JASON HENNING II USF SACD ADVANCED DESIGN PORTFOLIO by jmhenning

. . . .

advanced design portfolio JASON M. HENNING II spring 2019 - summer 2020 . . university of south florida . . . school of architecture and community design

advanced design portfolio : . . .

table of contents advanced design a . . . : (ac3) art and community center of Charleston . . summer 2019 . . . professors levent kara / thomas goodwill

. . . . pg 004 - 023 advanced design b . . . : amoebay - sarasota waterfront development . . fall 2019 . . . professor michael halflants

. . . . pg 024 - 049 advanced design c . . . : the frame - for encore! and the community of tampa . . spring 2019 . . . professor josue robles

. . . . pg 050 - 087

. . . . . . . . . .

zion intermission . . : zion cemetery memorial . . spring 2020 . . . professor paul robinson

. . . . pg 088 - 091

. . . . . . . . . .

. . . . S U P P L E M E N TA L W O R K :

USF SACD TRIBUTE DESIGN COMPETITION . . . . : MEDICAL PARK . . sUMMER 2020 . . . COLLABORATORS EVAN COSTELLO / EDWIN MARTINEZ

. . . . pg 092 - 099 PHOTOGRAPHY . . . . : SUBCATEGORIES . . : (01) PLAY SPACE LAID TO REST (02) F.A.R.M. . . fall 2019 . . . professor WILLIAM DOUGLAS

. . . . pg 100 - 113 THINKING AND MAKING . . . : POWER FIGURES - FOR BETTER OR WORSE . . spring 2020 . . . professor LEVENT KARA

. . . . pg 114 - 123 USF SACD RENOVATION . . . : AUDITORIUM REDESIGN . . sUMMER 2019 . . . COLLABORATOR EDWIN MARTINEZ

. . . . pg 124 - 129

ACKNOW LEDG ME N TS A N D C O N TA CT IN FO R M AT I O N . . . . . PG 1 3 0 - 1 3 1

ac3 art

community center of charleston

ADVANCED DESIGN a (2) PROFESSORs: thomas goodwill

Summer 2019 levent kara

joe wiley waterfront park

port of charleston site 160 easy bay street charleston, sc

LOBBY

BLACK BOX THEATRE

DINING

ELEVATOR

MECHANICAL/ ELECTRICAL

ART LIBRARY

FIRE STAIR

GIFT SHOP

ART STUDIO

RESTROOM

OFFICE

MUSIC STUDIO

DANCE STUDIO

OUTDOOR SCULPTURE GARDEN

INTRODUCTION AND site analysis LOCATION :

CHARLESTON, SOUTH CAROLINA ; UNITED STATES

LATITUDE / LONGITUDE :

32 DEG 46’ 42.2” N / 79 DEG 55’ 36.7” W

SIZE :

12, 286 SQFT

TYPE :

COMMERCIAL / MIXED USE

STATUS :

CONCEPT

time :

summer 2019

CLASS OVERVIEW : THis COMPREHENSIVE FOCUSED STUDIO WILL INVESTIGATE and reimagine ONE parcel of land in Charleston, south carolina. In its current state, the property holds a dated three story, commercial building that hugs the sidewalk, as well as a large parking lot located behind the structure. The entire semester will be devoted to creating a new community center dedicated to the arts and introducing facilities that allow people to interact with one another in an environment suitable for their needs. Program such as public performance space, galleries, and studios will be be introduced for the community to utilize.

PROJECT TITLE : AC3

art and community center OF CHARLESTON

PROJECT SUMMARY : AC3 IS A NEW APPROACH TO HOW A COMMUNITY CENTER CAN FUNCTION WITHIN A CITY SUCH AS CHARLESTON. AS A CITY THAT IS RICH IN HISTORY, AC3 MAKES NO ATTEMPT AT DIMINISHING ITS SURROUNDING CONTEXT, AND RESPECTS ITS STRUCTURAL PREDECESSORS THROUGH SIMPLER DESIGN DECISIONS. RATHER, THROUGH DECONSTRUCTED BRUTALISM DOES AC3 DEMONSTRATE HOW LIGHTWEIGHT VOLUMES OF GLASS CAN CARVE AWAY AND REPLACE HEAVIER COMPONENTS TO CREATE OCCUPIABLE AND WELL LIT SPACES THAT INTERLOCK WITH ONE ANOTHER FROM ALL PARTS OF THE BUILDING. THE INTENTION IS TO INTRODUCE A NEW WAY OF INTERACTION BETWEEN PEOPLE AND THE BUILT ENVIRONMENT WHERE THE BUILDING IS TO BE EXPERIENCED, AND NOT JUST A VESSEL FOR FACILITIES WE’VE SEEN TIME AND TIME AGAIN. iN ORDER TO ACCOMPLISH the vision, TADAO ANDO’S WORK INFLUENCED MANY DESIGN DECISIONS, INCLUDING USE OF MATERIAL AND FORM MAKING. IT IS HIS ELEGANT USE OF CONCRETE AND a MINIMALIST APPROACH TO ARCHITECTURE THAT FELT SUITABLE AMONGST AN ESTABLISHED AND HISTORIC AREA SUCH AS CHARLESTON TO BE INTRODUCED WITHOUT SEEMING OUTLANDISH or distracting. The site is more or less a box, even on all sides, roughly. To help break down this geometry, outdoor space was first established towards the front of the sidewalk to create a “pocket park” that is nestled between the building and the adjacent street. The front of the building was also pushed back to allow more room for foot traffic,

giving an opportunity for the upper portion of the building to cantilever out and over the front of the property. Upon entering the lobby, occupants find themselves in one of the more intimate gallery spaces. Set with a low ceiling, and little light penetrating the surrounding concrete walls, it is the moment before the crescendo; a walk up the switchback corten steel staircase reveals the building’s lively and bright core. The core/ atrium space is the area in which all of the studio spaces and supplementary programs diverge into one room. Considering half of ac3 is space meant to be rented out and used for private use, the core is the moment where the two groups of people can meet, congregate, and coexist. The primary means of socialization in the core is the dining space located on the second floor that looks down onto the street and offers a generous amount for seating/ standing room. The north wing consists of privatized office spaces and a music studio. Both are directly attached to and have a view of the core, as well as a large aperture to allow light into the respective spaces. The south wing is a double tiered glass volume dedicated to the art library and digital media lab. Here occupants can find some of their favorite books, information about art, or work in the media lab on personal affairs. The space offered is one of the most well lit in the entire building, making it a space meant for mindfulness and productivity.

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program shown (ground leve el) . . . . . . : -

lobby gift shop dance studio o black box x theat eatre re electri r cal room outdoor or scu sculptu lpture lptu re garde garde arden n

OWNE WNE N R : YASC AS HIK K DEVE DEVELOPM L MENT LOPM ENT N ADDR DD ESS S : 1160 E. E BAY Y ST. ST T.,, C CHARLE RLESTON S STON S SC 294011 2940 PARC R EL NUMBE NUMBE MB R : 4580 4 902165 9021 6 TIME E ZON O E : UTC TC C - 5 HOUR O S EST ES E

PROP O ERTY OP E Y SET ET TBACK ACKS S . . . . : NORTH - 0’ NORT SOUT UTH H - 0’

EAST - 0 0‘ WEST E - 0’

SCALE AL BAR BAR 0'

10' 10

25'

40' 40

009

a CODE ITEM

CODE REFERENCE

OCCUPANCY CLASSIFICATION

DESIGNATION APPLIED ASSEMBLY (A-1) - BLACK BOX THEATRE, LOBBY ASSEMBLY (A-2) - ART LIBRARY, DINING

CHAPTER 3

SPACE MERCANTILE (M) - GIFT SHOP BUSINESS (B) - OFFICE SPACE, DANCE STUDIO, ART STUDIO, MUSIC STUDIO

CONSTRUCTION CLASSIFICATION HEIGHT ALLOWED HEIGHT ACTUAL

TYPE 1-A SPRINKLED TABLE 504.3

UNLIMITED 70â&#x20AC;&#x2122;

a program shown (second level) . . . . : -

program shown (third level) . . . :

office dining dance studio black box theatre

- office - art library - outdoor sculpture garden

SCALE BAR

(CODES CONT.) . . . . . . . . : AREA

10'

25'

UNLIMITED TABLE 506.2 BUILDING TOTAL 12,286 ground sqft

STORIES ALLOWED

UNLIMITED TABLE 504.4 4 STORIES

40'

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dual pane insulated insul ated glazi glazing glaz ng

corten corte n weatheri weatheri thering ng steel

west elevation

precast preca st reinforced reinf orced conc concrete rete

SCALE BAR AR 0'

100'

25' 25

40' 40

T.O. ROOF 70’-0” 70’0”

ART STUDI TUDIO O . MUSI MUSIC C STUDI TUDIO O

LEVEL 4 52’-3” 52’3” ART LIBRARY LIBRARY . OFFIC OFFICE E . OUTD OUTDOOR OOR SCULP SCUL PTURE GARDE ARDEN N

LEVEL 3 30’-0” 30’0” CAFE . BLACK CA LACK BOX TH THE EATRE T . OFFICE

LEVEL 2 16’-9” 16’9” L LOBB Y . GIF GIFT T SHO SHOP P . DANC DANCE E STUDIO

LEVEL 1 0’-0”” 0’-0

013

vendue range st. vendue s

gendron on

Since concre r te is so prevalent i n th h e design of A AC3, a new mater e ial was introduced that a maintain n ed the â&#x20AC;&#x153;rawâ&#x20AC;? a quality of the stru t cture, but with a pop of color to give the exterior and interior character. The corten steel acts as a vessel that comp c liments the rest of the building by guiding occupants to different parts of the buildin l g. A large corten wall (left) is used e o n the exterior of the building to not only catch the eye of the e p ublic, but t t o create a peaceful f pocket park alongsid g e the buildi i ng. in turn, the wall also o co nceals the b ottom portion of the b buil ding fro o m gendron s st reet to o crea re te interest and curiosity for those passing by. For the interior (below), th t e corten steel takes on a more complex geom e etry as comp c ared d to the rest of the building. It wraps itself around the m ain stair starting at the ground d floor and dissipates as it reaches the a rt t studio o o n the fourth flo f or.

Section o A re veals s on e of f the moments in AC3 where there is relat e i ive transpar tran s ency between all leve e ls o f the th e bu ilding, giving n o pportunity for occupants s to look above or below at activity occurring. AC3 actively encourages interaction between people in di d fferent parts of the building. . . . . The blackbox theatre is meant to be an ever changing flex-space. It is a space that can be manipula u ted to f it the needs ee of individual artists s that wil l l be on display for the public or for priva r te events. Large the e atre seating is located on the ground fl l oor, as well as a raised e p latform/ stage. This s area doubles as dance studio given its generous size. With the theatre being su u ch a flexibl ib e space, it can suit t any y need the public may have su s ch as performances, events, or galleries.

program shown (section a) . . . . . . : -

gift shop p r troo res oms b ckbox theatr bla re o ice off art stu studio

st.. st

co cord or es st st. t.

section a 015

charleston art and community center section a / / street view 2 charleston art and community center exploded axonometric

MAIN STAIR

charleston art and community center section b / / art library perspective

cha char har arl rlest le l es est st s ston to on n ar rt t and d com ommu omm o mm mmu m munity m nit it ty t y cen c nter ce te t er er sec sect se ec e ct ct tiion ion n a / / st str re reet ree eet eet et vie viie v view iew 2 char ch c h har ar rl les lest est ton on o n ar rt an nd co ommu mmu unity nit iity cen enter en er r exp expl ex xpl x p o oded ded ed axo e on nom nome om metric tri tri cha c char har ha ar rl le lest est sto on n ar rt t and and nd co omm ommu om mmu mmu unit nity ty t y c ce cen ente ter ter r sect sec ectiion ect ec o on n b / / a ar rt l lib brar br rar r ary pe per rsp rspe sp spectiv pect ctiv c t ve

NORTH WING

CORE

SOUTH WING

( FO R M MA X IMU M V IE WIN N G P L EAS U R E)

017

below :

right :

ac3‘ s intent ac3‘s in tent to conn connect ect seve several ral spac spaces es througho thro ughout ut the t he build b uilding, ing, as well the ext exterio erior r to the t he inter i nterior ior are demo demonstr nstrated ated in sect section ion b. The core of the buil building ding can be seen int interlo erlock ck-ing and enga engaging ging wit with h the th e spaces sp aces adj adjacen acent t to it. The main sta stair ir creat c reates es a nat natural ural flo flow w from fr om the lobb lobby y to the atr atrium ium spac space, e, from f rom whic which h you yo u can see the enti entire re art a rt libra l ibrary, ry, as well w ell as a portion port ion of the t he art a rt libra l ibrary ry above a bove.. The Th e outdoo ou tdoor r garden gard en space s pace is also par paralle allel l with wi th a lar large ge glass glas s curtai cu rtain n wall, wa ll, whic which h not no t only on ly bring b rings s in natural natu ral ligh light t in the mor morning ning,, but bu t also al so allow a llows s occupant occu pants s to loo look k down do wn into i nto the core spa space. ce. .

The art libr library ary is locat l ocated ed on o n the th e south so uth side of the buil building ding,, and an d is an insu insulate lated, d, doubl d ouble-pa e-paned ned glass glas s volume vo lume tha that t carves ca rves awa away y at the concrete conc rete and ins inserts erts its itself elf on the t he secon s econd d and an d third thir d level le vel of AC3. A C3. The room rec receive eives s a gene gener rous amou amount nt of o f light li ght at all a ll times t imes of the year because beca use occu occupant pants s will wi ll be b e readin re ading, g, study s tudying, ing, etc; mea meaning ning the spa space ce neede n eeded d to fee feel l quaint qu aint,, but well lit and upl uplifti ifting. ng. The art libr library ary is also the onl only y means me ans of getti g etting ng to t o the th e exteri ex teri-or balco b alcony ny space s pace tha that t overlo ov erlooks oks 160 E. Bay; B ay; a great grea t space sp ace for stud studying ying,, readin re ading, g, or o r people pe ople watching watc hing.. . .

