CORINA OCANTO
Corina Eugenia Ocanto University of Florida SoA Bachelor of Architecture in Design 2014 University of California Los Angeles A.UD. Master of Architecture I 2016 corinaocanto@gmail.com 786.397.9935
City Performance
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Hammock Community
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Cube Housing for Los Angeles
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Visual Quantification
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Re-New, Re-Use, Deploy
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Filmmaker Work Hotel
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Mediating Urban Dichotomies
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Art + Other Works
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Palisades Accessible Steel House
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Kinetic Reflective Lighting
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Living Stairs
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Cinematic Block Identity
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Student Involvement
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CITY PERFORMANCE UF: Design 6
Bradley Walters
Charleston, SC is a true American city, with strong roots in colonialism and Southern culture. It has character and particular architectural styles that have lived through history and adapted to modern times. There are some areas, however, that are not as well-defined as others; according to map studies done by the city, there are neighborhoods that have not adapted so well to the changing city and have become ‘transitional’ zones that possess a ‘lessdefined’ character than the ones surrounding them. In my initial studies I tried to examine why these zones existed, what kind of boundaries they had, and what I found was 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
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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 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.
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 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.
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Church Street Radiation Analysis
Cumberland Street Radiation Analysis
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Church St.
Old Wall
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.
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.
Powder Magazine
This facade has significantly less hours of radiation than the others, and so it is prone to slightly more open cells. because of its proximity to the historic powder magazine, the windows in the facade allow the inhabitant to experience the texture of the neighboring brick and clay in a way that does not leave the person vulnerable to the outside.
Cumberland St.
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.
First Floor
Ground Floor
Cumberland St.
Church St.
Second Floor
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HAMMOCK COMMUNITY UF: Adv. Digital
Lee-Su Huang + Azhar Khan
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.
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CUBE HOUSING FOR LOS ANGELES UCLA: Housing Studio
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.
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C1
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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.
the master plan is based on creating axes towards Ballona Creek
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from this, secondary axes were made where the towers are aligned
D1
Unit types are arranged above a commercial space and party walls are organized around a circulation core that contains common spaces for residents.
the primary road branches off into cul-de-sacs where residents and visitors can be dropped off before parking their cars
the sidewalks are sections from the scondary axes that connect buildings on the site
bottom level of split level 1 bedroom units 500/1000 sq ft
top level of split level 1 bedroom units 500/1000 sq ft
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
top level of split level 3 bedroom units 900/2700sq ft
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VISUAL QUANTIFICATION UF: Design 2
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. 13
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RE-NEW, RE-USE, DEPLOY UF: Independent Study
Lee-Su Huang
w. Christian Camacho + Danielle Surbaugh Standard plastic carry bags are made of nontoxic, microbial resistant polythelyne. Despite the hype for campaigns that banish the use of plastic bags, the truth behind the fact is that plastic bags create 60% less greenhouses gas emissions than uncomposted paper bags. It also takes 91% less energy to recycle a kilogram of plastic than it does a kilogram of paper. Even using biodegradable plastic bags has its disadvantages: bidegradation releases CO2 into the atmosphere, and is restricted to specific climates. Our experiment focuses on the value in using pre-existing material and giving it a new life by adjusting its existing properties. I believe the immense availability of plastic bags is astounding, and their inevitable negative impact in being trash sets it up to be an ‘empowarable’
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material. Availability is a huge part of what influences what materials are used where around the world; plastic does not suffer from this limitation. If plastic bags could be transformed into a lightly standardized material, people would be able to use it without the need for architects or engineers. I consider this canopy to be on the same playing field as corrugated metal when it is used in poorer areas of the world- scraps of leftover materials that lived another life are reused as shelter from basic elements. I think this mindset combined with an open source process of fabrication can empower the bags as a waterproof, adaptable, and strong material, all while removing them from landfills around the world.
