Lauren Sajek Advanced Design USF | Architecture
Lauren Sajek lsajek@mail.usf.edu Advanced Design Portfolio USF: SA+CD | 2011-2012
Table of Contents
Advanced Design Portfolio USF: SA+CD | 2011-2012
Urban Slot
1|6
Urban Perception
7|18
Vertical Mapping
19|26
Urban Definition
27|34
Urban Renewal
35|50
Thinking+Making
51|52
Design Development
53|54
Solar Decathlon
55|56
INTO USF Classroom
57|60
Florida House
61|64
Urban Slot
Design A: Spring 2011 Location: St. Petersburg, FL Length: 4 weeks Prof. Nancy Sanders Program: Gallery
Located on an alley within Downtown St. Petersburg, this gallery intervention begins to activate the in-between spaces of an urban place which is normally neglected and forgotten. Structured around a single wall the gallery is organized by two separate paths in which you can either directly interact and view the two galleries or indirectly pass through the galleries below, experiencing the filtering light and sounds happening above you. The painting ‘Hero and Lander’ by Cy Twombly is displayed in the first gallery which is an experience of sublime through the filtered light of the glazing which surrounds the space. One large wall delicately holds the painting which punctures down into the path below offering a visual connection to the inhabitants of both spaces but also offering a physical distance between the viewer and the painting. As one continues through the Cy Twombly gallery, the visual senses are heightened and adjusted through the constructed roof planes and staggering degrees of light breaking through the apertures above. The space continues to get darker and more mysterious to prepare the guest for the James Turrell installation. Nested within an existing parking garage is the installation; an interesting juxtaposition as the inhabitant crosses a threshold of the architecture that has been intentionally constructed and the manipulation of existing. A stair allows inhabitants to exit freely out of the gallery back down into the alley space. This can allow for an opposite experience throughout the galleries if one chooses to begin their journey from the parking garage. The alley can still utilize its original intent as a tertiary pathway within downtown; occupants are not forced to enter the intervention if they stumble upon the alley and decide not to.
Process and exploration section drawing
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The gallery was designed to permanently exhibit Cy Twombly’s painting ‘Hero and Lander’ and James Turrell’s installation
Street level image of the physical model in the site without adjacent building
James Turrell installation
‘Hero and Lander’ painting
Study on the datum walls
Apparent in the image is the threshold of the architecture that has been constructed and a manipulation of the existing as one moves from the intervention into the parking garage with James Turrell’s installation
Siteplan of the gallery nested tightly within the St. Pete alley
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Birds eye image of physical model tightly fit into the long narrow site
A speculative plan of the gallery intervention which strives to capture the modality of the spaces through layering, textures, and transparency
‘Hero and Lander’, Cy Twombly’s exhibit James Turrell’s installation nested within the garage
Constructed roof plane
Path below the galleries
The experience of light in James Turrell exhibit
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Urban Perception Design A: Spring 2011 Location: Seattle, WA Length: 10 weeks Prof. Nancy Sanders Program: Museum, Gallery
This larger scale gallery structured as a parasite latching onto an existing building and site is an investigation into the urban perceptions of surrounding fabric and context. Influenced by the ideas of Colin Rowe’s transparency essays and what he defines, “Transparency means a simultaneous perception of different spatial locations… Ability to interpret without an optical destruction of each other.” I began the investigation of the project through a series of graphics derived from maps and images of downtown Seattle. A kaleidoscope construct shed different ideas onto the visual perception of an object and the flexibility to immediately change or distort something physical. These ideas were the primary generators of the intervention that developed on the site. The intervention houses several gallery and garden spaces including primary and tertiary scales as well as classrooms, offices, a café, a gift shop, archives and more. There are multiple degrees of transparency and scale allowing a unique experience within every space in the building. The existing fabric and context play the most significant role in the urban perception within as different views, buildings, fabrics, light, scales, reflections, and surfaces filter through the transparency of the skins into the interior spaces. In essence of the scheme of the entire intervention, the city is metaphorically holding the galleries together. Carlos Cruz-Diez is exhibited throughout the varying gallery spaces in the architectural intervention. His artwork captures a visual perception similar to the influences and generators through the process and design of the building. A unique juxtaposition exists as the delicate intervention strongly contrasts the hard landscape it punctures into. At one timed moment the inhabitant can directly interact with the intervention and attachment to the existing context when an exhibition space breaks into the façade of the adjacent office building. Here a Carlos Cruz-Diez piece is exhibited and the gesture is folding back to the street edge of the existing building which also allows the general public on the sidewalk to experience this spatial moment.