The art stud studio io locat l ocated ed on o n the th e fourth fo urth lev level el is is meant mean t for fo r artist ar tists s who wh o paint, pa int, scu sculpt, lpt, or anything anyt hing of the sort sort.. It is mean meant t to be rent rented ed out spac space e that th at artis a rtists ts can c an use u se as a s their th eir own and soci socializ alize e with wi th other o thers s like li ke them. t hem. It can hold roughly roug hly ten to fifte f ifteen en artis a rtists ts and a nd their t heir wor work k while whil e mainta ma intainin ining g a leve level l of com comfort fortabil ability ity and accommod acco mmodatio ation. n. The T he west w est side of the stud studio io is is primaril prim arily y open, op en, and allo allows ws a ple plentif ntiful ul amoun a mount t of sunli s unlight ght into the stu studio dio in the t he after a fternoon noon.. A large larg e balcon ba lcony y is als also o on the wes west t side si de of o f the th e studio, stud io, and look looks s down do wn onto o nto 160 E bay, ba y, givin g iving g artists arti sts the opti option on to t o work wo rk outdo o utdoors ors when weather weat her perm permits. its.

progra pro gram m show s hown n (s (sect ection ion b) . . . . . . : -

black b lackbox lack box thea theatre tre electri ele ctrical ctr ctri cal room dining din ing ng art rt library libr brary ry ar stu art tudio dio

section b

On the t he botto b ottom m level, le vel, flo floatin ating g booksh bo okshelve elves s are ar e attached atta ched by wire cab cable le to t o keep ke ep the t he space s pace feeling feel ing more ope open n as com compare pared d to hea heavy vy book b ook-shelves. shel ves. Lik Likewis ewise, e, the t he corte c orten n steel st eel stai stair r follows foll ows suit to help rea reach ch the t he mezza m ezzanine nine above abov e that th at is i s connec co nnected ted to the t he catwa c atwalk lk span s pan-ning the adj adjacen acent t atrium at rium spa space. ce. The uppe upper r level leve l is ded dedicat icated ed to t o the th e “digit “d igital al media m edia lab lab”” which whic h contai co ntains ns publi p ublic c access ac cess to comp computer uters, s, printers prin ters,, and an d more. mo re.

corten cort corte n ste steel el suspended suspe nded stair st

slatted slatt ed wood ceili ceiling ng

suspended suspe nded bookshelve books helve v s

state stat e st st..

019

AC33 ART AND COMMUN UN NIT ITY YC CE ENT NTER R OF CH CH LE CHARLE EST STON ON :

SOUT TH CAROLINA A

AMOEBAY SARASOTA WATERFRONT DEVELOPMENT ADVANCED DESIGN B SPRING 2019 PROFESSOR MICHAEL HALFLANTS

PARKING MARINA JACK

BAYFRONT PARK

08 . 28 . 19

AERIAL VIEW OF MARINA JACK

INTRODUCTIOON AND A site analy ysis LOCATION :

SAR SARA A SOT SO SOTA S OT O , FL FLORID ORIDA A ; UNIT TE ED D STATE ES

LATITUDE / LONGITUDE :

27 DEG 27 G 19’ 19 9’ 5 58.62 8.62 62 272” 72 N / 82 82 DEG DEG G 32 2’ 45.85 852” 2 W

SIZE :

1 M MILE LE

TYPE :

COMM COM MMERCI ERCIAL CIAL / MIXED MIX MIX I ED USE S

STATUS :

CONC CONC CON N EPT

AWARDS :

FIRS FIR IRST RST P R PL LAC AC CE E

CLASS OVERVIEW : THE COMP THE OMP OMPREHE MP PREH REHE H NSIV VE AN AND U UR RB BA F BAN FOCU US SE SED ED S ST STUD T TUD UD U DIO O WILL INVE VESTIG VE ESTI ST STIG T ATE AT T ONE ON LARG LARGE-SC LA E-SCALE E-SC S ALE AL L WATE ATERFR ATE RFR RFRO FR RONT NT SITE TE O OVE OVER VE ERLOOK LOOK-ING T THE HE E SARA SARASOTA AR SOTA OTA TA BAY. BAY BA AY. PR PROJEC OJE TS OJEC S WIL ILL BE ILL E P PRESE RESENTED RESE NTED T TED TO O CITY ITY PL PLA PLA ANNIN NNING G AN AND D ZONING ZONING ING NG G STA S FF, FF, A AS S WELL WEL ELL LL L L A AS S MEMBE EM E M MBERS OF F TH HE E PUBLI UB IC. C. THE EN C NTIR TIR RE SEMEST SE EMEST ES E ER WILL LL L B BE DEVOT VOTED T VO TO O TH HE E R RE EDESI DES ES G GN N OF TH HE C CITY TY’S S WAT WAT TER ERFR RF R FRO FR FRO ONT NT T A AT T MARIN NA JAC J A AC ACK CK. A AL LL O OF T THE H EXI EXISTIN ST TING S SURFAC CE PA P RKIN RK NG G FA FACING ACIN CING N THE H WATERFR WAT WAT A ERFR RFR R F ONT WILL L BE REMO R MOVED VED D AND AN A ND RE REPL EPL E PLACED LA ACED AC C CE WITH WIT H REST RES R ST S TAURA TAUR AUR NTS AUR TS, TS S, SHO OPS, PS AN AND N EN ENTE E T RTAINMEN RTAI TAINMEN NME T VE VENUES NUES UES THA THAT T WI W LL HELP HELP EL LP ACTI A TIVATE AC VATE ATE THE TH HE AREA. ARE AR REA. PROJECT TITLE : AMOEBAY - B BAY/

PROJECT SUMMARY : Amoe Amo Am oebay oe ebay ay y is s a new w wat at terfr e ont t prop pro osal s sal red de evel el lop opop pi ing in the exis xis xi iisting Mar ar rin ina na a Jack J Jac Ja area are a in Sar Sa asot asot s a, a Flo Florlo lor or id whi ida, hich ch sits c ts betw betw e ween ee e the Sara Sar sota ota t bay ta y and nd d exi exist st tin high ing ighrise ghris rise se e bu bui bui uildin ld ldi ld ldin din in ngs gs. s. Curr urr rently, entl e n ntl tly,, the the wate ater erfron nt is s prim p rim maril r y used as su urfac urfac r ac ace p pa parkin arkin r g f fo or over 800 0 cars car ar t a tha hat feed d int nto n t t to the h pen peni pe e nsul sul la- like ik ke pa park k on n the sout the out o u hern por ortion tion on o on of f the e site site,, le eavin vin in ng little little ttl t to o no oppor oppor pportuni tu ty tuni y to a act tiva ate e the the la ands ndscape d cape ape pe.. Amoepe bay’s bay bay’ s intent intent nt tion on n is s to r remove e and and rel el loca o ocat e th the are areas area reas fo for r pa parkin rking rk k g and t to o tak ta ta ake fu f ful ul ll l adv dvantage dvantage dvan age e o of f the t he ro roug rou ughly hly hl ly half h l a mile hal ile long long o g sit te a an nd d it its sn neighb ghbor h or hb ring ng park arks to ark o cr cre c reat ate and ate nd d est esta es ta ab blis l lis sh a se sen sens ens e nse of pla lace ace for or resi resident esident dent e s an a d visito visito v ito it tors of S t Saraso ras aso as a so ota. ta Shap h ed hap d by th he e ex xisti is isti st ng g site, sit ite, te, Am Amoebay Amo ebay bay y ins ns ser erts ts itsel its tself lf f in into nto o the th he e na nautica nau utic tica iica al contex contex ntext t to t cr cre re eate te e a l la angua ng ngu guage ge not no ot seen see een n any nywher nywher whe where here else else in in Saraso Saraso a ta aso ta a. Soft oft cur cu ves ve cre cr crea reat te e form, m, whi m, w ch in tu wh urn n respo pond nd to oc oce ea ean an a n floo flo loor lo topograp topo grap ra rap aphy hy type ype e g grou round round cond con ond ondi ditio ons a and landsc ds ap dscap ap-ing in ng g t that tha hat a cre create te e an n itine t rary ti tin a ar ary thr th rou ughout ugh ug out t the th he en h enti e n nti t re re de deve dev ev vel ve lo op ent. opm t. The he goa go l w was t to cre cr c reate a eaf fl luid uid land and ndnd scap s ca ap pe; e; one wher here ere the er he bui he bu ldin di gs din s do on’t n n’t t j jus us st s siit t on n to to top op p of of the e groun round, d, but rathe ther her t tu urn n seamlessl ea eaml a es aml essl ssl ss ly int in into t the har ar rdsca dscape dsc pe e and and d becom ecome ome p playf ayfu yful eleva elevat e a ion on o n ch nges chan cha g s tha that hat h a c can an be b inte interact int ract racted c ed w wit ith it th by the the park’ ar rk rk’ ks occu oc occ ccu cupant pants. s Many po Man poi oints ts s of f int nter n ter t er erest re est t in Saras ra asota ota are ot ar re with with t in thin n w wa walk ing ng o ng or r bikin ik kin ng distan di d st stan ta tan t a c ce, e, e whic whic ich h e enco cour ouraged the he e idea ide a of of cre crea rea r eating g an n el elev ele e lev le l eva vated ated pat p th t th hat at a t links in nks ks al all ll parts par part s of of the t e sit te,, iinclu nclu ncl uding din ng the the e s sm sma ma al ll l park areas are area re s on n t th he o he oppos pp ppos ppo po ite po e side de of of t the h roa he road oad d. T Th his s path, path, h,

ded edi dicate ated ate ted so olely le e for the th ped destr est tr rian, an an goe oe o es throu th thro ugho ug out out t every ver ry par pa art of o th the he s sit te an nd is is a mile miile le e in n leng l en th. th h IIts h. ts s max ax he hei h ei eig ight t is s siixtee xte xteen teen fe te feet et so a as to o n not ot inte nte nterfer terfer rfere e w with h vehic ehicles les es belo below, bel w, and w d h has as sever a evera e al al op oppo ppo portun rtun tunitie tun es to stop sto op and and re a r lax or r get off off f and nd expl xp ore xplore or the or he e rest t o of f the th he deve d lopm opment. opm ent Wit ent. With h t the inte integrat ntegrat gra g ra ion on of a on an n e el lev evat evat ted d path, ath the th Cit ty of Sar Sara asota a ha has as th as the pot tenti en al ent l to ex e pa pand a on n th this sys s tem, sy tem em, m, link linking king ing g othe other ho hot t spots spots ts ar arou round ou und d the e c city ity ty by using using ing n th path the ath h as s a me means an ans ns of of g getti ett etti ett t ng g aroun round rou d ea e sily, sily ily ly, quic q uii kly uic ly ly, y, and d saf sa a ely, ely w whe hether r it t be o on n a bike bik or on o foot f oo oot ot. t. All A Al l ll l of f t th he struc he struc ruc ucture u tures s iin n Amoebay Amo moeb ebay eba b y are are fro from the th he same fam same family. fa ily. ly Th They ta take ke on or organi ga c, gani gan c smoot smoot mooth h an a d some somewha omewhat wha nau nautica tica c l f ca forms rm thro throug ughout ugho t the the e e entir ntir ire rety ety t of f t the he site. ite te Eac ach ““a ach amoeb mo oeb eba” ba” var varie ar ar ries in s sca cale le, e, por po poro or u us sness ess, a ess, an and nd func n onal nct ncti onal on ality, al ity ty all of ty, of whic w i h s wh sm mooth ooth hly y bl d th blen t emselves emse mselves into ms int nt to th heir e r surr surro oun ound u din ing ng context context cont xt t and n nei nd neig n ne ghbor hbor bo ing g str st stru tr t ructures. ru ctur c tur ures s. The he West est st t sid sid de of the th developm deve lopm l pment ent t ser serv erv rve es s a as s a sere serene ne e walk wa alk lk thro hro h rough lush h gre gr en folia fo olia ol liage, ge e, a as s well e l a as a t ten en nnis s cour ourt with ourt with smal sma mall mal l st stadiu adiu ad adi um se seatin at atin at tiing. g. The e heart e of the the th h s sit site te cons ons nsis ns ists sts ts of f step t pped pe ed d hard hardscap scape sc e ho h usin housin us s g f fo our diiff diff dif if f erent eren e ren ent am amoe oeba o eba ba as s,, eac ach ach h serv ervin e ing ng a differ n f ffe ent nt a an and nd un uniq n ue p purpo urpose urpo rpos se e progr ogramm ogr am amma am mmatica ically, ica l which whi ch then then hen tran t sitions siti ons in into nt n to a publi publi lic beach l ch h alon along th t e Ea E st side e of f the th he dev deve ev eve v lopm lop en ent. nt nt. t Finally Fin nally ally,, th t e south th h s siide side de of of the e dev deve velopm lo lopm o en ent n serv se es as a m mass ass a sive iv ve gree ve gre n s space a ace, equiipped eq d w wit ith severa severa veral l am amenit enit e nit itie ies ies, es such suc uc ch as an n outd utd utdoor door r conc concert/ rt rt pe erform erform formanc rma ance anc an nc ven ve nue, ue u e,, a play e ay-gr grou round round nd,, and an nd a wat ter te r re ecr ecr reati reat ati tion on n pod. o od

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PROG GRAM RAM SHOW O N (LEFT (LEFT TO RIGHT RI ) OUTDO UTDOOR OR C CONCERT CER VENU ENUE E . . . . . . . . . . . . EXT T 011 WEST ES PARKI ARKING NG GARAGE GARAGE . . . . . . . . . . . . . . EXT 02 NEW MARINA RINA jACK K INT NT 01 D DININ G A AND PLAY A AREA E INT 02 02 / EXT EXT 03 PLAYG YG GROUND ROUN WATE W R REC R REATI E ON EXT 04 04 ROOFT OOF OP BA AR AND N PARK AR ING NG THE H AMOEBA MOEB E

INT 03 03 / EXT 05 05 INT IN NT T 04

Public health, arts/ entertainment, local business, and the environment are e the th h key interests that Amoebay addre d sses. Several of the amoebas are meant for local o ocal business and event space, giving occupants and locals an opportunity to interact with one another, as well as allow visitors to indulge in the cultural aspects of the city. The built environment maintains and even introduces additional greenscape into the development, making a large portion of the site dedicated to the natural environment. This in turn provides an ample amount of space for people to get outside, exercise, and utilize many of the developments amenities dedicated to physical activity such as the tennis court, the playground, and the elevated path.

