GOVINDA DeCASTRO University of Florida
Table of Contents
13
Rain + Screen Device Critic: Hill Spring 2009
15
Bay Street Arts Institute Critic: Hill Spring 2009
7
The Urban Stitch
1
City in Translation Critic: Walters Fall 2009
i
Critic: Walters Fall 2009
19
Homage to Fort Matanzas Critic: MacLeod Fall 2008
33
The Traleving Wilburys’ Institute of Rock Education Critic: Kara Spring 2008
29
Door Window Stair Critic: Daniels Fall 2007
37
Carving the Earth and Sky Critic: Kara Spring 2008
27
Surface Skatepark Critic: Ron Spring 2009
23
Stretch House Critic: MacLeod Fall 2008
ii
1
C I T Y I N T R A N S L AT I O N New York City, NY Critic: Bradley Walters Design 7: Fall 2009 In collaboration with Chris Malcolm New York, originally devised as an ideological ambition, was preoccupied with economical efÂżFLHQF\ DQG UDWLRQDO RUGHU 'HVSLWH LWV XWRSLDQ LQWHQWLRQV LW VHHPV WR EH D QDWXUDO GHÂżDQFH WR WKH VSLULW DQG HVVHQFH RI 1HZ <RUN DV LW H[LVWV WRGD\ 1HZ <RUN LV JHVWXUDO FRPSOH[ DQG LQ FRQVWDQW Ă&#x20AC;X[ 'HWHUPLQHG WR VXUYLYH 1HZ <RUN KDV RXWJURZQ LWV RULJLQV DQG EHFRPH D FKDRWLF DQG ULFK HQYLURQPHQW IXOO RI FXOWXUH VSLULW DQG WKULYLQJ GHWHUPLQDWLRQ ,URQLFDOO\ WKH JULG UHPDLQV DQ XQGHUO\LQJ VWUXFWXUH WKDW RQH FDQ DOZD\V WXUQ WR 2XW RI WKH VHDPV RI WKH JULG 1HZ <RUN JURZV DQG EHFRPHV LWV RZQ ZKLOH VWLOO XWLOL]LQJ LWV EHJLQQLQJV $V VXFK ZH FRPSDUHG WKLV PHWDSKRULFDOO\ WR a deterministic weed growing from the seemingly ceaseless cold sidewalks or dances how it is VR IUHH EXW DOZD\V PDLQWDLQV FRQWURO ZLWK D FHQWHU RI EDODQFH 7KH JULG LV GHIRUPHG DQG XWLOL]HG LQ YDULHJDWHG ZD\V LQ RUGHU WR DGDSW WR WKH QHZ ZD\V RI OLYLQJ The city of New York is home to two distinct inhabitants, namely the permanent and the temSRUDU\ 7KH KRWHO VHUYHV DV WKH WUDQVODWRU EHWZHHQ WKH WZR MX[WDSRVLQJ WKHLU UHODWLRQVKLS DQG H[SHULHQFH LQWR D VLQJOH UHDOLW\ :H ODEHOHG WKH WUDYHOHUV VWD\LQJ LQ WKH KRWHO IRU D VKRUW SHULRG of time as the temporary and the locals who are of the city, living and dwelling in it as the permaQHQW $V WKH WUDQVODWRU WKH KRWHO VHUYHV DV D ZD\ LQ ZKLFK WKHVH WZR SHRSOH FDQ FRPH WRJHWKHU WR FRPPXQLFDWH ZKLOH VSHDNLQJ WZR GLIIHUHQW GLDOHFWV
The City folding into the hotel
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Programmatic Diagram
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Circulation
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Public Spaces
Facade
Transparent Skin
Structure
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Yoga Studio
Cross Section
Digital Media Theater
Longitudinal Section
6
THE URBAN STITCH $W 'HZLWW &OLQWRQ 3DUN WK $YH DQG UG 6W 1<& Critic: Bradley Walters Design 7: Fall 2009 In collaboration with Chris Malcolm New York City is an eclectic place that has many important urban conditions but no clear UHODWLRQVKLS DPRQJVW WKHP $IWHU DQDO\]LQJ WKH DUHD VXUURXQGLQJ WKH VLWH WK $YH DQG UG 6W ZH PDUNHG LPSRUWDQW HOHPHQWV VXFK DV VFKRROV SXEOLF SDUNV KLVWRULFDO EXLOGLQJ DQG FKXUFKHV EXW QRWLFHG D ODFN RI FRQQHFWLYLW\ 7KH RSHQQHVV RI WKH SDUNV WKH YHUWLFDOLW\ of the structures, the historical feel of the buildings, and the subterranean feel of the subway were the experiences we used to connect the various programmatic pieces we incorporated LQWR RXU SURMHFW 7KH FRQQHFWLRQ ZH FUHDWHG DPRQJVW GLIIHUHQW VSDFHV ZH FDOOHG WKH XUEDQ VWLWFK 7KH ¿OP ³0DQ ZLWK D 0RYLH &DPHUD ´ E\ ']LJD 9HUWRY ZDV DOVR SDUW RI WKH DQDO\WLFDO VWXG\ ,Q WKH PRYLH 9HUWRY FDSWXUHV YDULRXV SHUVSHFWLYHV DQG UHDOLWLHV E\ ¿OPLQJ GLIIHUHQW VHTXHQFHV RI WKH ¿OPPDNLQJ SURFHVV ,Q WKH PRYLH WKH SHUFHSWLRQ RI VSDFH VKLIWV IURP YLHZLQJ 9HUWRY ¿OPLQJ WKH PRYLH WKHQ YLHZLQJ WKH PRYLH DQG ¿QDOO\ ZDWFKLQJ WKH DXGLHQFH YLHZ WKH PRYLH )URP WKH ¿OP WKH LGHD RI VXSHULPSRVLQJ PXOWLSOH UHDOLWLHV RU VFDOHV EHFDPH SDUW RI WKH VFKHPH 7KH VLWH ZDV WKHQ WR IXQFWLRQ DW PXOWLSOH VFDOHV DQ LQWLPDWH DQ LQWHUPHGLDWH DQG D GLVWDQW VFDOH )URP WKH PRYLH SURJUDPPDWLF FRPSRQHQWV ZHUH DOVR FKRVHQ WR UHÃ&#x20AC;HFW LWV LPSDFW RQ WKH SURMHFW GHYHORSLQJ LQWR D ¿OP VFKRRO D GLJLWDO WKHDWHU DQG D ¿OP YLVXDO DUWV PXVHXP 7KH PDLQ LGHD WKHQ EHFDPH D VHTXHQWLDO PRYHPHQW WKURXJK WKH VLWH WKDW WKUHDGHG PXOWLSOH H[SHULHQFHV LQWR D XQL¿HG JHVWXUH
Knowledge
Open space
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Program and their relationships &KLOOD[DWLRQ >FKLOO UHOD[@ VSDFH sacred open space history knowledge
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knowledge verticality
knowledge verticality open space
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Verticality
Distant scale
open space history underground
History
Sacred
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Film and Modern Arts Museum
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Entrance to bazaar
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Walkway to 1HZ -HUVH\
Residential towers
Walkway from bookstore to retail
Envelope
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Retail
Reading area
Bookstore and Library Film and Modern Art Museum 9HUWRY ¿OP VFKRRO and theater
Circulation pods
Bazaar
Groundscape
7
The split between the Film School and Theater frames the tower’s circulation
12
Diagrams of Movement and Screen
RAIN + SCREEN DEVICE Philadelphia Alley, Charleston, SC Critic: Rocke Hill Design 6: Spring 2009 Overhead
Pipe system
Structural beams
Articulated ground
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7KH FLWL]HQV RI &KDUOHVWRQ PRYH DW GLIIHUHQW SDFHV DORQJ WKHLU MRXUQH\ WKURXJKRXW WKH FLW\ 7KHLU primary paths of movement are the main streets followed by a more intimate, slower path composed DOOH\ZD\V 7R VRPH FKLOGUHQ WKHVH DOOH\V VHUYH DV D SODFH WR PDNH URVHV RXW RI SDOPHWWR OHDYHV DQG VHOO WR WRXULVWV 7R WKHP WKHVH DOOH\V DUH D PRPHQW WR SDXVH D SODFH WR FUHDWH 3KLODGHOSKLD DOOH\ LV RQH RI WKHVH DOOH\V
Location map
The insertion in Philadelphia alleys addresses this rhythmic movement underlying the city while also VHUYLQJ DV D UDLQ DQG VFUHHQ GHYLFH 7KH RYHUKHDG FKRUHRJUDSKV WKH ZDWHU DV LW IDOOV IURP WKH VN\ ,W GLUHFWV ZDWHU WR VSHFL¿F SODFHV DQG DW WLPHV LW VSHHGV XS RU VORZV GRZQ WKH ZDWHU¶V PRYHPHQW 7KH ZDWHU DW VSHFL¿F SRLQWV LV FROOHFWHG RQ WKH JURXQG FUHDWLQJ D SDFH IRU WKH WUDYHOHUV 7KHVH ZDWHU FROOHFWRUV DUH ORFDWHG WKURXJKRXW WKH DOOH\V DIIHFWLQJ WKH VSHHG RI WKH SHUVRQ¶V PRYHPHQW $V WKH\ DSSURDFK WKH LQWHUYHQWLRQ WKHLU SDFH VORZV DOORZLQJ WKHP WR SDXVH DV WKH\ FRPH XSRQ LW 7KH VWUXFWXUH¶V FROXPQV EHFRPH D VFUHHQ FRQWUROOLQJ ZKDW LV WR EH VHHQ DQG ZKDW LV QRW WR EH VHHQ $W WLPHV WKH\ PDVN HOHPHQWV RI WKH DOOH\ DQG DW RWKHU WLPHV WKH\ UHYHDO LWV OD\HUHG KLVWRU\
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B AY S T R E E T A R T S I N S T I T U T E Charleston, SC Critic: Rocke Hill Design 6: Spring 2009
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Facade analysis
The Bay Street Art Institute is a place where artists from different disciplines can work and collaborate to share their abilities ZLWK RQH DQRWKHU $UWLVWV LQ WKH ¿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Ã&#x20AC;RRU IDFDGH EHLQJ YHU\ SRURXV DOORZLQJ WKH YLVLWRUV WR PRYH LQ DQG QDYLJDWH WKH LQVWLWXWH IUHHO\ 7KHVH DOOH\V DUH FKDUDFWHULVWLF RI &KDUOHVWRQ DQG WKH\ SURYLGH D VHFRQGDU\ PHDQV RI PRYHPHQW IRU WKH ORFDOV 7KLV LGHD RI XQLQWHUUXSWHG PRYHPHQW LV WKH GULYLQJ LGHD H[SUHVVHG WKURXJKRXW WKH LQVWLWXWH
