MZK
MARISA KAUGARS UNDERGRADUATE WORK 2012-2015
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UNDERGRADUATE WORK 2012-2015 HAITIAN CEMETERY MUSIC HAVEN HEADQUARTERS STONY CREEK QUARRY DOMICILE CENTER FOR GASTRONOMY PENGUIN POOL ANALYSIS DESIGN HOME AND STUDIO TYPOLOGICAL INVESTIGATION PASTOOR VAN ARS ANALYSIS SECTIONAL VOID PLANAR AGGREGATION INDUSTRIAL VOID ADDITIONAL DRAWINGS
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MZK MARISA KAUGARS
607.431.3164 mzkaugars@gmail.com www.mzkaugars.com
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HAITIAN CEMETERY
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Biscayne Bay, Miami, FL Senior Studio, Spring 2015 Steven Harris and Marta Caldeira Senior Project in Architecture
Siting is based on the double axis street of the Notre-Dame D’Haiti, as well as proximity to Morningside Park, which provides a public boat launch and is the current site of voudou festivals.
Designed as a city of the dead, the cemetery consists of aggregated city blocks with a central festival site and two frontal bathing houses that also serve as the city gates. 4
Haitian immigrants to Miami are avid practitioners of voudou, which blends ancestral traditions with the modern frameworks of Christianity. Designed as a city of the dead, the cemetery is derived from a single unit tomb, which is then aggregated to provide programmatic spaces for voudou rituals, including bathing, feasting, herb cultivation and large-scale festivals. The cemetery is sited on axis with the Notre-Dame d’Haiti, the religious and cultural center of Little Haiti, and utilizes the city grid as as the organizing element. Shifts in this grid encourage sporadic wandering through the tomb units while the repetetive city blocks seek to democratize burial.
The upper level of the cemetery consists of cultivation plots, circulation plots and a secondary level of tomb units. Axis markers signify the end of the cemetery.
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Head-height tomb units are stacked and aggregated to provide spaces for voudou rituals, family feasts and herb cultivation.
City block units contain spaces for feasting, burial and cultivation. The secondary level is accessed by stairs within each feasting units and paths that circle the cultivation plots.
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Unit tombs form the base for cultivation plots and become aggregated to form city blocks.
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Burial
Familial casket arrangement for maximum privacy in replicable unit tombs. Each tomb unit contains space for twelve caskets, arranged in groups of two, four and six, accomodating a variety of family sizes. The tombs are closed with a brick layer.
Feasting
Rotation of tomb units creates intimate feasting space for families, used for ceremonies at the initial burial and at memorial services throughout the year.
Access
Second layer of tomb units creates border for larger city block unit. Access to each tomb unit is provided by floating docks and inset boardwalk.
Bathing houses provide initial access points to the cemetery, contain bathrooms and storage and are oriented on the generating axes of the cemetery.
Cultivation
The rooftop of each tomb unit is used for cultivation of herbs used in Haitian voudou ceremonies. These herbs cure illness, protect from evil spirits, provide love and marriage assistance and ensure business success. More than one hundred of these herbs are commonly cited by voudou practitioners.
Ceremony
The blocks are arranged around a central festival space which serves as a gathering area for the Haitian community and the location of any voudou ceremonies. Bathing houses serve as access points to the cemetery and are used to bathe the body prior to burial.
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Access to the cemetery is provided by a number of nearby docks, including public access from Morningside Park.
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Sectional perspective along one of the two main axes through the project.
Elevational perpective showing front of cemetery, including entrances to bathing houses.
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MUSIC HAVEN HEADQUARTERS New Haven, CT Senior Studio, Fall 2014 Turner Brooks and Adam Hopfner
The project utilizes exterior wooden planking with glass infill, as well as boardwalk and grassy areas for seating.
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The group and individual practice spaces pivot around the large central void performance space.
Currently based out of a refurbished garage, Music Haven provides music lessons to underpriviledged neighborhoods in New Haven while also functioning as a four-member string ensemble. Examining the innate theatricality of the ensemble, this project is a celebration of the joy and exuberance with which Music Haven not only performs in concert but also fulfills its mission of community outreach and music education. The headquarters functions as a communal space centered around a performance hall, blending the individual with the collective.
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The central auditorium space is surrounded by group practice spaces and sits below the individual practice rooms and library.
The entrance ramp from Goffe Street provides access to the central auditorium, office space, and the adjacent practice rooms.
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The entrance from Dixwell Avenue provides direct access to the outdoor concert area and to the second level of the building, which contains the student facilities, including the library, individual practice spaces and instrument storage space.