029

WEST SIDE Amoebay encourages interaction between occupants in both the small and large scale settings it has to offer. For instance, a serene underwater dining space dedicated to bringing people together in an intimate and surreal setting; a space tucked away beneath the surface that ties itself back to the bay in an unorthodox and interesting fashion. An elevated path looping the entire development that compliments the landscape and helps occupants share the experience with those passing by. No No matter the area, the architecture has s h helped define and shape the way people can can n in int ract int inte act ct t w wiit wit th one another and the environment. It is a cat ca ata alys lys st fo for r the city; a mea mean eans ean s to to int in roduce the potential al of al f a community de edica d ted to t thoug ug gh htfu tf fu ul de d design sign s si sig ign gn g n an and and n it its t people.

PROGRAM SHOWN (LEFT TO RIGHT GHT G HT T) NEW MARINA jACK . . . . . . . . . . . . . . . . . . IINT NT N T 01 DINING AND PLAY AREA INT NT N T 02 / EXT XT 01 0 ELEVATED PATH . . . . . . . . . . . . . . . . . . . EXT T 02 TENNIS CO COU COU OURT URT RT . . . . . . . . . . . . E EXT EX XT 03 WEST PARKING NG G G GA ARA RAGE R A . . . . . . . . . . . . . . EXT EX E XT X T 04 PARK AREA . . . . . . . . . . . . . . . . . . . . E EX EXT XT X T 04

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THE AMOEBA Amoebay invites an entirely different language regarding its surrounding context. Itâ&#x20AC;&#x2122;s through such stylistic choices that a â&#x20AC;&#x153; zoneâ&#x20AC;? is established, one that is clear upon entering and leaving the development. This language is evident in not just the primary structures, but in secondary and tertiary planning decisions such as the curved parking garages, the ocean floor topography type landscape, and the winding elevated bike path that links together all portions of the site. By creating a language not seen anywhere else in Sarasota, the development intends to pique interest, encourage a healthier lifestyle, and explore the way we approach urban socialization.

PROG P PRO ROG OGRAM OGRAM RA AM A M SH SHOW HOW H O N (LEFT T T TO O RIGHT IGHT)) PLAY PLAYG P LAYG L YG GR ROU ROUN ROUND RO OUND OUN OU O ND D W WATE WAT AT TER R REC E REA REAT EAT EA ATION . . . . . . . . EXT 01 AT 01 NE NEW N EW MA ARINA AR RIINA RINA R A j jAC jA jACK ACK CK . . . . . . . . . . . . . . . . . . . INT 01 01 THE T HE AM MOEB MO MOEBA O B BA A . . . . . . . . . . . . . . . . . . . . . . . INT 02 02 DININ D NG A AN AND ND PLAY LAY AY Y ARE ARE AREA INT IN NT T 03 / EXT XT 02 0 ELEVA E LEVA LE EVA E VAT VA TED ED PATH ED AT TH . . . . . . . . . . . . . . . . . . . EXT 03 ROOFT OOFT OF OF OFTO OFT FTO OP P B BA AR A AND ND PARK P PA ING INT 04 04 / E EXT XT 04 X

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WEST PAR PARKING KIING GAR KING GA A A GE (PROG (PROGRAM PROGRAM OFF OFFERED) . floor or one on - (192) (192) PARK PARK RKING SPOT POT OT TS - STAIR STAIR AND AND ELEVATOR ELEVATOR FLOOR TWO - ELEVATED ELEVATED PATH CHEC CHECKPOIN KPOINT KPOIN - BIKE BIKE PARK PARK - SHADED SHADED SEATIN SEATIN I G - BIKE BIKE RENTAL RENTAL SHOP SHOP P

ADDRESSING (VEHICULAR) PARKING . . The development introduces an alternative to surface parking to promote a safer and healthier lifestyle for the pedestrian, all while keeping vehicular transportation a convenient process for those traveling by car. By pushing the parking to the edges of the site, this opens up the opportunity for the pedestrian to experience more of the development without vehicular interference. The elevated path reinforces this same idea, that cities must start to prioritize the pedestrian and offer unique ways of getting people out of their cars, and engaging with the architecture in person. It is in a context such as this you invest in the quality of life, where occupants can truly engage with one another in a space that is dedicated to social interaction, activity, and safety. .

E EAST PAR A KING I GAR R AGE GE (PROG (PR (PRO RO R RAM OFFERE F D)

. floor one - (66 66)) PARKING PARKING S SPOTS PO POT - STA TAIR A AN AND D ELEVATOR ATOR ATOR FLOO OOR OO OR TWO - ELEVATE T TED PAT PA ATH CHECKP KPOINT KP - SHA ADE DED SEATIN TIN NG - BIK KE RENTAL REN N SHOP OP P

FLOOR THREE - ROOFTOP BAR FLOOR TWO - (60) PARKING SPOTS - ELEVATED PATH CHECKPOINT floor one - (125) 5 PARKING SPOTS - STA AIR AND ELEVATOR .

NORTH PARKING GARAGE A (PROGRAM OFFERED)

ENHAN H CING . . . ELEVATED ELEVATED D PATH H “CHE “CHECKPOI CKPOI PO O NT” . P36-P 6 39 SPRD 18.0 + 19.0 19.0 ( NEXT NEX EXT )

. . . . . By introducing “programmed parking”, we can maintain parking requirements all while utilizing the top levels of parking garages for pedestrian use. Not only do we satisfy the parking requirement, but we give occupants a new experience. On the very West, North, and East edges of the site, lie the three new parking garages that satisfy the old number of parking spots (ROUGHLY 800) once lined along the water’s edge. The elevated path connects to each of them, creating not only ease of access to the heart of the site, but also a potentially more exciting experience walking between the palms while overlooking the bay. Each parking garage has its own program on the top level. For instance, the West garage has a bike park with several smoothed mounds for more experienced bikers to jump and play on, as well as shaded seating and a bike rental shop. The North garage has a bike rental shop on the second floor, as well as a rooftop bar. It is the highest point on the site, giving it the best views of the development and Sarasota bay. And lastly, the East garage has another bike rental shop, as well as shaded seating for resting that looks out over the beach. 035

DETAIL MODEL A substantial amount of time was spent researching Sarasota City and its demographics prior to approaching the project. The key analytic was a look into high foot traffic areas that were within reasonable distance of the site. This was to see how the city could potentially link these areas together, making Sarasota a more walkable and progressive city dedicated to its quality of life. The site consists of a large portion of land, some of which is separated by a large highway. While it was not mandatory to manipulate the landscape or introduce a program on the opposite side of the highway, Amoebay takes advantage of these areas to give occupants a richer experience; one that is cohesive, thoughtful, and fully integrated into all parts of the site. By activating multiple parts of the site, we offer a destination that

holds smaller destinations within itself; facets of an architectural whole that are as well thought out as the last. Amoebay capitalizes on the waterfront area, not exclusively in a financial sense, but in a way that tethers those visiting, the surrounding nature, and the built environment. Moving forward, the city can introduce similar planning methods in other undeveloped areas. If such places were to be CREATED in the vicinity, the implementation of the elevated bike path could easily be manipulated to link these HIGH TRAFFIC areas together, making Sarasota a more pedestrian friendly city; a city that addresses walkability, positive environmental impacts, and ultimately invests in the urban fabric that binds and brings people together in spaces that feel like theyâ&#x20AC;&#x2122;re catered to them and their happiness.

ELEVATED PATH = 1 MILE IN LENGTH (LOOPED) 1 MILE = 5280 FEET EVERY 100 FEET MARKED IN LARGE TEXT ON PATHâ&#x20AC;&#x2122;S SURFACE

11 . 25 . 19

1 : 8 SCALE DETAIL MODEL

037

bayfront park checkpoint . . . . . . . 1 (of 3) elevated rest stops . . Concerning a larger scaled urban project such as this, it is important to keep the pedestrian in mind, and how they would navigate different areas of the development. Ultimately, itâ&#x20AC;&#x2122;s good planning that can influence the way an occupant interacts harmoniously with nature, the built environment, and other people in their respective space, which is why the elevated bike path is such an integral part of the development. It is a means for large amounts of occupants to explore and convene at different parts of the site easily and effeciently all while engaging in the architecture and the landscape. . . The design of the path and the approaches leading up to it were heavily influenced by the surrounding structures. Sleek, curved geometries were used, as well as repitious and linear structural components that contribute not only to the mechanics necessary to sustain the cantilever over the water, but also the design on the sides of the stair and pathway railings. . .

1100 ft

. . the approach dramtically extends out past the park’s edge, and onto the surface of water, giving a moment for the occupant to feel apart of the bay. The curved form begins to wrap the stair at its base, which allows for langauge used on the surrounding structures to be utilized on the stairs exterior railing. The stair creates an aperture, penetrating the underside of the curved mass to meet the walkable elevated surface sixteen feet (16’) above the water. These “checkpoints” located in two other portions of the mile long path are meant to accentuate the connection between the occupant and both the natural and built environment; in this case, the Bayfront park checkpoint is the perfect place to stop and look out over Sarasota bay. . . . . . . . .

1000 ft

S SECOND LEVEL EL BIKE PARK K

UNDERW ERWATER RWA DINING

OBSERVATION ON N LEVEL LE

S SECOND LEVEL PARKI RK NG RKI G

ROOFTO OOF P BAR

AMOEBA LEVEL LEVE 2

AMOEBA AMO OBSERV B ATION L LEVEL

SECOND COND LEVEL EL BIKE STOP

D2 D1

E2 E1

AMOEBAY MASTER PLAN SCALE BAR 0' 20' 55'

130'

260'

LEFT : AT THE HEART OF THE SITE LIES “THE AMOEBA” ; A SET OF FLUID YET STURDY STRUCTURES THAT RESPOND APPROPRIATELY TO THE SURROUNDING LANDSCAPE AND GUIDE OCCUPANTS TO, AS WELL AS FRAME THE VIEW OF THE BAY. BOTH THE STRUCTURES AND THE HARDSCAPE WORK HARMONIOUSLY TO REACH OUT PAST THE EXISTING LAND AND OUT ONTO THE WATER TO CREATE A STRONGER RELATIONSHIP BETWEEN THE BAY AND THE OCCUPANTS. THE LINEAR STRUCTURE HELPS TO BREAK THE SMOOTHNESS OF EACH SKIN, OFFERING RIGIDITY AND A NECESSARY CONTRAST THAT HELP ELONGATE AND SUPPORT THE AMOEBA. THE STRUCTURE ALSO PLAYS A VITAL ROLE IN BOTH OF THE BUILDING’S APERTURES, WHICH ACT AS FILTERS FOR LIGHT TO ENTER EACH OF THEIR RESPECTIVE SPACES. THE SMALLER STRUCTURE (LEFT) OFFERS A FOOD HALL HOUSING (7) UNIQUE LOCAL FOOD VENDORS, RESTROOMS, AND ELEVATED PLATFORM SEATING THAT MIMICS THE LANDSCAPE SURROUNDING THE AREA. IT IS HERE OCCUPANTS ARE GIVEN A LARGE SPACE FULL OF NATURAL LIGHT TO SIT, RELAX, EAT, AND SOCIALIZE WITH A VIEW OF THE WATER ALONGSIDE THEM. THE LARGER STRUCTURE (RIGHT) SERVES MULTIPLE PROGRAMS AT DIFFERENT TIMES OF THE DAY. IT IS PRIMARILY A LARGE COMMUNAL/ EVENT SPACE THAT CAN BE RENTED OUT FOR LARGER OCCURRENCES, OTHERWISE, IT IS OPEN TO THE PUBLIC TO EXPLORE AND ENJOY. TOWARDS THE BACK OF THE STRUCTURE ON THE GROUND FLOOR IS A LARGE KITCHEN SPACE THAT

THE AMOEBA 11 . 20 . 19

1 : 20 SCALE MODEL BIKE VIEW

CAN BE USED FOR EVENTS, AS WELL AS PRIVATE COOKING CLASSES THAT RESIDENTS OR VISITORS CAN SIGN UP FOR. THIS ENSURES THE SPACE IS NEVER UNDERUTILIZED AND OFFERS A NEW WAY TO BRING TOGETHER THE SARASOTA COMMUNITY. AFTER ASCENDING THE STAIR HUGGING THE CURVED WALL OR USING THE ELEVATOR LOCATED IN THE BACK OF THE BUILDING, OCCUPANTS REACH A PLATFORM THAT LOOKS OUT OVER THE GROUND FLOOR AND IS CONNECTED TO A CATWALK. THE CATWALK SPANS THE LENGTH OF THE AMOEBA, CREATING A DRAMATIC APPROACH TOWARDS THE THIRD LEVEL. A STAIR PIERCES THE THIRD FLOOR, ASCENDING THROUGH A LARGE APERTURE UNTIL REACHING THE OBSERVATION PLATFORM. HERE, THE OCCUPANT IS AT ONE OF THE HIGHEST POINTS IN THE DEVELOPMENT, AND IS GIVEN AN EXTENSIVE AND REWARDING VIEW OF SARASOTA BAY. BELOW : A GLIMPSE OF THE ELEVATED PATH CAN BE SEEN PASSING THE AMOEBA. AT A HEIGHT OF SIXTEEN FEET, OCCUPANTS ARE GIVEN A DIFFERENT EXPERIENCE AS TO WALKING ALONG THE WATER’S EDGE. HERE THEY ARE GIVEN A NEW PERSPECTIVE THAT OFFERS A DIFFERENT VIEW OF THE AMOEBA, A FURTHER VIEW OF THE BAY, AND AN UP CLOSE AND PERSONAL RELATIONSHIP WITH THE PALMS THAT WALK ALONGSIDE THE ELEVATED PATH. THE VERTICAL MEMBERS THAT SUPPORT THE PATH HIT THE GROUND TO CREATE SEAMLESS REACTIONS BETWEEN THE BUILT ENVIRONMENT AND THE LANDSCAPE ACROSS THE DEVELOPMENT. PORTIONS OF THE GROUND WERE RAISED TO COEXIST WITH THE COLUMNS TO CREATE SHADED PLANTER/ SEATING SYSTEMS BENEATH THE PATH.