Spatial moment diagrams study
Urban mapping and fabric diagram discovery
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Fragmented images of the kaleidoscope construct of layered transparencies, textures, and colors sculpting the visual and spatial spectrum created
The series of three graphic diagrams emerged through existing maps of Seattle as well as images of urban fabric and context. Three separate scales were explored and used in various means throughout the project. The intervention graphic was spatially interpreted to design the initial organization of the building. Between two of these folded graphics emerged the various gallery spaces,garden areas and supplementary spaces throughout the tower.
The intervention
Images through the kaleidoscope construct investigating the ideas of visual perception and the flexibility to immediately change or distort something physical
The urban matrix
The detail
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Images of the site at Madison Street and 4th Avenue in downtown Seattle
Garden Space
Large Gallery Classrooms Small Gallery
Garden Space Large Gallery Small Gallery Curator Office Large Gallery Small Gallery
Cafe
Lobby/Reception Longitudinal section and constructed elevation Archives/Security
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Study models experimenting with the spatial construction three-dimensionally
Constructed physical model montage of the overall scheme and the relationship to the existing Seattle site
Site plan
Hybrid perspective of a constructed moment in which Carlos Cruz-Diez art is exhibited in a space where the intervention breaks into the existing building
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Hybrid perspective of a large interior gallery at the front of the building. Captured are the degrees of transparency, textures, and scales as the guest views the exhibit. This gallery was intentionally designed to allow for the inhabitant to experience the stark contrast between the scale of a piece of art and the scale of the Seattle Library adjacent to the site.
Hybrid perspective of an exterior space on the back side of the building between the intervention and existing office building. Transparency of spaces in the foreground is mostly apparent in areas that are completely exposed to adjacent buildings.
Hybrid perspective of a gallery on the back side of the building which captures the transparency of the urban fabric and the reflection of the surrounding context into the exhibition spaces.
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Cross section and constructed elevation
Night illumination images capture degrees of transparencies, textures, and scales within
Seen below is a night image of the building’s placement and interaction on the site. The building intentionally peaks out onto the sidewalk and the break into the existing office building becomes evident. Inhabitants of the sidewalk are greeted with anticipation as they continue to approach the tower
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Vertical Mapping
Design B: Summer 2011 Location: Chicago, IL Length: 6 weeks Prof. Martin Gundersen, Nancy Sanders Program: World Exposition
Sited in one of the most memorable places for the historic World’s Fair, Chicago, we are challenged to construct a vertical mapping which reflected a new life of the expositions that took place years prior. An evolution soon developed through a graphic diagramming of several historic and current maps of Chicago, subway maps, and pictures of the city. The tower houses a specialized exposition focusing on the roles of transportation in communication and the connection of people through transportation. It offers the inhabitant an experience corresponding with the perception of promenade, psychological influences on pedestrian movement, and the thresholds which establish place-making in a current environment. Spaces throughout strive to exploit the senses through the itinerary of the exposition with varying densities, juxtaposition of scales, and engagement between distinct systems. The floor planes and roof planes weave back and forth through a vertical transparent datum which organizes the tower. Within the core of the datum emerges a large garden space. This is the center of the spaces within the vertical tower and directly interacts with the highway actively running underneath it. The garden looks out onto Lake Michigan and back into the urban context of Chicago. Scattered throughout the length of the tower are smaller garden spaces acting in the same way as the primary one. The spaces of the exposition are constructed lightly and delicately, striving to create specific experiential factors while one is within the space; exchanges between, relationships, thresholds, intervals, direct vs. indirect, and public vs. private. The design also focuses directly onto psychological influences on transportation; anticipation, light, time, recognition, noise, and density. The architecture of the tower yields to the experience of circulation and after these moments the large exposition spaces emerge.
Evolution of mapping diagrams
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The program for the vertical mapping project was to develop your interpretation of a modern World’s Fair. An evolution soon developed through a graphic diagramming of several historic and current maps of Chicago, subway maps, and pictures of the city. Scattered throughout the tower are a series of large exposition spaces.
Site photo at ground level
Overall physical model
Evening render of the tower nested within the Downtown Chicago site
A fragment model was first explored to experiment in the physical construction of the tower. Apparent within the model is the transparent datum organizing the project, a variety of different scales throughout, and the translucent skin that strategically encloses some of the spaces.
