Laura Ellis
University of Florida
College of Design, Construction, & Planning Discipline: Architecture Design III Fall 2019 Professor Judi Shade Monk
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TABLE OF CONTENTS Door Window Stairs.......................4 Space For Change..........................12 Ruins...............................................18 Peconic House................................42
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DOOR, WINDOW, STAIRS 4 weeks
An Emperor was selected for the spatial construct. This individual was selected for his position that he was selected for from the beginning-from birth. He was also selected because of the qualifications he had to obtain: being a good leader, having the respect of others, being confident in himself and others around him, being a complex thinker, not to trust completely in the commitment to the success of his people, and inspiring his people to please him and holding the empire together. The emperor refined the design of the viewpoints of the paths. The emperor gave a “title” to the rooms. From the top of the suspended spatial construct is the “family gathering”, here since birth the family is being raised how to be a good leader to possibly become in the footsteps of the Emperor. This area is closed in from the outside to give hierarchy to the rest of the spatial construct. While the rest of the spatial construct is open, this one is closed to show that only the family truly knows what is happening. It is connected to the top of the “atrium” by a suspended narrow staircase to show that only few are allowed to proceed upwards.
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Close to but not connected to this room is the “office”. This is the Emperor’s room for contemplation, thought, rest, thinking about the world – his people. This room has a secret ladder linked to the main viewpoint of “the atrium”. Here, the space is offset, erased, and deluded to show the disfunction of the rulers to their people. Looking up, the emperor views a rhythm and repetition to the way the suspended constructs give shadow to the space he holds. Also, in this space, the Emperor looks down to the crowd to communicate and inspire his people. On the opposite side of the spatial construct, is a room of pause connected by a sitting staircase. The Emperor walks up a few steps of the suspended stairs to walk to the sitting part. Here, he contemplates and pauses his every-day life, while looking off and seeing the beyond of what is to come. The bottom level of the spatial construct is the “entrance”, here, the Emperor’s people walk in on a suspended, hanging staircase and take off their shoes and witness the beauty of the Power of the Great. They are guided by the indents of the ground and lead up the rest of the spatial construct by suspended stairs- one side for going up, while the other is for going down-. Once up, the individuals pause and take in the view and then lower down to continue on their journey throughout the Power of the Great. In the reading, it says the “Great Power, when it befalls is a true test of his character… …He has wherewithal to bring enlightenment and progress to his world or lead it to chaos and evil.” This is why there are openings throughout the armature to represent the enlightenment the Emperor gives to his people to preserver further.
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The impetus for my spatial construct is the inducement to see the Power of the Great for what it is. With the four lines below are about to ascend higher, the hexagram informs the union of movement and strength to give the meaning on the Power of the Great. The spatial construct was formed with the intentions to represent this same meaning of movement and strength. The hexagram in the module is represented around a thick armature to reinforce the idea the Power that the Great holds. The lines off the hexagram rolls off the bold armature in the same orientation the lines are in the hexagram. Also, the hexagram points to a time when inner worth mounts with great force and comes to power. The fourth line in the hexagram, the boundary line, is a position of social awareness that gains power from the firm lines below and rules the entire hexagram. This line in the spatial construct is holding the largest amount of space over the spatial construct and wraps it all to show the power that it contains.
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Armature
Linears
Stairs
Planes
The danger of this hexagram is that one may rely entirely on one’s own power does not degenerate into mere force but remains inwardly united with the fundamental principles of right and of justice. This is why the top of the spatial construct has a small, condensed area at the top to show the brokenness and contemplation the occupant has. The true meaning of all that happens in heaven and on earth is that greatness and justice must be indissolubly united. The top three lines of the hexagram signifies chên, the arousing, thunder; while, the bottom three signifies ch’ien, the creative, Heaven. The model reinforces the ideas of thunder over Heaven. Thunder is represented in the top of the spatial construct as echoes, striking, offsetting, disconnect, repetitive, rhythm, cults, heavy, contemplation, and compressed. On the other hand, Heaven is represented in the bottom half of the spatial construct as open, continuous, sheer, disconnect, paused, suspended, veritable, amplified, and hidden.
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Space For Change
Designing For Walter De Maria’s I Ching 360 1 week
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The space for change I created to display this piece is open to the public. The piece itself is blocked from the viewer when first approaching. When the viewer comes closer, the piece is slowly revealed. When fully approach, the viewer notices the I Ching 360 is in direct unison with the structure above it. Each “square� of the structure above relates in size to one sculpture. The piece itself pulls the structure above it down.