DINING SPACE . . . . . . BIKE PATH . . . . . . BIKE PATH

11 . 20 . 19

1 : 20 SCALE MODEL FRONT VIE I W

EVENT SPACE . . . . SWIMMING AREA . . . . SABAL PALM . . . . . . BIKE PATH

045

INTERIOR RENDERING INTERIOR PERSPECTIVE HIGHLIGH HIGHLIGHTING THE JOURNEY ACROSS THE CATWALK AND THRO THROUGH THE APERTURE IN THE THIRD FLOOR PLATFORM, TFORM, WHE WHERE OCCUPANTS ARE GIVEN AN EXTENSIVE IVE AN AND MAGNIFICENT VIEW OF SARASOTA BAY. -

SECOND LEVEL VIEW LOOKING SOUTHEAST PROGRAM SHOWN : COMMUNAL EVENT SPACE / VIEWING PLATFORM TIME OF DAY / year : JUNE 1ST 2:00 00 PM (EST) CAPACITY PACITY PACI TY : 6 OF OF (MAX) (MAX) 415

047

AMOEBAY SARASOTA WATERFRONT COMPETITION N:

FIRST PLACE RECIPIENT

THE FRAME

FOR ENCORE! AND THE COMMUNITY OF TAMPA ADVANCED DESIGN C PROFESSOR JOSUE ROBLES (4) GROUP MEMBERS: JASON HENNING II M I C H A E L ST E V E N S O N

SPRING 2019

AUDREY SCANLON VALERIA ZAITER

HANK BALLARD STREET

PLAN AN DPROGRAM

AREA OF PROPOSAL

10’ WALL

AXIS FRAMING CONNECTION FROM ENCORE INTO PARK

BUSTER SIMPSON’S INSTALLATION PIECES S

AXIS FRAMING CONNECTION N TO PERRY HARVEY PARK K

FIREPOWER NADINA

COONTIE

FIREPOWER NADINA

CLARA INDIAN HAWTHORN

KEY

01 . 08 . 19

“SOL O AR P PARK” ARK” AT T ENCO N RE! NCO RE

INTRODUCTION AND SITE PLAN LOCATION :

TAMPA, FLORIDA ; UNITED STATES

LATITUDE / LONGITUDE :

27 DEG 57’ 14.22” N / 82 DEG 27’ 08.63” W

SIZE :

14,430 SQFT

TYPE :

PERMENANT INSTALLATION

STATUS :

COMPLETED / BUILT

AWARDS :

FIRST PLACE

CLASS OVERVIEW : The University of South Florida’s School of Architecture and Community Design was tasked with a new project for the spring of 2019. With funding from the city of Tampa’s Housing Authority and collaboration with artist Buster Simpson, students were commissioned to design a permanent installation in DOWNTOWN TAMPA. The site is a part of Encore! Tampa, a mixed-use district consisting of housing opportunities, parcels dedicated to hotels, offices, and retail. The south end of the development is home to solar park, WHICH helps cool the buildings throughout Encore!, AND WAS THE PROPOSED AREA FOR THE STUDENT’S INSTALLATIONS.

The project WAS split between two semesters, from January to July, with the first HALF BEING a competition for the permanent installation, and the second HALF seeing it through TO THE construction and marketing PHASES TO BE BUILT ON SITE. Students were asked to provide shade and seating, a way to foster new connections through chance meetings. The structure of the first HALF was TO split into four groups of four where EACH TEAM would cREATE A proposal for the site. Once these ideas were presented, one proposal would be chosen, and the students would work collectively towards A final design.

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DOCUMENTATIO ENT ON OF BUIL BU IIL LDI LDI D NG G / FAB ABR RIICA R CATIION N PROCESS PROCES OCE To creat r e a succ uc essf ucc ess ul urban urb ban ins install tallatio atio on, n many ny thin i gs s were to be be c consid dered ered.. Qu uesti e ons big an and nd smal mal all l were ask asked ed frequ frequ quen entl en ntly, y, such as how will will peop ple sit it? t? How can the devi dev vice ce e encourage ncou co rage e pla play while pl while main ma aintain tain ining ning g safety? safe t ty ty? Can this is be comf comforta orta r bly ly occu o pied by a gr ro oup up of peopl people? e? How How will ll l this dev devic ic rela ice r te back back k to o the he context cont ext and affect ct the e local local com co o mun munity? ty With With h all al thin hings hin ings to to be conside idered, red the red, h fir irst t matte atter to be b deci e deci ed e d was was creat creating ing a an ortho r ho ogona g l d de evice amo ongst t an an alre lre r ady (ove (over)cu r)curved rve ved an a and f id conte flu conte nt xt. This con contras ras ast as t woul wo ould d play play nicel nicely y again agains a t t ain th he e existi existi st t ng sidew sidewalks alks, and al and wo woul ould d help help to to estab estab ablis blis sh an sh n area area mean m t for for th he de device vice to occup ccupy. y. . . Followin Followin ow g this this decis decis sion, ion on, sea eating ea ting hel helped he ped to cre creat e e the eat “boundar “bou ndar nda a ies” i concern con cern ning the e inte interior rior spa space, ce, as s well el ll as how many n cou ould ld occup occupy y it at one give g v n time. giv gi time. The The s Th seat eat t-ing woul ul ld act as anc chors s for or r tal t l posts/ posts/ sts s/ pan pa anel system syst ems ms s t to o climb mb upward ard and nd not o only nly def define ine in ne the he he

03. 3 16. 19

int inte terior rio spa ace, ce but b also also lso to t st st tar art in ar introd trodu tr trod ro u ucin uci ci c ng an imp im impo mp rta mpo rtan a t compon compon mpo mp p ent e - s sh hade. a ad The orienta ori or o rient enta entation ta t ation tion n of of s seat seatating in g a and d pane p pan ls w work or r toge rk t ge ether r to maxi max maximize m a m axi mize mi ize z the e am amo a mo ount of f shad hade ade d the he int n erio nt rior rec rio eceiv ves, e as it it is s in a locati locati cation on with no o cove over in the vicinity. over v y y. . . . The pan panels pane ls jobs l b are e to o introduce duce ce as mu much uch sh sha shade s hade as as possible poss ible,, wiithou ible hout en enclos c ing n the he e spac space e too m mu uch; visi i tors who who stu st mble m mb upo pon the th he device ice ce sho should u uld still stil sti l be e able to o ente n r and and l leave the fram me with with ease, w ease,, all a wh e being whil ng n g able to o en e enj enjo y th he view view w of of the the commun commun m ity. it And n so, o the pane o, panels pan ls break break r a the at h top edge he dge of e each h modu dule, le, and fold par para allel to the allel alle t ground, gro und, cre cr atin a g an over o verlapp lappin ing g cano c py above o the e occ occupan upan p ts. ts W With ith i its strong stro ng base base a and nd n d stur turdy t y mechn echnical ical com compone pon nts, the pone frame fram e presen presen ese ts s an impres p sive can cantile tilever tile ver that sli slightl ghtly ghtl y extends exte nds past the th int nterio nterio erior r space, space, e, cre creatin a g a welc atin wel omin oming g entry entr y for for those those e wh who o pass pa by. . . . .

03 . 18 . 19

OF DOC DOC CUM MEN ENT TATION ION OF BUIL BU LD DIIN IN NG G / FA AB BRI RICATI RI CATI CA TION ION PROCESS PR Th h e month month th h long l lon pro ocess ces e , an and d was was bu built ilt gr r two tw w to o thr thre ee e e weeks. e ek 16 gau 16 gauge gaug e tube tube stee st teel l wa was s welded w welded de to crea reate rea te e a rec rectang tangular ular bas b e f for e each modu odu ule that that woul would d suppor suppor pport ppo rt the concre cr r te seati eating. ng. Form rms rm s were ere ma mad m ade a e fr from om lamin lamin aminat inated at ply pl lywood ly woo to o create te a smo t smooth oth fini fi fin f inish h on the the surfac surfac ace ce o of f the e con co crete e seatin se ng. To minimi minimi nimize ze cost co c ost, 2X 2X6 2 X6 bo boards b oards ards rds ds s wer we e d doubl ubled uble u b d up to create t ver erti tical post posts s and bea and an beam eams t e th hat t would oul ld d h help hel p s suspen p d the e perfor orated or ated ed par parti ticle boar cl oard. oar oa ar rd d..

no o on one e was as s (inc (i redib red redi re edibly) ly y) h u urt in the e maki ma n mak ng g of th the frame rame me e.

03 . 19 . 19

(3)

(1) (1)

(1) 1 (2) (3)

(3)

(2) (1)

The frame is a unique urban installation in that it creates a room amongst the flat and open park, making a comfortable and shaded space that can house a group of people, big or small. The way occupants were to interact with and within the frame was of great concern, and was a major influence in the orientation, size, and composition of seating. With these things in mind, the frame became a vessel that offered multiple forms of program and ways in which an individual, a couple, or a group of people could occupy the space at any given time. Being in florida, the sun can be awfully cruel. Between 11:00 and 4:00 it’s hard to be outside for extended periods of time. The frame attempts to combat this problem, offering itself as an oasis for any who stumble upon it. The panels are set up in such a way that more than half of the seating is shaded as the day goes on, making it a comfortable safe haven from the sun.

Only a small portion of the panels are perforated, helping to maximize shade as well. Whether an occupant wants to get some sun or relax in the shade, the frame encourages different people to potentially interact with one another depending on where they’d like to sit. A majority of the seating in the frame is positioned so that occupants can face one another, in turn encouraging interaction. These are three large portions of concrete seating that occupy the center of the frame. The frame also offers moments of privacy for the individual and couples by wrapping the concrete around the vertical structure to create seating on the back side of the panels. While it is positive to offer a space for strangers to coexist, it is just as important to provide quiet spaces for reflection and seclusion. * ( results may vary ) *

INDIVIDUAL The individual is bound to no one; they are able to do as they please. In this case, the individual may sit wherever they care to sit. However, the frame suggests areas in which an individual may find themselves to suit them in that moment. There are two modules of backrests that are larger than the others, and imply that an individual may occupy the area, as it is the perfect proportions for a single person. There are also two privatized areas away from the interior room, that offer more privacy for an individual that doesn’t care to socialize or just wants to read a book, perhaps. the individual is a great example of an occupant that creates their own rules and interacts with the frame to satisfy their personal needs.

COUPLE Every couple is different. It is in good faith that a couple stumbling upon the frame would care to sit with one another to enjoy and potentially investigate the urban room in Solar park. The diagram displays two areas in which a couple may care to take a seat. If others are occupying the main space, couples are given the option to occupy the back sides of the panels for more privacy. If it is only them, the frame does not dissuade couples from entering the room and taking a seat on any of the three interior benches to stop and enjoy this urban installation and of course, each other's company.

GROUP The frame proves itself successful in accommodating smaller groups of people, but what about a group of 8? As shown in the diagram, the interior concrete seating areas can satisfy three occupants per bench, this is not even to mention the exterior seating facing the outside. Point being, the frame can sustain a very large group of people (given its function) and intentionally reinforces the way in which people socialize and interact with one another. 059

(2) 1.5” PINE SHEETS (EXPLODED VIEW)

(VIEW 1)

(VIEW 2)

(VIEW 3)

061

ELEVATIONS

063

DAY YTIME RENDERING REN NDER ER RING G BY : VAL LERI E A ZAIT A ER R -

WEST S VI VIEW E / APPR EW PPROAC OACH OAC H PROG ROG OGRAM OG RA SH RAM HOWN N : (1)) IN IND DIVIDUAL ; (3) GROUP TIME E OF F DA DAY / ye DAY ear : JUNE 1ST 10:00 AM (EST) CAPA APACIT TY : 4 OF O (MAX (MA MAX) X) 12 CURR URRENT NT PE P RCE R NTA RC NTAGE GE OF SHADE : 45% URBAN N ACTIVAT TION I IO : ACH C IEV VED E

065

TUBE STEEL (FRAME) . . . . . . . . . . . . . . . . . . . . . . . . . . 1/4” sheet metal (ENCLOSURE) . . . . . . . . . . . . . . . . . . wood (BACKREST) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . concrete (seating) . . . . . . . . . . . . . . . . . . . . . . . . . . .

nightTIME RENDERING RENDERING BY : VALERIA ZAITER & JASON HENNING -

NORTH VIEW / APPROACH PROGRAM SHOWN : (1) COUPLE ; (4) GROUP TIME OF DAY / year : JUNE 1ST 9:00 PM (EST) CAPACITY : 4 OF (MAX) 12 LIGHTING AND SAFETY : INCREASED URBAN ACTIVATION : ACHIEVED

069

D-1

( ABOVE ) - EXTERIOR . . . . . . . . . SOUTH SIDE - (LARGE) WOODEN BACKRESTS AND CONCRETE SEATING CONNECTION TO PANEL ( LEFT ) - FRAME IN SITE . . . . . . 03 . 28 . 19 - INTERIOR . . . . . . . . . EAST SEATING - (3) LARGE AND (6) SMALL WOODEN BACKRESTS CONNECTION TO STEEL STRUCTURE

DETAILS - 1 071

( RIGHT ) . . . . . . . . . . . . . . . . . . . .

