CORINA OCANTO
SELECTED WORKS 2010 - 2016
CORINA OCANTO
PHONE: (786) 397 9935 EMAIL: corinaocanto@gmail.com WEB: linkedin.com/in/corinaocanto
University of California Los Angeles, Los Angeles, CA Masters of Architecture I School of Architecture & Urban Design Class of 2016 (projected) University of Florida Gainesville, FL B. Design Arch, Magna Cum Laude School of Architecture Mass Communications Minor School of Journalism Class of 2014
MEXICO CITY MUSEUM 4
MIAMI DASH STUDIOS 34
CITY PERFORMANCE 10
HYPERMOBILE URBAN WORK 40
CUBE HOUSING FOR L.A. 14
CINEMATIC BLOCK IDENTITY 44
MEDIATING URBAN DICHOTOMIES 20
THE LIVING STAIRS 50
HAMMOCK COMMUNITY 24
VISUAL QUANTIFICATION 52
COLONIZING THE NEW VENEZIA 26
ART + WEB 54
LAX CAR HOTEL 28
BOOKS + EVENTS 56
MEXICO CITY MUSEUM UCLA FALL 2015
WONNE ICKX
This museum for architecture uses all of the interstitial space between programs for flexible exhibition space. These areas are planned around an irregular grid of columns that supports the outer structure and gives the building its lightweight appearance. The structure outside abstractly reflects the programs spanning across several floors on the interior. A winding staircase takes visitors to each floor of the museum without stealing the spotlight from the spaces and exhibits themselves. The boxes on each level house the different functions of the museum; stacked boxes with the same program have internal circulation, and where possible the north wall is glazed to allow for natural lighting. A gap between the outer wall and the volumes is maintained on every floor to provide a variety of exhibit space types and so guests may look into some of these normally restricted areas. 4
A
B
C
D
E
F
G
H
I
J
K
L
8
MN
7
6
5
4
3
2
1
4.7
4.3
6.3
4.5
4.5
4.5
4
5.5
Section AA
Section BB 4.8m
5
4.
Site Plan 19.2m
6
Providing a hyper-flexible space is meant to allow curators maximum allowance for a variety of exhibits. Columns can be used as supports for temporary walls that can cover partially or fully the length to the floor.
7
A
B 3.6
D 4.8
E 4.8
F 6.0
G 3.6
H 4.8
I 3.6
J 4.8
K 4.8
L 4.8
A
MN 6.0
B
C
D
E
F
G
H
I
J
K
L
MN
1.2
3.6
7
7
2.4
8
8
2.4
C
MANAGEMENT
6
6
AUDITORIUM
4.8
STORAGE STOR.
5
5
RECEPTION
MECH.
4.8
MECH. ARCHIVE CONSULTATION
4
4
KITCHEN
BOOK SHOP
6.0
BB
RESTAURANT
3.6
3
3
STOR.
1
1
2.4
2
2
PROJECT
Ground Floor B C D
AA
F
G
H
I
J
K
L
Second Floor B C D
MN
A
E
F
G
H
I
J
K
L
MN
7
7
8
E
8
A
Level 1 @ +6.5m 4.8m
6
4.8m
6
Ground Floor STOR.
STOR.
5
5
LIBRARY
MECH. ARCHIVE RESTORATION
4
4
OFFICES
3 2 1
1
2
3
MECH.
Third Floor 8
Seventh Floor
9
CITY PERFORMANCE UF SPRING 2013
BRADLEY WALTERS
In my initial studies of Charleston I examined why transitional zones existed, and what kind of boundaries they had. I found that these zones are the result of a combination of urban characteristics such as socioeconomics, flood zoning, traffic patterns, and harsh boundaries, especially between industrial and residential zones. The proposal begins by inserting a box into the site and manipulating its edges to fit the localized fabric, taking special interest in the neighboring graveyard, drop in elevation, and the surrounding architecture, which includes a 100’ tall church steeple, a six-story parking lot, and the one of the oldest structures in the city, the powder magazine. The box was treated as a general form cut by floor slabs which receive volumes that transcend the slabs. The main volume is a music stage that cuts diagonally through 10
Charleston Urban Characteristics
Box Morphology
the site to accommodate a traditional audience inside the theater, but also can be opened literally to a public sitting outdoors by the graveyard; this transparency between
the inside and the outside turns the building into a transitional zone between the public attracted by St Philip’s Cathedral and the popular Market Street. 11
Church St.
