portfolio of
ADVANCE DESIGN
| 03
“The adrenalin and stress of an adventure are better than a thousand peaceful days.”
PAULO COELHO
04
| 05
portfolio of
MAYRE PEREZ VELEZ University of South Florida School of Architecture + Community Design
* Light shining through the Milwaukee Art Museum by Santiago Calatrava
3950 Rocky Circle Apt. 312B Tampa, FL 33613 | [787] 638-3640 mperezvelez89@gmail.com mperezvelez@mail.usf.edu
06
table of
CONTENTS: The Urban Slot
_ 6
Excavated Encounters
_ 16
Hotel Tampa
_ 28
University City
_40
Urban Oasis
_56
Thinking and Making | Reconstruction
_66
Design Development | Boathouse Revisited
_76
USF Botanical Gardens Proposal
_84
Care of Making
_92
| 07
Mayre Perez
|
Summer 2012
ADVANCEportfolio DESIGN
08
Advance Design Studio A
|
Spring 2011
THE URBAN SLOT A gallery for two pieces of art in St. Petersburg, Florida.
| 09
10
THE URBAN SLOT Professor Nancy Sanders | 4 Week Project 116 3rd Street South, St. Petersburg, Florida Set to hold two distinct pieces of art, this small intimate gallery wedges itself into an interstitial sliver of context, creating a place for Mark Rothko’s painting, “Untitled,” 1946 and Martin Puryear’s sculpture, “Sanctum,” 1985. Drawing inspiration from various gallery visits, and analysis of the site I was asked to develop a programmed spatial encounter within an urban interstice in downtown St. Petersburg. This encounter is an intimate journey through the in-between spaces of the city, using art as a moment of pause within the chaos. Thinking of movement, light, material, and purpose, I designed a two story gallery that allowed each work of art to be displayed in a unique manner. Both works of art were purposely displayed on the second story leaving the ground floor open, to allow for public interaction while letting that moment of interaction with the art be a quiet intimate individual journey. By understanding the urban slot and its unique characteristics I was able to understand the connection and correlation between buildings in the city.
| 11
* Site Context - Downtown St. Petersburg, FL
* Mark Rothko - “Untitled,” 1946
* Site - Space within buildings
* Site Images - Exploring textures in the area.
* Martin Puyear - “Sanctum, 1985
12
1
2
13
14
5
6
| 13
1. Spatial photomontage - Studying the spatial void 2. The space in-between - Unsrstanding scale withing the boundaries 3. Cross Section - A conceptual study of spatial proportions 4. Site Photomontage Mapping site proportions 5. Studing spatial qualities and materiality 6. Longitudinal Section - Conceptual section prespective * The images to the right are explorative shots of the connection and movement within the model. Wedge beteewn two allies, this L-shape site allowed for a variety of vertical and horizantal movement to occur.
*Conceptual study section
14
* Walled-up - Exploring the sense of compression
* Detachment - Creating a pause in the journey
* Light Study - As the building turns
The alley became an exploration in expansion and compression, within the compactness of the site the only control I had was the vertical organization. Creating moments of pause that detached themselves from the main journey, allowed for light to be manifested in a special joint where a speciďŹ c activity could take place.
| 15
1. Art Display 2. Tunnel of Solitude 3. Light Tunnel 4. Main Access to Art Floor 5. Place of Reection 6. Sculpture Display 7. Secondary Access
7
2 1
3
5 6
4
Upper Level 13
8. Main Entrance (3rd St. S) 9. Street Cafe 10. Descensing Journey 11. Open Courtyard 12. Observation Deck 13. Alternate Entrance (1st Ave. S)
8
10 9
Lower Level
11
12
16
This small intimate gallery allowed for the alley to become the true Urban Slot. Providing a place of gathering and activity what once use to be a void is now an active mass capable of enticing light, peace and inspiration.
1
1. Entrance/ Street Cafe 2. View of the Sculture on Display in the Nook 3. Art Display at the end of the Light Tunnel
2
| 17
3
18
*Spatial Construct - Fabricating a Site
| 19
Advance Design Studio A
|
Spring 2011
EXCAVATED ENCOUNTERS Transforming an existing structure into a museum of art.