STRUCTURE/ FRAMEWORK CONNECTIONS TO PANELS

( BELOW ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NORTH SEATING DETAIL - CONCRETE SEATING TO (12 GAUGE) STEEL TUBE - CAN LIGHT PLACEMENT FOR BACK LIT SEATING - MECHANICAL CONNECTIONS TO STEEL AND CONCRETE

DETAILS - 2 CONCRETE CONC RETE

1 GAUGE STE 12 ST EL TUBE TUBE TAPCON TAPC ON

LIGHTS LIGH TS

9/16 9/16 6” N 6” NUT

DETAILS - 3 SECTION DETAIL . . . WEST VIEW

075

THE FRAME 2019 20 1 ENC 19 N OR RE! UR RB BAN A ACTIV CT C TIV IVAT TIO ION COMP ION COOMP M ETIT ET TIT ITIO ION :

FIRST PLACE E RECIPIENT

FINAL COLLECTIVVE DESIGN “THE FRAME” HAS PROVED SUCCESSFUL L IN PART 1 OF THE URBAN INSTALLATION CLASS. PART 2 CONSISTS OF ALL (4) GROUPS / (16) STUDENTS JOINING FORCES AND REFNING, RESHAPING, AND ULTIMATELY IMPROVING THE ORIGINAL DESIGN TO BE PERMA ANENTLY INSTALLED IN SOLAR PARK AT ENCORE! TAMPA.

WRITTEN BY : AUDREY SCANLON The Frame is an intersection of two frames shaping an urban room that creates a threshol ol ld between the rest of the park and inside the installation. This threshold over th he p path path connects the artist Buster Simpson’s sculptures and the solar park, leading ng to the the d desig e n esig of the raining pixels on the shading panels. While inhabiting this room, oom, om, one automat omatical ical call ca ly ly connects back with the community as the fram am med v views iews and and ide ideals al als ls enve env lope lop the e ind individ ivid i ual. l The l. he e structure creates a metaphorical pic picture ture e frame, holding the ideal images, we ref ef flect e bac ck to what Encore! is doing with their r community and how they are trying to create a richer lifestyle. The long concrete seats from the initial proposa al were we w re broke rok n up to o crea c te a unique sitting t experience, some places suitable for one person and a few that accommodated a pair pair. Peop o le could inhabit the space with a larg ge group or have multiple smaller groups, with the space between the clusters large enough h to separate but not isolate. Varied seating opportunities allows people to congregate tog gether, elderly and young children alike. This can also gether foster chance encounters to help cre c ate new relationships within the community. As people congregate within the st tructure, they are shaded by the large enclosing panels, broken up in response to the seating ting bel below ow. ow w Perf P orat rations i ion that came from the “Place Yourself” proposal were adapted to fit the enla arged stee ar steel panels steel panels to o allo allow w more more light ig and a n air through the installation. Painted a brig bright bl lue, Th The he Fra Frame me becom b com comes es a bea beacon con in the green g landscape, drawing passersby in and d shel she teri t ng them hem em from o the har rsh Flori r da a clima clima limate. te. Spanning over a walking path, the cu curv rves of f the al alr ady alre dy la l laid pat aths at hs s in th t e pa p rk k leads ead ds dog walkers and visitors alike right int to the e iinst tallati tiion on. Walk a ing alk n thro hro ough ugh, you yo loo look k o out to t view the solar park to the East of the e park rk. This s solar ar p park a ark is s what at t pow powe ow rs s the e chil hill il er r system to cool the community. A piece of th the e overh head shade hade ade is angl a ang ed to resona resona ona n te e with t the the 23 ° th angle of the solar panels to optim mize the e su sun’s powe ow owe wer iin Tampa.

THE HE FUNI UN O UN ON N . . . . . . . . . . (1) W WALK WA WAL ING G TH THR THRO H UGH GH H TIME ME E . . . . . . . . . . ((2) 2 PLAC LA LAC ACE AC E YOURSE R LF RS RSE F . . . . . . . . . . (3) THE FRAM FR E . . . . . . . . . . (4)

03 . 20 . 20

PHOTO BY : AUDREY SCANLON

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EAST S ELE EL LEVATI VAT A O ON N

NORT R H EL LEVAT EVA V ION IO O

BY : IBE IBETH TH PEREZ PEREZ AND VAL LERIA E Z TER ZA ZAI

SOUT OUTH TH EL LEVAT E EV IO ION

WE WEST ELE L V VA VATI ATION ON

img img_ mg mg_ mg g_ _112 1228 228 2 28 28

. . . . img img_ im mg m mg_ g_12 1236 23 2 236 36 36

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. . . . iimg_ mg_ mg g 1230 12 123 230 23 30

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p ho ph pho hot o( s ) by : au a u dr r e y s c a n l on

03 . 20 . 20 0 20 083

. .

URBAN ACTIVATION STUDIO

SPRING PROFESSORS : JOSUE ROBLES CARABALLO RYAN SWANSON

. . .

. . . .

UNIVERSITY OF SOUTH FLORIDA SCHOOL OF ARCHITECTURE + COMMUNITY DESIGN

. . . . . . . .

IN COLLABORATION WITH . . . . . . . . . . . . . . . . . . . . . . . BUSTER SIMPSON ENCORE COMMUNITY

DEVELOPMENT TAMPA HOUSING

THE

. . . .

AUTHORITY

SPECIAL THANKS TO:

. . .

BRIAN COOK J A S O N TA Y L O R , A I A M A C C O N ST R U CT I O N U P P E R L I M I T FA B R I C AT I O N J U A N ES PA R ZA G U L F AT L A N T I C P O W D E R C O AT I N G

FRAME A AM .

THE FRAME

AT S O L A R P A R K

THE FRAME 4

PLACE YOURSELF 4

WALKING THROUGH TIME

JASON HENNING . . . . AUDREY SCANLON TREVOR BRANNAN . . . . . NINI NGUYEN MICHAEL STEVENSON . VALERIA ZAITER IIBETH PEREZ . . . . . KAMANI SAMUEL

LEENA ERCHID . . . . . REID FISHER ALMOG NAHUM . . . . . TYLER SZYMKOWIAK

THE FUNION GENBY ALICE . . . . . PAIGE BEBOUT EVAN KNOLL . . . ABBIE LEVENANT

ZI N INTE ZIO NT RMISSI NTE SSION SSI O . . . . . . ((1 OF 2) ON 2

TAMPA BAY TIMES “ TH HE FORGOT OT TTEN N ”

SUND UND N AY, A JUNE 23, 201 09

IN THE E EARLY E LY Y 190 1 0’S, NEARLY 400 AFRICAN 19 AN N AM AMERICAN CAN ANS AN S WE W RE BURIE ED IN ZIO I N CEMETE CEMETE METERY RY Y ON T TAMP TAM A’S EDGE, THEN RECORDS DS STOPP OPP OP P ED. D WHER WHE E AR RE TH THE E BO B DIES ES? ES ?

LOCATION :

tampa, FLORIDA ; UNITED STATES ES

LATITUDE / LONGITUDE :

27 DEG 58’ 24.076” 6 N / 82 DEG 27’ 21.569” W

SIZE :

142 sqft

TYPE :

installation / memorial

STATUS :

CONCEPT

time :

spring 2020

history : established d iin the early ar 1900s, Zion is believed to be the first African American cemetery ry r y in Tampa. a. rou o ghly ou 800 blac ck residents s of Tampa were buried in the segregation-era cemetery from 19 1 01 through 1929.Developers in the 1950’s built over the property, despite knowing bodies had been buried pior. In 195 19 11, unmarked grav ve es were found by construction workers, yet no further investigation took oo place. After nearly a cent tury, ur researchers discovered unsettling information; the death certificates of hundreds of African Americans buried in Zion cemetery, which was soon revealed as the first african american cemetery p practicall ly erased from all public records. Ground penetrating radar indicates that no one ever moved the graves, meaning to this day, the public housing complex (Robles Park) still sits on top of Zion Cemetery.

CLASS OVERVIEW : Led by Paul Robinson, the aim of the studio/practicum was to explore the potent consequences of the he contemporary urban experience through evidentiary investigations that excavate and expose the latent nt constancy of transience and abandonment. the studio work will forensically reveal, via X-ray technology, the underlying traces found within the momentary crisis of abandonment in marginalized d sectors of Tampa’s urban environment. This documentation will be brought to the studio and transformed—via digital and analog modalities—into two and three-dimensional spatial environments. Both process and outcome emerge as a critical lens for self-reflection concerning the oft unseen comingling of anarchy, beauty and crisis elemental to the urban condition and its impact on architecture. PROJECT SUMMARY : To generate a narrative based on the displaced residents and unwanted possessions left behind in their respective homes felt misguided, and perhaps not of the utmost importance. Here was a rich context, a story that deserved being told and past lives that were meant to be respected and magnified after being left in the dark for so long. Simply put, this project focuses on the visual and conceptual relationships between the living and the dead through the use of manipulative mechanical components, light, and the human body; all of which play a role in helping to understand and acknowledge the story of Zion Cemetery.

The device protruding from the existing exterior walls is a vessel meant to create a connection from the outside world, in. A perforated aluminum sheet holds 382 circles in its center, which discusses the narrative of past lives in both the day and at night. During the day, sunlight pierces the sheet and is cast onto the occupant(s) and the space above. At night, interior lights fill the room and glow through each of the 382 perforations in the vessel’s exterior skin. It is a way of memorializing the lives of those who were so wronged, and connecting them back to our r community- one that is challenging perp e etua e l and racial injustice and actively making positive change for past, present, and future generations.

089

Allen (infant) Dec. 26, 1916 – Dec. 26, 1916 Allen, Laura 1869 – Aug. 23, 1915 Allen, Samuel Sept. 13, 1917 – Sept. 13, 1917 Allenn, Georgana Dec. 10, 1843 – May 31, 1918 Alva, Yulee 1889 – Aug. 15, 1915 Ambristal, Mattie Lee Not listed – March 9, 1914 Anderson, Ellen 1876 – Sept. 14, 1913 Anderson, Ida 1867 – Jan. 10, 1917 Ardis, Martha Feb. 4, 1868 – Dec. 7, 1916 Atkins, Bob Jr. Oct. 23, 1915 – Oct. 27, 1915 Bailey, J.L. Nov. 2, 1916 – Feb. 7, 1917 Baker, James 1876 – Dec. 12, 1920 Barnes, Stella 1873 – March 9, 1914 Battles Oct. 20, 1915 – Oct. 20, 1915 Baxter, David 1884 – Jan. 19, 1915 Bell, Clarence 1892 – Oct. 31, 1916 Bell, Rachel 1849 – Dec. 19, 1917 Belton Aug. 21, 1918 – Aug. 21, 1918 Belton, Thomas April 12, 1915 – June 27, 1916 Benford (infant) Nov. 11, 1916 – Nov. 11, 1916 Berry, Henry Oct. 9, 1896 – April 7, 1918 Birde, Selma Dec. 28, 1911 – Sept. 13, 1916 Blackman Dec. 1, 1917 – Dec. 1, 1917 Blackman, Emma April 24, 1887 – Nov. 4, 1914 Blackman, Leila 1888 – Dec. 1, 1917 Blair, Henry March 5, 1872 – Oct. 26, 1917 Brown, Drewcilla 1873 – Dec. 15, 1918 Brigham, Anthney 1865 – Oct. 12, 1918 Bright, Lemul 1916 – June 19, 1918 Brokey, Abraham 1865 – Sept. 27, 1915 Brook, Tella 1887 – June 22, 1918 Brooks, Lizzie 1883 – May 29, 1915 Brosen (infant) Dec. 14, 1916 – Dec. 14, 1916 Brown Nov. 20, 1917 – Nov. 25, 1917 Brown, Amanda 1829 – Dec. 27, 1913 Brown, Jessie May 6, 1881 – Feb. 5, 1917 Bryant, Hattie 1839 – May 22, 1916 Buslen, John Sept. 26, 1915 – Sept. 28, 1917 Butter, Gracy 1887 – Aug. 28, 1913 Caro, L.G. Feb. 12, 1839 – Dec. 17, 1916 Carr (infant) April 12, 1916 – April 12, 1916 Carter (infant) Oct. 9, 1916 – Nov. 3, 1916 Carter, Amanda: 1855 – Aug. 7, 1918 Carter (infant) Oct. 9, 1916 – Nov. 4, 1916 Carter (infant) Oct. 11, 1916 – Oct. 18, 1916 Chairs, Clarether Sept. 8, 1917 – March 7, 1918 Chandler, Maggie J.A. July 18, 1876 – Dec. 16, 1915 Charles, Warrin 1879 – Oct. 8, 1915 Childs Sept. 27, 1917 – Sept. 27, 1917 Clark, Mary July 2, 1855 – Aug. 2, 1915 Cody, Emma 1864 – July 26, 1913 Colman Fredrick 1898 – March 9, 1917 Coleman, Frances 1875 – Dec. 18, 1915 Cooper, Annie May 30, 1885 – May 31, 1918 Connia (stillborn) April 23, 1920 – April 23, 1920 Counts June 30, 1918 – June 30, 1918 Counts, Clare 1885 – June 30, 1918 Counts (infant) Nov. 6, 1916 – Nov. 6, 1916 Cresta, Jose Gregario Not listed – Oct. 6, 1913 Crock, Lizzie 1869 – Aug. 14, 1915 Crumbly, Minnie 1879 – Jan. 20, 1917 Curry, Jamie Jan. 18, 1885 – Dec. 4, 1915 Daiver, Peter Melton 1890 – Jan. 25, 1917 Dallas, H.S. Feb. 17, 1872 – Nov. 6, 1917 Dausles, Phillis 1835 – Jan. 9, 1915 Davies Sept. 7, 1913 – Sept. 7, 1913 Davies, Mossy July 15, 1916 – Feb. 12, 1917 Davis, Cike 1857 – May 5, 1919 Davis, Ernestine Nov. 10, 1916 – April 7, 1918 Davis, Joseph Sept. 30, 1901 – Oct. 2, 1915 Davis, Len R. 1873 – Aug. 26, 1918 Davis, Rebecca March 6, 1886 – Feb. 2, 1915 Dawpere, Charley 1866 – Dec. 27, 1915 Denson, Jessie 1893 – March 9, 1917 Dixon, Albert Jan. 1, 1894 – March 20, 1917 Dixon, Mary March 25, 1864 – Nov. 8, 1917 Douglas, Helda June 9, 1899 – Oct. 3, 1917 Dupont, Whester Ardis 1880 – April 16, 1918 Edwards, Dorthy Mae 1916 – May 20, 1918 Edwards, Latt 1850 – Dec. 23, 1915 Emmins, Hellen 1881 – Aug. 22, 1913 Evans, Clara Sept. 3, 1900 – Dec. 2, 1916 Evans, Rosa Lee 1913 – Feb. 4, 1917 Evens, Harould 1903 – Dec. 6, 1920 Fanza, Alfraidia 1904 – Oct. 23, 1918 Fishborn, Mary Glady 1915 – April 7, 1915 Flatio, Curtner 1919 – April 26, 1919 Forbes, Drucilla 1852 – Jan. 20, 1920 Fort, Clyde Nov. 24, 1917 – Nov. 24, 1917 Franklin, Evalia Aug. 19, 1911 – Nov. 23, 1914 Frasher, Polly 1874 – Feb. 16, 1915 Frazor Sept. 11, 1915 – Sept. 11, 1915 Gamble, Thelma Jan. 9, 1915 – Aug. 27, 1917 Giles, Rudin Dec. 6, 1914 – Dec. 6, 1914 Gilesan, Jhon L. 1894 – Oct. 16, 1918