Old Wall
Powder Magazine Cumberland St.
Cumberland Street Radiation
The main entrances are located on Church Street because it has the highest foot traffic volume and would be the most opportune location for the outdoor ampitheater.
12
The southern facade near by old city wall recieves the most exposure to long hours of direct radiation. Because of this, the facade has the least openings. However, this side of the building also has balconies on the first and second floor to take advantage of the historic cementary.
Less hours of radiation on this facade allow for more open cells with windows that take advantage of its proximity to the powder magazine’s textures without feeling vulnerable to the
The Cumberland Street facade is the most private of the four and relies more on the relationship with the neighboring street and the very large five-story parking lot that is immediately next to the site. The cells on this side allow light into the building but do not focus on the view outside.
Church Street Radiation Analysis
Cumberland St.
Church St.
Auditorium Volume Concept The rest of the program is organized in volumes of varying size around this main mass. It has the ability to negotiate with with its complex set of neighbors by withdrawing from the edges in different degrees in distance, height, and types of opening, ranging from clear to partial to mainly solid using a skin and glass combination. Ground Floor Plan
First Floor Plan
Second Floor Plan
13
CUBE HOUSING FOR L.A. UCLA FALL 2014
ROGER SHERMAN
The main goal of this morphing Blom’s Cube Houses in Rotterdam was to address their spatial issues in operating in a 1:1 ratio for core to residency. Beliving this to be a hindering of the potential community, the cubes were enlarged to accomodate more than one apartment. The towers were then aggregated in a way that would both engage the site at the ground level especially in regards to Ballona Creek, as well as allow towers to share egress through bridges on the second and fourth levels where entrances to units are located. This happens in clusters of eight where 6 units per tower adds up to 48 units per cluster. Parking is relocated to the Fox Building, which along with the other remaining buildings, will be changed to a shopping center that ties in to the commercial space located at the lowest level of each tower. 14
The master plan is based on creating axes towards Ballona Creek,
From this, secondary axes were made where the towers are aligned.
The primary road branches off into drop off culde-sacs before parking their cars.
The sidewalks are sections from the scondary axes that connect buildings on the site.
15
Removing the pedestrian plane created by the platforms in Blom’s design, the ground floor is opened up as a public space. The tower is widened to accomodate several floors of micro-apartments and the faces of the cube are used to extend new wings that are the new apartments. 16
5
20
30
50
17
Floor 1
A B Single cluster logic follows four towers, three arranged around a central fourth. Bridges connect two towers at a time, with at least one connection happening inside the cluster.
18
Floor 2
D1
C1
Unit types are arranged above a commercial space and party walls are organized around a circulation core that contains common spaces for residents.
bottom level of split level 1 bedroom units 500/1000 sq ft
top level of split level 1 bedroom units 500/1000 sq ft
Floor 3
Floor 4
bottom level of split level 2 bedroom units 600/1500sq ft studio residence 600 sq ft
top level of split level 2 bedroom units 900/1500sq ft
19
MEDIATING URBAN DICHOTOMIES UF FALL 2013
TOM SMITH
w. Elia Magari Intervening in an urban context is done with a set of strategies. This intervention in the urban fabric is based on an idea of dichotomies found in this particular neighborhood of Manhattan: ground v. sky, local v. tourist, permanent v. temporary, day v. night. It was important in the project to emphasize public spaces happening vertically throughout the tower in order to convey movement in the program. In order to compliment (not mimic) Washington Square Park, different typologies of green spaces were incorporated. The skin derives mainly from the temporary dichotomy and the transition from day to night. By picking irregular points on the grid of the skin we could provide privacy in areas that needed it 20
nightlife restaurant The site on the corner of West 4th and Broadway is a meeting point of very different conditions, a place of dichotomies, where the scholarly population of NYU meets the very commercial and heavily trafficked Broadway St.
lounge
meeting rooms event space
garden spa gym plaza
cafe lobby exhibition space 21
population density
view of tower garden
year built
lobby entrance 22
residency type
Basic Form
The physical manisfestation of the dichotomies drove the first alterations to a basic block infill on the site: by morphing and cutting the block we were able to derive a way to spread the program vertically. The rest of the alterations were made to accentuate the views of the city and Washington Square Park.