20
EXCAVATED ENCOUNTERS Professor Nancy Sanders | 12 week Project Camuy Caves Park, Puerto Rico
* Parti Model
The primary goal of this project was to spatially and programmatically transform an existing structure in to a Museum of Art. With the option of selection any site in the world as our existing structure I was driven to a place very special for me, the Camuy Caves Park in Camuy Puerto Rico, my homeland. As a child this was a place I had the opportunity to visit quite often, and grew in awe of its magniďŹ cent existing light qualities, therefore I found this to be a perfect site for me to explore. DeďŹ ning and reconstructing the site was primary in order to re-envision the notion of collective territory and mediating ground. Understood as a formal, functional and sociopolitical construct, the resulting site forms a speculative theory of place, charging it with possibilities for new realities of the art museum. As I understood the life of the site I was driven by light as the artistic focus of the museum. Set to hold art pieces by Tara Donovan and Robert Irwin, the museum becomes a place to display light and enrapture it in multiple forms. As one moves through the museum light is expressed and understood in a multiplicity of ways from the darkest most cavernous origin to the purest setting of the daily sun.
| 21
* Draft Model – Exploring site representations and light qualities. Using layers of plexiglass and scoring patterns that emulate erosion I created a version of the caves that displayed their complexity.
*These images were taken from a public source for research purposes; to study and understanding the light qualities characteristic of the site.
22
* Drawdles - A series of Model/Drawings use to interpret the site at various scales. Each drawdle takes into account site, light, and program. - Playing with a variety of media, these drawings use vectored images that are then laser-cutted onto a colored paper. The intensity and preciseness of the laser-cutter, allows for optimal detail that can them be folded and layered to create a drawing. Finally, pencil lines are introduced, to continue with the layered concept using a different scale.
| 23
“When a museum and its contents come together as an integrated esthetic whole, something special happens. The art is enlarged and exalted, and the viewer’s rewards and responses are increased. Creating that synthesis of art and setting is the challenge… it is the secret to a great museum” ADA LOUISE HUXTABLE
* These images capture the interior of the Museum, as an explorative process. Each space represents a different gallery, each wall within the galleries carry a different material composition based on their relation to the ground. Interior galleries kept the cave wall, while exterior galleries used a layered glass system that emulates the complexity of the caves, while exploring light qualities of their own.
24
The task of developing a 24,000 square foot art museum at the “Dip” of a cavern was a challenging one, nevertheless, the intensity of the site lead me into a discovery that allowed for an excavated encounter where light could travel through the building as it would travel through the cave. Therefore, half of the building is underground and half above ground. This battle between light and darkness plays a major role in the way the art is displayed and the museum experienced. * Final Model – In an effort to represent the site as accurately as possible, I explored with a layered system of solid and translucent materials layered together allowing for a sense of lightness and density to occur. The building blooms out of the ground as a growing light sculpture, recreating the interior feel of the cavern to its exterior.
| 25
26
* Longitudinal Section A spatial photomontage exploring Light and Darkess within the museum.
| 27
* Concept Model - Light Study
The section explores the depth of the caverns and the formation of the museum in respect to it. This is a conceptual visualization, studying the mass and void in relation to light.
28
* Museum Entrance
* South side outdoors Gallery
* Exterior of the north side Gallery
| 29
* Cross Section – Layered exploration using laser-cut paper. Study of the Museum and its interaction with the cavern.
30
| 31
Advance Design Studio B |
Fall 2012
HOTEL TAMPA
A 4-star hotel in downtowm Tampa set to revitalize the waterfront.
32
HOTEL TAMPA Professor Dan Powers | 14 Week Project Tampa Riverwalk, Tampa, FL In an effort to revitalized Tampa’s Waterfront this proposed Hotel is strategically located to promote a sense of place. With the idea that views are key to a city, this tower sets itself to promote those. In a gradual battle of push and pull this tower manages to create a slightly sweet symphony of views, each corresponding to the existing heights, and angles of the city. Programmatically, the tower serves as a small convention space holding a master ballroom and multiple event and banquet spaces. Additionally, many amenities are open to the public in an effort to bring the city’s business front closer to a leisurely style anyone can enjoy. Some of these amenities include: a Relaxation Spa unique of its class, an open deck pool with outstanding city views and pool bar, a 4-star restaurant at the top of the tower, multiple cafés and shops at the lower levels encompassing the atrium, and a 12,000 square foot plaza under the parking garage that allows the structure to be elevated and hidden under a green roof and several screen systems.
