2014 2015 core design usf
KIMBERLY NOGUEIRA sacd
KIMBERLY NOGUEIRA University of South Florida School of Architecture and Community Design
knnogueira@mail.usf.edu (954)294-2213
CONTENTS
core design 1 09 space and order 23 machine de phenomene space into place 33
[translating filmic tectonics into spatial construct]
[a place of phenomene experience]
[interventions as imagining the site]
core design 2 48 wall, floor ceiling,
and tower
[a performative matrix: expansions,
vectors, and nodes]
miami live/ work 85 [constraint as an opportunity]
core design 3 inhabited landscape 103
[fort matanzas “long house� extension]
highline: verticality 119 [morgan library annex]
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core design 1
[fall 2014 professor BRANDON HICKS]
09
space and order
[2 weeks]
11
collage series used as studies from the film The Return
sectional drawing with collages, exploring space and order
13
[Translating filmic tectonics into SPATIAL CONSTRUCT] The objective was to derive a series of collages using a German film The Return; as the generator by translating filmic tectonics into spatial concepts or constructs. The collages compositions extracted information from the film and allowed a process of analzying and visual understanding creating spatial possibilities in tectonics. These collages will be used in order to create a spatial study diagram and a dialogue between the model’s armature and base, representing the concept of approach, axis, the idea of arrival, and destination. Within the film, the notion of passage serves as an aspect of experience and movement, through these observations several collages were created; displaying an abstract of scenes that were fragmented from the movie. Second, these collages were used as drammatic studies focusing on the connection within the spacial constructs. Third, once the diagrams were carefully analyzed; diagrammatic schemes were built as a relief model in order to translate the sectional qualities that were found and allow a visual aspect of articulated spaces that demonstrate the concept of order and habitable spaces.
folded diagrams
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process models exploring the idea of movement and tectonics
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FINAL MODEL
[FINAL DETAILS]
perspective drawing, light study
final section drawing
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machine de phenomene
[3 weeks]
23
[A PLACE OF PHENOMENE EXPERIENCE] The machine de phenomene is a place of phenomena and experience. It is the movement of light in spaces, the intersection of ideas through collages, maps, and studies of instinct and insight. This project will allow to create unique experiences ranging from intimate spaces to large community spaces in a human scale. It will also allow to focus on circulation and spatial detailing in a vertical manner with the manipulation of light within the model, combining the procession with place and itinerary with moment. These elements become the components of a machine in which distinct experiences occur as one progresses through the spaces. Following a series of collage compositions used to analyze the conceptual and narrative structure of the film the return, these collages were meant to connect the representational with the notational creating constructed surfaces which then folded and combined into spatial constructs bringing the machine de phenomene to life. Pulling and extruding selected moments from the collages to the process models gave an approach for spacial quality, vertical circulation, and light to come together and create a final model with experiential condition for habitation. Within the model plays a role in focusing on one of the main concepts; vertical possesion, in which the procession into the model was the elegant light shaft which allowed a subtle moment of experience and concsiousness bringing people to move through the spaces in the model. These powerful moments allows people to experiment such architectural appartus, gaining memorable consciousness of space and its narrative.
conceptual sketches
25
process model
FINAL DETAILS, interior spaces
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28
perspective drawing, exploring light
FINAL MODEL
[SPECULATIVE SECTIONS] These drawings show some of the phenomena experiences of the machine de phenomene.
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33
space into place
[2 weeks]
[INTERVENTION AS IMAGINING THE SITE] Inspired by the city of Savannah, Georgia and Charleston, South Carolina, a memory map was created. This memory map was constructed into an abstract site construct which formed the context for the model, becoming a matrix of ideas taken from the city grid. This matrix helped as a guide to develop a transition of space through the city. Following the site construct from the memory map, a specific intervention was placed into the site as the next part of the project. The intervention was the addition to the imaginary site in order to demonstrate language by analyzing and understanding a site as aunique place and revealing its architectural potentials with programmatic and tectonic conditions. The intervention reveals the spatial relationship between the site and the construct allowing to investigate the idea of place. The addition to the site is a stop for the flaneur, walking through the open Apiary plaza this created a reflective and meditative place to the site. The idea was to allow a destination for people to experience an open public promenade with movement, light, and reflective spaces, leading you to approach an inside and outside space Apiary farm.