Vertical Program Distribution
Vertical Weave + Rotation
Horizontal Weaving of Public Program
Addition of Sculpting Circulation Residential Areas to Public Spaces
Massing of Combined Public Spaces
23
HAMMOCK COMMUNITY UF SPRING 2013 LEE-SU HUANG & AZHAR KAHN We all wish there was someplace to nap midday when it’s too early to go home or there’s plenty of work to be done; I propose a intervention that would put ‘trunks’ in the atrium from which a whole forest of hammocks could be hung, providing plenty of spaces for tired students (and professors) to take a well-deserved nap or simply sit back and enjoy some fresh air. To bring a little of the sunshine state paradise to our building, I suggest the skin of the pavilion be constructed of units that resemble palm leaf fronds gently moving in the wind. These units would wrap around a frame made of pipes wound in different directions throughout the piece. The skin admits light where the geometry is stable enough to allow a simple perforation. The panels of the skin are held by a system of pipes that connect to the joints and the pipe system. 24
25
COLONIZING NEW VENEZIA VIA SPRING 2014
STEPHEN BENDER
This bridge over a canal in Venice aims to grapple with issues at the forefront of the ancient city, mainly regarding population and housing, the daily patterns of the city, and ideas about modernization, all in the most iconic and available typology of Venice. The bridge is a species of mobius strip that gains valuable area by placing itself diagonally across the water and by having multiple levels. The bridge is pedestrian on the lower level to accomodate a need for new commercial spaces and has different micro-unit apartments at the second level that emphasize the importance of communal and outdoor spaces. The bridge touches the ground inside two partially preserved corner buildings, creating a third type of space in its context, which can be reapplied throughout the city. 26
The prevalent structure is made of steel in an attempt ro bring modernity to the site.
first floor plan
second floor plan
Engaging the existing buildings with a strong hand makes the application throughout the city more feasible.
Layered slabs fold in and out to create moments between indoor and outdoor that attempt ro create a place for community.
section perspective looking south 27
LAX CAR HOTEL UCLA SPRING 2015
ANDREW KOVACS
This is building is about movement and sequences; in order to move vertically through the hotel, guests and visitors must ride their cars up one of two car lifts that deposit them at the correct parking space on the desired level. The hotel is split into horizontal bands that organize the building into layers of programming. These bands consist of a particular program and stay consistent throughout the floor plan as you move vertically through the building. The machine band that includes the parking divides the building into two parts, living and amenities. The amenities in the hotel to the South faรงade is a mix of micro programs that occur in different shapes and change the position and properties of the space they inhabit. The parking on this side of the building is not organized in individual bays like the living, but instead is communal with a shared walkway. 28
29
South Elevation
30
West Elevation
East Elevation
North Elevation
The living side of the hotel has standard, suite, and penthouse rooms, each with it’s own private garage parking space. This eliminates the need for a lobby on the ground floor, since guests can check in using the drive through counter and then head directly to their rooms, where cars are separated from the living spaces, acknowledged inside
by the greeting of a sink by the door and the promise of a window at the end of the room. The experience of the guests, therefore, is one that is secluded and individualized. The rooms share only a thin corridor that connects levels with each other via small fire stairs all along the most external façade.