* Final Tower Model
| 33
* Site Images - Undesrtanding the space
34
* East Elevation - Street View
* South Elevation - View from the Crosstown Expressway
The Façade On the exterior, the hotel plays with the notion of push and pull to create views and spaces that promote Tampa’s sense of activity. Using balconies, open floors, material changes, multiple floor galleries and continuous vertical glass panels; the experience of the city can be expressed on the building. Each module on the façade corresponds to a place in relation to its surrounding. In the focus of it is the ballroom level, the only floor without any skin system and pushed on all side declaring is importance.
| 35
* West Elevation - Waterfront View
36
Administrative Suite
_1. Sports Bar/Lounge _2. Public Toilets _3. Small Kitchen _4. Administrative Lounge _5. Atrium _6. Open Office Area w/ Multiple Workstations _7. Private Offices _8. Waiting/Reception Area _9. Conference Room _10. Computer Room _11. Communications Equipment Room _12. Mail/ Work Room _13. Outdoor Deck/Green Roof _14. Parking Garage
Ground Level _1. Outdoor Deck _2. Lobby Bar/Lounge _3. Assist. Manager’s Office _4. Luggage Storage Room _5. Receiving Room _6. Service Elevators _7. Dumpster _8. Loading Dock
_9. Check-In Counter _10. Concierge Desk _11. Bellman Station _12. Riverwalk Entrance _13. Main Lobby _14. Main Entrance _15. Porte Cocheré _16. Valet Station
_17. Grand Staircase _18. Gift Shop _19. Express Elevators to Ballroom _20. Elevator Lobby _21. Public Toilets _22. Ramp Entrance to Parking Garage _23. Boutique Stores _24. Leisure Deck
Lounge Level
_1. Sports Bar/Lounge Deck _2. Private Lounge Deck _3. Hallway _4. Atrium _5 Breakfast/ Cocktail Lounge _6. Grand Staircase _7. Public Seating _8. Public/Outdoor Lounge _9. Coffee/Deli Shop _10. Elevator Lobby _11. Storage _12. Public Toilets _13. Parking Garage
| 37 | 37
Back of House
Staff Suite
Pool Level
Ballroom Level
* View of the Hotel Lobby and the Atrium
Ballroom Level
Back of House Level
Spa Level
Pool level
_1. Ballroom Pre-Function Space _2. Main Ballroom _3. Master Kitchen _4. Express Elevators to Ballroom Level _5. Public Toilets _6. Outdoor Deck _7. Waiting/Seating Area _8. Meeting/Banquet Rooms
_1. Laudry Facilities _2. Laundry Unloading Room _3. Hallway _4. Atrium _5. Electrical Room _6. Water Pump/Boiler Room _7. General Storage _8. Building Maintance _9. Staff Lunchroom _10. Staff Laundry Room _11. Staff Outdoor Lounge _12. Staff Lockers _13. Health Club _14. Pool Management Area _15. Exercise Room _16. Public lounge _17. Health Club/Yoga Room _18. Locker Rooms _19. Waiting Deck _20. Pool Reception _21. Pool Deck _22. Pool _23. Pool Bar/Deck
38
_1. Service Elevators _2. Housekeeping Room _3. Emergency Exit Stairs _4. Vending Room _5. Emergency Exit Stairs _6. Elevator Lobby _7. Waiting/Viewing Area * Typical Floor A
Upper Open Level Typical Floor A
Typical Floor B
Typical Floor C
Lower Open Level
_ King Room _ Queen-Queen Standard Room _ Queen-Queen Luxury Corner Room _ Hospitality Suite * Typical Floor B *Section CC - Looking West
Through the tower The hotel is organized around various specific “voids,” these void moments happen throughout the tower on multiple floors where a share common area promotes interaction. Additionally, there are two very specific “open” levels; these are designed as breathing room within the building, allowing for outdoor activities to take place. The Lower Open Level is of public access and holds a track and various sporting activities, the Upper Open Level, is located on the luxury module and its of private use, this one may be reserved for special events, but on a daily basis holds a night bar, and day time leisurely seating. * Typical Floor C
| 39
* Section BB - Looking South
* Section AA - Looking North
40
* Lower Open Level - Northeast through Tampa St. view
* Upper Open Level - Northeast View
* Upper Open Level - Southwest View
| 41
* Southeast View - Tampa St. access
42
Advance Design Studio C
|
Spring 2012
UNIVERSITY CITY
A study of USF campus area and its place and effect on the surronding city context.