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city abstract memory map
process intervention sketch
process model
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memory map model exploring the idea of public and private, open and enclosed qualities in a three-dimensional way.
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SITE PLAN
CROSS SECTION CUT A
CROSS SECTION CUT B
[FINAL DRAWINGS]
SECOND FLOOR
FIRST FLOOR
[FINAL SITE MODEL]
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FINAL model with intervention showing the open promenade of the Apiary plaza.
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[FINAL DETAILS]
[INTERVENTION] Apiary is a place where beehives of honey bees are kept, and where beekeepers are able to practice and care for the bees. The Apiary Plaza contains an open spaced roofed structure, the plaza contains a main focused approach that will allow the wanderer to approach the intervention, it can be organically explored and will provide the wanderer to obtain qualities of substanial feeling of discovery and light.The main focused approach will lead the wanderer to experience, search, and re-experience the intervention.
45
47
core design 2
[spring 2015 professor STEVE COOKE]
WALL, FLOOR CEILING, AND TOWER
a performative matrix: expansions, vectors, and nodes [5 weeks]
49
[FUNDAMENTAL TYPOLOGIES OF THE HORIZONTAL AND THE VERTICAL] A performative matrix was developed in order to investigate a large spectrum of typologies where we will focus on tectonic,materiality, and volumetry in the form of various fundamental modalities of the horizontal and the vertical spatial experiences.The performative process started with a construct system; where the horizontal and vertical expansions meet. The performative matrix also allows to investigate the notions of ground, wall, floor/ ceiling, and tower.These elements provided a precise and meaningful unity demonstrating architectural conditions that create a sense of place, each notion was carefully explored seperately in its indentity, but then placed together which each element will interact with the matrix in order to articulate the design into a larger experimental and programmatic whole forming Chili’s San Jose mine memorial. To begin the project, a metamorphis site plan was created in the form of a drawing, nodes were placed into the site and connections were created between the elements. The metamorphis site plan was used as a guide in order to further develop a programmatic unity of the ground and to each node, the idea of articulating the ground was developed and it is introduced to allow connections of destinations with each element.
conceptual sketch, construct idea of expansions, vectors, and nodes
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metamorphis site plan
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[WALL] The wall does not just act as a simple structure that guides people to their destination, it is the way the object interacts and forms. It was designed to change direction of visitors path, allowing visitors to follow the journey of what lies ahead. The concept of the wall was to create an open and enclosed system, serving as an underground open air walkway. In this project the wall is a central element to the memorial leading you to the next element; the floor/ceiling, connecting you straight to the tower. The wall is articulated using tectonic components which gives a defined and unique language.
study model of a wall with found materials
Process parti models exploring the idea of wall, each model demonstrates how planes interacts and forms.The foundation of tectonic connections with structure, direction and enclosure.
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[FINAL DRAFT MODEL] The wall leads visitors to a directional path that is intimate and allows a sense of discovery and appreciation when reaching to the tower.The wall allows a breakthrough experiences through glass panels that brings in fractures of light, providing an interaction with the site and an understanding of healing and serenity from the incident that occured to the miners. As you walk through the wall it leads you to focus on what is to be expected, providing a powerful moment of realization.
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[FLOOR/ CEILING] The concept of floor/ceiling allows an understanding of a relationship between ground and ceiling. As well as how both ground and ceiling may react with each other or how it may sculpt into a large gathering space. This node demonstrates exposed structural connections of how materials relate to the folding of the ground. The floor/ceiling node becomes a receiving space for visitors to explore through the promenade from the wall and then leading visitors towards the tower. This element serves as a moment of pause and reflection, allowing visitors to be aware of the space and the organic nature of materials in how they allow the viewers to question its volume.