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32
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MIAMI DASH STUDIOS UCLA WINTER 2016
KEVIN DALY
This addition to the Miami Design District is an off-campus extension to the nearby Design Architecture Senior High (DASH). It provides indoor and outdoor studio spaces, a digital workshop, a woodshop, two exhibit halls, and adminitrative and support offices. The building is designed with each space as a separate vaulted hall. All have a series of operations applied, firstly as a morphed vault geometry and then in cross grain with smaller halls that are either light shafts that pierce the spaces with larger openings in the north and smaller in the south, or as doorways that intersect the large walls between halls. The project resulted in this geometry after research and concrete prototyping of concrete vaults and thin shell structures, which led to a fascination with the inverse properties of vaults as a ceiling condition inside monotholic structure. 34
North
Program
Light + Circulation
Intersection
West
South
Original Geometry
East
Morphed Front Edge
Boxed Back Edge
Walls Moved to Secondary Grid
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SECTION AA A
B 21’
C 14.5’
D 10’
E 18.5’
F
10’
24’
+71’
+52’
+35’
+15’
36
5’
1’
SECTION BB A
B
C
D
E
F
10’
5’
1’
SECTION CC 1
2 25’
3 20’
4 10’
5 12.5’
6
10’
5’
1’
SECTION DD 1
2
3
4
5
6
10’
5’
1’
12.5’ +69.5’
+66’
+52’
+66’
+50’
+47’
+35’ +32’ +28’ +25’
+15’ +11’
+13.5’ +10’
37
A
B
C
D
E
F
A
B 21’
1
C 14.5’
D 10’
E 18.5’
F 24’
1
25’
2
2
20’
3
3 10’
4
4 12.5’
5
5 12.5’
6
6 GROUND FLOOR 10’
38
5’
1’
SECOND FLOOR 10’
5’
1’
A
B
C
D
E
F
A
1
1
2
2
3
3
4
4
5
5
6
6 THIRD FLOOR 10’
5’
1’
B
C
D
E
F
FOURTH FLOOR 10’
5’
1’
39
HYPERMOBILE URBAN WORK UCLA 2015
hub A
CITYLAB /DANA CUFF
w. Andrew Akins + Graeme Moody Although new work patterns are driven by advancements in mobile technology, the design of transportation systems and physical work spaces lag in their ability to adapt to the speeds and spatial freedoms of work time. Hypermobility proposes a model of work that transforms the last void of non-work time in Los Angeles into one of productivity: the commute.
C
mobitroLOCAL is a regional mobile office vehicle that serves a designated portion of Los Angeles’ diverse polycentric work places. Each LOCAL vehicle serves a Hub throughout the city, where commuters can track a LOCAL vehicle via the mobitro mobile app. Riders may either arrive at the hub to work, or transfer to the mobitroGO, where they can ride continuously or transfer to another LOCAL vehicle to access a different hub in another area of Los Angeles.
b B
40
This line features small office rooms, individula office rooms as well as a small break area. It connects in motion with the mobitroLO transit vehicles to allow for seamless transitions and uniterupted work.
mobitro-LOcal
hu
Hypermobility integrates the commute into the workday by designing two routes of at-work transportation: one route that is on-demand and capable of moving people from custom locations, such as home or office, and another that is fixed and constantly moving to connect key co-working zones around the city.
mobitro-GO mobitroGO is a non-stop, continuously moving mobile office vehicle, which drives through LA’s freeway system. It serves as a workspace for the nomadic worker, as well as a tranfer line to any of the several office hubs in the polycentric work space of Los Angeles.
b hu
As a model of hypermobility, the project is of hyper-productivity, where everevolving technologies and transportation systems are re-imagined to make time— not location—the center of the workday.
transfer in motion with mobitro-GO
custom pick-up location
Hubs + Networks Across the City amenities inside the hub
DTLA
Courthouse The Music Center Disney Concert Hall Colburn School MOCA Omni Hotel Bonaventure Hotel Bank of America Tower Grand Central Market
meeting rooms Rose Bowl
amenities outside the hub
auditorium restrooms
Hollywood
Blankspace DTLA
UCLA
DTLA
Century City Santa Monica
Colosseum
LAX showers + lockers
food court
restrooms
Southwest Airlines Terminal
Courtyard LA
salon meeting rooms
Alaska Airlines Terminal LAX Airport Mall
cafe
Venice
American Airlines Hub Marina Del Rey
Santa Monica
LAX
meeting rooms auditorium restrooms
Hotel Shangri-La Third Street Promenade Blankspaces LA Santa Monica Place Palisades Park Santa Monica Beach Tongva Park RAND Corporation Bike Lane Pacific Park
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Membership Types
Transfer in Motion A single day membership is ideal for riders who use mobitro ocassionally.