| 43 * Intensity Analysis Model
44
UNIVERSITY CITY Professors: Vikas Metha | Theodore Trent | 12 Week Project Daniel Alderman | Michael Marti | Mayre Perez University of South Florida, Tampa, FL
* Layered Axo - Exploring the complexities of a rising city.
The University of South Florida in a quickly growing research facility, but is seems to have grown too fast for its surrounding areas, with only two main roads as access points the university sits on a 2 square mile block with buildings set inside and an extremely low access to public transportation the university as become one big parking lot, and everything around it a massive traffic jam. Looking at the bigger picture, we proposed that the general area be reconstructed; using old lots, wasted corners, and deteriorated ponds University City could be replanted to create a sense of nature that was once there. Organizing a simple transit system that would run on multiple loops the area can be accessed and travelled from inside with less traffic. A changed on the city grid was also proposed, currently there are a series of important streets that used to be one but no longer connect, reconnecting these, either as paved driveways of public paths and parks allows for a better flow of the city to occur.
| 45
* City Intensity
* Diagrammatic Model Study - Mapping out destination and activity points.
* Understanding scale
46
* Context Masterplan
Reconstructed Green The connection of parks, green space, and nature reserves, cleaned and connected through greenways to revitalize a city.
| 47 | 47
* Transit Analysis
* Zone Layers
* Parti
* Natural Resources
48
* Important Nodes Diagram Circles Express Average Walking Times
* Innovation Masterplan
* Landscape Masterplan
| 49 While mapping out destination points and intensity areas, we discovered the areas of higher necessity. The exploration lead us to propose a new cultural district, located at the south west corner of the campus this area would take advantage of the empty lots and the natural preserves to promote a higher level of interaction with the campus and the medical area located north of it. The ďŹ nal focus area set to be the new downtown of University City, is located south with access through Lee Roy Collins straight through the center of campus. This area has a very low density and some unnecessary warehouses; building it up becomes the ideal place to revitalize the university. Extending Lee Roy Collins south creates a great promenade of trees that provides shade and easy access to the campus. West of it McKinley Dr. becomes the true heart of the city, providing business and research fronts alongside some leisurely cafĂŠs and bars that help bring a sense of life and place. In a current area where cars are a necessity, bring life here and some basic public transit help alleviate the cities congestions while providing an environment of work, research, and study that is both lively and pleasurable.
* Diagramatic Model - Identifying a city language and the connection of water masses and greeen spaces to the city reconstruction.
50
* Lee Roy Collins Intersection with Fowler Ave. - View south towards the linear green promanade.
| 51
* Figure Ground
* Land Use
* Longitudinal Section through the community garden and the market Study of building heights and density across the focus area and its connection to USF via Fowler Ave.
52
This study model explores the space in between the city. Abstracting the building into simple boundaries, the model represents the natural landscape and public area as the focus of the city. Understanding the connection from block to block within a uniform language we learned how to construct a cohesive pattern of expansion and compression within the public realm.
| 53
Mixed Use
Low Density Residential (Row House)
High-Low Density Transitional Block
Research + Development
Commercial
* Focus Area Masterplan
54
* Fowler Core - View South towards McKinley Dr. (Downtown University City)
* Community Garden - Culmination of Lee Roy Collins Greenway
| 55
* Row House Section
* McKinley Elevation - West Side of Main Research Block
* Section through McKinley Dr.