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floor/ ceiling parti model
study model of a floor/ ceiling with metal and plexi
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reflective gathering spaces
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floor/ ceiling longitudinal section drawing
[APPROACH] Floor/ceiling element takes from the wall concept and flipping it, exploring the relationship of structure with the movement of path or wayfinding. This node allows visitors to move through transitional spaces that are intimate as you progress to the center. Manipulation of light plays a huge role to the floor/ ceiling. The ceiling creates a sense of playfulness and clarity with nautral light by using its apertures and allowing the floor to act as a reflective canvas which light penetrates through the ceiling’s exposed structures, this allows the lighting conditions to change throughout the day and provide vistors to be part of the ground.
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floor/ ceiling section perspective
[TOWER] The tower, the last node and vertical component of the memorial,where the essense of horizontal of hope and light (tower) meets the vertical.This element becomes an intimate moment between the viewer in the tower and the viewer exploring the wall.The idea is to not create the tower as a sculpture,but as a self supporting structure and serve as a notion of movement as you experienced the space.The tower is constructed to contain a compressed space in one side and expanded space on the other, it is also designed to touch the ground in a spatial and harmonious manner.The tower can be accessed by approaching a massive light shaft,the idea of the light shaft was to bring sunlight to hit the ground bringing light into the underground space, where miners were trapped and rescued.This experiential phenomena brings hope to the underground.A beacon of hope and a sense of enlightment; is what the tower is symbolized, miners worked underground with in the darkness and only having a slit of light from the ground above to guide their entry and exit. As you progress to the upper levels; spaces open up allowing one to experience sunlight throughout the tower, creating intimacy and voids in certain areas bringing awareness to the material.The tower contains spaces with stairways and observation stops, allowing a view in each direction of the memorial.Overall, the idea of the tower is to enter a moment of devastation and into the space of umbulation where rescuers and families have hope of coming across some sign of survival and goal to rescue the miners out of the darkness and out to the light.
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study model of a tower with found materials
study process models of the tower on tectonic connections with found materials.
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elevation drawing of the tower, inspired in mechanic and metamorphosis details and connections by found in process models.
parti graphic studies of the tower with charcoal and watercolors.
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left:tower section drawing right:tower, final model
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left:conceptual sketches of all combined elements
right:memorial’s site plan drawing, charcoal and graphite
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wall’s interior, filtering of light and the transparency of material.
[CONNECTING ELEMENTS]
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miami live/ work
constraint as an opportunity [5 weeks]
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[SITE ANALYSIS] The site in Miami beach sits within a narrow urban condition between two existing buildings that are adjacent to each other which connects to Miami’s busiest streets; collins avenue and ocean drive.This area serves as a public pathway “alleyway” pulling dwellers towards the ocean front,the site gives the oppurtunity to develop a living and working space for the artist and the architect.The idea of the creating the live/ work project was to include intimate and open spaces that accommodates the visitors and Miami beach natives to pass through the building, which provide spaces for the Miami’s night life.Some programmatic features include a cafe, a gallery for the city dwellers, artists workshop, architects studio and workshop, architects loft,and an uninterrupted path.
left:sketch analysis of the site right:study model with found materials
left:perspective view to the west side of the site right:parti sketches of the building
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[FINAL DETAILS] Model showing the experimentation and articulation of each space as you approach the building.As you approach the building; the cafe and open air stage/ entertainment area is placed near collins ave, this allows dwellers to see the entertainment and have a quick access to the cafe and sitting areas.The architects studio and workshop is connected to the artist workshop on the first floor, allowing dwellers to walk through the site and be able to see the painter in action and the architect working in the workshop.
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On the second floor, the painters studio and gallery space is connected to each other containing glass and expose structures where sunlight can shine through the entire space near collins ave allowing dwellers to see the paintings in the gallery space. The architects loft has a view of south beach as well as a view to the enitre site, but is set into the building which is slightly shifts out; allowing the loft to be private and intimate.