SINGLE DAY MEMBERSHIP
COMMUTE MEMBERSHIP
Company memberships are ideal for companies as an alternative mode of commute transportation for their employees.
COMPANY MEMBERSHIP
Commute members use mobitro regulary and have a flat rate per week or month.
Time + Volume + Location
1 Hub vehicle
are en route and making transfers with go vehicles
rou te
100%
80% most vehicles
are stationed at hubs. some continue to make transfers
ran sfe rs
mo bit r
o-l o
s ub
position each other for connection and match speeds
25% 20%
stairs to level 2 above motor front connection
ay
s
en d
ru sh
of d
ho ur
individual work zones
street entrance
pm
upper
en d
of a
be
en d
gi
n
of w or
w or
kd
kd
ho ur ak pe m
ay
ay
s
s ho ur ru sh am
connect and passengers transfer
lower level
25%
back connection
0%
3 vehicles
mobitro-LO
mo bit
25%
2 vehicles
Proposed Vehicles
ro-g
50%
h at
return to full mobility to accomodate rush hour demands
ot
mob itro -l
o en
75%
meets with GO vehicle on highway
100% local vehicles
100% local vehicles
group work zones
How to Use Mobitro T-Mobile 4G
8:00 AM
mobitro
90%
T-Mobile 4G
mobitro
DTLA LAX
90%
1
DTLA
community
1
single 22
custom location work on mobitro-go
10 : 30 am select your destination:
8:10 AM
mobitro
90%
your pickup location:
T-Mobile 4G
8:15 AM
mobitro
8:25 am
outdoor break area
90%
board mobitro-lo DTLA workstation: 22
2
mobitro-go
3
santa monica done
8:25 am
board mobitro-lo DTLA workstation: 22
9:05 am
board mobitro-go workstation: 15
9:40 am
board mobitro-lo s.m. workstation: 11
10:25 am
arrival at santa monica view route with map view boarding pass
individual work zones
mobitro-GO
DTLA hub - Grand Avenue
people in your group:
colosseum
select your time of arrival:
T-Mobile 4G
select your workstations:
HUBS santa monica
8:05 AM
lower level stairs to level 2 above motor front connection
back connection
shared table work zone
view step-by-step route 9:05am
board mobitro-go
street entrance
upper
view boarding pass
group work zones
your destination 2 select your seat for your pick-up your ride on a map 1 select 3 confirm 4 view hub, workplace, home, each leg of the day, at destination and view and get signals when
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or choose mobitro-GO
a single or community table
your route
it’s time to transfer
individual work zones
4 Hub vehicle
detaches and leaves highway while GO vehicle continues
Alex
User Scenarios
a
less than boards a 1/2 mile mobitro-LO away
makes calls + checks emails waiting for transfer
mobitro-LO joins with mobitro-GO, Alex transfers in motion
rides mobitro-GO for the day, working at a desk
mobitro-GO joins with mobitro-LO, Alex transfers in motion
takes mobitro-LO to dropoff destination
alights mobitro-LO less than 1/2 mile from home
walks home
arrives home earlier with more free time
Monica
H
Leslie
ub
Sa nt
Alex leaves home for a pickup location
boards mobitro-LO at DTLA hub
rides mobitroLO doing work en route
Leslie transfers in motion from mobitro-LO DTLA to GO to Santa Monica
Leslie continues to work en route
arrives at Santa Monica Hub, holds meeting at conference room in hub
Leslie transfers in motion back to a DTLA mobitro-GO
the mobitroLO leaves the hub
Leslie continues to work en route
arrives mobitro at DTLA hub
Leslie walks back to her DTLA office
Hub
LAX
Hub Sa nt
refreshes at LAX hub, begins to work
boards LAX rides mobitro-LO mobitro-LO, works en route
Casey transfers in motion from mobitro-LO LAX to GO to DTLA
rides mobitro-LO, preps for meeting
walks to meeting, less than 1/4 mile
uses hub as a satellite base for meetings in DTLA
finishes early, enjoys LA nightlife
boards Casey transfers checks in mobitro-LO in motion from for flight DTLA mobitro-LO DTLA to en route GO to LAX
arrives at LAX hub
LAX hub connects to terminal directly, Casey leaves LAX
Monica
ub
Jamie + Taylor
Casey Arrives at LAX, follows app directions to LAX hub
H
a
D T LA
b Hu
Casey
D T LA
Leslie is at the DTLA office but has a meeting in Santa Monica
Jamie and Taylor leave their office to a pickup location
they walk to pickup location less than 1/2 mile away
board a Santa Monica mobitro-LO
ride mobitro-LO to Santa Monica hub
This new model of work is one that gives workers the option to be continually in transit as well as converge in a collaborative way at hubs that are strategically placed throughout the city.