Gill, William 1871 – Nov. 14, 1918 Gilson (infant) Oct. 24, 1916 – Oct. 24, 1916 Gipson, Cathern Sept. 17, 1915 – June 3, 1916 Givens Jan. 20, 1920 – Jan. 20, 1920 Gless, Austin Oct. 26, 1914 – Nov. 3, 1914 Glymp, Laura 1854 – Nov. 25, 1917 Glymps, Walter 1837 – June 17, 1915 Goldwin (stillborn) Oct. 17, 1916 – Oct. 17, 1916 Goosby, James Gerald Feb. 5, 1912 – Nov. 29, 1913 Graham (baby) Nov. 8, 1914 – Nov. 8, 1914 Grant, George 1866 – Nov. 21, 1913 Green (baby) Dec. 6, 1914 – Dec. 6, 1914 Green (baby) Nov. 6, 1915 – Nov. 6, 1915 Green, George Nov. 28, 1887 – Dec. 14, 1915 Green, James 1888 – Jan. 9, 1916 Green, Jessie 1880 – May 31, 1918 Green, Julia 1870 – Oct. 7, 1916 Griffin, Mamie Nov. 22, 1894 – Feb. 17, 1915 Guez, Donald Jan. 1, 1890 – Feb. 22, 1917 Hall, Beatrice March 27, 1903 – Feb. 19, 1915 Hall, Joenna 1864 – Sept. 3, 1913 Hall, John Henry 1891 – Dec. 28, 1918 Hall, Luscious Jan. 6, 1916 – May 8, 1916 Hall, Mozell Dec. 1, 1894 – Oct. 10, 1917 Hallomon, George 1855 – Oct. 21, 1913 Harbs, John Jan. 11, 1891 – June 20, 1916 Harries, Willie Dec. 26, 1916 – July 17, 1917 Harris, Ester 1855 – Aug. 9, 1915 Harris (infant) April 29, 1916 – April 29, 1916 Harrison, Barbara 1859 – Nov. 19, 1916 Hawkins, Clara 1838 – Oct. 17, 1913 Hays, Matilda 1866 – Feb. 22, 1915 Haywood, Lillie 1889 – May 3, 1915 Hewitt, Charley 1874 – March 26, 1916 Hickes, Clara 1879 – Aug. 31, 1913 Hicks, Caroline 1840 – Dec. 27, 1915 Hicks, Thomas Henry 1871 – May 23, 1919 Higgins, Julius 1866 – Oct. 23, 1913 Hinton, Amous Aug. 9, 1906 – July 19, 1916 Hopkins, Sam 1885 – Aug. 3, 1913 Illegible last name, Thos 1874 – May 9, 1916 Isabell, John Feb. 16, 1915 – Feb. 16, 1915 Jackson, Floyd 1881 – Oct. 7, 1916 Jackson, Jas Nov. 26, 1914 – Jan. 1, 1915 Jackson, Moses 1882 – June 30, 1918 Jackson, Moss June 20, 1918 – Sept. 29, 1918 Jackson, Rosa Lee March 26, 1916 – April 6, 1916 Jackson, Sarah 1873 – March 14, 1915 Jackson, Thos J July, 15, 1877 – Jan. 16, 1915 James, Frank Jan. 16, 1884 – Nov. 8, 1916 James, Mattie Feb. 10, 1894 – Jan. 23, 1917 Jenkins Sept. 12, 1917 – Sept. 12, 1917 Jenkins, Annie 1861 – Sept. 15, 1916 Jenkins, Idella Jan. 30, 1895 – May 4, 1915 Jess 1880 – Dec. 23, 1916 Jinkin, Lizzy 1879 – Aug. 13, 1915 Johnson Dec. 31, 1915 – Dec. 31, 1915 Johnson Dec. 31, 1915 – Jan. 2, 1916 Johnson, Laira L. Aug. 1, 1914 – June 1, 1915 Johnson, Perry E. 1896 – July 24, 1913 Johnson, Sallie 1867 – Nov. 20, 1917 Johnson, Samuel 1867 – Nov. 3, 1917 Johnson, William 1864 – Nov. 24, 1914 Jones May 1, 1915 – May 1, 1915 Jones Sept. 20, 1918 – Sept. 23, 1918 Jones 1913 – Aug. 18, 1913 Jones, George 1887 – Aug. 13, 2013 Jones, Henry 1877 – Sept. 4, 1913 Jones, James Jr. 1894 – June 12, 1915 Jones, Mittie 1898 – July 26, 1913 Jones, Shelmar June 3, 1917 – Sept. 29, 1917 Jones, Willie D. 1875 – July 4, 1915 Kelly, Christina 1844 – June 15, 1918 King, D. 1870 – July 7, 1916 King, Lula 1863 – Feb. 20, 1915 King, Marie 1896 – Oct. 25, 1918 Kirby, J.D. 1860 – June 15, 1915 Kirby, Marcella 1889 – July 5, 1913 Lacorn, Panzy 1902 – June 18, 1916 Lang, Eliza 1873 – Aug. 2, 1915 Larry, Clarry E. Sept. 7, 1899 – July 14, 1916 Lasinbe, Antha K. Jan. 2, 1866 – Feb. 15, 1917 Lassetter Oct. 24, 1915 – Oct. 24, 1915 Law, Isefell 1897 – Aug. 26, 1916 Leaf, Vilott Jan. 16, 1873 – May 6, 1916 Leaf (infant) Aug. 21, 1916 – Sept. 21, 1916 Lecorn, Hattie 1886 – May 4, 1916 Lee, Henry Jan. 30, 1915 – Jan. 30, 1915 Lee, Rachel L. 1860 – June 23, 1915 Lewis Not listed – May 2, 1920 Lewis, Theolean Nov. 1, 1917 – Nov. 4, 1917 Lightborne, Pamilla Oct. 4, 1889 – Dec. 26, 1916 Lightburn, John 1845 – March 26, 1915 Lightfoot July 20, 1915 – July 20, 1915 Linton, George 1844 – Dec. 23, 1916

Little May 27, 1916 – Jan. 27, 1917 Littles, Lilla 1879 – April 16, 1918 Loman, Selma Aug. 18, 1917 – April 4, 1918 Mack, John Nov. 25, 1902 – Feb. 3, 1915 Madison, Jane 1863 – Aug. 18, 1916 Martin, Dorotha 1915 – May 29, 1915 Martin, Ella 1859 – Oct. 31, 1917 Mathers, Ruth June 1, 1915 – Nov. 4, 1916 Mathews, Julia 1871 – May 18, 1916 Maxwell, Perry 1878 – Dec. 13, 1913 Mayes, Peter M. Jan. 25, 1865 – Oct. 7, 1915 Mccall Dec. 22, 1917 – Dec. 22, 1917 McCaslin Nov. 11, 1919 – Nov. 11, 1919 Mccloud, Eral Aug. 23, 1915 – Feb. 16, 1916 Mcdonald, Lucus 1912 – Feb. 25, 1915 Mcfarland, Isaac 1916 – Jan. 23, 1916 Mcgett, William Jr. 1860 – Dec. 18, 1915 Mcnear, Bertha 1897 – Jan. 15, 1917 Mern, Edward 1895 – Feb. 2, 1916 Merrith, Alford 1864 – March 14, 1915 Miller, Johone March 1, 1841 – Feb. 24, 1917 Miller, Joseph 1865 – Dec. 10, 1915 Miller, Nettie 1877 – Oct. 17, 1918 Miller, Theodore Feb. 25, 1880 – April 19, 1915 Mills Oct. 5, 1913 – Oct. 8, 1913 Mobley, Charley 1886 – Oct. 24, 1913 Monroe, B. 1862 – Aug. 26, 1917 Moorant (infant) Nov. 12, 1916 – Nov. 18, 1916 Moore, Annie Lee 1895 – March 23, 1915 Moore (infant) Feb. 4, 1916 – Feb. 4, 1916 Morgan, George 1829 – Feb. 4, 1915 Mungumery, Christena 1870 – Oct. 25, 1918 Neal, Mary March 11, 1845 – March 13, 1916 Neblack, Henry 1847 – Dec. 8, 1917 Neblock, Francis 1855 – June 5, 1915 Nelson, Dolley 1868 – Aug. 26, 1918 Nelson, Eliza 1891 – Oct. 17, 1918 Nelson, Emma 1853 – Nov. 5, 1914 Nelson, Margrett 1863 – Oct. 23, 1913 Newton, John Oct. 7, 1857 – Jan. 3, 1915 Nielsen, George 1881 – Sept. 15, 1916 Outley, Minerva 1837 – Dec. 16, 1917 Owens, Alice 1855 – June 29, 1915 Paige (infant) Sept. 17, 1916 – Sept. 17, 1916 Palmer, Frank James Dec. 23, 1915 – Dec. 23, 1915 Parrish, Allice 1881 – Oct. 18, 1918 Pastell, Lillian 1900 – Jan. 20, 1916 Paten, Laura 1867 – Dec. 23, 1913 Patterson, Hellen B. Aug. 1, 1915 – Jan. 19, 1916 Petterson, Mattie 1868 – June 21, 1915 Patterson, Robert 1850 – Sept. 22, 1917 Peeples, Gravith 1913 – May 22, 1915 Perez Oct. 13, 1917 – Oct. 13, 1917 Peters, Boreta M Oct. 15, 1887 – Nov. 24, 1916 Peterson, Mollie 1868 – June 22, 1915 Phenix, Alma S. June 3, 1917 – May 26, 1918 Pinder, Edward 1853 – Aug. 4, 1918 Quinn, Johney 1881 – Dec. 8, 1913 Rattry, Camille 1894 – June 12, 1915 Reed, George 1874 – Jan. 8, 1919 Resberry Dec. 6, 1913 – Dec. 9, 1913 Richard, Arosa 1860 – Dec. 11, 1913 Richard, Katherin Feb. 12, 1897 – Dec. 13, 1914 Richardson, Richard Sept. 8, 1913 – Nov. 4, 1917 Rill, Joe 1897 – Jan. 2, 1917 Rivers, Emma L. Nov. 22, 1875 – Feb. 13, 1915 Roberts Feb. 26, 1915 – Feb. 26, 1915 Roberts, Julia 1882 – Nov. 21, 1917 Roberts, Mable 1885 – Feb. 11, 1919 Robinson, Charley 1882 – Feb. 9, 1917 Robinson, Tyler 1876 – April 15, 1916 Rodgers, Joe 1830 – Sept. 13, 1918 Rodriguez, Panchio 1905 – Jan. 3, 1915 Rogers, Hattie 1901 – Nov. 5, 1917 Rogers, Will 1874 – Dec. 31, 1916 Roma, Christina Oct. 10, 1867 – Feb. 3, 1915 Rooks, William 1851 – Feb. 4, 1917 Rudolf Nov. 3, 1915 – Nov. 3, 1915 Sams, Nathaniel Oct. 30, 1897 – Nov. 12, 1917 Saneg, Leoniles 1872 – Oct. 22, 1918 Saupa, Ella L. Sept. 9, 1874 – Sept. 6, 1915 Sawyer, Mose 1880 – Sept. 16, 1917 Sawyer, Robert 1889 – March 2, 1917 Charrie, Scarlott 1851 – Jan. 14, 1916 Schott, David 1865 – Dec. 17, 1915 Scott, Clara Oct. 18, 1915 – Jan. 28, 1916 Scott, Clarence Aug. 27, 1911 – Aug. 21, 1915 Shakespar, W.H. Sept. 13, 1863 – Nov. 7, 1914 Sheehy, Samuel O. Sept. 28, 1916 – April 4, 1918 Sherman, C.A. 1862 – Aug. 17, 1913 Sherman, Ella 1880 – April 25, 1915 Sherman, George 1886 – April 6, 1916 Show, Agnes 1877 – Nov. 6, 1914 Simms, Sara A. 1864 – May 6, 1916 Simpson, Robert June 13, 1916 – June 13, 1916

