NB AD 10 12
N AT H A N B O Y D ADVANCED DESIGN
2010
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2012
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PR O F. M I CH A EL H A LFLA N T S
S A R A S O TA A R T C E N T E R
PROJECT:
SARA S O TA A R T CE NTE R LOCATION:
SARASOTA, FL
USA
Sarasota has long nurtured a strong creative community in both the visual and performance arts. Though stalwarts of the scene such as the Ringling Museum of Art receive much of the notoriety, the Sarasota Art Center engages the community by introducing art through educational outreach programs. Active in the area since the 1950s, many children, hobbyists, and professionals have grown together through their love of the visual arts. Still housed in the original location, the Art Center building has been subject to heavy use and modification for a number of years. Originally built as a small exterior gallery surrounding a central courtyard, the building was sealed during one of the many renovations, removing all natural light and views to the outside. Now, with a new endowment from a group of members, the Art Center is set to expand well beyond it’s previous size. This is not just an increase in space but a pronounced desire to increase the profile and exposure of the facility to the community and the environment. Programmatic requirements include two rotating galleries, a kiln room, a permanent gallery, a gift shop, and number of dedicated classrooms. Extensive expansion of the administration area is also required. Diagrammatically the design proposal focuses on the interactive geometry of two shifting masses. Generated from sightlines and priority solar axes, the forms shift at key circulation points found at intersections of the opposing grids. These “fissures” between the masses open vertically to light and, through the use of folded planes, direct it internally. Other smaller shifts in form acknowledge sectional changes inside the mass and indicate points of interlocking internal spaces. The north façade features a hanging wall, a plane designed to both reflect diffused southern light inward and extend the building envelope outwards creating an exterior niche. This claimed exterior space typically provides access to the sculpture garden located at the northwest corner of the site, though is large enough to serve as a gathering space, exterior classroom, or additional sculpture presentation.
THIRD FLOOR PLAN SECOND FLOOR PLAN GROUND FLOOR PLAN
COMMUNITY ROOM
CIRCULATION “FISSURE”
GALLERY SPACE
SCULPTURE COURTYARD
M AYA N M A N U S C R I P T L I B R A R Y
PROJECT:
M AYA N M A NU S CR I PT L I B R ARY LOCATION:
MERIDA, YUCATAN MEXICO A powerful Mesoamerican civilization, the Mayan Empire was an indigenous culture located largely in the Yucatán Peninsula of current day Mexico. The only Pre-Columbian civilization to develop a complete written language, the Mayans produced manuscripts documenting their astounding understanding of mathematics, architecture, and astronomy. Today, these physical and intellectual artifacts embody a pronounced historical significance for the culture of this people. As the ancient language of the Maya slowly disappears, a number of historians seek to preserve it’s rich history. Programmatically, this project seeks to highlight this unique aspect of the Mayan Empire by establishing a literary museum in Mérida, the capital city of the state of Yucatán. Fundamental to the design proposal is the relationship between the courtyard typology found in Spanish Colonial cities such as Merida, and the materiality of the ancient Mayan ruins. Pushing all private spaces to the perimeter of the site and creating a semi-private space internally creates a dynamic interplay between inside and outside. Additionally, the courtyard itself provides an opportunity for creating a place within a place. A dense physical history of the Mayan culture is found in the ancient ruins of the Yucatán. Chichen Itza, Kabah, Ek Balam, and Uxmal are just a few of the ancient cities to be found hidden in the overgrown brush of the northern lowlands of the peninsula. Preserved in stone, glimpses into the culture of the inhabitants can be extracted by analyzing the way they built their structures and organized their spaces. Elements of the ruins such as the use of heavy stone, so monolithic and massive when seen from a distance, lightened at a closer proximity through the use of surface relief and spatial density, introducing a smaller scale. The sense of ascension at each site also revealed a crucial connection to the sky
ME RID A
PUBLIC ENTRANCE
ADMINISTRATIVE ENTRANCE
Drawing on the courtyard typology, the faรงade of the intervention establishes a threshold for entry. Massive poured concrete construction recalls the monolithic nature of the Mayan ruins while highly articulated surfaces and creative use of pour joints provide a similar scalar variety. Entering under the suspended concrete mass, one finds the interior courtyard and ascends to the main entry level by the grand stair. This entire courtyard space is open vertically, framing a view of the sky. Once inside the library, circulation continues axially before extending into a vertical void. This double-height space serves as an internal courtyard, drawing light down into the core while avoiding the harsh and damaging effect of direct light on the sensitive artifacts. As the circulation rotates around the lightwell, sectional variation between the main spaces encourages interaction both visually and spatially. The manuscripts are stored at the highest level, establishing a vertical hierarchy of space and a processional path of ascension.