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Exposition flyer
The tower houses a specialized exposition focusing on the roles of transportation in communication and the connection of people through transportation. It offers the inhabitant an experience corresponding with the perception of promenade, psychological influences on pedestrian movement, and the thresholds which establish place-making in a current environment. Spaces throughout strive to exploit the senses through the itinerary of the exposition with varying densities, juxtaposition of scales, and engagement between distinct systems.
Perspective renderings of spatial fragments
23|24
Series of daytime images of the vertical mapping project; overall shot of the back corner of the tower, detail shot of the constructed translucent skin, ‘interior’ shot of the tower where the suspended central garden can be seen, overall shot of the back corner where the relationship between the highway and the suspended garden can be understood
Render of the tower nested within the Downtown Chicago site
Birds eye view of the physical model of the Chicago tower, captured here is the complexity of layering and various systems of construction within the vertical mapping. The transparent datum can be seen throughout the length of the tower as well as the series of open garden spaces relationship to the highway below. Looking out of these spaces is a panoramic view of Lake Michigan.
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Urban Definition
Design B: Summer 2011 Location: Tampa, FL Length: 6 weeks Prof. Martin Gundersen, Nancy Sanders Program: Hotel, Rehabilitation Center, Spa
The intervention is located on a site where Ashley Street and Brorein Street intersect, in downtown Tampa. Being in close proximity to the Crosstown Expressway, this site acts as a bridge between two large residential areas in Tampa; Hyde Park and Ybor City. It has a riverfront location as well as an interesting juxtaposition of scales from the east side to the west side of the lot. The tower begins to engage this, allowing scale to break down along the river facade toward Hyde Park while the downtown edge holds a larger and more monumental face. The wellness and rehabilitation center float above the ground and create a tense spatial joint between that and the tower. An undulating skin emerges from the ground plane, folding to initiate the entrance into the building and continues to construct a roof plane and facilitate shade within the pool complex. The skin planes begin to separate throughout the spaces allowing light to penetrate into the different pools. The sound of water plays a role in therapy within the wellness center, strategically creating private nodes where one can experience the play on sound. Steam also constructs a visual shield between inhabitants to explore more privacy in certain public areas. Reflection is lastly evident within the complex, projecting light and water movement to maximize visual aesthetic. The intervention is programmed to be a wellness and rehabilitation center, focusing on the human mind and body. It strives to facilitate spiritual and therapeutic treatment of individuals through a series of pools and spas, as well as individual and group therapy rooms. Within the spa complex exists a complex set of hydrotherapy pools; separate pools for men and women, sauna, Jacuzzi, relaxation pool, fitness pool, lap pool and large bathing pool. Inhabitants can also utilize many other amenities; gymnasium and fitness center, lounge/ cafĂŠ, small library, yoga room, and chapel, to help renew their mind and body. The wellness center can be accessed daily by members of the public and a separate sector will exist for residential treatment and housing. A hotel will share the tower besides the residential treatment facility and will allow guests to utilize the wellness spa.
Use diagrams
Circulation diagrams
Skin diagrams
Site plan
27|28
Overall physical model
Existing context/site model
Perspective rendering of the entrance and ground level of the downtown Tower. The constructed translucent skin holds the amenities of the rehabilitation center and spa while floating above and allowing the public to permeate into the constructed ground plane. Two reflection pools radiate onto the surfaces of the building.