arrive at Santa Monica hub, use collaborative spaces
take a break and surf at the beach
return to hub, board a mobitro-LO that leaves hub
dropped off near homes
arrive home earlier with more free time
By integrating a network of total mobility into the workday, this project aims to reconceptualize work places as fluid urban infrastructure rather than location-specific ones.
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CINEMATIC BLOCK IDENTITY UF FALL 2013
TOM SMITH
This block is about the essence of the community the Highline has created in Chelsea: it has brought a new population to the surrounding areas and revitalized a part of Manhattan completely. We organized the block both visually and programmatically to embody by taking that essence of destination and having an inclusive attitude toward inhabitants and visitors alike, starting with giving the block an identity of a film school, that makes up 25% of the square feet. It turns the block into a unique piece of land while adhering to the Chelseaesque connection to the arts. The residential program that makes up 60% of the total area is divided into segments that exist in various areas of the block. They are organized along the edges to happen above commercial zones, different buildings of the film school, and civic spaces like the library and galleries. 44
The fin type skin is used in the residential areas of the block to give each apartment control over its privacy and sunlight.
Additionally there are three residential bridges that create communal areas where they meet towers on either side. All apartments face the exterior of the block, while all of the circulation is moved to the interior so that moments of community are located in the courtyard and turn it into a destination.
This skin type creates an offset boundary between the street and the inhabitants inside the lower residential levels. 45
RESIDENTIAL
510.000
LOWER INCOME MIDDLE INCOME UPPER INCOME LOBBIES
60%
FILM SCHOOL
195.000
ADMINISTRATION CLASSROOMS THEATER
23%
MULTIPURPOSE AUDITORIUMS SOUND STAGES POST-PRODUCTION
COMMERCIAL
94.000
CAFE / RESTAURANTS
11%
RETAIL GALLERIES
CIVIC
51.000
6% LIBRARY
46
TOTAL
852.000
Tenth Ave.
Eleventh Ave.
Outdoor cinema seating
The ground floor was turned into an open plan that promotes transparency at the ground level of each program as well as movement throughout and within the block. The interior courtyard is the culmination of the community; programatically it dissects the Highline and spreads it laterally while also incorporating elements of the film school in the residential end of the block.
47
Exposed trusses are used throughout the school and similar areas where circulation calls for plenty of light and large modulations.
The combination of frosted and clear panels creates a more private condition in areas where it is needed and less direct sunlight is desired.
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49
THE LIVING STAIRS UF FALL 2011
WILLIAM BRIAN SMITH
This Door, Window, Stair expounds on how the stairs in Dorian Gray become alive, specifically through joints. The initial diagrams are about the quantified qualities of the stairs that gave it character and their interactions with each other. The model functions in several cusps that create interacting joints. These moments vary in height, length, and thickness to fabricate inhabitable areas. These areas dip, fold, extrude, expand, and embrace to create unique experiences that contrast with the large motions created by the cusps. The stairs that join the spaces are specific to the kind of experiences intended for the areas they connect through pace and location. The systems that make up the model work with each other to pull information through each other to create the spaces and also provide a meaningful way to bring life to the model. 50
The concept of living stairs comes together when the systems work as a single entity, when the planes come out of the armature and rely on the tension and extrusion caused by the linear system to move vertically and integrate the stairs. Especially in the careful revelation of the linear system and the subtlety of the physical stairs one can begin to talk about the pulse of the model, what brings the stairs alive.