Sketch Model
Entry
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Library
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Site Plan
Level 1
Light Wells
Envelope
Groundscape
Circulation
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HOMAGE TO FORT MATANZAS 6W $XJXVWLQH )/ Critic: Robert MacLeod Design 5: Fall 2008 The historic Fort Matanzas in an important heritage site located on the coastline of Saint Augustine, )ORULGD 7KH 6SDQLVK XVHG WKH IRUW DV D GHIHQVH system to guard against attackers that perched in IURP WKH VRXWKHUQ VLGH RQ WKH LQOHW LW VLWV RQ On the same inlet as the fort is the compound that houses a museum and educational facilities functioning to teach students and the public the historical content of the fort, as well as exhibiting artifacts that relate to the IRUWÂśV KLVWRULF FRQWHQW 7KH FRPSRXQG LQ HVVHQFH LV DQ RIIHULQJ WR )RUW 0DWDQ]DV .QRZLQJ WKH LFRQLF SUHVHQFH RI WKH IRUW WKH FRPSRXQG ZDV QRW WR GHÂżQH LWV H[LVWHQFH but to humbly serve the fort by facilitation classroom and exhibits spaces that would be used for educational purSRVHV
The gestural form the compound obtained came from a series of diagrammatical studies on the LGHD RI DQ RIIHULQJ 7KHVH VWXGLHV WKHQ WRRN RQ RWKHU VLJQLÂżFDQW FRPSRQHQWV VXFK DV DSSURDFK and views to ultimately generate what became the FRPSRXQGÂśV RYHUDOO IRUP
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Elements from the site
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Section through main auditorium
Longitudinal Section
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Level 2
Western Facade
Above are the diagrams of the compound as an offerLQJ WR )RUW 0DWDQ]DV (DFK DWWHPSW UHSUHVHQWV D GLIIHUHQW JHVWXUDO DSSURDFK OHDGLQJ XS WR WKH 多QDO RQH DW WKH WRS RI WKH SDJH
Eastern Facade
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STRETCH HOUSE Gainesville, FL Critic: Robert MacLeod Design 5: Fall 2008
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Elements taken from the site
Located in the heart of Gainesville, Florida, the Hogtown Creek winds its way through the city, creating SRFNHWV RI OXVK QDWLYH 1RUWK )ORULGD YHJHWDWLRQ The Stretch House sits in such a location, which blends itself into the natural environment, creating D EOXUUHG UHDOLW\ EHWZHHQ LQWHULRU DQG H[WHULRU 7KH house stretches itself cantilevering into the landscape on its western side, while on the eastern VLGH 7KH PDLQ VSDFH Ă&#x20AC;RZV RXW YLD DQ REVHUYDWLRQ GHFN WKDW KRYHUV RYHU WKH FUHHN 7KHVH WZR PDLQ gestures become the icon of the house: an interiorUHDFK RXW RQWR WKH H[WHULRU Due the pleasant climate of northern Florida, the Stretch House takes advantage and opens itself to the natural environment visually, tectonically and VSDWLDOO\ On the site, the Hogtown Creek acts like an anchor WR WKH KRXVH WKDW UDGLDWHV IURP LW 7KH KRXVH WKHQ seems to stretch itself from the creek creating a V\PELRWLF UHODWLRQVKLS 7KH HQWU\ WR WKH KRXVH EHcomes an extension of the existing trails that wind through the site, creating an approach that effortlessly acts as an expansion from the natural to the PDQ PDGH
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Approach
Longitudinal Section
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The house is also extremely porous, opening itself to certain views and allowing sunlight to 多OWHU LQWR YDULRXV VSDFHV +DYing this porosity quality to it, the Stretch House creates a relationship from the outside in through light entering and inside out WKURXJK YLHZV 7KH KRXVH WKHQ seems to blend into the landscape from the exterior but at the same time hold its presence from WKH LQWHULRU