Series of daytime images of the downtown tower project; overall shot of the veil of the tower, upper shot of the observatory and banquet volumes, overall shot of the tower where sectional spaces of the veil can be seen, upper shot where the veil and skin systems can be understood 29|30
Spa facilities
Hotel banquet
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1. Main entry 2. Sitting area 3. Spa lobby 4. Gym facility 5. Restroom 6. Lap pool 7. Relaxation pool 8. Outdoor deck 9. Offices 10. Mechanical
1. Banquet lobby 2. Upper space 3. Lower space 4. Storage 5. Mechanical
Hotel guest rooms
Observatory banquet
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1. King 2. Queen 3. Deluxe room 4. Deluxe suite 5. House-keeping 6. Mechanical
1. Observatory lobby 2. Banquet space 3. Facilities 4. Storage 5. Mechanical
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Perspective night rendering of the tower within Downtown Tampa and showing the relationship to the adjacent crosstown expressway
Night illumination images capture degrees of transparencies, textures, and scales within
Longitudinal section and constructed city elevation
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Urban Renewal
Design C: Spring 2012 Location: Quito, Ecuador Prof. Jan Wampler Program: Reconstruct an urban village Group: Lauren Sajek, Rebecca Frye, Stella Kelmann, Mary Alvarez
Quito is a city where the past is layered with the present. From the old city to the contemporary surrounding, it is easy to see the development of a rich cultural valley. The essence of Quito can be seen in the expression of each one of its citizens; nostalgia and hope for a future is sensed in the child who is working on the streets to sustain his family. The people juxtapose their own creations and the sad expressions of their face contradict the beautiful and colorful city markets. A desperate need in growing is taking them to a path of struggle to maintain alive a culture that has been around for hundreds of years. Our intent is to create a village within the city that regenerates and protects the essence of Quito’s cultural aspects. By providing more opportunities for their citizens to sustain themselves as a community, they will be able to focus more on the growth of what really makes Quito; for it is the people, the children of the future that will be in charge of maintaining the original vision of a future that has not lost its past. Architecture and urban planning are very powerful tools for the future of cultures; for it could take them to the path of degrading the people or enhancing their lives. Our project strives to construct a modern day village that maintains the values of the citizens of Quito. We created a system that structures the village around a series of interconnected pathways that lead to nodes within the site, but also connects the site to the existing context. We communicate this idea through the concept of ‘stitching’; a network that integrates the citizens and the various functions offered within the site. Agriculture, city markets, art studios, museums, education centers, public theaters, house of hope, nature trails, public parks, and open space plazas are some of the proposed programmatic components that will allow for a cultural growth of Quito’s communities.
12 VISIONS / 12 VISIONES NOTE: These images have been taken from another source for research purposes.
CULTIVATING HOPE
SUSTAINABLE COMMUNITY
SOFTENED THRESHOLD
COMMUNITY ART WALL
HOUSE OF HOPE
TERRACING SECTIONS
CELEBRATION SPACE
DYNAMIC LAYERING
PUBLIC TRANSPORTATION
NURTURING FUTURE
ACTIVATE PUBLIC
CULTURE OF TRUSTEESHIP
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The found object model initiates the design process after being introduced to the site in Quito. Found within are objects from an antique accordion as well as an electric keyboard. One of the key concepts of our design which carries throughout the process is the juxtaposition between the old and new, capturing the essence of the culture while designing a modern day intervention for the site. This model study first introduces the idea of ‘stitching’, a series of elevated walkways that connect the pedestrian within the site that also allows numerous access points from the surrounding context. Through the process of investigation and discovery of our found objects, a vertical datum emerges in the site, helping to formally structure and organize the plan. Succeeding the found object model we developed a sketch design diagram for the total site representing our attitude, design ideas, and future intentions.
Riverfront plaza cross section
Found object model
Initial watercolor diagram
Sketch design diagram
Referenced below are Plaza San Marco in Italy and Gammeltorv in Denmark. Elements of the plazas referenced in our studies are scale,public open space, pedestrian precession, vehicular precession, intensity of use, layering and hierarchy. Plexiglass space between models were constructed to interpret the elements studied and discovered within the plaza to bring a new language of thinking and building to the investigation.
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Space-between plexiglass study model of the primary open space plaza and the physical connections to the rest of the site
Image of urban center
Detail image of the waters edge and pedestrian boardwalk located in the primary open space and more dense portion of the site
The next step in our process allowed us take a portion of our existing plan and continue to further detail our design at a larger scale. Present in the physical model is the most dense portion of the site; the urban center, which houses a public market, open space plaza, public theatre, learning center, amphitheater and park space.
Forest preservation Community farm
Boardwalk/waters edge
Primary open space plaza
Elevated community market
Main subway hub Forest preservation
Amphitheater Community school Physical model of the urban center
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Images of existing architecture in the surrounding context
Block models of open space plazas throughout scheme
The study below begins to help understand and interpret the materials used in Quito to create a vocabulary for the rest of the project. Three different zones were considered while designing the elevation; ground zone, middle zone, and sky zone. The elevation montages below capture the character that exists within the streets of Ecuador through materials, shading devices, climate, and scale. When looking at the facades of existing Quito, one realizes that the horizontal layers begin to blend with the terracing qualities of not only the architecture but the mountainous landscape. Some of the elements took into consideration while designing the facades are terraces, balconies, layered materials, windows, columns, doors, stairs, and public hallways.