56
* Focus Area Model
* Elevation Study Model on McKinley Dr.
| 57
* Row House Elevation Study
58
* Focus Area Model – This is a diagrammatic representation of the area, while letting some of the building stay as simple line and/or masses, I explores the possibilities of nature as the city chaos and how this relates to the buildings and the main city grid.
| 59
URBAN OASIS (Chaos within the City) Professors: Vikas Metha and Theodore Trent | McKinley Drive, Tampa, FL
4 Week Project
This project is an individual representation of our ideas for University City. As I focus on the south area of McKinley Dr. I implemented as simple yet intriguing aspect of the city. I let the city grid guide me into a basic form and used nature as the growing chaos within. The idea is that the space in-between buildings and streets would carve themselves from natural sources, creating parks, green walls, allies, and plazas that evoke a sense of an urban oasis within Tampa’s hot weather. By using vacant areas and replanting those to join existing natural sources, a sense of place would be establish as the desirable chaos within the city. This opportunity of bringing nature to the inside of the block versus an exterior edge condition brings people to gather in places that would otherwise be vacant. This mutual need relationship between building and nature is the binding needed to strengthen the area and create a true city core.
60
* Live-Work – This area serves the need of Research and Development building as well as some residential towers; therefore the space inbetween is a hybrid where the amount of green area is balance with paved area for seating and as event spaces.
* The heart – As the main focus of the area this block hold the waterpark, a main attraction surrounded by multiple cafés and a theater. The area also serves as an escape for the business building located right north of it.
* Local – This area is for private use of the locals design to meet the need of the private sector. * Residential – This area is design having in mind specific qualities necessary for family living
| 61
*Landscape Plan
62
* Urban Masterplan
| 63
64
The Waterpark Inspired by Phillip Johnson’s Water Gardens in Ft. Worth, TX, the waterpark is set on the lower west side of McKinley Dr. In an effort of promoting a place where activity and environmentally friendly conscience can coexist, the area’s rain water is collected and processed within a 4,800 square foot multi-tiered waterpark. The upper levels are accessible to the public allowing pedestrian interaction to occur. At the bottom a rushing display of water allows for a brief mist to occur and refresh the area. The remaining water can then be passed on to the Lake Crest just 800 feet southwest. The park has close proximity to multiple residential buildings and cafés as well as a theater; therefore the area will be activated at any time of the day.
| 65
66
* Axo Study - Exploration of the layers in the city
* Section AA - Looking North through McKinley
| 67
*Land Use
* Figure Ground
* Section BB - Looking West
68
Thinking & Making
|
Summer 2011
RECONSTRUCTION
Understanding the city of Copenhagen through a mapping recostruction of its spatial qualities.
| 69
70
RECONSTRUCTION Professor Levent Kara | Copenhagen, Denmark
*Skect Drawing Understanding city scales
9 Week Project
In an effort to understand the correlation between thinking and making as a design process this studio set out to recreate the spatial qualities and organization of the city of Copenhagen in a speculative boundless manner. The project started with a mapping of “Reconstruction,” a 2003 Swedish film, shot in Copenhagen. As the mapping exploration prolonged itself it became clear there was an unexplored correlation between film and architecture. The beauty that beholds itself through the poetics of cinematography, art, and architecture allowed for a creative aspect to explore the limitless boundaries of a city, and the spaces within it. Utilizing this knowledge with inherent understanding of space and scale I created my own conceptual map that defined Copenhagen as a city beyond any existent definition. Though a series of mappings, photomontages and study models, I explored the multiplicity of scales encountered in the city of Copenhagen. Though a series of mappings, photomontages and study models, I explored the multiplicity of scales encountered in the city of Copenhagen. The following series of layered studies takes into account the defining influential lines that exist in the city grid and morphs them into a new “reconstructed” city grid. In turn a new city center, where intensity is stimulated, is created.
| 71
*Process Drawings - Reconstruction photomontage
* These images are representational studies of the film “Unstoppable.” As a precursor, this analysis helped me understand how to see a film as a series of moments within a whole. This concept becomes the basis of the “Reconstruction,” reconstructing Copenhagen as a series of moments within the city.