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Possible architectural l representations of the musicians’ movement were explored in initial sketch models.
Street view of group practice spaces demonstrates the cantilevered figureground relationship.
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The interior view shows the floor-ceiling-ground relationship, clustered nature of practice rooms, and spaces left for light.
The project bridges two street fronts and while hinging at the point where interior concert space becomes exterior stage.
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STONY CREEK QUARRY DOMICILE New Haven, CT Senior Studio, Fall 2014 Turner Brooks and Adam Hopfner One of the few active quarries remaining in the New Haven area, Stony Creek is the primary inspiration and workspace for sculptor Darrell Petit. This proposed domicile engages the older section of the quarry with a system of ropes and pulleys by which Darrell may navigate around the space. The required physical exertion and intimate relationship with the quarry is reminiscent of the nonmechanized methods of original granite quarrying and the navigational pod has thus been carefully calibrated to the human scale.
The micro-scale netting method within the pod was closely examined.
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This worm’s-eye view of quarry site illustrates multiple positions of domicile and the resultant changes in rope structure.
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Large-scale (4 ft. diameter) site model demonstrates flexibility of movement through the quarry using a system of pulleys and counterweights.
Pulley axes facilitate mobility and create a dialogue with the netting of the pod itself. 21
The interior of the pod contained a table work space and seating.
Shading system for inahbitants.
22 The sleeping space was hung from supports for the work space and allowed for an intimate experience of the quarry.
The final mobile domicile unit combined sleep and work spaces and an attached access pod.
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4 CENTER FOR GASTRONOMY New Haven, CT Junior Studio, Spring 2014 Joyce Hsiang and Sunil Bald Using the old Farmington Canal as a grounding element, this project investigates the use of a grid and gradient to situate a new dining space on Yale’s campus. The complex houses cultivation, preparation, storage, education and consumption, and the central pavilion serves as a communal gathering space. A gradient created from an investigation of human motion encourages the completion of these activities within each compartmentalized space.
Nested storage space was intended to contain food starage and other materials.
Cultivation spaces were integrated within landscape surrounding the monolithic structure.
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An education and lecture space demonstrates calibaration of the gradient.
Variegation of the landscape originated from the canal, which penetrated the main congregation spaces.
Plan view of final model shows interior and exterior gradient and gridding.
Plan view of final model emphasizes relationship between individual units and surrounding gradient.
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Sectional perspective shows inhabitation strategies, human scale and lighting effects. Described using larger unit of gradation.
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Gradient scales were investigated in earlier models.
The solid gradient became embedded within softer landscape of the surrounding site.
Possible uses for extruded elements were examined, as well as interaction with nested elements.
Strong shadows dominated the interior and exterior spaces of the building.
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The canal provided access to the center’s primary gathering space.
Early sketch models and drawings investigated site strategies and interior conditions.
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5 PENGUIN POOL ANALYSIS Materials in Architecture Spring 2015 Timothy Newton
The original method of casting involved the construction of a wooden mold and support system that was then inlayed with steel reinforcements.
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The interior ellipse supports two massive piers, which become contained and obscured within the concrete walls (not shown) to provide the illusion of weightlessness.
Built in the 1920’s by Berthold Lubetkin and Tecton, the Penguin Pool at the London Zoo is an iconic landmark of the advent of concrete construction. My project examined the two spiral ramps in the pool, which were conceptualized by Lubetkin as a stage set for the penguin actors. The two ramps are identical, were constructed using a wood plank mold, are supported by two massive piers, and have a thinner exterior edge than interior to create the illusion that the they are nearly weightless.
A rhino model of the interior area and intersecting ramps was done as a tool for visualization and eventual modeling.
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6 DESIGN HOME AND STUDIO Junior Studio, Fall 2014 Bimal Mendis and Trattie Davies Designed as both studio space and home for a costume designer, this was a primarily conceptual project. The process investigated the possibilities of a foldable temporary housing unit, the flexibility of spatial arrangement, and different methods of paper manipulation. Rigid elements were introduced to provide some structure and stability and eventually contained the flexible structures within.
Flexibility and easily manipulated walls were generating ideas of the project.
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Folded paper model demonstrates relative simplicity of the exterior face compared to flexible interior.
The flexbile walls were utlimately contained within a rigid box structure.