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VISUAL QUANTIFICATION UF SPRING 2011
MARK MCGLOTHLIN
The projects that make up the second semester of design study explore the difference between analysis and diagram, and introduction ot the process of distilling work to find an essence. The camera was first examined physically to understand components, followed by a diagrammatic interpretation of the way this partiular camera interacts with the hands during stages of photography. The analysis of Corbusier’s Le Cabanon ask questions about the intentionality behind the structure and modular scale and inhabitation. The analysis of Louis Khan’s Exeter Library is about the interaction of the readers with the books, explored in planometric and volumetric studies. At nine stories instead of Corbusier’s single one, the amount of information to be distilled for analysis is much greater and the spatial relationships much more complex. 52
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ART + WEB 2008 - 2016 Art has been a means of expression practically my entire life. Recently it has become an exploration on observationrepresentation relationships and the different results mediums yield. Watercolor, pencil, charcoal, chalk pastel, acrylic, and oil are all mediums I use in my works. Sketching is an important tool I use in observing works in order to understand them and is one of my mediums of choice for expressing ideas in early project stages. My work for professional architects has included the production of books, competition and presentation boards, and a website. These products are a great way to gain perspective into how a firm wants its work to be portrayed and is an important exercise in effective communication of projects.
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S H UL M A N+ A S SO C I AT ES SELECTED
WORK:
HOSPITALITY
“it is the journey that matters in the end”
Ernest Hemingway
Lucky Jeans Lincoln Road Peek-A-Boo Building/ 600 Collins Savoy Torino Retail Sterling Building Steve Madden Store Swarovski Lincoln Road The Vitrine/ 909 Collins Ave Ulta Everwear/ 337 Lincoln Victoria’s Secret Collins Avenue Victoria’s Secret Mead Bldg Walgreens Middle Beach Walgreens South Beach INSTITUTIONAL + CULTURAL Area Entertainment Center ArtCenter South Florida / Art Tower ArtCenter South Florida / Art Windows ArtCenter South Florida / Gallery 800 ArtCenter South Florida / Gallery 924 ArtCenter South Florida / New Headquarters ArtCenter South Florida / Nunnally Building Bakehouse Art Complex Bath Club Capel of the Venerable Bede La Gorce Country Club Miami Waterworks Competition Miami Women’s Club Rubell Family Collection +
Residence The Light Box Woburn Library Competition WORKSPACES AIA Work Space Baumann Cosmetic & Research Institute Columbus Networks Davis Motel Redevelopment Goldforest Office and Residence Gollin + Harris (formerly Nixon Group) Jupiter Films Koniver Stern Offices People for the American Way Offices Police Building at 2915 Biscayne Rosen + Baker Advertising Solkoff Offices Techno Marine / Salud.com The Atrium Building at 4500 Biscayne HISTORIC PRESERVATION 12th and Collins 337 Lincoln Road/ Ulta Everwear 354 Washington Avenue 521 Lincoln Road 745 Collins Avenue 852 Collins Avenue 910 Lincoln Road/ AllSaints Spitalfieds Ann Taylor Loft Apple Store Lincoln Road
Bath Club BCBG Lincoln Road Browns Hotel Casa Casuarina Chase Building Crescent Hotel David’s Cafe Empire Hotel FCUK Lincoln Road Fritz’s Skate + Bike Governor’s Hotel Greystone Hotel + Spa James Manor Apts Little River houses Look Inn/ 418 Meridian Peek-a-Boo Building Ritz-Carlon/ Dilido Rivage Hotel Sagamore Hotel Savoy Arlington Sea Spray Hotel Soho Beach House Steve Madden Swarovski Lincoln Road The Angler’s Resort and Spa The Lincoln Theatre/ H&M The Vitrine at 909 Collins Vagabond Motel Victoria’s Secret Woolworth Building URBAN DESIGN 12th and Collins A Vision for Biscayne Blvd Biscayne Plaza Mall Biscayne Shores Collee Hammock Neighbor-
Alternative Animal Heads
SOHO BEACH HOUSE
hood Improvements + Master Plan Dixie Bend Edgewater District Study Hollywood North Beach Master Plan + Community Code Little River Houses North Beach Park Redevelopment Study North Beach Village Pink Sands Sawgrass Mills Town Center Study South Pointe Landswap Study Zschornewitz
Local Flora
HOTEL, PRIVATE CLUB, SPA, RESTAURANT MIAMI BEACH
S+A designed this hotel and private club for the London-based Soho House group. Sited in a densely-populated area of Miami Beach, the project involved the restoration and retrofit of the historic Sovereign Hotel (1940) along with a new 15-story oceanfront tower. Overlooking the ocean, Soho Beach House includes 50 bedrooms, a private beach, a Cowshed Spa and gym. Amenities include two pools, indoor and outdoor dining, secluded gardens, a screening room and Cecconi’s restaurant, which is open to the public.
