; it is even busier than the streets below. It was crucial to create an inviting space for those strolling by the site. From the outside, the bookstore, young adults section, and reading lounge are visible through large windows. This welcomes people with different agendas. One of the highlights of the building is the space for the cafe. The idea behind the placing of the cafe was to draw people from the Highline to the upper floors of the library. I wanted to create a unique cantilevered space over the park below. I wanted to capture the attention of those strolling along the Highline and give them the urge to get to that space and appreciate the views offered from the fifth level.

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The entrance itself plays off the cafe space above. A ramped platform parallel to the cafe space brings people from the Highline into the level-three atrium space where they have the freedom to visit any space of the library.

Although there is various program in the atrium space, there is open space between them, this way visitors don’t feel obligated to visit a certain space.

final floor plans

The building also features multiple outdoor spaces throughout. Perhaps the most apparent being the extension off of the cafe seating area. There are also outdoor spaces off of the children’s library and young adult’s library. These spaces allow visitors to enjoy the views of the surrounding city and the plant life below.

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Elevation looking west

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Elevation looking southwest

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bryan sportman b r y a n 8 @m a i l . u s f . e d u