2012-2013 Compendium: An Architecture Portfolio

dan greenberg 2 0 1 2 - 2 0 1 3 c o m p e n d i u m

university of south florida | school of architecture and community design [ sacd ] 1

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“Mankind alone posses both the ability and the desire to reshape the environment.

Therefore, it is man’s responsibility to enhance that which is found lacking, create that which should exist, quell that what should not, and do so through the lens of creativity and imagination in a manner which bolsters the spirit and human condition.�

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dan greenberg bio Born and raised in Florida, I grew up in an environment that allowed me to see the world and foster my creative spirit. Seeking to learn the skills necessary for a career in which one can make a difference, I set out to attend architecture school. After years of hard work, I was accepted in to the my first choice, the University of South Florida’s School of Architecture and Community Design in 2010. In May of 2014, I will reach a key milestone and graduate with my Masters in Architecture from the best architecture school in Florida, with hopes of practicing an architecture which serves to enhance the world in a small way.

Experience professional 2004 - Current Building Inspector and Field Supervisor Dansco Engineering, LLC Apollo Beach, Florida

Experience collegiate 2012 - Current Graduate Teaching Assistant University of South Florida School of Architecture & Community Design 2012-2013 Vice President - Architecture College Council Vice President - Construction Specifications Institute 2013-2014 President - Architecture College Council President - Construction Specifications Institute

2 0 1 2 - 2 0 1 3 special edition compendium

Education

dan greenberg

Pursuing Masters of Architecture Graduating May, 2014 University of South Florida School of Architecture & Community Design

university of south florida school_of_architecture and_community_design 4

A.A. in Architecture Hillsborough Community College

contact 813.405.7007 dgreenberg@mail.usf.edu kickice82003@yahoo.com

This book is dedicated to those whom have supported me through years of dream chasing, chief amongst whom are my dear wife Meagan and my loving parents Sam and Marlene.

To my brother Marc; may you find something positive in setting a goal and accomplishing it; let not the wasted years incumber the present.

To my professors, whom without your guidance and support I would not be so hopeful for the future.

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projects This book contains the work of Dan Greenberg, Masters Candidate for the University of South Florida, School of Architecture and Community Design [SACD]. All projects were completed during the 2012 and 2013 calendar years and include a variety of work from studio and non-studio courses in addition to several competition and experimental projects.

bubble wall 06 - 11 Full scale fabrication of a digitally conceived construct.

Digital Fabrication Studio, Fall 2012 with professor Mark Weston. Design / Fabrication: 2 weeks

8 bit bench 12 - 21 Full scale fabrication of a digitally conceived construct.

Digital Fabrication Studio, Spring 2013 with professor Mark Weston. Design / Fabrication: 10 days

fabric monolith 22 - 31 Competition submission for “Curtains” a design competition sponsored by The University Of Texas at Austin, Spring 2013 with professor Mark Weston. Project Design: 3 days

Ossein lavalliere 32 - 37 Self directed design experiment to study 3D Modeling and 3D printing. Design Time: 2 days

graphic space 38 - 51 Independent study project, Summer 2012. Self directed graphic experiment exploring digital collage.

plume 52 - 63 Competition submission for ‘SKIN’ an international digital fabrication competition hosted by TEX-FAB. Project Design: 1 week

Graduate assistant work 64 - 67 3D Modeling and graphics for graphicstudio, a university based artist’s workshop proposal at the USF Tampa campus for professor Michael Halflants, Spring 2013

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graduate assistant work 68 - 81 Models, graphics, and research for professor Mark Weston, Fall 2012 - Spring 2013.

modern housing 82 - 93 Coursework completed for Modern Housing elective with profesor Michael Halflants, Spring 2013. Project Time: 6 weeks

land bridge amsterdam 94 - 105 Study Abroad, Advanced Design C during Summer 2012 with professor Mark Weston. Project Time: 3 weeks

Urban re-design 106 - 129 Advanced Design C, Summer 2012 with professor Mark Weston. Project Time: 6 weeks

the hive 130 - 159 Advanced Design B with professor Mark Weston, Fall 2012.

Project Time: 6 weeks

moon raker 160 - 177 Advanced Design B, Fall 2012 with professor Rick Rados.

Project Time: 8 weeks

Boutique hotel 178 - 195 Advanced Design A project, Spring 2013 with professor Dan Powers. Project Time: 8 weeks

usf interfaith chapel 196 - 217 Advanced Design A project, Spring 2013 with professor Dan Powers. Project Time: 8 weeks

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Bubble wall Bubble Wall was an artistic piece installed for a digital fabrication show at the University of South Florida School of Architecture and Community Design. Using a computer program called Rhinoceros (Rhino) and a plug-in called Grasshopper, I designed a simple cluster of Voronoi cells, or bubbles. Using a CNC machine, two different panels were cut out of 1/2� plywood. Between these two panels, an air chamber is created using flexible latex . Air is pumped into this chamber and the latex membrane expands. Since the frame is rigid, the latex expands around the cut outs in the panel, creating a rich 3D surface. I used an Arduino and solid state relay to control a blower which pumps air into the system. A simple blink script turns the relay on and off.

What Does It Do? For Play | Interactive wall for children’s playroom Instrument | Makes cool drum sounds Lighting | Can serve as lighting for a space Focal Point | Lobby, bar, or nightclub design element Sculpture or Installation | Conversation / performance piece 8

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Fabrication After the design was completed, I cut out the panels and air chamber frame using a CNC router. It was important to sand down each piece, as the latex comes into direct contact with the wood on the lip of each cell. A slot for the air supply lines was cut into the frames and color changing LED lights were placed along the interior edges of the panel assembly. Two sheets of 4’ x 8’ latex sheeting were stretched and secured to the air chamber frame. Once secure, the panels were attached, creating a large air chamber inside the assembled panel. A shop blower forces air into this chamber, inflating the system.

A quick application of caulking at panel gaps seals against major air leaks. A micro-controller coupled with a solid state relay automates the air flow into the system.

Fabrication - 4’ x 8’ Birch Plywood - 4’ x 16’ Roll of Latex - Silicone - Wood Screws - 1/2” Plastic Tubing - Shop Blower - Double Sided Tape - Solid State Relay - LED Light Strips - Arduino Micro-controller

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Hear me Use the QR code to hear Josh play the inflated wall. The idea of this piece is that it can be experienced in multiple ways, one of which is as an instrument. The panel lights up as well and can be seen as a way to create soft ambient light in places such as bars or nightclubs where this type of lighting is desirable.

Latex and sanded wood adds a level of hapticity to the piece.

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Applications The concept, while simple, has many potential applications. For example, this system can exist as a wall panel(s) or a ceiling panel(s), serving as a focal point in a room, say, at a bar or nightclub. One can think of the object as an art installation, or sculpture. It is interactive, lights-up, and is quite fun to play with. Would be a really cool wall in a kids playroom, hotel lobby, casino, club.

I have been tinkering with the idea of applying the concept as a means to circulate air through a building, or as a responsive skin for a building facade. One can imagine a system by which air/gas trapped in the bubbles expands when exposed to heat and allows the building to change its skin in response to ambient temperature changes. These are just some of the applications I have considered. This panel is essentially a sculptural piece, made to experiment with some ideas and materials. However, there are many applications for the idea.

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8 bit bench dan greenberg | nina reali | james gilman | david morrison The 8 Bit Bench is named so for the number of router bits the team broke during the piece’s construction; success comes with a degree of previous failure. Over the span of one week, the team was tasked to design any object using digital methods and then fabricate that object at full scale. The team chose to design something which would have lasting benefit for the school and make a statement about digital fabrication possibilities. The result, was a nearly 16’ long plywood bench conceived as a series of individual contours which together form multiple wholes. The bench consists of 129 contour pieces and is assembled into four sections. Each section can be manipulated on their own, but when arranged in their designed order, create a continuous bench capable of seating 10 - 12 people. Rhino and Grasshopper were used to design the bench parametrically and a 3 Axis CNC Router was used to cut out each component. Each segment of the bench is held together in compression using mechanically tightened threaded rod; no glue is needed. Contour pieces are separated by 3/4” creating a steady rhythm across the length of the bench. Contours rise, fall, grow, and shrink in relation to the intended site constraints and the human form in the seated position. In total, an estimated 300 man hours went into the design and fabrication of this piece in just 7 days. The 16’ long bench consists of 129 contours, 519 spacers, 64’ of threaded rod, and took 21 sheets of 4’ x 8’ birch plywood to complete.

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The bench was designed to go in a high-traffic narrow exterior breezeway with solid 4’ high concrete railings. Using Grasshopper, a parametric modeling plug in for Rhino, a series of contour lines were generated which mediate the site’s dimensions and the human form when seated. The highest point on the bench serves as a back rest and rises up in relation to a large column where the bench will ultimately reside. The scale of the bench and height of the segments trend down as the piece gets closer to the mouth of the breezeway where people first encounter the bench.

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Production Materials: - 4’ x 8’ Birch Plywood - 3/8” Threaded Rod - 3/8” Lock Washers - 3/8” Nuts - Liquid Water Sealer Software Used: - Rhino 4 - Grasshopper Tools:

Use the QR code to the left to view a time-lapse video of the team constructing the 8-Bit Bench.

- CNC Router

Parametric design Just 8 contour curves were used to control the entire form of the bench. Since the project was designed parametrically, numerous variations of each segment could be considered. By adjusting control points along each of the controlling curves, the overall form of each segment and thus the look of the entire bench can be easily manipulated in real-time. This strategy eliminated the need for tedious localized editing and affords the piece a more organic appearance than might have been achieved by digitally sculpting a solid form. Once the overall form was determined, the bench was digitally sliced into four segments. Each segment was then “contoured” creating a series of slivers; every other sliver was culled from the whole, creating a rhythm of solids and voids.

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Fabrication This project truly tested the limits of our tools and patience, as fabrication of the bench was long and arduous. 129 contour pieces and 519 2� diameter circles (spacers) were cut out on an aging 3-Axis CNC machine. 8 router bits were needed to complete all cuts and several sheets of plywood were sacrificed as we learned how to use the equipment and work with our materials. Once all 648 pieces were cut out, sanding and waterproofing commenced over the course of two full days.

As the bench was designed to be placed outside, a coating of sealer was applied to each piece. Despite the difficulties and lengthy production time, our design strategy allowed for easy assembly of the entire bench by just two people in about 4 hours. Each contour piece has four holes through which 3/8� diameter threaded rods are passed. Spacer pieces of the same thickness as the contours slide on between each contour. These spacers give the bench its character, serving to highlight each individual piece and create the solid / void rhythm. Using simple nuts and washers, the contours and spacers are put into compression. No glue is needed to hold each segment together, which allows the entire bench to be disassembled quickly and easily.

