MAISEY RAWE
CORE DESIGN PORTFOLIO
UNIVERSITY OF SOUTH FLORIDA SCHOOL OF ARCHITECTURE + COMMUNITY DESIGN
D1
Brandon Hicks, Fall 2015
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Space Into Place
D2
Steve Cooke, Spring 2016
24 26 28 30 32 38
War Memrial The Wall Floor Ceiling The Tower Final Context Narrow Space
D3
Michael Halflants, Fall 2016
52 64
The New and The Old Highline Annex of the Morgan LIbrary
TABLE OF CONTENT| 3
CORE DESIGN 1 BRANDON HICKS
SPACE INTO PLACE
This project utilizes precedents studies collected from a trip to Savannah Georgia and Charleston South Carolina to create a map of an imagined place. Precedent studies included areas located in a school, a courthouse, and a graveyard.
Tectonics and spatial ideas gathered from the trip gave inspiration to a constructed site that would house a public intervention which in this case would be a sollar and stellar observatory. SPACE INTO PLACE | 9
SPACE INTO PLACE | 10
Sectional quality was inspired largely by the River Walk in Savannah Georgia. Varying heights and levels provided civilians with unique views of the River Walk. This section drawing demonstrates how the
interventions allows occupants to slowly move down from the city level to more secluded open spaces. The intervention also allows occupants to view the multiple levels at certain moments.
The intervention programmatically represents a solar and stellar observatory. There are three levels to the observatory. The top level is composed of private research spaces for astronomers. The middle level serves as a walk way that give access to lower levels of the observatory. Pedestrians can also access this level as a means of passage if they wish. The lower levels are public spaces that include a planetarium, learning center, and an outdoor park area that can be used at night for star gazing.
SPACE INTO PLACE | 12
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LEVEL 1
LEVEL 2
LEVEL 3
1. OBSERVATORY 2. OUTDOOR PARK / STAR GAZING SPACE
1. COVERD PASAGE WAY
1. TELESCOPE 2. SCIENCE LABS
SPACE INTO PLACE | 14
SPACE INTO PLACE | 15
The program of an observatory provided a unique opportunity with how angles play into the scheme of the city. The visible part of the city, the landscape, and the intervention all align with the angles of the winter and summer solstices as well as the fall and spring equinox. The observatory
is located at the moment in which the angular shift occurs in the city. There are several narrow shafts that run through the observatory that allow for direct sunlight to penetrate through them only on the sunrises and sunsets of the solstices and equinoxes. SPACE INTO PLACE | 17
SPACE INTO PLACE | 18
SPACE INTO PLACE | 19
CORE DESIGN 2
STEVE COOKE
WWII WAR MEMORIAL
WAR MEMORIAL | 25
The War Memorial is made up of three major components: the Wall, Floor Ceiling, and Tower. How these three interact with each other in critical when creating the site. Initial studies of space and organization were constructed out of common objects that had been take
apart. These pieces gave inspiration to form and tectonics is later models. The map on the right is a site plan of a found object model that was created as the initial study of space and organization of a War Memorial.
THE WALL | 27
The wall derives from the concept of how materiality can affect how one understands a physical object. In my early concept models, one material was used to show how a wall condition transforms into a ground condition and vice versa. In the final model, plexi glass was bent to show how material can be used to create a relationship between two elements. The plexi provides a ground condition that turns into a wall condition when approaching the tower.
The floor ceiling form is based on rigidity and fluidity. In the floor ceiling, a piece of plexi glass was heated and twisted to create a fluid object while wood was used to create a ridged object. The two pieces intersect in such a way that they create a complementary relationship. The wood provides order to the plexi glass while the plexi glass breaks up the rigidity of the wood.
FLOOR CEILING | 28
FLOOR CEILING | 29
The tower of light is based on WWII. In the tower, there are two different angles that correspond two solar pathways on two different days of the year: September 2nd, the day the war started, and May 7th, the day that Germany surrendered. When entering the tower, occupants must first pass through a tall narrow space that was inspired by the special quality of the trenches. This space also aligns with the sunrise on May 7th. Once inside the tower, there is a shaft that runs through the entire tower that aligns with the sunset on September 2nd.
THE TOWER | 31
The final context is dictated by the concepts expressed in the tower. There is a simple grid laid out with one extra angle; both the grid and the extra angle are laid out in accordance with the angles of the tower. The project is intended to be experienced by the occupant in the course of one day. The wall is to be experienced in the morning, the tower during the day time, and the floor ceiling in the evening. Occupants first experience the wall which is aligned with the sunrise. Occupants then move into the tower. The tower is supposed to be seen as a transition piece as it aligns with both the sunrise and the sunset. Finally occupants then experience the floor ceiling which aligns with the sunset.