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program open to the public has added space for viewing in from the street
DTLA’S FILMMAKER WORK HOTEL UCLA: Theory of Programming
level 3 : production
Dana Cuff
The Filmmaker Work Hotel is based on data gathered from employees at Technicolor post production applied to the potential client of independent filmmaker. From the data stemmed an approach to hibridization in the name of efficiency in order to have the client maximize his time and money while having access to the highest quality equipment in the industry. The Downtown Arts District was the chosen site because it is one of the most desired locations for filming television and movies in Los Angeles, with productions output totaling over 800 filming days per year. The neighborhood also provides amenities such as restaurants, bars, and coffee shops, as well as excellent nearby freeway access, that all make this an attractive site for a studio with high-maintenance clients, employees, and guests traveling long distances.
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some spaces are available for rest at every level
level 2 : hotel
level 1 : public
a grand staircase connects the three levels with the atrium and lobby below
program break areas
equipment storage room 8 editing bays
2 audio editing bays
fire stairs
2 screening/meeting rooms
13 hotel rooms with individual balconies
10 vans + parking spots
4 visitor parking spots
equipment storage + rental
reception + office
classroom
cafe
event room
scheme the top floor focuses on internalizing the program and includes two break areas that open to the outside
the hotel floor is connected by the spiral stair to the atrium each double room has a small recessed balcony
the ground floor is about access to the central atrium from the port cochere, parking lot, and 7th street
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MEDIATING URBAN DICHOTOMIES Design 7
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. 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. 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. It is also possible to inhabit the interior atrium in various forms. 19
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 and revealed the public program to the exterior context.
nightlife
restaurant
lounge
meeting rooms event space
garden
spa gym plaza
cafe
lobby
exhibition space
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population density
year built
residency type
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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.
Basic Form
Vertical Program Distribution
Primary Vertical Weave + Rotation Horizontal towards Washington Weaving of Public Square Park Program
Sculpting Residential Areas to Public Spaces
Addition of Circulation
Massing of Combined Public Spaces
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ART + OTHER WORKS Art has been a means of expression practically my entire life. Recently it has become an exploration in observation-representation relationships and the different results mediums yield. Watercolor, pencil and charcoal, chalk pastel, acrylic, and oil are all mediums I use in my works. My work for professional architects has included the production of books, presentation boards, and a website. These products are a great way to gain perspective into how a firm wants its work to be portrayed. 23
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PALISADES ACCESSIBLE STEEL HOME UCLA: Steel House
Mohamed Sharif
The scheme is organized aorund the diagonal axis that is about processions and an experimental take on the modernist cube house. The axis is formed as a double height corridor made prominent by floor to ceiling columns flanked by open and closed programs. The roof serves as ventilation in hand with the operable glass doors in the southwest facade. This is protected by an overhand that wraps around the projecting patio. In other areas there is channel glass and solid aluminum panels. All walls are located inside the column grid in order to deal with the number of columns needed to support the small modular bays. The building is situated on the site for the most even distribution of radiation as well as making obvious the procession from street to garage to entrance and wraparound deck with views towards the ocean. Accesibility is addressed both inside and out. 25
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Air Circulation
Radiation Exposure kWh/m2 7.61<=
cool air intake
6.78 5.95 5.12
hot air output
4.28 3.45
cool air intake
2.62 1.79 0.96 <= 0.13
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first floor
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kinetic reflective lighting UF: Environmental Tech II Evironmental Tech II
Lucky Tsaih
The basis for this lamp is to tackle several design concepts concisely and with flexibility. A lamp that lives bedside on a nightstand should be direct enough to provide clear and uniform diffused light towards the reader but itâ&#x20AC;&#x2122;s reflection on the wall nearby should be subtle and non-distracting. A lot of the design focuses on light distribution â&#x20AC;&#x201C; the lamp is built to be semi-indirect. Half of the body that houses the bulb will be a smooth, filtered white, providing clear diffused light without the sharp shadows from the bulb. The other half will have a more articulated surface, breaking up the light and giving the shadows a texture. The purpose of splitting up the lampshade this way is to mediate between two lighting situations: the first is a direct task lighting described earlier, providing focused light, high illumination, and local control. 29
The second is an alternate situation where the user may not want to illuminate towards the bed and so he/she can point the task lighting half towards the wall to enjoy very soft textured light directly and still benefit from brightness from the reflection of the direct light on the wall. This mediation is built into the movement of the light on the stand.