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Completed Bench Selected images, close up of contours and interior view of assembled piece

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Fabric monolith “Curtains” was an international design competition sponsored by The Center For American Architecture and Design at The University Of Texas at Austin. Fabric Monolith is my own working title for an installation piece designed for and entered into the 2013 “Curtains” competition. The project was undertaken in a joint effort with Mark Weston at the University of South Florida School of Architecture and Community Design during the spring of 2013.

From the competition website: CURTAINS is a multi-site installation, exhibition, and publication event designed to explore the use of fabrics in contemporary art and architecture—not in the form of rigid tensile structures, nor in the form of cladding or upholstery, but in their more relaxed, natural forms: curtains associated with windows, yes, but also defining and activating spaces indoors and out, billowing overhead as canopies, catching and using wind like sails, creating shade, diffusing light, holding color in their folds, filtering views, absorbing sound, showing the wind, and making theater of the everyday.

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site university of texas / Austin The site for the installation was permitted to be anywhere in the world. The decision was made to locate the installation on the UT campus, specifically, the south lawn adjacent to the University of Texas’ main building, or clock tower. This site was chosen in part because select projects with a UT location were eligible for a fabrication grant, but also because the site uniquely compliments the design.

The 307’ high clock tower, made famous for a high profile shooting which occurred in 1966, is a historically charged site. This event however, was not a major determining factor when locating the installation. Rather, it was the characteristics of the site itself which proved most intriguing. The site is centrally located, naturally shaded, and the tree-lined lawn is full of pedestrian activity. The arrangement of buildings and trees are such that a natural wind tunnel effect is created; the key factor in placing the installation.

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Site Location Satellite Views UT Austin

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Wind / Fabric Studies varied states of wind activity Grasshopper / Kangaroo Simulations

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Multi - sensory experience sight and sound The piece was not designed with a specific site in mind; however, specific site conditions were considered during the schematic design phase. The UT site, while serving the needs of the piece (mainly wind activity) provides an additional opportunity to parallel the design alongside the tower, a permanent and visually static vertical element. The listless state the fabric takes when no wind exists mimics the tower to some degree, while a contrast occurs when the piece is animated by the wind.

The Fabric Monolith is intended to be experienced in three main ways. In a mostly visual way, one can experience the piece from afar, seeing the form of the tower change as the wind pulls and pushes the fabric. A nearby observer could also experience the piece audibly, as the fabric snaps and flutters with the shifting winds. Perhaps the most satisfying experience occurs on the interior of the monolith. A small bench is placed inside the monolith for the use throughout the day by small groups. While a high traffic area, the site lacks benches or other places to site besides the actual lawn. Adding a bench to the piece allows people to sit inside the billowing monolith and experience the sound of fabric and the play of light and shadow in a more intimate way.

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Temporality and ephemerality Four laminated wood masts, braced for wind loads with simple steel cross bracing make up the structural elements of the 36’ monolith. Lengths of fabric are secured inside a channel at various points (vertically) up each mast. The four “curtains” this creates can be made to raise or lower, but do not extend below the 12’ mark, allowing the fabric to drape and billow freely without scraping the ground. There are many folds in the semi-transparent fabric which allow the curtains to catch and hold large mounts of wind; bulging and billowing flirtatiously with passersby. As gentle breezes and / or gusts of wind animate the fabric, limitless alterations of the fixed form occur. This installation highlights the functional, transformative, and evocative powers of fabric, a material not always associated with architecture beyond simple curtains and upholstery.

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Ossein lavalliere “Ossein” pertaining to bone and “lavalliere” pertaining to an item of jewelry, this 3D printed piece attempts to reconcile the fashion world with the domain of digital design. The idea was to create an organic looking piece of alternative high fashion jewelry for wearing around the neck. The piece, my first attempt at modeling in Rhinoceros 4, was designed on the fly as I learned the software and subsequently printed the model using an Objet 3D Printer.

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3d modeling and printing The Ossein Lavalliere, or Skeletal Necklace, was the first 3D modeling effort I ever attempted in Rhinoceros 4.0 and was completed without benefit of any tutorials.

The model was created by piping a series of curves, approximating the general form of the final piece.

The model is comprised of several surfaces to allow for more localized control of deformations. The cage edit tool was then used to gradually manipulate series of surface control points. This creates smoother lines and allows for more organic transitions between the individual parts.

The printed object is made from 3.03 cubic inches of ABS plastic and used 5.43 cubic inches of soluble support material, or “candy�.

The print took 15 hours and 32 minutes to complete at .0100 layer resolution and another 20 hours in a solution of lye and warm water used to remove the support material.

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Photoset The beautiful Meagan modeling the 3D Printed Ossein Lavalliere. The piece is held to the body with tension, no clasps or ties are necessary.

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Graphic space During the first half of Advanced Design A, I began a graphic exploration which combined a series of still images of an unrelated nature into an original graphic. These stills consisted of various spatial conditions, building facades, and textural elements from precedent studies which were digitally composited together into a singular image. As I viewed the final graphic, I started to realize the composition I had intuitively created was evoking thoughts of a singular dynamic space, flush with interesting light, texture, and materiality.

Unable to continue with this graphic study during the busy Spring semester, I chose to pursue an independent study during the summer of 2012. The purpose of this brief study being the further experimentation with digital collage as a means of generating unique images, suggestive of interesting spatial conditions and experimenting with new graphic techniques.

The first half of this study occurred while studying in the Netherlands, during the overseas portion of Advanced Design C. First, photographs were taken at sites around Holland and other European cities I visited while abroad. These pictures became the source images for a series of digital collages created using Adobe Photoshop. In each graphic, multiple source images were digitally composited to create a singular graphic composition.

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Each graphic combines photographs from a single building or locale, giving each image its own character and establishing a set of rules to govern the process.

While the actual process is not explained in detail, the creation of each graphic can be described as an intuitive process of scaling, rotating, and layering source images.

Initially this study was thought of as a graphic experiment to find new ways of creating threedimensional space, while enhancing my understanding of spatial relationships, materiality, and use of light. In this much, the study was a success. However, during the course of this study, I realized that these graphics existed without context; that is to say, any spatial conditions suggested in the graphics were essentially random and open to a high degree of interpretation.

Throughout the study, I learned to use my graphic compositions not only as a way of creating interesting and suggestive graphics, but as a graphical tool to generate, as well as visualize, specific architectural conditions in an actual design project. Many students use three-dimensional constructs to help derive building form and spatial relationships. This project can be seen as a digital derivative of such a process, creating instead, two dimensional constructs for further development. In addition, such graphics can be used to create a kind of three-dimensional perspective, alternative to traditional rendered scenes using 3D modeling software.

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Abstraction Unlike the painterly aesthetic of realism or the exactness of a traditional photograph, abstract images are often seen in personal and unique ways. This is understandably so, as abstract images are intended to be suggestive. Mystery, something implied but not spelled out, the undefined, these are qualities which attract the eye and stimulate the mind. It is for these reasons I sought to create images such as the ones presented in this document in the first place.

However, it is for these same reasons that presenting such graphics to my peers, there existed a barrier to understanding.

The first person I asked to these images was a fellow architecture student. I asked him to look at a few images and tell me what thoughts they evoke, what ideas did he get when he viewed them. I was curious to see if my process was creating an unintelligible mess of layered pictures. Were others able to see these images the way I do, as abstract compositions? I did not suggest to this student what I saw in each image, but allowed him to make his own judgment of content. His observations did not match my own, despite my belief that in some images at least, themes were quite clear.

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Materiality and scale In each image, materiality is suggestive as are material relationships. Scales are relative and there is not typically a single vanishing point. As such, one can look at an image and begin to think about new relationships and new ways of aligning elements in a space.

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graphic as generator The second half of the study continued after the abroad portion of Design C, back in the SACD studio. While initially conceived as a stand alone study, the process ultimately continued alongside the final project for Design C; a small scale urban intervention located in Bradenton, Florida.

The initial graphics were created intuitively and not intended to be representative of a specific condition.

Later graphics (such as the one shown here) attempted to visualize specific moments in my group’s Design C project. This was both challenging and rewarding, as it ultimately led to a new way of presenting ideas for an actual design project.

The new Composite Perspective in turn, served as a generator for further iterations of the project. The idea of having a green space, or soft edge on our pier for example, was derived from this perspective. Likewise, the idea of designing our pier to become the site of a residential complex was also spurred forward by this perspective collage. While the final design would not of course look the same as in the perspective, the image itself helped our team of designers present our goals for the project.

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Plume Plume was conceived of and designed over the span of 5 days for ‘SKIN,’ an international two-stage digital fabrication competition hosted by TEX-FAB. The project team consisted of myself, professors Mark Weston and Vikas Mehta, and fellow graduate students Chris Galbraith and David Morrison. While the submission did not ultimately win, the piece will be posted on the competition website and is to be part of the ACADIA exhibition in October 2013.

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“The living world grew irrationally through non-systematic, genetic exploration of niche possibilities, pruned back by natural selection and occasional massive disasters. So if you’re building distributed networks, learn from crabgrass.� --Bruce Sterling

Concept AND PROJECT STATEMENT The sea floor is littered with a garish skin of color and formal complexity that belies an arsenal of utilitarian survival strategies based on precise material deployment and simple mechanical ingenuity. Organisms such as the common fan worm sprout from the sea floor in seemingly extravagant mops of color; in fact, these animals are highly specific and absurdly simple biological machines designed for the sole purpose of filtering particulate nutrients from seawater while avoiding the probing mouths of other, more complex and carnivorous eating machines. Organisms such as Sabellastarte spectabilis, a common indo-pacific marine feather duster worm, are composed of both a structural and a mechanical component. The worm lives in a leathery tube comprised of a combination of fine mud and organic exudate which it uses to both bind itself to marine substrate, and as a protective shell for its long, tendon-like body. The end of the worm protrudes from its shell in a filamentous explosion of feathery fibers that are used to sift sea water for nutrients. When the exposed, delicate fronds are endangered, they are quickly snapped to the safety of the tube, emerging again only when danger has passed.