FINAL CONTEXT | 33
Sectional quality and organization was derived from studying multiple movies that involved battle scenes in them. Some of the movie that were studied include the Chronicles of Narnia, Harry Potter, and Lord of the Rings. Battle field spaces studied in these movies included a tower/castle, an underground bunker, and a large open field. The best way to incorporate these spaces into a context was to have the wall, floor ceiling, and tower all interacting with each other to create a dynamic space.
FINAL CONTEXT | 35
NARROW SPACE
OLD SAN JUAN, PUERTO RICO
NARROW SPACE | 40
In Puerto Rico, a small intervention was created for a narrow, triangular site. The intervention created houses three main elements: an office, a kitchen, and a large gathering space. Being in such a unique area helped to generate many ideas for how to construct the intervention. Studying the various buildings in Rico, it became known that many
of the buildings in Old San Juan were in fact falling apart. However, this was hard to discover because while the internal structure and spaces had deteriorated in many buildings, the facades were still kept nice and freshly painted. This gave inspiration for the choice in materiality for the final construct.
NARROW SPACE | 42
Initial study models were created out of found objects. Originally, idea was to create a project that had an even, clean exterior with an interior with natural materials. The concept model on the left made with found objects to represent the urban decay enclosed within a clean material. Several study models were then created to develop a programmatic scheme and general form. Eventually the final concept took on the idea to use mainly natural materials that could gently weather in time to show how the idea of urban decay could be unique and beautiful.
The most interesting feature of the final project is the roof. In Old San Juan, Puerto Rico, there was a small town that the site partially overlooked named La Perla. The town was mostly abandoned and falling apart. Many of the roofs had caved in with tarps spread out over top
of the holes to provide some protection from the elements. The tarps gave inspiration to create a tent like roof for the final construct. Women’s tights were used as the roof material to demonstrate how the roof might look in real life. NARROW SPACE | 45
LEVEL 1
LEVEL 1
LEVEL 1
1. COVER PLAZA 2. OFFICES 3. COURTYARD 4. BATHROOMS
1. WAITING ROOM 2. STORAGE 3. KITCHEN
1. GRAND BANQUET HALL
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1 1
NARROW SPACE | 46
An architectural feature that was prominent in Puerto Rico was the internal, open air courtyards that existed in almost every building. The procession of many of these courtyards involved a small threshold followed by long and sometimes narrow corridor which lead to the courtyard. In the final project there is an open air courtyard hidden from street view in the center of intervention. It is only accessed by workers and banquet quests. To get to the courtyard, occupants must enter through the office space.
FINAL CONTEXT | 47
CORE DESIGN 3
MICHAEL HALFLANTS
THE NEW AND THE OLD
PORT OF TAMPA LIBRARY
THE NEW AND THE OLD | 54
The Port of Tampa Library project entails the renovation and extension of the small Neo-Classical library. Built in the late 1920’s, the building was originally designed as a bank in proximity to the thriving port. With the rise and fall of the Port of Tampa, the bank was eventually modified into a small
library known now as the Port of Tampa Library. In anticipation to the revitalization of the Port of Tampa, an edition to the original building was devised. Concepts of repetition and volume were used to create a dynamic relationship between the existing library and the new extension.
The simple rectangular shape of the original library was the driving force in the shape of the final edition. Not wanting to undermine the shape and volume of the existing library, the edition repeats the same shape as the original library and is offset to the left and pushed back close to the edge of the property. By offsetting the edition toward the back, the existing library still remains the main focus from the street view and approach to the library. To link the two volumes further, the concept repetition of the columns from the existing libraries was applied to the edition. However, instead of showing repetition of the columns as masses like the existing, the repetition was represented as a void in the faรงade of the edition. This concept of mass and void became a major driving factor in the final construct.
THE NEW AND THE OLD | 56
THE NEW AND THE OLD | 57
The existing, representing mass, and the edition, representing void, are both encompassed under one continuous roof. The roof also provides shade for an outdoor plaza. In the plaza, the roof is supported by columns that line up with the voids on the exterior of the editions faรงade. The section drawing also shows two floors in the edition. On the first floor, library book cases help to structurally support the floor above it. The structure in this space is revealed on the underside of the second floor and can be viewed on the first floor.