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longitude section drawing
THIRD FLOOR 5- architect’s private home
SECOND FLOOR 4- galleries 3- architect’s work studio
FIRST FLOOR 2- architect’s gallery/ cafe 1- artist’s workshop
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cross section drawing, west
[FINAL MODEL] left:northwest view of the project right: elevation view of north side of the project
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core design 3
[fall 2015 professor MARK WESTON]
103
inhabited landscape
fort matanzas “long house� extension [8 weeks]
[CREATING THE PATH/ PROMENADE] South of St.Augustine, lies the shifting sand-scapes of Matanzas inlet on the Atlantic coast of Florida, site to Fort Matanzas National Monument(1794). It is between the Atlantic Ocean to the intracoastal waterway, traversing Anatasia Island, Matanza River, and Rattlesnake Island. This project consisted of two parts: to construct a path that extends nearly a mile-long from the Atlantic Ocean to Rattlesnake Island, where the fort is located. The second part of the project was the “longhouse” a 30 feet extension of Fort Matanzas. The site contains rich connections to the ocean and an untamed landscape and beauty, allowing nature itself to dictate the path and its form. To design the path, I allowed nature to help me construct my design along with the fort’s position creating a matrix as my guide with the idea of protecting the history of the fort. Abstract constructs were created to show how the existing landscape could change once the path is added, and later demonstrating pedestrians access around the site showing connections of ground level and how they would approach the site. This path would respectfully allow intimate connections with the site’s landscape as well as to the ocean without harming it. The path also touches the ground delicately allowing pedestrians to see the sites natural ground as well as allowing an appreciation of materials and connections of the paths construct. Through the whole path pedestrians have a clear view to the fort and the site, allowing pedestrians to admire the fort’s history and structure in every angle.
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left: conceptual sketches showing the map of the land and access right: (1)abstract construct showing pedestrian access around the site and showing connections of ground level. (2)model of positive path and form showing pedestrian access and approach on the site.
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site map of nodes, circulations, landmarks, and views.
site analysis graphic
sketch perspectives
[LONG HOUSE] The long house is to be a physical extension of Fort Matanzas and integral to the path/ promenade.The programmatic intent of the extension was to house a large meeting hall, a theater to present the history of the fort, an archive to house historical documents, park ranger’s offices, and restrooms.With the help of the site analysis of the path on the landscape; the long house was to be placed as an elevated pavilion structure with its exposed structures and columns, showing its connection to the ground. The long house is to be directly connected to the fort by structures showing its delicate touch and connection with the fort, but also with the idea to protect the history of the fort and providing appreciation of the fort’s structure and materials. The long house is broken up into three seprate parts, the first part being the archive which is directly connected with the fort and the park rangers offices; which allows the park rangers view of the long house and the boats bringing visitors to the site. The second part is the theater, next to the theater is the open courtyard allowing full view of the landscape and access to explore the rest of the island. The third part is the meeting hall, this part is a long open floor plan leading direct and clear access to the space. This part of the long house faces the south part of the island giving you view of the uninterrupted landscape along with an indoor terrace on the side allowing a view to the entrance, ocean, and pier.
left: 2 parti models(form and tectonic) right: study process models
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[SECTION MODEL] The section model shows details of connection and connections to the ground plane between the fort and longhouse.