Plume is an architectural cladding device that borrows the survival strategy of these simple aquatic machines as a means to address several basic issues in the built space of the hurricane zones of the southern United States: firstly, as a means of shading the habitable surface of the city from the intense southern sun, and secondly, as a means of protecting the building interior from the intense rain (while collecting the water for reuse) and harsh storm winds. But the Plume is as much a response to exterior public realm of the city: the skin system enables the building to respond and react to the myriad needs and conditions of the street.

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Performance facade Much like a modern incarnation of the ornate and articulated Baroque facade, the Plume has much to offer the public realm - shade and shelter from the sun or rain, the provision of anthropometric needs for sitting space, ledges and table counters, misters during summer and heaters in winter, lighting during dark, and an interactive digital display.

The Plume accomplishes these tasks within a structural matrix of hollow compression tubes and tension cables that constitute the primary bones of a building skin system. The structural matrix, while static, gives refuge to an interactive array of deployable shading plumes that respond to environmental and occupant input to create a highly responsive, high performance skin.

The Plume acts as a highly performative transition between the mostly private interior and the usually public exterior.

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worm / tube detail down angle option shown The entire facade system consists of a structural matrix of hollow compression tubes and tension cables that constitute the primary bones of a building skin system. The compression tubes house a single “worm,� otherwise known as a fully deployable poly-membrane device.

Each worm is deformed by a trifecta of tendons and moves horizontally via a system of mechanical, computer controlled motors and chain drives.

Potential deployment pattern elevation / section studies Depending on the activators influencing the system, worms may emerge or retreat in a variety of ways. The image below depicts a varied shading condition making use of deployable solid poly-membranes of varying lengths. Such a condition would occur during hot bright days on portion of a building with a southern exposure. The series of diagrams on the following pages depict various ways the system could be deployed and configured depending on environmental conditions and site issues.

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Rain collection / deflection One way in which the system could be utilized is as a rain deflector or rain collector. Sensors tied into the tubes / worms could be used to deploy the upper most projections with an upward orientation, creating a concave surface to collect and deflect water from the entryway. Tubes closer to the ground level might face downward, acting more like umbrellas for those walking near the building.

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Potential deployment patterns As previously stated, a variety of conditions could occur at one time, making use of multiple inputs. The system can be adapted to shade the facade, street, or both, while at the same time consider the occupant’s views out from the interior. Worms could be constructed of a variety of tensile materials. Some membranes could be solid, while others opaque in the same system are more translucent or reflective.

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graphicstudio Graduate assistant work 3d model and graphics by dan greenberg During the fall of 2012 through the spring of 2013, I was part of a small team of students who worked with architect and SACD professor Michael Halflants on a proposal for a new studio and gallery for ‘graphicstudio’ a university based workshop whose staff and visiting artists create a wide variety of modern art pieces. Initially I was brought on board to provide a series of interior spacial renderings and light studies, as well as model the team’s proposed design in 3D. As the project progressed, I stayed on to assist with the final presentation graphics, some of which are represented in this section. These images, in addition to providing graphic information about the project, will ultimately be used for fund raising purposes. The 3D model was modeled in SketchUp 8 and rendered out using Vray 2.0 for post processing in Photoshop. Base renders from Vray were composited with a series of layered textures and various lighting effects were used to create the final images.

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Original Rendered Image [ SketchUp to Vray ]

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Variations on a theme By using a workflow which makes use of a base render, variations of space and materials are possible in relatively short time. The version on the lower left shows a wooden deck extending from the main courtyard, while the version to its right gives the client an alternative design scheme. This process eliminates the need to model every aspect of the design and permits a variety of schemes, materials, and moods to be explored while saving time.

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Original Rendered Image [ SketchUp to Vray ]

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the cool

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Graduate assistant work models and graphics by dan greenberg In 2012, I was offered a graduate assistant position at the University of South Florida School of Architecture and Community Design with professor Mark Weston, AIA. The Cool was a month long exhibit at the SACD consisting of a variety of professor Weston’s research projects, for which I helped to prepare graphics and models for many of the projects on display.

Weston’s dynamic work has been featured in publications including Metropolis magazine, Environmental Building News, Modern Steel Construction, the International Journal of Architectural Computing, and many others. Project descriptions for Weston’s work have been summarized and adapted for this publication with the author’s consent and the use of all images has been approved by the artist.

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Poster Designs ‘The Cool’ Exhibit University of South Florida Tampa, FL Original Size 18” x 24”

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about the work The Cool exhibit contains a collection of work that Weston describes as “continuously ongoing...Focused on design, computation, materiality, and fabrication.” His work is conceived in a constant, non-linear interplay between hand-making, computer modeling, computer simulation and CNC tooling. This research is focused on a desire to integrate traditional manufacturing techniques with digital techniques, to produce hybridized systems of manufacture which bridge the gap between the handcrafted object and industrial processes.

A portion of The Cool exhibit is represented in this compendium and includes ceramic passive solar collectors/reflectors, variable screening / expandable solar shading devices, and bi-material humidity screens.

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bi-material facades Humidity screens As a cladding for buildings, these humidity screens take advantage of the expansion of natural materials in the presence of humidity to create a passively actuated screen. This passiveactive humidity gate would take advantage of the heat of evaporation of deliberately introduced moisture to reduce cooling loads on buildings in warm climates. The screen can open in response to the humidity generated by moisture behind the skin when under the heat load of the sun. Hundreds of tiny bi-material flaps open to provide increased surface area, microshading, air flow, and heat conduction.

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How it Works To understand the mechanism behind the screen, one must understand properties of naturally occurring materials, such as wood. Wood expands more perpendicular to its grain than parallel to it in the presence of humidity.

This effect is typically seen as undesirable and is engineered out of building systems. In the case of Weston’s work, the expansion and contraction of wood is used to actuate passive machines. By producing a hybrid slotting pattern in a specially developed laminate, a surface can be created which opens and closes passively in response to humidity, actively in response to mechanical actuation, or both. This device uses a laminate of a non-expansive material such as plastic or metal, with wood veneer. As humidity increases or decreases, the resulting “humidity gate” can be seen to open and close as the wood expands and contracts in relation to its non-expansive laminate pair.

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bi-material facades responsive walls At night, as the temperature decreases, the flaps bend inward to channel night time condensate into a water collection system. The water collection and control of this configuration are based on the botanical adaptations of succulents, such as cacti. The intent is to directly reduce energy consumption by lowering the peak cooling loads due to the heat gain of south and west facing walls in buildings across the southern tier of the US. The research aims to create systems for new construction and for retrofitting existing south and west walls of existing buildings.

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Tile Studies: potential configurations / movement

Tile Studies: potential tile proportions

Alligator tiles Alligator Tiles act as heat exchangers in the form of ceramic or composite tiles with two sides. The roughly textured and dark colored surface absorbs heat while the smoother, lighter surface on the reverse reflects heat. Tiles can be used alone, or in conjunction with a liquid heat transfer system to move heat energy through an array of tiles. In an architectural application such as a building faรงade, tiles can be mechanized. Infrared energy is reflected, absorbed, or diffused as necessary for environmental conditions, reducing heating and cooling loads on a building.

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ceramic facades reflection / absorption This composite graphic shows how Weston’s hollow ceramic tiles form the building blocks for a robotic, ceramic façade to either reflect or absorb the heat of the sun. By motorizing each tile, an array of heat exchange tiles can be used as a solar collector, heat exchanger, as a light shelf, or as signage. This dynamic façade system adapts to alter the solar orientation of its bicolored ceramic “scales” based on climate, temperature, and the needs of building occupants, becoming what is essentially an active/ passive solar heat exchanger; one which can become a visual and musical experience through mechanization.

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Ceramic facades Terra cotta envelopes These conceptual renderings (3D model by Mark Weston, rendered images by Dan Greenberg) depict a building skin comprised of cast terra cotta or ceramic forms. The depth of the system in concert with material properties reduces energy consumption by lowering the peak cooling loads due to heat gain on a southern or western exposure. It could be possible to introduce water in a controlled manner so as to create an evaporative cooling effect as moistened bubbles sweat.

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Modern housing Modern Housing is an elective course at the SACD which introduces students to a variety of housing projects around the world and gives students a chance to design at a residential scale. The class is taught as a studio with a weekly lecture component and regular critiques.

Students were given an urban site in Puerto Rico for the purposes of designing a mixed-use residential housing project, totalling no more than four stories in height.

Program: - Include some form of retail or office space - Any combination of the following unit types: 1 bdr, 2 bdr / 2 bth unit, 3 bdr / 2 bth unit - Provide 1 parking space for every 3 residential units - Project height may not exceed 50’

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site analysis Aguadilla lies on the west side of the island of Puerto Rico. The given site was presumed to be roughly flat in contour and is approximately 59,000 sq. ft. The site exists amidst an urban context, with buildings ranging in height from one to four stories.

A major highway just west of the site ferries local traffic north and south while a pair of one-way side streets direct traffic to and around the site itself.

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Site plan A B C D E F G H

Mixed Use Com / Res. Building Residential 5 Unit Building Residential 3 Unit Building Greenspace [ Semi-Private ] Greenspace [ Public ] Second Level Access [ Semi Private ] Garage Entry Garage Access

Design strategy The proposed project consists of 20 residential units and 7 commercial offices approximately 100’ from the bay of Aguadilla and roughly 1,000’ from a mountain range. The design accepts views of each, while creating a semi - private park at the center of the project.

Collectively, the project’s massing serves to enclose the park, creating a small sanctuary for all residents. All residents have equal access to views of the park, as well as the surrounding landscape.

Generous windows and balconies permit views and access to natural light, while a simple shutter / storm door system mitigates heat gain and provides security during tropical storms and hurricanes.

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Ground level plan At ground level, two major green spaces are created. To the east, a public buffer zone is designed to shield the professional offices and commercial space from the road. In the center of the site, a public / semi-private park helps to foster a sense of community and is shielded from the activity of the street by three buildings which house the required program elements.

Digital mass model view from ne corner The project was designed in plan and in section using quick sketches on trace and solidified using a 2D CAD program. As the design evolved, revisions and fine tuning took place alongside the 2D drawings in 3D.

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hardscape Option 1: Specified for all sidewalks and hardscape with cast - in - place concrete curbing which permits enhanced drainage.

Option 2: Modular system, specified for all sidewalks and hardscape with cast in - place concrete curbing allows for moderate drainage.