“JUST BECAUSE SOMEONE IS DEAD DOESN’T MEAN THEY DON’T STILL NEED HELP FROM THE LIVING. EVERY HUMAN DESERVED AND DESERVES DIGNITY AND RESPECT. IT’S NEVER TOO LATE TO AFFORD THEM THAT BASIC RIGHT.” - RAY REED,

CEMETERY HISTORIAN

382 ( DOCUM ENTED / FO U N D ) D EAT H C E RT IF IC AT ES FO R Z IO N C E ME T E R Y

Small June 6, 1915 – June 6, 1915 Small, Louisia Oct. 12, 1909 – July 28, 1915 Smart May 11, 1918 – May 11, 1918 Smart, Mattie M. Aug. 2, 1899 – May 15, 1918 Smiley, Mary 1881 – Oct. 12, 1918 Smiley, Thomas July 18, 1898 – Dec. 18, 1916 Smith 1913 – Nov. 17, 1913 Smith, Daniel 1862 – July 21, 1913 Smith, Ellen N. 1867 – Oct. 10, 1917 Smith, Mary 1856 – Dec. 12, 1916 Smith, Reba 1899 – Nov. 2, 1916 Smith, Shade 1865 – Dec. 5, 1915 Spiers (infant) Sept. 14, 1916 – Sept. 14, 1916 Spotfond, Allis 1882 – July 24, 1913 Spotford, Rosa L. May 1, 1862 – March 21, 1916 Standely, Millidge L. Oct. 30, 1915 – Nov. 10, 1916 Stephens, Shisried 1888 – June 10, 1918 Steward, Frank 1861 – Jan. 24, 1916 Steward, Mildred March 7, 1916 – Sept. 2, 1917 Subers, Calvin April 30, 1864 – Nov. 15, 1915 Subers, Warrin 1873 – July 13, 1918 Sullivan (baby) Sept. 24, 1914 – Sept. 24, 1914 Suttion (infant) July 8, 1916 – Nov. 4, 1916 Symonette, Donald A. 1897 – May 14, 1915 Taylor 1882 – Sept. 2, 1915 Taylor, Berdina 1915 – March 31, 1915 Taylor, Mattie Feb. 24, 1905 – Sept. 6, 1915 Thomas Dec. 28, 1913 – Dec. 28, 1913 Thomas March 10, 1918 – March 10, 1918 Thomas, Georgiana 1850 – Jan. 6, 1915 Thomas, Ross 1914 – March 17, 1915 Thomas, Woodie Walker April 9, 1896 – Dec. 9, 1913 Thompson, Lonnie 1890 – Feb. 24, 1915 Threatt, Willie Green 1878 – Nov. 19, 1914 Thurmon, Sarah Elizabeth 1919 – Jan. 24, 1920 Tony (infant of Mary) July 12, 1916 – July 14, 1916 Topliyn, Henry 1875 – Dec. 3, 1915 Townsel, Hazal 1913 – Oct. 8, 1913 Tuner, Bessie 1902 – Oct. 31, 1918 Turner, Annie M. Sept. 18, 1896 – Sept. 8, 1915 Valdis, Mamie 1885 – May 15, 1916 Van March 18, 1920 – March 18, 1920 Vearance, Victoria 1912 – July 12, 1915 Vickers, William 1872 – March 14, 1916 Walker, Alexander B. Sept. 5, 1874 – March 17, 1915 Walker, Everette Oct. 2, 1916 – Oct. 3, 1917 Walker (infant of Lee R.) April 30, 1916 – April 30, 1916 Walker, Mary 1896 – Aug. 22, 1913

Walker, Richard 1861 – Oct. 9, 1913 Walker, Susia 1877 – Oct. 5, 1915 Walls Oct. 14, 1915 – Oct. 15, 1915 Walters, Moses 1868 – July 14, 1918 Walton, Lauire May 10, 1872 – June 12, 1917 Ward 1913 – Nov. 7, 1913 Ward, Josephine 1898 – Feb. 13, 1915 Washington, George 1822 – April 28, 1919 Washington, Silora 1877 – Aug. 15, 1918 Watson (baby) Nov. 9, 1914 – Nov. 9, 1914 Watson, Bristow Jan. 31, 1869 – Feb. 7, 1915 Watson, Maggie 1898 – Aug. 30, 1913 Watters, Martha G. 1912 – June 22, 1915 Welch, Falmon Nov. 15, 1916 – Dec. 3, 1917 Wellons, Clifford 1891 – Nov. 2, 1918 Williams, Annie 1888 – Nov. 9, 1915 William, Maimie 1875 – Oct. 7, 1915 William, Marie 1904 – July 4, 1915 Williams March 13, 1920 – March 13, 1920 Williams, B.W. 1870 – June 18, 1916 Williams, Dilla Nov. 13, 1877 – Oct. 18, 1913 Williams, Fannie 1853 – Aug. 15, 1918 Williams (infant of Gipson) May 24, 1916 – May 24, 1916 Williams, James 1884 – Jan. 20, 1917 Williams, Leroy Oct. 9, 1905 – July 29, 1917 Williams, Lillie March 31, 1885 – Feb. 11, 1917 William, Maime 1875 – Oct. 6, 1915 Williams, Mary L. Sept. 4, 1862 – Aug. 22, 1915 Williams, Quinton 1905 – Jan. 2, 1916 Williams, Rachel 1859 – July 20, 1915 Williams, Rose 1889 – Jan. 19, 1917 Williams, Rosa Lee Nov. 19, 1917 – Sept. 5, 1918 Williams, Sam 1858 – May 22, 1915 Williams, Martha 1896 – Feb. 16, 1915 Williams, Willie 1868 – May 17, 1916 Willians, Annie 1888 – Nov. 15, 1915 Willson, Rachel 1844 – Aug. 31, 1916 Wilson, Annie 1884 – Nov. 24, 1918 Wilson, Feby 1827 – Dec. 8, 1915 Wilson, Frank 1875 – Oct. 16, 1917 Wise, Gertrude June 6, 1915 – Nov. 8, 1915 Wise (infant of Ruby) May 21, 1918 – May 21, 1918 Wise, Ruby Not listed – May 21, 1918 Wood, Idella Ann June 3, 1863 – April 23, 1918 Wooden, Mamie Feb. 2, 1905 – Aug. 6, 1915 Woran, Lula Dec. 8, 1913 – Dec. 8, 1913 Young Dec. 30, 1916 – Jan. 2, 1917 Young, Comele 1913 – Aug. 25, 1913

091

vietn ietn ietn nam am veteran veteran ter ns s mem ia memor ial

linco linc nc ln me nco memoria moria mo mori i l site henry bacon dr. & lincoln memorial cr. nw

08 8 . 28 28 . 119

AER A ERIAL ERIAL AL L VI VIE VIEW V IEW W OF OF M MAR MARI R NA JACK CK

linc linco lin ncoln ln me emoria m ria al refle flecting cting t po pool poo po

INTRODUCTION AND site analysis LOCATION :

washingt wash ingt ngton ngt on d.c. d.c. c ; U UNITED ED STA STATES TES

LATITUDE / LONGITUDE :

38 DEG DEG 53’ 53’ 2 24.4” 4.4” N / 7 DEG G 0 02’ 2’ 59.3” 59.3” 9.3 W

SIZE :

15,180 15,1 80 sqft sqft qf

TYPE :

memorial memo rial / monum monum on ent onu nt t

STATUS :

CONCEPT CONC EPT

AWARDS :

hono honorabl hon onor rabl le mentio mentio on

Competition OVERVIEW : An open open en call ca al for Univers rs sity of South South flo f rida stu t dent e s w was made made to to design design a tribu tribu ribute te inspi inspi nspired red by the the e healthca heal thc thca care re prof ro roff of esionals nals ls s who ho hav have e worked worked tir tire elessly elessly eles ele el ly unde u un r te errib rrible le condi condi ondition tions tion s for for the the good good of all all the world worl d durin ing the t ong ng going g cor coronav onavirus onav irus rus pan pandemi pa demic. demi c. The c. T e desig esign n will comme comme m mora morate te those those who hav ave ve de edica dicated t te ted thei eir ir serv servic rv e and an and knowle knowle owledge, dge, inc includi lu ng those ludi those who who h con ontinu tin e to tinu t do so, and thos those e who who have have tra tra ragi a call agi all lly ll y lost lost their liives the th e beca bec use se e of it t. IIt t will will symbo ymbolize mbolize gra r titu tu ude and d a admir dmiratio dmir atio tion tio n by hon norin r g the the he health alth althcare hcare are re pro profes fes es-sionals als ls incl l includin ncludin uding ud g do doctor ctors, ctor s, nurse rses, rse s, nurse nurs urse pra actit ctitione ioners, ione rs phys rs, physicia phy ician icia n as ssist sistants ants,, medica ants m dical me dica al assis sist tants nts ts, ts s, techni techni chni-cian ian ns, hospi hospi ospital tal staf af ff, nursi nursi ursing urs ng home om nurs nur es and and d s staff taff, la taf labora boratory bor bora tor technol tory tec echnol hnologis ogists, ogis t ther ts, therapis a ts apis ap ts, s and nd othe others. rs. rs Their Thei r incess incess cessan ant dedi an edi d cati cation on to to the the welfar welfar w fare far eo of others oth thers make makes akes them them the the heroe eroes s of our our tim me. The The e living ivin ving tr tribut ibute ibu ibut e is s a per p m pe mane n nt appla appla pplause, plause, an ongo ngo ngoing going ng g song song, o , like those e whi wh ch h a are re heard heard d eve every ry night night ht all ll l ove over r the the world world to than hank ank these these self selfless less,, dedica less dedica dicated dic t ted te hero oes. s It is is our our wa w y of com commemo memo orati ating their their bra bravery br very ery,, inspir ery inspir spiring ing them them,, and and uniting unit ing us all al ll l throu rough the the hope hope pe for fo a br bright ighte ight er futur utu e. e The The tribu tribu ri te will will l be a rem remaind ain aind ainder n er o of f their their devo devotion tion,, tion sacrific sacr fic ce, and and nd dedic dedicatio edic dicatio ation n fo for r years years to come. come. ome

PROJECT TITLE : medical park PROJECT SUMMARY : T e inte Th The intent nt of nt of this this p proje roject roje ct is is to com mmemo memorate rat th rate the he sacr rific ifices es made made e by healt healt ealthcar hcare hca hcar e pr profes ofessio ofes sion sio o als als arou rou ou und the the world rld ld dur d ing this ongoing ing ng pan pande demic. de demi c. O Our ur prop op o posal osal,, “Medic “Medic edical al Park Park '', proposes pro pro prop es s to mani man pula ma pulate ulate th exis the existing ting top topogra ography ogra phy to t crea reat te an int interve erventio erve n n ntio tha that at sea seamles mlessly mles sly brin brings gs the th he pedes edestria trians tria ns into into t the he site,, creati site creati eating ng a uni unique que oppo qu po ortun rtunity ity to infor nform m and educate educ ducate du at t both both pre present sent t and a future fut u g gene r ons of ra rati rat this his cru crucial cia tim cial time e in his h tory tory.. Manipu pulati l ons lat lati o to o t the he e ground gr grou nd d were were er made in n orde order r to car arve rve out out a spa space ce th that disconn dis disconn co ects con cts vis visitors itor rs fr f om the the surro urroundi undin undi ng ng con ext, cont co ext all a owin al wing win g them them to to immers immers merse e themse the emse ms lves into mse int n o an experienc a xper rienc ience e where where they are able ab abl b e to see the the exte x ent nt of the sa acrif crifices ices mad made e by doc oc ctors tors,, nu nurses rses se , technici tech nic ans, nici ns and oth other er r healt alt lth h profes fession sionals sio sion als in n order orde r to put an end to t this his wide widespre spread ad virus virus. As one wal walks walk s throug throug rough h this this carve carve r d out out space space ace, the they y are are met et with a tribu tribute te wall, wall, all bri b ngin ng to lig light ht those h e wh made the ult who ultimat imat ate e sacrif sacrif rifice, i ice, losing los ing thei their r lives lives trying tryi ng to to protec protect t their their fell fellow ow neigh neighbors bors.. This This space spac e also also conta conta n ins an amphi amphithea theater ter as well well ll a as a digital digi tal arch rchive ive room room,, to act as a living living tes e timo t ny ti to the the healt health h profes profes ssion sionals als who cont tinue to o dedicate dedi cat cate their the ir r lives ves to the e care a of othe h rs. s Indi d vidu viduals als ls are then the abl ab e to bra br nch away awa fro r m the the

main cir circula cula ulation ula tion,, cr tio tion creati eat ng ea eati g a mom moment ent wher here t here the ey y distance dist ance the th msel selves selves ve from the their ir r g group roup up ps. As t they y walk alo along ng this is corr c idor,, the idor the in indivi divi ividual ivi dual u beg eg e gins in ins n to occupy occu py a sma smaller ller,, more ller more intim intimate ntimate ntim a sp e allowi spac al a lowi lowing lo low ng the to them t isol isolate ate them at mselves selv el es even even ve more e fro rom their their surround surr ound undings ings.. Th ings in This is s iisola solation sola tion on giv gives es them h the opportun oppo rtunity rtun ity to to self lf f reflect refl eflect on n the th he impor por or rtanc tance e of the he medi medical c ca pr es prof essi ssional onals, s, and and d throu thr hrough the play play of surfa surfa urfaces, ces the ces, he e spa space ce becom c comes es a par paralla allax, alla x, x, gene n ratiin ng g a dif fferent ferent fere nt perce erceptiv ptive ptiv e experi experience e peri rience as they ey wal walk ba wa back int nto the he main spa pace; symboliz p sym symb m olizin oliz liz zing in the idea of bein ng able a l ab le e to see see the the world world d in n a new light ligh t a afte ter er havi hav ng this this inti intimate mate mo m ent. Wal mom Walking king in back thr through ough gh the cir circula cu tion cula n, the the indivi indivi dividual dual l is then able to inha nhabit habit a park that that h graduall grad ual uall ally y co c comes mes es off of f the grou ground, nd, beco becoming ming the he roo roof f of the spa space ce they they were jus just t in bel be ow. below. w This T gre re een n roof f allo allows ws s for p peop le to gather gather her,, pl play ay and and d enjoy the emsel mselves, ves,, whil h e also also enabl enabl ling an inter inter e acti action on with with the ca carv rved out spac ce be b low o thro ough s seve e ral l ligh light t fu unnel ne s that fee feed d light light to the the under under n ergrou ground. grou nd. This fin final al mome o nt looki looking ng back back at wh hat a they th just jus t we w nt through thro ugh will all allow ow them them to reali realize ze how how far far we have com come e thanks thanks to o the medi med e cal l supp support ort comi coming ng from all l ove o r t the wo orld. r