72
*Matrix based assemblage analyzing the “reconstructed� Copenhagen
*Final mapping showing the new “recostructed” Copenhagen
“It’s all a film. It’s all a construction.” -Krister Henriksson, as “August,” in the film “Recostruction”
| 73
74
Using line and texture studies I focus on creating “A place in the city,� a focused idea within Copenhagen that serves as the city icon. Striving to answer the enigmatic question, what gives a city a sense of place? I created an open series of galleries that recreated the steps and transformation of the reconstructed city.
| 75
* Final Model Scales of Copenhagen
76
The following model is an abstracted representation of both site and context inuenced by the city layout of Copenhagen, Denmark. This focus area uses a layered system of lines and place to create the space and void of the city. Using a fragmented construction I explored the horizontal and vertical dimensioning of the area while generating a public space that brought life and a sense of place to the city.
| 77
* Final Focus Model - A place in the city.
78
Design Development |
Summer 2011
BOATHOUSE NATATORIUM COMPLEX
(revisited)
Taking a previous design project and learning how to make it work.
| 79
80
BOATHOUSE NATATORIUM COMPLEX (MAKING IT WORK) Professor John McKenna | 14 week Project North Downtown, Tampa, FL This course is designed to learn the necessary steps to proceed from Schematic Design Phase to the Design Development Phase, consisting of those drawings and other documents necessary to fix and describe the size and character of the project as to architectural, structural, mechanical and electrical systems and materials. This ability to understand the “how to” of construction is critical to the future practitioners place in the profession. Property Owner: The Ivy Group Property address: 220 W. 7th St. Tampa Fl 33602 Location Address: 400 W. Oak St. Tampa, Fl 33602 Building Type: Assembly Large Type II
*Schematics
Zoning: Commercial Occupancy: Bussiness/Mercantile Gross Square Footage: 29,818 sq.ft. 1st Floor: 12,376sq.ft. 2nd Floor: 17,442sq.ft. Enclosed Square Footage: 13,752 sq.ft. Building Height: 41 ft. Height Restriction: N/A
| 81
* Structure
* Vertical Circulation
*Site Plan
82
* Wall to Floor Connection
* Wall to Roof Connection
* Wall to Ground Connection
| 83
* Roof Detail
* Curtain Wall Detail
* Roof Corner Detail
* Curtain Wall Corner Detail
84
* Fire Protection
* Plumbing
* Mechanical
* HVAC
| 85
* Interior Detail - Stadium Seating
* Door Detail
86
Schematic Design Proposal
|
Summer 2012
USF BOTANICAL GARDENS A design proposal for USF botanical gardens expansion and conservatory.
| 87
88
USF BOTANICAL GARDENS Lead Designer: Vikas Metha | 8 week Project University of South Florida, Tampa, FL This schematic proposal for USF’s Botanical Garden offers a phased master plan focus on connecting the people with nature. The current location of the Botanical Gardens offers immediate access to the USF Health as well as Shriners Hospital for Children; taking this into consideration a set of themes was imposed as the guiding factor for the overall organization. Water, Healing, Food, People, and Education are the primary concepts that drive this project. Interweaving and connecting these creates a series of moments of interaction key to the fulďŹ llment of the Gardens. The Master Plan proposed a series of buildings and gardens that promote a sense of healing and education that that vital to the University, providing a place for the elderly to explore, relax and enjoy a calm ambience while also providing the school additional research space where new possible healing methods can be explored. More importantly the gardens also offer multiple children education areas, making this a place the entire family can enjoy while learning. One major aspect of the Botanical Gardens will be the proposed overpass connection to the Research Science Engineering and Medicine (RSEM) Building which will serve as a pre-function space and open conservatory. _WATER _HEALING _FOOD/PEOPLE _EDUCATION
1_ Boardwalk provides continuos engagement with the lake. 2_ Direct experience with water. 3_ Water gardens offer a quiet mediative place for healing. 4_ Water and sound greet you upon entering the gardens. 5_ Meditation garden 6_ Medicinal and Healing gardens 7_ Direct connection to medical institutions. 8_ Food production is an educational opportunity. 9_ Botanical laboratories are highly visible to patrons. 10_ Education can be offered inside and out.