Landscaping Guaiacum Sanctum Ornamental, flowering, large shrub

Byrsonima Crassifolia Ornamental, flowering, large shrub

Cordia Sebestena Ornamental, flowering, large shrub or tree

Acrocomia Media Palm, 26 - 33 ft in height

Physical attributes BLDG A [ Mixed Use ]

Physical Attributes

[12] [6] [6] [7]

Max Project Height 41’ Building A 41’ Building B 27’ Building C 27’ Residential Units 20 Commercial Units 7

Residential Units Studios 2 Bdr / 2 Bth Units Office Units

BLDG B [ Residential ] [5]

3 Bdr / 2 Bth Units

BLDG C [ Residential ] [3]

3 Bdr / 2 Bth Units

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Floor plans studio apartments

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Floor plans 2 bedroom / 2 bath

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Metal Siding Steel Rain Guards

Steel Rain Guards

Window Assembly

Entry

design development exterior wall assembly Design Development is a required course which challenges students to refine specific elements of a studio project and detail the construction of that project’s structural systems. These graphics were completed for the afore-mentioned course and depict how the office portion of the project would be assembled.

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TYVEK Waterproofing Wrap DENSEGLASS Tie-Beam Custom Steel Rain Shield Molded Rubber Waterstop Kawneer 518 Series Mullion Air Seal Gasket

Glazing

Kawneer 518 Series Mullion HSS Tube TYVEK Waterproofing Wrap DENSEGLASS Metal Stud Metal ChanSealer Exterior Floor Drain

design development window assemblies The above graphics detail the construction of the office portion of the mixed use building which is comprised of large double-pane windows set inside of a metal frame wall, clad with corrugated metal siding.

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Second and third level plans The second floor plan (bottom) shows the layout for each of the two residential buildings as well as the first floor of residential space and second floor of the office spaces in the mixed use building. The third floor plan (above) shows the second level of the two-bedroom units.

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Floor plans 3 bedroom / 2 bath

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land bridge

Amsterdam

advanced design c design team | dan greenberg | zach greco | asa santa cruz During the summer of 2012 I was fortunate enough to be able to take Advanced Design C abroad in The Netherlands. Typically, the Advanced Design C course at SACD deals with urban issues and students work in groups for the entire semester. Our studio experience was atypical, as the class was stationed in Amsterdam for 6 weeks, with architecture tours and day trips to surrounding cities in Noord-Holland. Our free weekends afforded us the time to go exploring countries outside the Netherlands such as Denmark, Sweden and Belgium. Amidst all the adventure, our studio was tasked with choosing a site anywhere in Amsterdam and designing a bridge. The term “bridge� was not specified and students working in terms of three, were given a great deal of freedom to determine what kind of bridge to design. Ultimately, my team chose a site in the Eastern Harbor District of Amsterdam, an interesting and historically relevant site, wrought from the bottom of the sea and shaped by the Dutch for centuries.

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eastern_harbor In the 1650’s, the entire Eastern bank along the IJ was designated by the city authorities as harbors.

At this time, the Eastern Harbor District as we know it today did not exist. After several hundred years as a port, the area was ultimately developed into what is now a residential area, with the planning phase beginning in the 1970’s.

Within 30 years, the district is one of the most interesting and architecturally rich areas of the city; an area where thousands of residents of diverse economic and social backgrounds live.

The graphic above depicts the major “green” spaces across Cruquis Island, Borneo, and Sporenburg. The selected site is highlighted within the red box. Site analysis and common sense spoke against the need for a vehicular bridge, however, this quiet area is well suited for a pedestrian bridge, as the only direct means of access from one island to another in this area of the district is the main road well to the west of many of the residences.

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Existing Green Space - Most of what appears to be quality public space in plan is mostly narrow medians with little public benefit.

Quality of nearby green space While the graphic to the left shows what appears to be an area flush with “green� space, the images above tell a different story. Many of the spaces which appear to be usable public plots are actually little more than medians or small private lawns; of little use to the public in any meaningful way. Our design seeks to remedy one of the few deficiencies present in the district by providing new green space that can be used by the public for a variety of recreational activities.

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Transportation Analysis of the area’s transportation indicates there is a need for a pedestrian friendly bridge from Borneo to Cruquis.

Transportation / Access

building type Looking at the site in terms of the building or occupancy type, it is clear that residential structures prevail. Reviewing these two graphics makes the group’s choice clear; having opted for a pedestrian oriented bridge connecting the islands of Borneo and Cruquis.

Zoning / Building Use

Moorings While not all boat slips are in use, were the design to remove any mooring areas, some may loose a place to anchor their barges, commonly used for housing in the Netherlands. The team made the creation of new mooring spaces for houseboats a priority.

Existing Moorings

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design schemes It was determined that a traditional style bridge was not needed and the team decided to approach the problem from a non-traditional viewpoint; the linking of two land masses of Borneo and Cruqius by means of a third land mass, or land bridge. Multiple design schemes were considered before arriving at the finalized plan and program seen in the pages to come.

Each scheme sought to use the best features of the site while creating an inhabitable area that can be considered as public space and a bridge at the same time. The opening of the bridge is conceived of as an event that is celebrated by local inhabitants.

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Schematic design Building off of the natural context lines interpreted from the site, boundaries and sight lines were established. These natural context lines governed where additional land mass should be constructed.

Following these context lines permitted the final design to naturally flow with the site without intruding to heavily upon the original master plan for the Eastern Harbor District. The initial design incorporated new mooring spaces, three major green spaces, a fishing pier, and a swimming area. Chief amongst the group’s goals was to create a bridge which opens and closes at specific times.

Scheme 1 drawbridge The group’s original idea was to recreate a drawbridge style mechanism to raise or lower the walkway as boats required. This however was found to be too obvious of a response and would lack significance during operation. We felt a more unique approach was required to highlight the novelty of Dutch design.

Scheme 2 retractor The final design makes use of a retracting land bridge; one which uses hydraulics or mechanical gears to move several tons of earth and steel through the water.

The opening and closing would be slow and only occur at specific times, creating a prolonged moment of celebration.

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Moving land bridge The final design incorporates a large moving land bridge, one which seeks to blur the common perception of a bridge and push the limits of how people view public parks.

The overall plan is designed to allow for direct visual and physical links between the main programmed spaces on the land sides and the movement of the bridge portion of the park. As the land masses cycle through their respective locations, new types of spaces are formed while others vanish. The scheme shown on the right shows the group’s initial ideas for how the land bridge would influence program elements and allow for new and different activities. Construction lines dictated the overall form of each land mass and the nature of the angles present in the design.

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Final design With the unbalanced ratio of public green spaces to inhabitants, coupled with the presence of young children in the area, the addition of quality public space was vital in the design process and overall finished product. The entire design process occurred while in Amsterdam on a collection of beer coasters, trace paper, and sketchbook pages; a rewarding way to design in select instances.

The final design realized all of the group’s initial goals: to create new moorings for transient boats and permanent houseboats, add to the existing public space in a meaningful way, provide access to water, and to provide a means for pedestrians to connect with the two islands on either side of the canal.

The model was made from museum board, walnut, and Plexiglas and was completed upon our return to USF. The model is articulated so as to convey both states of the project; open and closed .

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urban re design

Bradenton

advanced design c design team dan greenberg | zach greco | asa santa cruz Typically, Advanced Design C studios at SACD work in groups of 3 to 4 on a single urban design project which lasts the full semester, or about 16 weeks. However, our studio spent 6 weeks in Amsterdam during the study abroad portion of the summer semester and was given two smaller projects. The final portion of Advanced Design C took place in the SACD studio, following the group’s return from the Netherlands. The project, an urban re-design of downtown Bradenton, lasted about 6 weeks and challenged students to revitalize several city blocks, with a particular focus toward Main Street.

Program Requirements: - Develop new residential buildings - Provide new buildings for commercial use - Focus development around Main Street - Address the aging pier and harbor - Develop new outdoor public space - Account for parking and pedestrian traffic

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Existing conditions •

Lack of usable public space

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Limited activities

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Vacancies

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No architectural unity

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Scattered

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Not pedestrian friendly

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Limited shade

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Not a destination

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Waterfront inaccessible

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Pier is underdeveloped

Solutions •

Create small / large scale parks accessible 24/7

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Provide walkable surfaces and routes using hard/soft-scapes

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Add mix of revenue producing and free democratic space

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Provide natural and man-made shading devices

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New structures / destinations to promote growth

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Create space for outdoor events

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New buildings and existing structures linked by green spaces

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Create a soft edge at waterline to foster activity

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Concentrate residential and commercial into organized blocks

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Iconic focal point at terminus which incorporates all elements

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Ordering principles proximity design Our design strategy was greatly influenced by establishing a set of guiding principles meant to help order the master plan. Proximity Design, as I call it, sets up adjacencies for each of the four main building types: cultural, commercial, government, and residential. Outdoor recreation spaces are represented in the diagram above by a green tree. Outdoor green spaces of varying types are used to link buildings together and organize the project.

Additional considerations pier replacement The pier is currently the central focus of Main Street, existing at the end of a long axis which runs north / south. Currently, the aging pier is ruled by the car and is of little interest, save the restaurant located at the northern-most tip. A private marina straddles the pier and is home to a variety of vessels. Despite the prime location, the pier is currently under-utilized, lacking variety and democratic access to the water.

As such, the team decided to remove the pier completely, and design a more pedestrian friendly and inclusive destination.

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Solar studies summer solstice [ 7am to 6pm ]

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Solar studies winter solstice [ 8am to 5pm ]

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Existing use The diagram to the right shows a color coded map of the area around Main Street. Currently, there are several vacant and run-down buildings. The downtown area lacks the quantity of residential units necessary for a thriving downtown. Looking at the map, commercial buildings and parking lots seem to make up the majority of the real estate.

Vacant Bldg Dense Residential Light Residential Bar / Restaurant Commercial Bus Stop Government Bldg Cultural Bldg Parking Lot Religious

Reordering densification

Government Bldg

The team’s design re-orders the mixture of building types, following rules previously established.

Outdoor recreational spaces are introduced to downtown and the total number of residential units is greatly increased. Densification was a key concern and occurs by creating multi-level mixed-use buildings.

Residential

Intervention phase 1 The sketch to the right shows the area of focus for the team’s initial intervention, which includes the pier at the end of Main Street.

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Mixed Use Recreational Space Religious Cultural Bldg

Concept phasing / connections The redevelopment of downtown Bradenton is meant to take place in phases, eventually spreading out from downtown to the surrounding areas. The diagram model below shows a abstraction of the project’s growth over time, starting with the area around Main Street.

1

Concept model phase 1 The sketch model to the right shows the team’s intervention. While the final design changed, the basic massing of buildings (shown here as white blocks) remain fairly consistent.