THE NEW AND THE OLD | 58
1. ADULT STACKS 2. CHILDREN STACKS 3. CHILDREN STACKS 4. CAFE 5. LECTURE HALL
1. STUDY SPACE 2. READING SPACE 3. CONFERENCE SPACE 4. COMPUTER LAB 5. OFFICES
5 5 4 3
4
The relationship between the two volumes can be easily viewed in plan. The two are linked by small space that occurs between the volumes that is enclosed with glass. The plans also show how mass and void, volume, and repetition play a role in the overall scheme of the construct. The two separate volumes play a large part in the programmatic division of space. Each of the elements were separated into two categories: loud and quiet. In the final project, the edition houses the quiet spaces while the existing houses the loud spaces.
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THE NEW AND THE OLD | 61
THE NEW AND THE OLD | 62
THE NEW AND THE OLD | 63
MORGAN LIBRARY ANNEX THE HIGHLINE, NEW YORK
MORGAN LIBRARY ANNEX | 68
The Morgan Library Annex project located on the Highline in New York City, New York, was created to provide extra achieve and exhibition space for the Morgan Library’s collection and to supplement its public functions. This exercise requires the careful integration of
the Annex into the site in relation to the city scape and Highline. Transition between programmatic space was taken into careful consideration in construction of the Annex and became a major component of its over design.
MORGAN LIBRARY ANNEX | 70
On the Highline, many of the buildings surrounding it were constructed to the edge of the Highline. In other words, the buildings were pressed up against the Highline. Initial ideas of form deviate from the idea of building right up to the Highline. Instead the Annex peels away from the Highline for a large moment in the faรงade. By doing so, this carving away from the Annex allows for unique views of the Highline when inside. This ideas of peeling away and form are repeated as a ground condition to show continuity between the Annex and the plaza.
MORGAN LIBRARY ANNEX | 72
There is a crack that runs through the entire Annex that helps to create the two separate volumes. The crack plays a role in the programmatic division of space. On one side of the crack houses the gallery spaces while on the other side houses the public books. Occupants can wonder between both gallery and library spaces. In addition, specific floors of the Annex is a split levels; gallery spaces sit 4 feet higher than library spaces. Structure also plays an important role in the concept of the split levels. The structure of the floors that are on the library side while the structure on the gallery side is concealed. The section model shows how the floors and glass occurring in the crack of the Annex are supported.
MORGAN LIBRARY ANNEX | 73
The section drawing highlights the relationship between the plaza, the Annex, and the Highline. There is no entrance into the Annex from the Highline. Instead, pedestrians who wish to enter the Annex must exit the Highline on a ramp that leads down to the plaza. This was done so that the space created by carving away from the Annex would not be undermined. The way in which the ramp leads down to the plaza created space beneath in which programmatic elements could be placed. These spaces, while private, can be viewed by pedestrians passing on street level through glass.
MORGAN LIBRARY ANNEX | 74
These photo show how the crack and angle in the faรงade allow people to look into and out of the Annex. Views from the inside of the Annex highlight the Highline in both directions. The photos also shows the space created by peeling away from the Highline. Pedestrians can look down into the grand space and people on the ground can look up at the dynamic space.
MORGAN LIBRARY ANNEX | 77
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LEVEL 1 (BASEMENT) 1. LOBBY 2. BOOK CHECK IN/OUT 3. COAT CHECK IN 4. LCTURE HALL 5. BOOKSTORE 6. CONFERENCE ROOM 7. CUSTODIAL / SECURITY 8. OFFICES
LEVEL 2 (STREET LEVEL)
1. ARCHIVE READING4 2. ARCHIVE 3. ARCHIVE OFFICE 4. RESTORATION STUDIO 5. MECHANICAL / ELECTRICAL ROOM 6. CAFE
LEVEL 3
1. GALLERY 2. CHILDREN STACKS
LEVEL 4
1. GALLERY 2. CHILDREN PLAY 3. CHILDREN STACKS
MORGAN LIBRARY ANNEX | 79
LEVEL 5
1.GALLERY 2. CHILDREN READING 3. CHILDREN STACKS 4. STUDY ROOMS
LEVEL 6
1. GALLERY 2. YOUNG ADULT STACKS 3. STUDY ROOM
LEVEL 7
1. GALLERY 2. YOUNG ADULT STACKS 3. STUDY ROOM
LEVEL 8
1. GALLERY 2, GRAND READING ROOM 3. STUDY ROOM
MORGAN LIBRARY ANNEX | 81
Maisey Rawe University of South Florida School of Architecture + Community Design mrawe@mail.usf.edu