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#ccffff #ccff fff

095

(3) lightwells THE SMALLEST LIGHTWELL LOOKS INTO THE ISOLATION SPACE ; THE LARGEST LOOKS INTO THE DIGITAL ARCHIVE ; THE LAST LOOKS DOWN BELOW TO THE AMPITHEATER . . .

raised greenscape 10’ ABOVE THE EXISTING GROUND SURFACE ; LINCOLN MEMORIAL VISIBLE . .

carved circulation 12’ BELOW THE EXISTING GROUND SURFACE .

medical pa a rk r aerial east t v view vie ew e w

lower level SCALE BAR 0'

10'

25'

40'

6 a

2 7 4

digital archive

ampitheater

isolation corridor

memorial fountain

tribute wall

waterfall

park

097

medical park usf sacd tribute design competition n:

honorable mention

PROFESSOR WILLIAM DOUGLAS FA L L 2 0 1 9

PROJ O ECT 1 . . . . . : ( 11 / 20 / 19 ) . PLAY SPACE LAID TO REST ( B ORN O RN TO DI DE ) . . . . . PROJ O EC CT 2 . . . . . : ( 12 / 10 / 19 ) . F . A . R . M . ( FU FULL LLY Y AU AUTO TOMA MATED D RO O BO BOTI TIC C MI MIL L KI K NG )

C 12 H 22 O 11

. . . . . . . . . . ( L A CT OS E )

p l ay s pa c e l a i d t o r est born to die

i mg : ds c_6 _ 6 22 2 img im mg : ds c_6 _623 im img m : ds c_6 _ 24

11 . 05 . 19

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. . . . . . Some may argue parks are a local luxury, a pleasant bonus to an otherwise functional neighborhood. However, no matter the park, big or small, it provides a fundamental role in urban communities and has the potential to create an incredible impact by increasing the quality of life for those within the area. Parks are no luxury, they are necessary and vital infrastructure to the communities they are dedicated to. . The unfortunate circumstance is that there are too many “parks” that do not live up to their potential. What we too often find while driving through our communitie’s neighborhoods are run-down, unkept, and dismal patches of grass and dirt. Simply put, this is due to neglect, poor city planning, and a lack of focus on infrastructure in smaller urban communities. In other areas of the world like Copenhagen, park space plays a vital role in the city grid; in fact, their city prides themselves on their successful implementation of design that engages people with the built and natural environment. This project’s purpose is to bring awareness to a public necessity that has been ignored for quite some time. It is meant to expose the lack of concern, care, and preservation in our

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community's parks, all within a few miles from one another. It also attempts to show the chilling effects of such neglect through the intentional absence of the human body. Heavily knotted soccer nets, abandoned lots, and incomplete maintenance show some of the causes behind the issue, while unused equipment and unoccupied spaces discuss the effects of these causes. . . . . . . The name of this series is not meant to be trivial. It’s contents are meant to sustain and validate the negative connotations evoked in the title. These parks meant for smaller communities, while perhaps well intended in their birth, were bound to decay over time. They are occupied in their adolescence until their inevitable undoing, and few are there to clean up the mess. Hopefully, the city of Tampa soon addresses the mistreatment and mismanagement of their public parks, so that they may exist in prosperity; in turn giving our communities close-to-home opportunities for outdoor recreation and experiences with one another in nature. . . . .

ANDO ND D VER PARK . 2:52 5 PM

andover PARK . . . 1:04 PM takoma trail . . . 3 3:46 P PM

anderson rd. lot . . . . takoma trail . . .

12: 12:24 PM

3:25 5 PM P

takom takoma ak a trail trail l . 3: 3:32 PM

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p l ay s pa c e l a i d t o r est b o rn r n t o di die

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. . . . . .

f. a . r . m . fu l ly a u t o m at e d r o b ot i c fa r m i n g

Following the domestication of animals, humans began consuming the milk of other mammals, primarily cattle, sheep, and goats. As urban communities grew, as did the demand for dairy, becoming a necessary and daily item for consumption in households across the globe. The primary means of collecting milk were by hand and shipped in glass bottles. As countries became more developed, cowâ&#x20AC;&#x2122;s milk began being produced at an industrial scale due to high demand. This series of events led to fully automated robotic milking, a typically painful and inhumane process of accumulating the milk of cattle to increase production and efficiency. Ultimately, countries with expensive labour or a shortage of labour were practically forced into automated milking, despite it being an incredibly harmful process.Those that werenâ&#x20AC;&#x2122;t forced, introduced the technique simply for a higher milk yield, in turn creating a larger profit at the expense of helpless cattle. (The number of farms milking with an automatic milking system has increased rapidly since 1998.). . Just like humans, cows produce milk for their young. To continue the milking process, factory farms typically impregnate cattle at the youngest age possible using artificial insemination on a yearly basis. WITHIN A DAY OF BIRTH, THE YOUNG CALVES ARE RIPPED FROM their mothers,

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which causes both parties extreme distress and anxiety. Male calves are either killed immediately for veal, or are sent to feedlots where they will be force fed and fattened for beef. Female calves receive the same treatment and processing as their mothers. . . Once the family has been separated, the mother is hooked up to automated milking machines, up to three times a day. Despite the negative effects on their health, the dairy industry exploits the use of cows and their milk for higher milk yields, and increases in profit. The average cow produces four times s more milk in a day as compared to cows in the 1950â&#x20AC;&#x2122;s due to artificial insemination, milking regimens, and unsolicited drugs. Cows are also often dosed with recombinant bovine growth hormone (rBGH) which introduces painful inflammation in the udder called mastitis. 16.5% of cows suffer from mastitis, making it one of the leading causes of death in adult cows in the dairy industry. Typical life expectancy of cows in 20 years, however cows in the dairy industry are usually killed after five because their bodies have been so overworked and cant produce any more milk. . . . . https://www.peta.org/issues/animals-used-for-food/factory-farming/cows/dairy-industry/

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100%

60% . . .

cow_0061

39% . . . . .

cow_0079

71% . . .

cow_0097

22% . . . . . . .

cow_0091

55% . . . .

cow_0082

cow_0074

artificial insemination (ai)

definition : Artificial insemination is the deliberate introduction of sperm into a female's cervix or uterine cavity for the purpose of achieving a pregnancy through in vivo fertilization by means other than sexual intercourse. . . In modern times, to obtain high yields of milk at low cost and optimal efficiency, the cow has been turned into a piece of machinery, whose sole purpose in life is to produce milk. in order To produce milk, a female cow must be made pregnant so as to lactate to feed her offspring. Thus at the tender age of 15 months female dairy cows are forced into pregnancy through artificial insemination. This process is extremely painful for the animals, as inexperienced farm workers often restrain the animals in a "rape rack" as it is known in the industry and use a metal rod to forcefully inseminate them. . . . Dairy cows are milked 365 days a year, and in order to get Holstein dairy cows to lactate year round they are continually kept pregnant, meaning that two to three months after giving birth they are painfully impregnated again and this process s continues for the rest of their short lives. . . . . https://www.saawinternational.org/cows.htm

bos taurus #4577 bos

f. a . r . m . ful ly aut oma omated ted ro robot b i c fa rm ming

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. . . elizabeth h ac aco o sta os osta s . evan v cos s tell lo . mark ark cha a lhou houb b . jackson jack son tall l evas evast t . sophia soph ia torre t orre r s . l li t uz lili lil uzunya u nya n unyan unya

n u t r i t i o n fa c t s 8 servings per container

serving size

(1) glass of milk

amount per serving

cows killed (per year)

% daily value artificial insemination mastitis

20g

16.5% of cows suffer

distress confinement bovine growth hormone (rbgh)

100% 90% 5g

total rbgh dosed till death dead after 5 years instead of 20

inhumanity (humane) treatment f-

100% 0%

* percent daily values are based on the painful, nasty, and inhumane treatment of dairy cows on a daily basis since 1992

THINKING AND MAKING PROFESSOR LEVENT KARA SPRING 2020

FEMENIST SUPER-HEROINES ; ROLE MODELS FOR YOUNG CHILDREN EVERYWHERE ; KEEP TOWNSVILLE SAFE AND ARE FULL TIME STUDENTS

POWERPUFF GIRLS

SINISTER CORPORATE POWERHOUSE ; INSTILLS GAMBLING ADDICTIONS IN CHILDREN ; REEKS OF CHEDDAR

CHUCK E. CHEESE (A.K.A CHARLES ENTERTAINMENT CHEESE)

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RICHEST PERSON INT HE WORLD ; PAID $0 IN FEDERAL INCOME TAX IN 2017 AND 2018 ; UNFAMILIAR WITH PHILANTHROPY

JEFF BEZOS

KIM K BUILT EMPIRE ON SEX TAPE ; SUCCESSFUL BUSINESS WOMAN ; KANYE WEST’S “SUPERPOWER” IS BI-POLAR DISORDER

KIM KARDASHIAN AND KANYE WEST (A.K.A. POWER COUPLE)

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AUDITORIUM REDESIGN SUMMER 2019 ( 3 ) C O L L A B O R AT O R S : JASON HENNING II

edwin martinez DAVID ZAWKO

THI T H RD R FLO LOOR OR R

DESIGN DESI ESI SIGN BY B : JASO S N H HE E ENNIN NG ii / EDWIN I MARTINEZ Z R RE REND REN ERINGS BY Y : DAVI VID Z ZAWKO KO O

FOURTH FO FOU RTH H FL LOOR R

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. . . .

CONTACT INFORMATION JASON M. HENNING II . . . : (813)-767-6678 . . TAMPA, FL . . . JMHENNING2@GMAIL.COM

EDUCATION . . . : MASTERS OF ARCHITECTURE 2021 . . UNIVERSITY OF SOUTH FLORIDA I SCHOOL OF ARCHITECTURE AND COMMUNITY DESIGN . . . TAMPA, FL I FALL 2016 - SPRING 2021 . . . . GOOD ACADEMIC STANDING I DESIGN GPA : 4.0 I OVERALL GPA : 3.5 HIGH SCHOOL DIPLOMA . . GAITHER HGIH SCHOOL . . . TAMPA, FL I FALL 2011 - SPRING 2015 . . . . OVERALL GPA : 3.6

EXPERIENCE . . . : GRADUATE TEACHING ASSISTANT . . INTRO TO DIGITAL ARCHITECTURE I USF SACD . . . TAMPA, FL I FALL 2019 - FALL 2020 GRADUATE TEACHING ASSISTANT . . CORE DESIGN (WITH MARK WESTON) I USF SACD . . . TAMPA, FL I SPRING 2020 INTERN POSITION . . LIVESTONE CONSULTING . . . TAMPA, FL I SUMMER 2018 . . . . . .

. . .

ACKNOWLEDGMENTS

This portfolio holds 1.5 years worth of acedemic work at the USF School of Architecture and Community Design. What it does not showcase are the moments in between the projects and semesters that seem to have passed so quickly. It is with special thanks to my friends and colleagues for all the drunken nights out, blasting music in the late AM, and countless hours in the studio keeping each other sane. Things like patience, self care, and perseverance were tested, but I’ve prevailed more or less in all circumstances, thanks to them. I will cherish these moments and memories forever and for making life at SACD that much more enjoyable. Maybe Covid-19 and isolation is making me sentimental, oh well... I want to thank all of my teachers for introducing helpful and innovative ways of thinking and making when approaching architecture. It is because of them I feel confident in my design work, and the reason I have developed a new appreciation and a more critical view of the built environment around me. They have been an incredible support system as I’ve continued to grow and learn as a designer and as a person. Lastly I would like to thank my parents for years of immeasurable love and support, and most importantly for buying me Zoo Tycoon (2001) as a child, where I would spend days designing the “perfect zoo” that would unknowingly foster a love for design and architecture.

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