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I Ching 360, a set of 64 sculptures by de Maria, is a part of his long rod series. Due to its monumental size, 10,000 square feet, it has only been shown on a few occasions. The complete work is comprised of 384 units of 2 x 34 ½ x 2 in. each and 192 units of 2 x 78 9/16 x 2 in. each. The I Ching is an ancient Chinese divination system. Today, it also serves as an inspiration for artists and designers.
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RUINS 3 weeks
Site Analysis
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RUINS
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Site Model
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This project derived from the Dry Tortugas, located 68 miles west of the island of Key West. The Dry Tortugas is fascinated over because of the history which has happened there. Mysteriously, the three different currents surrounding the Dry Tortugas has led over two hundred boats and ships to crash in the Dry Tortugas. Starting in 1846, Fort Jefferson, located on Bush Key, was constructed of over sixteen million bricks from the panhandle of Florida, Germany, New York, Etc. Once made up of ten islands in the 1900s; today, the Dry Tortugas is made up of seven islands due to hurricanes and strong currents. The occurrence that drew my interest in the Dry Tortugas was shipwrecks, quietly changing water levels for fishing, and the water paths of transportation. In these process drawings and sections, I analysed through the idea of these constructs and how they relate to Fort Jefferson itself, located on Garden Key. In my analysis of Fort Jefferson, I came to understand that there have been: many, various shipwrecks from the strange currents, no place to view the water that is off the land, and no structure for a fisherman’s ultimate dream.
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RUINS
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A Space of Holding The Collection of Boats
For the collection of boats, I created a void for boats to sweep through. Once off, individuals can walk and see Fort Jefferson with the water still before them and hop off the intervention and put their toes onto sand and grass. The second main space is compressed to Fort Jefferson. When individuals leave Fort Jefferson, they will exit Fort Jefferson from the top of the fort. The overhead condition is at first is more elevated for the viewer to stand in awe to see Fort Jefferson one more time looking back. When the viewer walks forward, the lower overhead condition comes into place, for the view to contemplate and think of their journey and the memories they made and look out to see the beauty of all the Dry Tortugas.
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RUINS
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A Space of Observation Viewing a Shipwreck
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The second intervention is a place to view the windjammer shipwreck from above the ocean and below the surface of the ocean. The shadows from the overhead condition cascade onto the shipwreck. Viewers come to this place from the first level and can experience the shipwreck from various heights. For those who are not fearless and can’t scuba dive, they can experience the shipwreck from below the surface of the water in the bottom zone.
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RUINS
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A Space of Performance FIshing Paradise
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In the third construct, I created a fisherman’s dream. I placed this construct here, because of the patterns of the quietly changing water levels and the isolation. Unlike how the collection of boats touches the ground and also pierces through the sand, this intervention pierces deep into the ocean floor. The ocean floor and water receives and reacts to the intervention’s space. One can approach this construct by small water crafts and can dock along here.
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Once onto the intervention, since it’s isolated, all one can hear is the ocean and your own thoughts. The linear elements here echo the sound of the ocean and frame the individuals own view. The overhead condition tracks across the base condition for individuals to receive protection and create the overall axis of circulation.
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Peconic House
ARC2180 | Introduction of Digital Architecture Professor Lee-Su Huang GTA: Ryan Restieri Architect: Mapos Year Completed: 2016 Location: Hampton Bays, New York Recreated by: Laura Ellis & Brian Lachnicht
Green Roof
First Floor
Basement
Pool Deck
Completed in 2016, the Peconic House is located in Hampton Bays, New York. The house was designed for the founders of a French beauty brand. This family retreat house is located on a 5-acre waterfront site overlooking Peconic Bay. The firm, Mapos Architects, was challenged to create a timeless design for a multi-generational family that would celebrate the site and incorporate the latest in sustainable design strategies and technology and exudes beauty. The house is tucked away as low as possible within the landscape and the meadow which helps the house incorporate itself more into the landscape. The creation of a complete green roof enhances the effect that the home is within the landscape and improves the thermal efficiency of the house. Its roof is planted with native meadow grasses that help camouflage human intervention. Gently wedged into the hill just north of a large sycamore tree, the house was designed to preserve the native trees sun exposure and the original views to Peconic Bay. The interior of the 4,000 square foot home is made with reclaimed cedar and white oak. The reclaimed wood spills seamlessly through the 100ft long glass wall into the landscape of the pool terrace, which then eventually falls back into the landscape. The projects abstraction and literalness to the site play off one another, and intimate and overall sustainability strategy, makes this project as sympathetic to the environment.
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