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Master plan phase 1

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Axonometric plan

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Design strategies •

Green / Recreational Space

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Pedestrian Friendly Circulation

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Protection From Sun

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Access to Water

The team’s strategy for redeveloping the downtown area of Bradenton focused on four key interventions: the creation of quality public green / recreational spaces, the addition of pedestrian friendly circulation, providing various forms of shading for pedestrians, and allowing for more democratic access to the water.

Both programmed and unprogrammed green spaces are created at ground level and a combination of natural and manmade shading devices are added to the plan at strategic locations. Sidewalks and landscaped pathways cut through parks, giving pedestrians an alternative way to circulate through downtown. The new pier layout contains a variety of ways to experience the water, including a small tidal swimming area.

Plan ground level The massing of new residential and commercial buildings creates a series of courtyards which provide sanctuary for pedestrians. Hot parking lots currently take up a large portion of the downtown area. Most of these parking lots have been removed, with public parks taking their place. A new multi-story parking garage makes up for any lost parking spaces.

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Outdoor green / recreational space In order to achieve a vibrant urban atmosphere, one must allow for the creation of quality outdoor space.

This proposal connects to the Bradenton Riverwalk, which is currently under construction. A boardwalk would connect the nearest planned park to the project, extending the riverwalk into the design Parking lots are greened over to create a variety of democratic outdoor spaces of varied scale and use.

Planned Green Space

Proposed Green Space

1 Riverwalk Park 2 Skatepark 3 Children’s Waterpark 4 Large Lawn

5 Tidal Swimming Pool 6 Amphitheater 7 Reading Lawn 8 Children’s Play Area 9 Shaded Courtyards 10 Government Entrance

Bradenton Riverwalk Master Plan - Obtained From City of Bradenton

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Projection screen on garage facades recreational space Low density parking lots are removed in favor of higher density parking garages. Former parking lots are converted to parks. Movies can be projected at night on select garage facades via side-mounted screens. Small berms help enclose space and vary the ground plane.

Great lawn recreational space Through the removal of vacant buildings and under-utilized structures, generous amounts of outdoor green space which can be used for recreation or leisure are created. Parks would be planted with native flora, providing shade and attracting local wildlife. Some lawns could be programmed for specific activities while others may be left unprogrammed to allow users flexibility and choice.

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Conceptual graphic recreational space Using a graphic technique discussed in another section of this document, a conceptual graphic was made for purposes of conveying the desired mood and program relationships. Depicted here is an idea relating to the creation of a public green space / park and adjacent structures with raised circulation and shading elements.

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Roof top plan elevated circulation In addition to parks at ground level, roof top green spaces would exist at various locations, seen in the plan above. These green spaces serve in part, as the front or back yard for new residential units planned along Main Street. Linking these roof top parks is a kind of boardwalk which residents can use to access their units. This allows commercial space to remain at street level and adds an additional layer of circulation above the street.

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Green streets elevated circulation path It is controversial to remove circulation from ground level when the area is already suffering from a lack of pedestrian use. However, by creating a second layer of semi-private circulation a destination is created for local residents. Meant to be used for leisure, these paths serve to

Connect residential units to their rooftop green space. Visitors to the area can walk along the network of paths, taking note of the plentiful presence of flora. These “green streets� yield a drastically different experience then what is currently offered. Over-street walkways connect key buildings, helping to create a neighborhood street three stories in the air.

Solar shade devices protection from sun Where conditions are favorable, solar shading devices would be placed so to protect pedestrians, as well as balconies from direct sun light. Steel tube structures create a kind of canopy or trellis on which crawling vines can take hold for additional shading and cooling.

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Natural cover protection from sun Natural cover from the sun is provided by way of planting indigenous trees, either in planters or in the ground. A variety of trees would be specified to provide a range of natural cover.

Neighborhood elevated circulation path Solar shading device double as privacy screens for rooftop residents. Buffer zones would be created using small shrubs and by enclosing the elevated pathway, thus distinguishing between public pathways and private property.

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Conceptual graphic green street This graphic attempts to convey our ideas about green streets and their proximity to residential units on the second or third level of a typical residential building. These green streets serve as the main circulation for owners and guests on the top floors.

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Conceptual graphic solar shade with integrated natural cover To protect pedestrians from the harsh sun, pathways are shaded at strategic locations using a steel tube structure, which creates a kind of canopy or trellis. Crawling vines of appropriate varieties can use the structure to shade the path below.

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Activity access to water The pier as it exists today, is greatly under-utilized. Despite being surrounded by water, little access to water is afforded to those who don’t own a boat. The docks along the pier are controlled, accessible only to those who own or rent a boat slip through the marina. This is a shame, as there are many free and democratic activities which could occur if planned for.

The new pier complex, in addition to boat slips, contains a free public dock for launching small watercraft such as canoes or kayaks, a tidal swimming pool, and a manatee viewing area. Mangroves would be planted along seawalls to help attract native wildlife and beautify the coastline.

Pier access to water The pier complex would contain a small hotel and restaurant, providing a unique experience for people staying in downtown Bradenton.

Views of the river could be had from the hotel lobby in addition to the rooms. A small public park would compliment the hotel and would be situated along the north end of the pier, affording people a nice place to sit and watch the sun set.

An elevated walkway connects the upper level of the pier to the rooftop parks along Main Street. The new design gives the pier back to the people, limiting vehicular traffic and creating a destination with multiple activities to chose from.

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Rooftop Circulation

Typical mixed use building elevation The elevation drawing and perspective rendering above show what would be a typical mixeduse building. Old single story buildings would be razed and new three-story structures would be erected. At ground level, retail spaces, offices, bars, and restaurants would create buzz and activate the street. On the second and third levels, new residential townhomes or apartments would help densify the area. Rooftop parks, accessible from both the street and the residences form the backbone of what can be thought of as green streets. These green streets, landscaped with native Florida flora, would encourage people to come downtown, help give the area a new identity, and provide residents with recreational space not common to urban areas. New building types, such as the one seen above, would help to liven up downtown and provide residents with a more modern and flexible environment to live and work in.

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Elevated Path

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the hive museum

Chicago advanced design b

Advanced Design B was split into two 8 week sections, each taught by a different professor.

A hoarder’s museum was conceived for the second half of the studio course, lead by professor Mark Weston and was focused on skin systems for buildings in an urban setting. The project began with the “sacred object,” a random object assigned to each student by Weston, meant to be the inspiration for the collection. My object was a small articulated book light which I distilled down to represent “mechanical linkages” of all kinds. Before the design of the skin or building, the class was given a series of small projects which would later inform the design of the project’s skin system. Physical contructs that were to drive the building design were completed prior to being given the program or the site, located in downtown Chicago.

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the object articulated illumination device Each student was given a random object; in my case, the object was a small articulated booklight. Students were asked to study the object and then create elevation drawings, making sure moving parts of the objects were represented. My device contained a button which upon activation unfolds an articulated arm containing a small LED light.

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Composite graphic from movement diagram From the associated drawing, a composite graphic was assigned, meant to be a two-dimensional generator for what would later be made three-dimensional. My graphic was composited in Photoshop from the series of elevation drawings and the movement diagram that was extrapolated from the “movement� drawing.

Movement diagram Studying the movement drawing seen on the opposite page, I conceived a simple diagram to represent the book light’s deployment. Many overlays of this diagram form the bulk of the required 2D graphic seen above.

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Physical construct from composite graphic From the composite graphic seen on the previous spread, a three-dimensional construct was made. When looking at the graphic, one can see a network of lines, connected at hubs. I extrapolated this idea and created a physical construct in much the same way. Multiple components attached randomly to one another to form a lattice of cells which vary in size.

1.00 .500 .333 Articulated components The dozens of components which make up the construct were made from small dowels and strips of plastic mesh. The strips were cut to mimic the articulated arm’s proportions; and thus the movement diagram and composite 2D graphic.

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Physical Construct Original size when flat: 32” x 12” Size when shaped: 32” x 4” x 8”

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site Chicago The site was given after the completion of the physical construct during the studio’s trek to Chicago in the fall of 2012. The site is adjacent to an existing elevated rail which cuts through many parts of the city. Projects were not permitted to overhang the tracks.

Program hoarder’s museum The Hoarder’s museum was meant to contain 1 million artifacts in a mid rise tower; the prized collection of an eccentric billionaire. In addition to the listed program elements, the building was required to highlight the concept of “skin.”

- House 1 million artifacts - Include train platform - Vertical circulation to / from platform - Lobby / ticket area - Exhibition space

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- Administrative Offices - Cafe - Restrooms - Loading Dock - Outdoor space

Site analysis The simple graphic above shows the flow of traffic around the site during a weekday afternoon in cool, clear weather. While on the outskirts of the city center, one can see from the clusters of red and frequency of color, the site sees a high level of pedestrian traffic and can benefit from the creation of a new train stop.

Pedestrian Presence Vehicular Traffic Elevated Train Path

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Construct as skin voronoi diagram Voronoi Diagrams are the result of partitioning a plane with points into convex polygons such that each polygon contains exactly one generating point and every point in a given polygon is closer to its generating point than to any other. The physical construct previously introduced consists of a number of cells which approximate a voronoi system. The next logical step was to experiment with voronoi patterns and apply these patterns as the structural and skin system for the given project; a hoarder’s museum in Chicago, Illinois.

Structure and aperture study Below are some early studies of how a voronoi structure / skin might look. Attention was paid to how the cells could be layered, sized, and arranged. From the outside, the building could be seen as transparent, translucent, solid, or a combination of two or more of these opacities.

Interior / light studies were also done to see how light may enter the interior and how patrons might experience views to the city beyond. Panels were plucked and folded to create varied conditions.

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Hive The Hive looks to express the hoard of artifacts contained within through its structural system and glazing, which together form the buildings skin. Thousands of cells of various scales make up the building’s four facades. Each cell exists in one or more of five states: closed, open, solid, transparent, or translucent. At strategic locations, panels are omitted to accommodate views as well as natural and artificial light.

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Final Model Selected Views Original scale: 3/32” = 1’

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Concept experiencing the collection A hoarder is consumed by their habit and feels their collection in a very physical way, as a person who hoards any object(s) is constantly surrounded by their collection. The Hive translates this idea into the experience of the museum’s collection; one does not simply view the objects from afar. Instead, visitors walk through and around the collection, sometimes having to step over pieces or maneuver under them and all objects can be touched or moved.