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colonizing the new venezia Design 8
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 microunit 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. 31
Ground Floor Plan
First Floor Plan
The prevalent structure is made of steel in an attempt ro bring modernity to the site.
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.
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BLOCK IDENTITY Design 7
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 Chelsea-esque 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.
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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.
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The fin tpe skin system is used throughout the residential areas of the block to give each apartment control over its privacy and sunlight.
Eleventh Ave.
This skin type creates an offset boundary between the street and the inhabitants inside the lower residential levels.
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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
TOTAL
852.000
Tenth Ave.
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The combination of frosted and clear panels alternating creates a slightly more private condition in areas where it is needed and less direct sunlight is desired.
Exposed trusses are used throughout the school and similar areas where circulation yearns for plenty of light and large modulations.
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The ground floor was turned into an open plan of sorts 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. 38
STUDENT INVOLVEMENT Making a culture for the students at SoA has been a big part of my scholarly experience. When I arrived at UF I was fascinated by the way the School of Architecture worked and how much time we actutally spent together with both peers and professors. But the School was a lacking sense of community, a togetherness after classes had let out. There was a group of students coming together at the time who were trying to promote that sense of togetherness - if we were all going to be in the 38
same building for hours anyways, might as well make it a fun and enriching experience. I joined right in. Clubs and organizations were started and restarted to work together. 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 aw that
The we exc pro a pl ente crea part
h-quality publication. We expanded it to have website and events throughout the academic year t have significantly grown in size.
e UF chapter of AIAS had 15 members when first came to it; this year membership has ceeded 60. We used the club to reach out to ofessionals in the city and state and give students lace to volunteer at Habitat for Humanity, er competitions, and enjoy themselves while ating personal capital with their peers. We also ticipated in the regional South Quad for the first
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Corina eugenia ocanto P: (786) 397 9935 E: corinaocanto@gmail.com
education University of California Los Angeles, Los Angeles, CA Masters of Architecture I School of Architecture & Urban Design Class of 2016 (projected)
2014-2016 GPA: 3.7
University of Florida Gainesville, FL B. Design Arch, Magna Cum Laude School of Architecture Mass Communications Minor School of Journalism
2010-2014 GPA: 3.75
selected projects Vicenza Institute of Architecture Vicenza, Italy
Spring 2014
New York Collaborative Studio
Fall 2013
[FAB]ricated Realities Independent Study
Spring 2013
Community Boathouse Studio
Fall 2012
Awards + recognition UCLA Fellowship Recipient
2014-2015
UF SoA Deanâ&#x20AC;&#x2122;s List
2010 - 2014
d3 International Sketch Competition
Mar 2013
Experience Oppenheim Architecture + Design Intern
Summer 2014
STA Architectural Group Intern
Summer 2013
Shulman + Associates Intern
Summer 2012
UF Architrave Independent Student Publication Architrave 21 Digital Editor
2011 - 2014
Architrave 20 Editor-at-Large
Architrave 19 Marketing Editor
American Institute of Architecture Students UF Publicity Chair
2012 - 2013
Plan Pais Nationwide Venezuelan Student Summit
Apr 2013, 2015
skills Technical + Software Rhinoceros V-Ray Grasshopper Photoshop InDesign
Languages Illustrator AfterEffects AutoCAD ArchiCAD Maxwell
Laser Cutting 3D Printing Power Tools Web Development Visual Arts
Spanish English Portuguese