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7 TYPOLOGICAL INVESTIGATION Senior Studio, Spring 2015 Stephen Harris and Marta Caldeira This project focuses on the language of monumentality and the effect of lighting on a visitor’s experience by investigating four architectural types: the linear building, centralized space, landscape, and the incorporation of water and trees. The relationship between the two structures was crafted with an interest in creating continuity while controlling the visual experience of the landscape.
A path and gradual ramp to the rear of the site is lined with a tree arcade.
Progression of models investigates scale, location and angles of windows for optimal interior lighting effects in a centralized space.
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Progression of linear models investigates column density and rhythm as well as roof and base thickness and penetration.
Visual separation is created between the linear piece and centralized pavilion by an elevated pool of water.
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The final model integrates the linear and centralized buildings, a subtly sloping landscape, water and trees to create a slow progression around the complex. In playing with the rhythm of the water and trees 36 and the calibration of sloping walkways views of the two buildings are carefully orchestrated.
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8 PASTOOR VAN ARS ANALYSIS Sophomore Studio, Spring 2013 Emmanuel Petit and Victor Agran A close analysis of one of Aldo Van Eyck’s Pastoor Van Ars church in The Hague reveals the church’s gridded structure and exceptional manipulation of light. Models included investigations of massing, contour, program and tectonics, while drawings demonstrated the church’s puzzle-like nature, various views and the exceptional lighting effects achieved by the use of split light wells and slight gaps in architectural elements. Expression of layered views through supporting elements and light wells of the space.
38 Axon describes punctured nature of the folded planar roof and its relationship with cylindrical chapels.
Tectonic model shows columnar supporting structure and nesting of light wells and dividing elements.
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9 SECTIONAL VOID Junior Studio, Fall 2013 Bimal Mendis and Trattie Davies Taken as an exercise in sectional modeling and conceptualization, this project evolved from a desire to create a dominant perspectival view and elevated point of access that then dictated the directionality of defined axes of light, views and access to the structure. The resultant cube was infiltrated by cavelike spaces intended to encourage the inhabitant to move through the space as a three dimensional maze. Punctures produced by skylights shown in plan view.
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Axon view shows stepped interior arrangement of spaces.
Side view shows large passage through building.
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Different lighting effects are achieved by light well punctures and demonstrate the variegation of spaces and importance of transitional stairs in the project.
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Sectional progression through the project reveals the large central space and stair-dependent pockets punctured by vertical shafts that provide sunlight.
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10 PLANAR AGGREGATION Junior Studio, Fall 2014 Bimal Mendis and Trattie Davies
Interior view of structure shows the aggregated nature of a single element.
This project investigates how a single element might function as a governor of all types of spatial construction-wall, floor, ceiling, and landscape--and questions the definition of a single element: the column. The presence or absence of the column dictates how the space can be inhabited. Referencing the basalt columns of Ireland’s Giant’s Causeway, the landscape utilizes a larger unit to embed the inhabitable structure in a shifted grid.
Elevation shows nested relationship of inhabitable structure and unit landscape.
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Side view demonstrates careful manipulation of columnar landscape to create stairway to a roof patio area that interlocks with the generating structure.
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Demonstration of intentional gaps that occur for glimpses through the landscape and structure.
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Light creates a waterfall effect across the varied column heights.
Planar view of the project shows varied scale of columns that serve as both roof and wall.
Access to the structure is also provided via the landscape where the columnar stair meets a gap in the wall.
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11 INDUSTRIAL VOID Senior Studio, Fall 2014 Turner Brooks and Adam Hopfner An investigation of optimal angles and frequencies of repetitive units in order to produce an idealized spiral, the project culminated in a life-size structure and questioned if the physical spiral or the space it twisted around itself was more powerful.
Life size version of the void was constructed from furring strips and measured nearly fourteen feet in length and six feet in width.
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Study models investigate spinal structure and frequency.
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12 ADDITIONAL DRAWINGS Spring 2012-Spring 2014 A collection of drawings done as intermittent projects throughout a number of studios, as well as some examples of work done for Drawing Architecture.
Drawing set of Berkley College door portal; Spring 2013.
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Group charcoal drawing of Yale’s Harkness Tower at sunrise, Spring 2013.
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Group drawing combines LeCorbusier’s Ronchamps Chapel, Saarinen’s Ingalls Rink, a Buddhist stupa, the Pantheon and Bruder-Klaus Chapel; Fall 2013.
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Analytic plan drawing of a Libyan gharyan, an underground dwelling; Fall 2013.
Elevation drawing of a 19th century American sofa found in the Yale University Art Galley American Decorative Arts Collection, Spring 2013.
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