Responsive structure / apertures As shown in the diagrams below, the building’s structure and skin is designed to react to the spacial volumes and circulation paths contained within. Where tight spaces exist in the collection, the skin condenses, whereas more open volumes are expressed with larger cells.

Viewing experience concept diagrams One experiences the collection directly and is physically affected by the weight and density of the collection. A typical museum experience is spacious, with observers viewing a given piece from a distance. The Hive breaks with those conventions, compressing the viewer and allowing people to feel the density of the collection in a physical way. In most cases, artifacts can be touched and / or moved by visitors.

The Hive

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Typical Museum

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Platform 01 The platform level is a simple 12’ high volume which opens onto the tracks to create a platform for train access.

2- Elevator core 7- Train platform 8- Entry to museum above

Ground 00 The ground level contains all the service related spaces as well as a rotating installation space under the elevated train tracks.

1 - Entry 2 - Elevator core 3 - Installation space 4 - Loading dock 5 - Vehicle entry 6 - Offices

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cafe and observation deck 04 The cafe overlooks the lobby and serves as the highest point for viewing exploded linkages.

3 - Exploded linkage 5- Cafe 6- Observation deck

Lobby mezzanine 03 The mezzanine level (shown in white) serves as a small observation post to view the hanging sculptures and is the transition point between the lobby and the cafe.

3 - Exploded linkage

Lobby Entrance 02 Amongst the service functions, the lobby boasts 3 opportunities where visitors can experience large scale pieces, like those seen on the opposite page.

2 - Ticket counter 3- Exploded linkage 4- Restrooms 7 / 8 - Elevators 150

the collection 03 04 05 The portion of the collection housed on levels 3, 4, and 5 of the museum, consists of two main types: technical drawings of mechanical linkages and large scale exploded objects which can be thought of as sculptures. These sculptures would be reminiscent of exploded axonometric models like those shown on the left. Hanging from the ceiling within a large three story volume, exploded objects such as cars or engines, would give visitors a free preview of the museum’s collection, enticing them to see the rest of the hoard.

Exploded linkages The diagram above shows how visitors to the museum might experience the large scale models suspended within the lobby and around the cafe.

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Circulation As users circulate through the building, a rhythmic procession is experienced. Tall and narrow, spaces give way to wider, more voluminous space which in turn compress themselves around the collection. Around the perimeter of the structure, vertical circulation spaces are narrow, helping to focus the user’s eyes on the skin. Landings at each level provide a momentary relief from the compression experienced while viewing the hoard.

Circulation

skin section The skin is responsive to both interior spacial volumes and circulation paths. Visitors circulate up through the museum in close proximity to the skin.

At strategic locations along circulation paths, panels open outward to let in natural light and provide views.

Floor plates anchor back to vertical portions of the building’s outer skin / structure eliminating the need for obstructive columns, which helps to create open volumes for containing the hoard.

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Arrival

Viewing

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Panel Studies perforated / translucent Using Rhino and Grasshopper (bottom images) as well as physical models (top) a series of panel studies were conducted to determine how each cell would be treated. Perforated panels are imagined to make up the majority of the skin, with select cells contain only glazing. The top image shows the final model at night, lit from within. In this scenario, panels could be made of a translucent glass or resin, allowing the building to glow against the night sky.

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Panel Studies solid / void Another version of the study considered solid but operable panels made from the same material as the building’s structural material; steel. While this option would limit the amount of natural light, it would provide the greatest amount of contrast with empty cells.

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Exhibit space 08 The last of the collection is housed on level 8. The large double height space towards the south of the plan affords visitors the ability to see items in the collection from above as well as below.

Exhibit space 07 The third level floor plate is cut back to permit views of the floors below. It too would house an enormous amount of artifacts.

Exhibit space 06 The second level of the hoard is cut back, allowing views down to level 5 and would contain roughly a quarter of a million artifacts.

Exhibit space 05 The first level of the hoard (exhibit space) begins on level 5. The open floor plan is conceived of as a space where some 250,000 artifacts of all shapes and sizes pack themselves into shelves, lay strewn across the floor, or hang from floor plates.

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Pop out balcony A select number of small balconies or observation platforms occur at landings, where double height spaces and perimeter stairs meet. The skin would extend over balconies to provide protection from the sun and shield occupants from the weather. These balconies would appear as small nodes within the larger matrix and serve as the only instances where floor plates extend beyond the building’s scaly skin.

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Cell size : volume size facade study As the graphic above shows, the scale of cells in the facade directly relates to the volume of space inside the building. Single story spaces have the smallest cell size, three-story volumes have the biggest cells. As such, the facade ( and structural system ) relates spacial information from the inside to observers on the outside of the building.

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Collection density the hoard Every floor contains some portion of the collection, with the largest pieces of the hoard being housed on the lower levels. As museum patrons ascend through the building, the collection densifies. Once patrons enter the “hoard� on levels 5 - 8, the number of artifacts multiplies significantly. The diagram on the left shows how the collection compounds upon itself with the increase in building height.

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Main roof deck / garden 11 The main roof deck is treated as a rooftop garden. Chicago is actually quite progressive in this area and actively encourages green roofing. The roof deck is only accessible from the central core and is open to the public during operational hours. At over 200’ in the air, the roof top garden offers prime views of the city.

Offices / Lower roof deck 10 Above the exhibition space, public circulation stops and the central stairs or elevator must be used. The office level is closed to the public and is designed without cubicles or walls of any kind. The skin’s voronoi cells get smaller due to the lower ceiling height, but more of the panels are omitted, permitting generous amounts of natural light.

Exhibition gallery 09 The exhibition / gallery is the upper most level accessible to the public. The space is conceived as an open area for small exhibits, free of the “clutter” experienced in the collection. One could imagine an architecture studio holding a critique, or a local artist displaying his or her work.

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Destination landmark During the day as well as at night, The Hive serves as a landmark for train riders and its unique appearance against the Chicago skyline could help people unfamiliar with the city locate themselves. At night, lights from the interior would give the building a glowing, crackled look, further distinguishing itself from the vast array of tall buildings in the area which may look similar to one another at night.

The building’s iconic design and unique content, coupled with the fact that it is directly accessible from a train stop could attract a great deal of people to the area, promoting economic development in the immediate area.

Observation and relaxation The office level opens on to an exterior roof deck, lightly landscaped and suitable for viewing the surrounding cityscape through the building’s skin. The upper roof deck, which overlooks the lower deck, affords less restricted views of the city.

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moon raker

t a m p a advanced

design

b

Moon Raker, named in part due to my affinity for old Bond films, was a tower project for Advanced Design B with professor Rick Rados. The studio was challenged to design a mixeduse / residential tower with a heavy program of 200 residential units, 75,000 sq. ft. of retail space, and 150,000 sq. ft. of commercial office space on a small plot of land adjacent to a portion of the Hillsborough River in the heart of Downtown Tampa, Florida. This 8 weeks of thinking and making proved to be one of the most challenging experience in all of design school. The design soars over the Tampa skyline, becoming a beacon on the horizon which challenges the whole of the city for dominance over the sky.

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Problem Statement / Goals And Objectives Mixed Use Urban Waterfront Development Having analyzed the existing urban fabric of Downtown Tampa, specific conditions have been identified which must be addressed in order to successfully enhance the social and built environment through the creation of a mixed use urban waterfront development. These conditions can be categorized as follows: livability and the built environment.

Livability Livability, with respect to this document, defines the ability of a city to meet the social needs of its inhabitants. Such needs include: access to nature, mobility, a variety of locally available goods and services, access to cultural centers, and the quantity and quality of public space.

The findings with respect to livability are listed below.

1. Access to nature is marginal, consisting of a limited number of landscaped parks, the Hillsborough River, and Tampa Bay. Access to the water itself is limited to boat slips, with no opportunity for extra-maritime activities.

2. Moderately pedestrian friendly, many sidewalks, few dedicated bike lanes, limited access to services without the need for vehicular conveyance, poor public transportation 3. The variety of locally available goods and services is marginal, consisting of limited entertainment venues, a select number of eateries, and the marginal presence of small commercial establishments.

4. Downtown Tampa has a modest amount of cultural centers consisting of a performing arts venue, museums, a library, sports/concert venue, and a limited amount of historically significant sites.

5. A significant lack of public space is evident. Public space being defined as democratic, publicly owned space absent of significant access or time restrictions, and is programmed for, but not limited to the following activities: athletics, public assembly, community events, personal enjoyment, and shelter.

The Built Environment For purposes of the is document, “Built Environment” deals with the quality and quantity of public space or structures, density, connectivity, vistas, and the overall aesthetics of the city.

1. As mentioned previously, there is a significant lack of democratic public space. Officials assume a wide range of “green” space, but the quality of these spaces is in question. Some spaces deemed “public” are in fact privately owned and highly controlled corporate parks.

Others are not usable spaces, acting as little more than buffers between high-traffic roads and sidewalks. While the Tampa Riverwalk is an emerging attraction, it has limited functionality with little programming. Curtis Hixon Park and Bayshore Boulevard stand out as the premier public spaces.

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2. Tampa suffers from significant sprawl, with prime centers of activity spread across many miles. As such, density is mediocre at best for a metropolitan area with over a million inhabitants. Despite the recent construction of two residential towers and the development of the Channel District, the number of affordable residential units in the downtown area is limited.

3. Connectivity as it relates to pedestrian traffic is poor, as key points of interest are not easily navigable from one to the next. The Tampa Trolley is sufficient for some links, but more opportunities for connections exist. Physical connections across the river a adequate for vehicles, but could be improved for pedestrian use.

4. Quality views of the city exist from higher elevations. In terms of the site, the premier views out are to the north-east, east, south, and the south-west. The best views of the city from ground level are from Curtis Hixon Park, north-east of the site.

5. Overall, Tampa is a modern city, but with a limited amount of interesting architecture.

The city is fairly clean but there are a fair amount of vacant or dilapidated properties in close proximity to the site.

Goals And Objectives With respect to the aspects of livability detailed previously, this mixed use waterfront development should attempt to improve the existing urban conditions as follows...

1. Engage the Waterfront and Enhance the Connection With Nature Providing access to the river beyond the realm of spectating should be considered. The program addresses the addition of private and public boats slips, but does not address the potential for activating the waterfront beyond maritime use. The creation of a swimming area, fishing area, or small scale water park could address this issue. Additionally, the planting of indigenous flora could enhance the natural landscape.

2. Enhance Pedestrian Mobility The creation of a pedestrian/bike path from the site to Bayshore Boulevard’s northern limit and or the University of Tampa would increase access to the site and address the issue of pedestrian mobility.