*Overpass Connection from RSEM to USF Botanical Gardens - Pre-Event Space
| 89 1_Main Entrance Drop Off 2_Entry Portico 3_Ticketing 4_Meeting Courtyard 5_Research Building 6_Research Greenhouses 7_Service Entry 8_Mulch / Compost 9_Work / Storage Barn 10_Mediation Garden 11_Small Event / Yoga Space 12_Bonsai Garden 13_Lake Viewing Platform 14_Conservatory 15_Visitor’s Center / Reception 16_Gift Shop 17_Plant Shop 18_Healing Garden 19_Medicinal Garden 20_Herb Garden 21_Community Education Garden 22_Children’s Garden 23_Education Center 24_Auditorium 25_Catering / Service / Storage 26_Parking 27_Palms 28_Event Space 29_Chickee 30_Butterfly Garden 31_Grasses 32_Cycads 33_Temperate Forest 34_Shade Garden 35_Water Garden / Bromeliads 36_Cafe / Catering / Service 37_Rose Garden 38_Main Event Space 39_Pavilion 40_USF Weather Station 41_Cactus / Succulents 42_Natives 43_Carnivorous Plants 44_Bamboo 45_Wetlands 46_Aquatic Plants 47_Observation Deck 48_Vegetable Gardens 49_Bee Hives 50_Rain Garden 51_Mangroves
90
*Section through the Water Gardens and the Plant Shop – Capturing the South Elevation of the Conservatory
| 91
The Conservatory The conservatory holds a green roof with public access, which allows for view and exploratory display of the roof system as an attraction. Due to the glass enclosure, the south side of the conservatory is encompassed by a wood trellis with growing views, there allows for shade to the building and a cool walkway to the observation deck. The deck is also shaded by a series of trellises and custom shade canvases.
92
* Section though the Proposed Conservatory
| 93
Inside the Conservatory Due to Florida’s harsh tropical weather there are a series of plants that cannot bear it, in turn the conservatory become a safe place where foreign plants that survive and be admire and interacted with. From small orchids to luscious rainforest plants the Conservatory is a worldly experience captured within a 12,000 square foot structure.
94
Care of Making |
Spring 2011
A PLACE FOR REST
Creating an urn as a holy place for someone special.
| 95
96
A PLACE FOR REST Professor Steve Cooke |
* Study Model - Carving a place
4 Week Project
Everything around us at one point started with the someone’s hand, even though technology has allowed for fast construction of most of the things we have there is still a very careful, precise and special way of making that take place every once in a while. Learning about the making of something allowed me to understand the beauty encompassed within a hands on process. The making of something, the process and care that one small item can carry gives it beauty. After my grandmother passed away she was cremated, for a while we kept her in a small simple box from the crematory, but I knew there had to be a more special way to keep her. I explored the possibilities of a carved piece something that symbolizes the carving of one’s life, but felt the concept to vague. After careful thought, I designed a very simple piece that uses two very distinct wood types and each one creates a “C,” one horizontal and one vertical. The C’s represent my mother and me in an open arms position, as giving a hug. The smallest C, hold in its place the box containing my grandmother, while the bigger one holds the smaller one in the air. Above it, my mother places flowers from our garden every day, a reminder of their love and connection to nature. The pieces symbolizes our love for one another, and the beauty of it its carried by the thoughtful making of it.
| 97
98
- Here is the deepest secret nobody knows, here is the root of the root and the bud of the bud and the sky of the sky of a tree called life; which grows higher than the soul can hope or the mind can hide and this is the wonder that’s keeping the stars apart I carry your heart I carry it in my heart E. E. CUMMINGS
| 99
100
| 101
- To all my professors, for sharing their knowledge, experience, and enthusiasm on architecture and life. - To all my friends at SACD, for the laughs, the tears, the screams, the stress, and the amazingly good times, I’ll always remember you all. - To my friends and family, your support has meant everything to me. - To my mom, for always encouraging me to be the best I can be, for supporting me, and most importantly for loving me so much, everything I am is because of you.
THANK YOU.