Western Facade
Cross Section
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Points taken from negative space
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Zones from points
Hand Traced points
Sheared points vertically
Manipulated surfaces
Extruded surfaces
SU R FA C E S K AT E PA R K Critic: Ruth Ron Design 6: Spring 2009 Beginning with a two-dimensional image, a series of points were selected along its HGJH FUHDWLQJ D SDWWHUQ 7KHVH SRLQWV ZKHUH WKHQ JURXSHG WRJHWKHU GH¿QLQJ ]RQHV IRU GLIIHUHQW IXQFWLRQV ZLWKLQ WKH VNDWH SDUN 7KHVH ]RQHV ZHUH FUHDWHG E\ KDQG WUDFLQJ WKH SRLQWV DV LI WKUHDGLQJ WKHP WRJHWKHU JHQHUDWLQJ D ZHDYHG VXUIDFH 7KH VXUIDFH was then manipulated by choreographing various parts of it vertically with the central SDUW EHLQJ PDQLSXODWHG XS DQG WKH RXWHU HGJH GRZQ )LQDOO\ WKH HGJHV RI WKH VXUIDFHV ZHUH PHVKHG WRJHWKHU LQ RUGHU WR FUHDWH D VLQJOH HOHPHQW WKDW IRUPHG WKH VNDWH SDUN
Grinding surfaces
Riding surface
Railing
Walking surface
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D O O R W I N D O W S TA I R &ULWLF -HQQLIHU 'DQLHOV Design 3: Fall 2007
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Drawing of Cartesian cross understanding space in three dimensions
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Sketch analyzing the human scale
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Preliminary sketches of the model
Sketch model
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T H E T R AV E LIN G WIL B U RYS’ INSTITUTE OF ROCK EDUCATION Critic: Levent Kara Design 4: Spring 2008
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Section of tower with display screens on the pods
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CARVING THE EARTH AND SKY Critic: Levent Kara Design 4: Spring 2008 7KH (DUWK DQG 6N\ SURMHFW EHJDQ E\ DQDO\WLFDOO\ VWXG\LQJ WKH FRQGLWLRQV FRQWDLQHG LQ D GHVHUW 7KH VWXG\ ZDV GRQH E\ PDNLQJ D ZDWHUFRORU GUDZLQJ WKDW WULHG WR FDSWXUH YDULRXV FRQGLWLRQV IRXQG ZLWKLQ D GHVHUW ,W LV WKH VWXG\ RI KHDW ZLQG DQG WKH KRUL]RQ OLQH )URP WKHUH D VHULHV RI GLDJUDPV HYROYHG WU\LQJ WR SK\VLFDOO\ FRQVWUXFW WKHVH WKUHH HOHPHQWV This process ultimately lead into a model that contained a satellite moment that radiated IURP D FHQWUDO PRWKHU VKLS 7KH FRQWH[W RI WKLV SURMHFW ZDV LPSRUWDQW EHFDXVH D GHVHUW LV D ODQGVFDSH WKDW LV H[WUHPHO\ Ã&#x20AC;DW 7KH SURMHFW WKXV MX[WDSRVHV WKLV FRQGLWLRQ ZLWK VWURQJ YHUWLFDO JHVWXUHV ,W LV D SODFH WKDW KRXVHV DUFKHRORJLVWV DQG ODQG DUWLVWV IRU WHPSRUDU\ SHULRGV RI WLPH :LWKLQ it, large open spaces serve communal areas where the land artists and archeologists FDQ LQWHUDFW 7KLFN ZDOOV DQG SRURXV RYHUKDQJV SURWHFW WKH UHVLGHQWV IURP WKH KHDW ZKLOH DOORZLQJ ZLQGV WR FLUFXODWH WKURXJKRXW 7KH PDLQ JDWKHULQJ VSDFH LQ WKH FRPSOH[ LV D ODUJH VDFUHG VSDFH ZKHUH SHRSOH JR DQG PHGLWDWH 7KLV VSDFH¶V YHUWLFDOLW\ DOVR VHUYHV WR FRQWUDVW WKH H[WUHPH KRUL]RQWDOLW\ WKDW H[LVWV LQ D GHVHUW ODQGVFDSH
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From the diagrams on the right, a model developed with a satellite moment that extends from a mother ship
Watercolor drawing analyzing heat, wind, and horizon
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Diagrams that developed from image below
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Longitudinal section through the model seeing the overhang and the Sacred Space emerging from the ground
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