Elevation Collage Montages
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Market plaza cross section
Main open space plaza
Secondary plaza
Secondary plaza Public theatre
Overall physical model
Enlarged section of overall plan to highlight further detailed sectors
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Birds eye image of public plaza and hotel
Street level image of public plaza and facades
Detail image of outdoor restaurant and public space
As we study the architectural language of Quito and continue to move into smaller scales of design, we were challenged by designing a section of our block models in further detail. Below, my block nestled right beside the urban center of our site, defines a smaller public courtyard. This very public space houses a hotel and series of cafes in which all address the courtyard. The architectural details are focused on climate, porosity, material, and scale.
Individual block detail model
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Open space plan
Circulation plan
Land use plan
Overall plan
Perspective rendering of elevated market and commercial use
As the project moves toward a resolved overall design on the site, we still strive to investigate and challenge our initial 12 visions for Quito. Our plan continues to be structured around ‘stitching’, a series of interconnected pathways that lead to nodes within the site. This system also connects to the roads, transit hubs, and the existing context. The main objective of ‘stitching’ is to integrate the citizens and the various functions; agriculture, city markets, art studios, museums, education centers, public theaters, house of hope,nature trails, public parks, and open space plazas.
Perspective rendering of northern subway stop and interaction with pedestrian walkways
Perspective rendering of elevated pathway and commercial use
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Detail image of community farms
Birds eye view of the urban center and surround sprawl Detail image of the water’s edge, pedestrian boardwalk, and a small urban village
Detail image of physical model
“The unique relationship between the open area, the surrounding buildings, and the sky above creates a genuine emotional experience comparable to the impact of any other work of art.” -Paul Zucker The echo of our project expresses our idea of preserving Quito’s rich culture and allowing it to create a new culture within it for the new generations to grow as one whole community that works towards the benefit of their own; one that can learn about something held in common and start to enroot a notion of responsibility for its own surroundings.
Physical model of ‘echo’
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Thinking+Making
A home through film: Spring 2011 Location: High Springs, FL Prof. Levent Kara Program: Home
Our exploration into the process of driving a project purely out of conceptual ideas began with the movie ‘The Return.’ It is a Russian film not spoken in English and without subtitles that forced us to begin looking at the film in a different light. I have extracted several images from iconic portions of the movie and began expressing them in a field condition. As we move further into the project we were told to develop a house for the two children who were the main characters in the movie. I chose my location for where I felt suited for the two children to live; the natural springs in High Springs, FL which I have visited personally multiple times. I feel these springs capture the innocence of the environment and are completely transparent; you can read through the water very easily to see what lies beneath. Here emerged a series of graphics derived from images of the natural springs and the physical map of the area. I moved towards specifically intervening in two diverse sections on the field, working into a spatial interpretation of the children’s home.
Transparent construct of the two boys in an stillframe image from the film
Field graphics constructed after watching the film
Intervention exploring a spatial interpretation of the children’s home
Process field graphic
Spring field graphic
Spring field graphic with interventions
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Design Development Boathouse (Revisited): Fall 2011 Location: Tampa, FL Prof. John McKenna Program: Boathouse, Pool Complex
The boathouse project from Design 3 was revisited for Design Development to design a series of structural and mechanical systems for the building. Schematically, the boathouse thoroughly interprets the site and context at the Tampa Water Works. Issues that are addressed include boundary, threshold, circulation, pedestrian traffic, the river walk, and most importantly the river’s edge. Considerations also include the historical impact on the site and the two historical buildings that lie adjacent to the boathouse and pool complex. The boathouse sits right at the water’s edge and sectionally lies at sea level. The docks emerge from the boat storage and allow water to make its way into the boathouse. Two datums ground themselves within the site, creating a promenade through not only the boathouse but the pool complex and natural spring. The boathouse celebrates the structure and storage of the boats, allowing that to sculpt the space within. Above the boat storage lie the workout rooms, which float above and overlook the river. As one moves above the datum, they are approached with a new view of the spring and move into the reception room. Water and light are reflected from the wading pools below into the reception area, offering a unique and beautiful light quality.