3. Increase Variety of Goods and Services Retail space included in the program will enhance the availability of goods and services for local residents. Additionally, including space devoted to some form of extracurricular activity would add another option for local entertainment.

4. Increase the Cultural Appeal of Downtown To supplement the existing cultural attractions downtown, the addition of artwork from local artists along the riverfront and/or within the development’s public realm should be considered.

5. Increase the Quantity and Quality of Public Space For Residents Access to quality public space is key to a healthy urban lifestyle. The project should include communal space, green space or otherwise, which is open to residents of the development.

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With respect to the built environment detailed previously, this mixed use waterfront development should attempt to improve the existing urban conditions as follows...

1. Provide Public Space For Residents and Non-Residents The project should include democratic, publicly accessible green space and or plazas for residents as well as non-residents. Such a space should have some degree of programming.

2. Increase Urban Density Through Creation of Residential and Commercial Units The given program sufficiently address the need to increase the density of the downtown area, however consideration should be given to the number of affordable units based on a range of incomes.

3. Link Points of Interest While the trolley system links some adjacent destination points, a connector to nearby Bayshore Boulevard and or The University of Tampa would increase the development’s accessibility to city inhabitants and provide more convenient access for residents to local points of interest. Both destinations are convenient connections of a manageable scale.

4. Consider Views To/From The Development and Increase Access to Exclusive Views Consideration should be given to those viewing the development from off-site as well as the views residents can experience from their units and communal space. In addition, providing a viewing platform or locating publicly accessible space in such a way so as to allow typically exclusive views associated with unit ownership to be experienced by non-residents.

5. Increase the Overall Aesthetic of Downtown Tampa The architecture significance and overall aesthetic of the city can be enhanced by designing a structure which compliments the modern architecture adjacent to the site and can serve as a focal point for Tampa’s skyline.

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concept development statement Having analyzed a set of conditions which exist in Downtown Tampa and having compiled a list of objectives to address these conditions, a hierarchy has emerged which can serve to drive the project forward into the conceptual stage.

First amongst my concerns is Downtown Tampa’s lack of quality public space. I believe that addressing this deficiency can serve as the basis for a strong design concept: the melding of new public space into a private mixed use development. Complimentary to this, is the need for key hubs of activity in the downtown area, such as Bayshore Boulevard and Curtis Hixon Park to be connected to the project, essentially turning the development into a gateway. While motor vehicles can easily navigate to these sites, a new pedestrian link should be established, anchored by the project and the site.

My proposal for this project is to successfully intertwine the public/private realms into a single, dynamic entity. This must be done in a way which maintains the degree of privacy residents of the project expect whilst providing the public with accessible democratic space. Furthermore, this idea should reach beyond the site, whereas key points of interest are “pulled� into the development. The project could thus be described as a kind of vortex, collecting the necessary components of urban living (public space, housing, retail, entertainment, etc.) and concentrating these components in one location.

Such a concept can also address other areas of concern discovered during the research phase of the project such as: the need to provide a variety of goods and services, the need to increase density, and depending on execution, provide an iconic structure that increases civic pride and cultural appeal.

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site tampa The site exists along the Hillsborough River in Downtown Tampa, Florida.

Program requirements Residential Room Blocks 2-2 30ct - 1,600 sf | Mass 36’x46’ 3-2 140ct - 2,200 sf | Mass 36’x62’ 4-3 30ct - 2,600 sf | Mass 36’x72’ Ground Level Support Lobby & Support Staff 2,300 sf | Mass 60’x40’ Office Lobby 1,600 sf | Mass 20’x80’ Outdoor Space Dog Park 2,000 sf Gardens 700 sf Fitness 14,000 sf | Mass 70’x200’ Pool Deck 1,200 sf Play Area 1,000 sf

Existing conditions - Site is not a destination - Seawalls limit access to water - Not pedestrian friendly - Vehicular access to site is sufficient - Not currently occupied - Prime views of downtown / skyline

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Community Functions Assembly – 2,000 sf | Mass 45’x45’ Saunas 600 sf | Mass 30’x20’ Gym 2,500 sf | Mass 50’x50’ Shop 800 sf | Mass 40’x20’ Auto Shop 800 sf | Mass 40’x20’ Commercial Commercial Space - 75,000 sf Mass 50’x100’ total of 15ct blocks Commercial Support Varied 1,000 sf | Mass 20’x50’ Office Office Space (150,000 sf total) 15 floors at 10,000 sf Mass 50’x200’ Garage Mass 200’x230’ 10 Levels – 12’ x level = 120’ H

site analysis views Views out from the site were assessed based on height. At ground level, large high-mass buildings and a major highway deny views to the north, south, and west. The views to the east are some of the best in the city. At around four stories however, views open up affording down-river views of Curtis Hixon Park, and views of the landscaped university campus across the street. Above 100’, panoramic views can be had. The diagrams indicate prime and secondary views coded by color.

+ 100’

Most Desirable Views Secondary Views

48’

site analysis activity

at grade

Activity Levels

Night

Day

The analysis show a disparity in activity levels during the day and night. The site currently lacks meaningful activity on all levels, short of the few businesses directly adjacent to the property and the university across the street. The proposed design attempts to create a balanced destination for the area with activity during all hours.

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green spaces downtown This map depicts downtown Tampa’s major green spaces. See keyed satellite images for details.

Grading scale Assumed green spaces were given a grade depending on quality of the space.

A highly active / varied use B limited use / active C landscaped / public D buffer space / public F private / controlled grading scale

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Re-Stich Tampa was an international design competition designed to explore the possibilities of reconnecting in the city to the Hillsborough River and bring density to the urban fabric through various proposed infill projects. The diagram shown to the left is from the competition planners and attempts to show mostly existing “green” spaces. However, as my analysis shows, the major “green” spaces are nothing more than subpar buffers or landscaped tracts of land with little or no programmed elements. By identifying the true nature of what appears to be active and usable green space, one can ascertain the true nature of Tampa’s green fabric. As can be seen from this analysis, Tampa could benefit from more democratic and accessible green space.

D site 1 Areas around Bayshore Boulevard, an active pedestrian area, are little more than medians separating street from sidewalk.

c site 2 The forum is mainly used for sporting events and concerts, seeing only periodic / seasonal use after 5:00PM. The lawns to the south of the arena lack habitation even when events are being held.

B site 3 While the parks in the city center do see some use during the day and special events, the spaces as a whole are under-utilized.

F site 4 The “green� space shown in this image is actually a cemetery and has little benefit to the public in the form of recreation or civic use. While necessary, this area should not be counted as public space.

F site 5 This portion of the city is controlled by the University of Tampa. While accessible to students, the public at large has no access. Use by students is scheduled and mostly limited to those involved in the athletic program at the university.

c site 6 Curtis Hixon Park has seen a revival in recent years. However, the lack of shading devices and the absence of city dwellers limits the use of the city’s largest park.

F site 7 North of Curtis Hixon is less developed than other areas, however access is controlled and the area lacks any appeal for pedestrians for any purpose other than loitering.

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Design Intent •

Engage the Waterfront

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Enhance Pedestrian Mobility

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Increase Variety of Goods and Services in area

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Increase the Cultural Appeal of Downtown

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Increase the Quantity and Quality of Public Space For Residents

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Provide Public Space For Residents and Non-Residents

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Increase Urban Density Through Creation of Residential and Commercial Units

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Link Points of Interest

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Consider Views To/From The Development and Increase Access to Traditionally Exclusive

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Elevated public park The addition of an elevated park, accessible to owners as well as the public helps to address one of the key issues facing downtown; a lack of usable public space. The design intent is for the park to remain open during daylight hours for all members of the public free of charge and remain open for residents at night. Such a park, some 200’ feet in the air, immediately creates a landmark for the city and allows people a chance to experience what typically only the wealthy can afford; prime views from high above the ground. The park, accessible via a series of catwalks, is also a convenient way for pet owners to walk their dogs without needing to take an elevator 60 floors down to the ground.

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Concrete floor plates

Residential units

Exterior circulation

Metal skin with photovoltaic paint Steel columns Sun Deck / observation point

Sun Deck / observation point 174

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Unit Type A typical 2 bdr / 2 bth The smallest of the required unit types, this two-bedroom unit is somewhat democratic with the division of private space, with each room having nearly equal access to views.

Unit Type B typical 3 bdr / 2 bth The typical three-bedroom unit type provides one master bed and bath, with two similarly sized bedrooms off a common living space.

Unit Type c typical 4 bdr / 3 bth The largest of the three required unit types, this four bedroom unit is designed with famalies in mind. Each unit benefits from a generous corner balcony.

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levels 48 - 59 The upper most residential floors contain only a small number of three-bedroom units and their associated storage units. Circulation to and from each unit is pulled out to create opportunities for human interaction and views of the surrounding landscape.

levels 33 - 47 The bulk of the tower’s mass occurs on levels 33 to 47.

Similar to lower residential levels, a variety of unit types exist, each with their own personal storage units on the same floor. Circulation to and from each unit is pulled out to create opportunities for human interaction and views of the surrounding landscape.

levels 16-25 / 27-31 The design makes use of an extended wing which projects from the eastern facade of the main tower. These wings contain a mix of residential unit types, unit specific storage units, and communal spaces.

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Observation deck Key to the initial scheme, the idea of creating a high observation deck was maintained through the final design. Separate elevators strictly for public use carry visitors to the top of the nearly 800’ tall Moon Raker, affording free views of the Tampa Bay area. The pool deck just above the observation level, is restricted to tower residents and also provides superior 360 degree views of the landscape.

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Boutique hotel

tampa advanced design b

As part of Advanced Design A, taught by esteemed professor Dan Powers, students were given the task of designing a small boutique hotel in one of Tampa’s more under-utilized urban areas. The project lasted about 8 weeks and dealt with issues of urban renewal, site management, structural systems, access, and life safety. The given program was intended to make students aware of real world design requirements not typically addressed in lower design courses. The project contains 40 hotel rooms, three levels of botanical gardens, a skybridge, street level park, and a roof top pool for hotel guests.

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site 1200 n franklin street | tampa Once a thriving part of Downtown Tampa, Franklin street is now much less active, with more vacant buildings and parking lots than occupied structures. The site is located directly across the street from a mid-rise condo building and Flybar, a small but vibrant restaurant.

Existing conditions The site is currently populated with hot asphalt and parked cars, so no sensitive conditions exist that would necessarily influence potential design strategies. The site does have good access for cars as well as pedestrians. Flybar, which is most frequented after dark, serves as the area’s only real destination. Across the street from the site lies a small city park, however it remains closed most of the time and has seen better days.