final 1/8’ scale section model
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section model details of the longhouse
[SECTION DRAWINGS]
final perspectives of the longhouse balcony and entrance
FORT MATANZAS SITE PLAN
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[PLANS]
4
1
8 2
5 6
3
7
8- Tower’s Room B
4- Tower’s Room A 5- Archive 6- Meeting Hall A 7- M/F Restrooms and Meeting Hall B
1- Three Park Rangers Offices 2- Theater 3- Two Family Restrooms
[FINAL DETAILS]
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highline: verticality
morgan library annex [4 weeks]
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parti model(skin) 1/32’’=1’
sketch model one 1/16’’=1’
sketch model two 1/16’’=1’
[PROGRAMMATIC STUDY] The primary goals of the Morgan Library Highline Annex was to create an addition to the Morgan Library providing additional archive/ exhibit space for the library’s collection and to supplement its public outreach function. The Morgan Library houses thousands of rare documents, manuscripts, and handwritten works from Mozart. The library is displayed as a gallery granting access to its holdings. This Project takes a strong vertical form that will focus on the interrelation of sectional space and exterior elevation/ skin conditions that respond to the dense and iconic urban character. The highline is New York’s newest and most unique public park which is located 30’ above street level on the 1930’s freight railway. The railways were created into an elevated linear public park extending almost 1.5 miles through Chelsea, the pathways are lined with greenery providing lots of green space for people to experience in such a dense urban area. After sketching and analyzing the site, three distinct schemes at 1/32 scale were created which investigates the idea of form, structure, skin and material, and circulation. The highline project required exploring different transitions between programmatic spaces and focuses on the connection between the street and the highline. The program includes read/ multi-purpose hall/ lecture hall, offices, plaza, galleries, cafe, restoration studio, storage/ vaults and roof-top conservatory.
highline study analysis
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final draft model 1/16’’=1’
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interior perspectives, conceptual sketches
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LEVEL 9
LEVEL 8
LEVEL 7
-GLASS ENCLOSED -MULTI-PURPOSE SPACE OVERLOOKING THE CITY.
-RESTORATION STUDIO -STORAGE -RESTROOMS -MECHANICAL ROOMS -ELECTRICAL ROOMS
-PRIVATE READING ROOM -RESTROOMS
LEVEL 6
LEVEL 5
LEVEL 4
-LIBRARIANS SUITES -CURATORS SUITES -CONFERENCE ROOMS -RESTROOMS
-LARGE LECTURE HALL -RESTROOMS
-CAFE
[PLANS]
LEVEL 2B
LEVEL 2
GROUND
--GALLERIES
--GALLERIES
-PUBLIC ENTRY -GALLERIES
BASEMENT -MULTI-PURPOSE HALL/ LECTURE HALL -SECURITY ENTRY - SECURITY OFFICES -CUSTODIAL STORAGE -RESTROOMS
HIGHLINE -RESTROOMS -EXTENSION INTO THE PLAZA/GARDEN -PUBLIC ENTRY
HIGHLINE FLOOR PLANS
left: perspective drawing of base area(gallery) right:cross sectional drawing
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[FINAL SITE]
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The highline is a pause from the busy streets of NYC, running north to south on the west side of manhattan is a very public space in the city.The connection to the annex from the highline is clearly accessible allowing a continued connection of public space.The circulation can be accessed throughout the building located in the middle , serving as a core or the heart of the building and can be easily seen from the highline level as well as ground level. The circulation of the building is wrapped around a transparent and greenery light shaft which is intended to allow air from outside to come in and filter the air throughout the building. This antrium like feature contains natural vegetation, this allows people to experience this moment of nature and intimacy from the base to the top; a journey. Elevators were placed on the other side of the highline for full view of the highline space as you go up the building. The cafe is placed on the highline level, used as an indoor/ outdoor space for clear entry and full view of the activity as dwellers pass by, from the cafe the open public plaza extends down under the highline in front of the building on 25th street. The gallery takes place at the base of the building on ground level, but allows manipulation of light from the highline level into the enclosed space serving as a fundamental element to enlight the gallery space with natural lighting while viewing important artifacts. The ground level and the highline level are fully accessible to the city dwellers, the buildings contains exposed and articulated structure with transparent facades facing the highline in order to become part of the skin filtering of light inside the building and allow people inside the building to be part of the NYC and highline agenda, this will draw people’s attention from the highline or streets to come in the building and explore its function.
left: perspective view of the south facade from the highline
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[FINAL DETAILS]
perspective view of the west facade from 25th street
perspective view of the northeast facade from 28th street
top axo view of the site
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