INTERIORS 2915 Biscayne Baumann Cosmetic & Research Institute Belvetro Gallery Buenos Aires Offices Fairwind Hotel Greystone Hotel Indigo Jupiter Films North Bay Road House Palms Hotel Spa Police Building Rivage Hotel Rosen + Baker Advertising Rubell Residence + Collection South Pointe Apartment
The site lies at the northern edge of the Collins Waterfront Architectural District, listed on the National Register in 2011. It bridges diverse urban ecologies (massive hotels to the north and lower rise buildings to the south) both physically
and programmatically. Its tower acts as a punctuation point to the urban hotels southward. A rich array of program was added to the narrow, hemmed-in site, accommodating the mash-up of resort and club identities. S+A’s design promotes indooroutdoor connectivity with spaces flowing from street-facing entry court to the pool, garden, dune and ocean beyond. Separate topographies are vertically and horizontally layered within the site’s narrow open space. The extended historic courtyard is covered with a 100 foot long retractable awning, a technical feat that allows the courtyard to be both indoor and outdoor, and effectively house Cecconi’s. To make the most of the limited space, the site is terraced up toward the beach dune in a
manner that frames the pool deck. A suite of outdoor public spaces on the second floor similarly projects toward the ocean, capturing a terrace beneath the volume of the new tower. The tower’s twostory penthouse creates the final topography: staggered patios are tucked beneath a protective concrete canopy, creating a multilevel outdoor living room. The new tower sits in dialectic opposition to the historic hotel body. Whereas the historic hotel is a masonry box, the tower is its alter ego: a frame-like structure supporting cantilevered trays to maximize outdoor living space and indoor-outdoor connections. Aluminum brise-soleils along the face of the slender tower filter sunlight and enhance shade and privacy, allowing guests to comfortably experience the outdoors on the deep concrete slab balconies.
Colonial Architecture
Wood Floors
Velvet + Rattan Chairs
2012 AIA Florida Merit Award 2012 Florida Trust for Historic Preservation Award 2011 Dade Heritage Trust Award
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S+A: Soho Beach House. Api tatquid ut ero que nimusap eliate por aperitae. Min ne pere apiciet urerisitatem exerovi taquam fuga. Et volorum inus doloria spercil es aliqui qui te aut aut lignam
2011 ULI Vision Award - finalist 2009 AIA Miami Honor Award 2007 AIA Florida Honor Award 7
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deambular + deleitarse SHULMAN + ASSOCIATES FOR HEMINGWAY HOTELS: CATALYST FOR ADVENTURE
habana
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BOOKS + EVENTS 2010-2014 Making a culture for the students at UF SoA has been a big part of my scholarly experience. When I arrived at UF there was a group of students coming together who were trying to promote a sense of togetherness. I joined right in. The independent student publication Architrave was redesigned from top to bottom and we created a tangible point of identification for students to have their work published alongside interviews with visiting speakers and special projects. It involved working with students from various levels and interests to produce a high-quality product. We expanded it to have a website and events throughout the academic year that have significantly grown in size.
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The UF chapter of AIAS had 15 members when we first came to it; by the time we left membership had exceeded 60. We used the club to reach out to professionals in the city and state and give students a place to volunteer at Habitat for Humanity, enter competitions, and enjoy themselves while creating personal capital with their peers. We also participated in the regional South Quad for the first time in five years.
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CORINA OCANTO PHONE: (786) 397 9935 EMAIL: corinaocanto@gmail.com WEB: linkedin.com/in/corinaocanto