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Solar Decathlon
Flex House: Team Florida
Location: Washington, DC Length: Aug 2010-Oct 2011 Prof. Stanley Russell, Mark Weston Program: Competition for Department of Energy
The FLeX House is a flexible, modular building system that can adapt easily to different site situations and plan configurations. The FLeX House is designed for a young couple living in Central Florida on a moderate income. The key factor shaping the design approach is central Florida’s hot humid climate and intense solar radiation. Our proposal will combine the wisdom of vernacular Florida houses and our team’s years of ex perience in ZEH technologies to make a state of the art zero energy home. Designing an envelope that works equally well throughout the year combining an optimum level of insulation for temperature extremes, resistance to air infiltration, trans parency for daylight, and flexibility, is a challenge in central Florida. Team Florida will work with industry partners to design an affordable building envelope that meets these criteria. Variations of SIP and stick built configurations will be analyzed to find the best balance of efficiency, sustainability and economics. Materials will be evaluated and selected based on durability, energy efficiency, recyclability [easy disassembly of parts], maintainability, recycled content, origin, and toxicity over their life cycle. The flexibility inherent to the architectural design of the house, which allows it to take on different configurations by operating movable elements that expand or contract the living spaces, is supported by the continuity of interior materials applied to flooring, ceilings, and interior walls. Material changes in the foyer, bathroom and kitchen area will respond to the nature of these moisture-prone or transitional areas, whereas consistent materials echoing outdoor components in the built-in casework throughout the house will visually integrate all indoor and outdoor spaces. *Content taken from flexhouse.org
Four universities who participated in Team Florida
Image of house in Washington, DC
Construction phase
Construction phase
Image of the team in Washington, DC
Series of interior shots of the completed Flex House at the Department of Energy competition in Washington, DC
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INTO USF Classroom
Recognized by AIA Unbuilt Award of Merit 2012 Location: Tampa, FL Length: Aug 2011-Nov 2011 Prof. Robert MacLeod, Levent Kara Group: Lauren Sajek, Andrew Loper, Ken Williams Program: Institutional
Working aside Professor Levent Kara, a team of students including Lauren Sajek, Andrew Loper, and Ken Williams, were challenged to develop a proposal for an institutional building at a site on the University of South Florida Tampa Campus. INTO USF offers undergraduate and graduate Pathway programs designed for international students who want to earn a degree in the US but may have slightly lower grade point averages, test scores, or English language proficiency. A variety of English language programs with regular start dates and flexible study options are also offered for students who want to become confident speakers of the language through study at a US university. The classroom building was structured around a complex network of staircases within the center of the building that branch off into a series of classroom modules. The proposal also houses many social spaces for INTO program students to interact; a cafe, reception area, library, offices, auditorium, and chapel.
Rendered elevation
Rendered elevation
Series of night illumination images capturing light within the many apertures throughout
Presentation model
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Series of interior rendered perspectives
Below is the third floor plan of the classroom building which is structured around a complex network of staircases within the center of the building that branch off into a series of classroom modules. The proposal also houses many social spaces for INTO program students to interact; a cafe, reception area, library, offices, auditorium, and chapel.
Presentation model
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Florida House Workshop Mid-Century Modern House: Summer 2012 Location: Tampa, FL Prof. Martin Gundersen Program: Residential
The Florida house workshop began as a precedent study researching through numerous mid-century modern homes scattered across Florida. Straight lines, materials, light, scale, and organization became the focus components in relating to this era of homes. We toured to very different homes in the Tampa Bay area and personally documented them through photographs, a digital model, plans and a physical model. These homes were constantly referenced as we began to develop and design our own residential program. I chose to site my intervention on the precedent, Dwight Holme’s residence. This site is extremely linear and terminates directly into the Tampa Bay. It feels very secluded due to the density of existing trees and vegetation. My residential intervention follows the linear quality of the site and continuously address the surround context; the bay, the vegetation, and the Florida light. A transparent datum wall divides the home between public and private and offers a perception through each opposing side. It is characterized by an open, flexible floorplan that at different times of day will have various visual perceptions to the exterior conditions; light breaking through the transparent datum, projection and reflection of water within, and a sense of the vegetation surrounding the space. A bedroom module protrudes from the south face of the building, a more recognizably private and less transparent section of the home. Lastly, the entire home is also anchored not only by the transparent datum wall but also by the personal dock that reaches out into the bay.
Images of one of the toured precedents, the Dwight Holme’s residence
Series of plan diagrams communicating the organization and scale of spaces of the Dwight Holme’s residence
Transparent rendered perspective of Dwight Holme’s residence
Rendered section of interior
Rendered perspective of exterior
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Site plan
Series of night and illumnation images of the physical model, capturing the transparent datum
Longitudinal section and constructed light/vegetation
Daytime image of transparent datum
Daytime image of physical model
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Acknowledgements I first and foremost have to thank my wonderful family for always supporting me through my many endeavors and Stella for being a great seat-mate throughout the various studios. I would also like to thank Nancy Sanders, Levent Kara, and Martin Gundersen for being especially influential professors in my education.
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