Program requirements - 40 Hotel Units Total

- Roof Top Pool

- Combination of 1 / 2 / 3 Bedroom Suites

- Staff Lockers / Showers

- Restaurant

- Office Space

- Hotel Lobby

- Loading Dock

- Sufficient Mechanical Space

- Laundry Room

- Electrical . Service Spaces

- Meet ADA and Life Safety Codes

design strategy iconic destination Having considered the site and the surrounding area’s general lack of activity, my strategy centered around creating not just a hotel, but a destination. Hotels are usually fairly exclusive, baring those whom do not have a room from lingering on the property or using the hotel’s amenities. My approach invites guests, as well as the public, to enjoy a variety of parks and botanical gardens. The gardens could serve as a destination, attracting people back into the area. These gardens coupled with the building’s unique design, would become an instant landmark for Tampa; an iconic building which might help to stimulate economic growth along a once vibrant and prosperous section of old Tampa.

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Perforated copper skin A key component of the hotel’s design is the inclusion of a visual / solar screen system. At strategic locations, a perforated copper screen adds depth to each facade, obscures blank walls and creates visual interest. The screen would weather over time from a bright orangishred finish to a more subdued green patina.

Botanical gardens and grow house Botanical gardens and grow houses are located in the void spaces between room levels. In a way, this project can be thought of as a Botanical Garden that happens to have a hotel, rather than a hotel with a botanical garden. Food could be grown and used in the hotel’s own restaurant or in local cafes. Foods such as tomatoes, peppers, lettuce, and a variety of herbs can easily be grown in hydroponic tables and trays and might even serve as a way to educate visitors on issues of urban farming.

Solid / void / exposed / screened The project was conceived as a series of solids and voids. In elevation, one can imagine a vertical mass from which slices are removed. This gives the project balance, sectional quality, and a unique profile against the skyline. At strategic locations, a perforated screen adds depth, obscuring bare walls and creating visual interest.

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Typical floor plans 1 bdr / 2 rm suite / 2 bdr suite

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screen pool

skybridge / gym Green walls screen

Room levels screen

Restaurant

lobby

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Section cut looking north 188

north elevaton 189

west elevation 190

section cut looking west 191

screens The project saves money by leaving the exterior CMU walls unfinished. To obscure blank walls and contrast with the raw feel of the building, a delicate screen system would be specified throughout the project. I imagine a perforated copper skin that could weather gracefully over time. The screen system reinforces the design concept, becoming the transition element where mass and void meet and helping to frame views. In addition to its aesthetic features, the screen system helps to mitigate heat gain during the harsh summer months in Florida.

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pool deck top floor A program requirement, the roof top pool is open to hotel guests and contains a small bar, saunas, restrooms, lounging areas, and a hot tub. The roof also houses the hotel’s chiller plant and cooling tower behind a series of visual screens which block them from view.

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Final Model Room Floors / Gardens Original scale: 3/32” = 1’

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Sample floor plans Seen on this page are some examples of typical floor plans. Each contain some form of outdoor space in addition to multiple hotel rooms. Most rooms have private balconies, however, those less expensive rooms that do not are granted free access to public gardens and outdoor gathering spaces.

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digital Light Studies Accurate light studies are possible when making use of modern 3D modeling software. These studies show how the project’s outdoor atrium, around which the main circulation for each floor occurs. The design allows for a variety of dramatic lighting effects to occur throughout the day.

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Interfaith chapel

u s f advanced design a

The USF Interfaith Chapel is a public, democratic, interfaith chapel designed for the first half of Advanced Design A with Dan Powers. The project was designed over the span of 8 weeks during the Spring of 2012 and was meant to challenge students to think about structure and site. The program called for a minimum of one sanctuary space, a collection of offices, one common space, a purification chamber, ADA compliant restrooms, two counseling rooms, and the necessary space for mechanical and electrical equipment. The final design addressed all these concerns using Louis Kahn’s theory of “existence will,” by which one finds the most natural plan for the purpose of the building.

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site analysis Currently, the site is not a destination. Nearly all pedestrians counted travelled by or through the site without stopping. Despite the numerous benches near the fountain, only two people sat down and no one passed closer than 5’ to the water’s edge. The large Martin Luther King Jr. Monument is prominent on the main north-south sidewalk, however the monument is virtually ignored by pedestrians. The great lawn to the west of the site is barren most all hours of the day and night and has little to no shading from the sun. The two gazebos near the site remain uninhabited most of the time and are too far from major traffic areas to be fully utilized.

site activity

^^^

Pedestrian traffic at the site was documented during a clear 80 degree day in January. Analysis shows a highly transient site with little sedentary activity.

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Cyclist 1 person 2 people Sedentary 5min +

existing conditions - Highly transient, little to no occupants

- Site is focal point for lawn

- Small site, atypical site dimensions

- Lacks natural cover on west end

- Major intersection

- Historical monument on site

design strategies - Provide indoor and outdoor resting areas for pedestrians - Address site geometry and building form mathematically - Accept traffic from multiple angles and consider views from each approach - Serve as anchor point for activities in adjacent areas - Carve into site to provide shade, limit skyline, and respond to human scale - Create opportunities for cultural and historical awareness Site Images Selected Views

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Precedent studies

Design concept existence will

Existence will

After reading Louis Kahn’s “Essential Texts”, I reprogrammed the project as Kahn might have, by looking at what an Interfaith Chapel wants to be; or as Kahn says, “The Existence Will”. In doing so, I realized that rather than a single sanctuary space, a Interfaith Chapel needed two independent sanctums to accommodate the needs of multiple faiths at the same time. Furthermore, sacred places want to be free of their secular surroundings. Thus, I decided on a bifurcated plan, splitting the program into sacred and everyday functions.

Bifurcation Thinking about what the building wants to be and finding its “existence will,” meant that sacred and secular spaces had to be separated. The sketch to the right shows an idea which speaks to the idea of bifurcation; two separate sanctuary spaces and two separate levels. This idea helped me to locate service spaces on the ground level and sacred spaces on the second level. One main stair in the center of the project splits the two worlds vertically and horizontally.

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design concept division of the triangle The irregular nature of the site challenged me to design functional spaces in the vacuum of a triangle. I did so by dividing the site into equal triangles and used these imaginary context lines to derive the building form, circulation, and placement.

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digital mass model Much of the design was worked out in plan using two dimensional drawings on vellum, however, final dimensions and details were worked out in 3D using digital modeling software.

Shown here are a few rendered images which show some portions of the overall design.

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1st floor plan 12’ below grade As “existence will” would have it, secular activities and their associated service spaces are housed on the ground floor of the project, which actually lies 12’ below grade. A sunken courtyard is created which serves as the main entry to the lower level as well as an outdoor gathering space.

Storage

Foyer

Donor Hall

Mech.

Rooms

Restrooms

File Rm. Community Space

Up

Conference Room

Counselling

Sunken Courtyard

Office Monolith Chapel

Entry

Library Up

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the monolith monumental scale / individual experience One of the most common themes amongst all types of religious structures is to house a large number of people in a high volume space. Religious worship then, which is often a very personal experience, takes place amongst a large group of people. The scale of the space this often occurs in is what one might call monumental. But what if you changed the relationship?

What if the monumental scale was somehow limited to just one or two people? How would that feel? The monolith beckons people to find out. Here, a small 10’ x 10’ space is extruded vertically, reaching a height of 40’. The space however, can only be comfortably occupied by one or two people. This role reversal seeks to create something of an awe inspiring experience using scale and light, similar to how one may view a grand sanctuary space with its high volume ceilings and splendorous light effects.

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Monolith

Typical Worship Space

Harnessing the light solar illumination Much of the world’s religious architecture, going back to before the written record, makes use of the sun’s position in the sky during specific times of the year; the summer solstice and winter solstice; so does the monolith. The Extruded square is carved away at strategic points which on each solstice, permit light to enter in ways that do not occur during any other days in the year. During the Summer solstice, light beams through to highlight the prayer bench and shrine. On the winter solstice, only a select portion of the shrine receives full and direct sunlight.

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Final Model Selected Images Original scale: 3/32” = 1’

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Section cut A looking North This section graphic depicts the main sanctuary space on the second level, with the service spaces and offices below. Counseling rooms are programmed for the first floor and would be stocked with comfortable, neutral furnishing. The section also cuts through the monolith, or chapel. Here, a confined space opens up vertically, creating a new dialogue with human scale.

The flooded plane is also visible in this image and can be seen cutting away along the eastern elevation, permitting natural light to seek its way down to the offices on the ground floor.

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Final Model Selected Images Original scale: 3/32” = 1’

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Elevations west / east / south The three elevation graphics shown above show the final design. Since the first level (service spaces) are below grade, the two story building maintains a low profile, permitting the monolith to peak above the roof line. Privacy for those inside either of the two sanctuary spaces is maintained by means of high knee-walls which prevent passersby from disturbing religious ceremonies inside. Windows set above the site line allow natural light into the building.

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2nd floor plan at grade With all of the service spaces and administrative areas confined to the ground floor, the second floor, which sits at the level of the adjacent sidewalks, is free to be programmed for religious purposes. This split level approach maintains the boundary between sacred and secular; holding true to the initial design intent.

Entry

Gathering Area Dn

Pre-chamber

Purification Chamber

Pre-chamber Sanctuary

Grand Sanctuary

Sunken Courtyard

Monolith Chapel

Purification Chamber

Terrace / Entry

Dn

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Sanctuary sacred space Two sanctuaries share the second floor of the complex. The largest of the two sanctuaries is depicted above and contains traditional church-style pews within the elongated, high volume space. This sanctuary is programmed but the pews can be moved and stored in order to accommodate a variety of functions. The smaller sanctuary lies on the other side of a high concrete wall and contains no permanent furniture. This space is designed to be used for a variety of religious events and can be tailored to the needs of any group using the space. Below, an exterior perspective taken from the western tip of the site looks east toward the main sanctuary space with the monolith (chapel) in the foreground.

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Section cut B looking west This section graphic shows the main sanctuary on the second level (at grade) and the service spaces below on the ground floor. The flooded site drains down into a small reflecting pool just outside the library / reading room, providing a calming atmosphere to read by. Large windows on the western side, protected by a generous roof overhang, allow natural light to flood the sanctuary. Views of the monolith are possible from both sanctuaries.

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Printed August 13, 2013

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