COMPOSITE DIAGRAM
C IRC ULAT I ON
VERTICAL VOIDS
CIRCULATION PATHS
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PR O F. T H EODORE GREEN
ONE CHELSEA PLACE
PROJECT:
O NE C H E L S E A PL ACE LOCATION:
NEW YORK CITY, NY
USA
As the birthplace of the modern skyscraper, New York City is a case study in the vertical urban condition. Incredibly dense, the environment must integrate a multiplicity of scales and vast array of programs all while situating the complex lives of the inhabitants within the envelope. This project brief outlines a high-rise office tower component to be placed adjacent to a perimeter block housing complex. Key design considerations include spatial activation, striking form, view optimization, and solar control. Originally presented as a typological study, this approach was quickly rejected for an exploratory investigation into the underlying issues driving ideas of certain typological models, specifically the high-rise tower and perimeter block. These elements were then reconstructed through other formal drivers allowing the intervention to avoid being forced into established typological templates. By compiling the programmatic requirements typically associated with each typological concept into one large diagrammatic mass, these elements were portioned into smaller, multifaceted components comprising a large overall system. Much like the surrounding urban fabric, these components each offer a variety of uses, increasing the diversity of community. The design proposal distributes these structures to the perimeter of the site surrounding an elevated horizontal landscape. A porous and artificial topography, this axial circulation system weaves both horizontally and vertically throughout the complex. Formally, this system serves to generate the raw geometric organization of the project; the block internalizes the public space and distributes it throughout. At the eastern end, the landscape connects to Highline, infusing the park with activity and providing these pedestrians with access to Chelsea Piers, located at the western end of the site. Two vertical forms mark this opposite terminus: a tall rectilinear tower and a mid-rise block. Each is cloaked in identical solar shading and capture systems whose surface modulation respond to projections and voids of the underlying building envelope. Together, these forms read as one object bifurcated by the rising landscape.
NE W YO R K CI TY
CHEL SEA D IS T RICT
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PROF. JA N WA M P LER
QUITO VILLAGE IN THE CITY
PROJECT:
A VIL L A G E I N THE CI TY LOCATION:
QUITO, ECUADOR TEAM:
NATE BOYD SASHA DALLA COSTA JEFF MCDOWELL BILLY VEREB Emerging from the indigenous culture of the Quitu tribe, the city of Quito was officially established upon subjugation by the Incas around 1500 AD. The city quickly grew in significance when named the northern capital of the Incan Empire by the emperor Huayna Capac. A road was subsequently built between the two capitals of Quito and Cuzco, integrating Quito within the Incan commercial trade route as an anchor destination through the rugged Andes mountain range. The Quito of current-day recalls issues related to it’s early prominence. Fueled by the oil boom of the 70’s and 80’s, the city has grown to sprawl the length of the entire Guapulo valley, a plateau next to the simmering volcano, Pichincha. This expansion has created an explicit problem of connection. In sprawling to the north, the city has split itself in to two distinct areas: the historic Old City to the south and the modern new city to the north. This fracture is exacerbated by poor transportation infrastructure, limited public space, and segregated cultural sectors. Commercially, the city also struggles to capitalize on significant resources related to astronomy, ecology, agriculture, and other industries beyond petroleum. These issues also come to bear at the smaller scale of the project site as well. A former airfield, the 3.5 km long area of intervention divides east and west sectors with no cross-site axis. The entire site has been swallowed by the northern development of Quito creating an insular condition. Thus, the design scheme must connect the surrounding context of culture, industry, and ecology while promoting the emergence of new intellectual, cultural, and commercial capital both at the scale of the site and the larger scale of the city. Our proposal intends to engage these challenges directly through the use of public circulation. The core of the scheme is a large undulating path of constructed ground is set firmly as an armature throughout the length of the site. Connective members extend perpendicular to this axis, repairing the division latitudinally while also providing multiple layers of vehicular and pedestrian circulatory infrastructure. Within this structural network are nodes of varying density. Residential and commercial interests are coupled with new civic, cultural, and educational programs to promote a vibrant and varied urban condition. Interspersed within and between these nodes are areas of public space, culminating at the center of the scheme in the main plaza. Lastly, a new public rail system and bike path network link the extents of the site while extending connectivity to the Old City and Quito at large. Much like the transition from indigenous tribal community to powerful regional capital, Quito is now poised to emerge with new global significance. Our design proposal attempts to embrace this momentum by activating connections at multiple scales, creating destinations through these connections, and drawing on the rich history of the place to provide a contemporary identity for the city of Quito.
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Ecuador, named after the equatorial demarcation that runs through the country, is at the forefront of a discussion to reconsider the idea of hemispheres. Instead of a line dividing northern and southern sections, Quitsato, a group within Ecuador wants to see the equator as a line that connects. The site of this project presents a similar opportunity. This diagram shows how the proposed scheme intends to connect the polar extents longitudinally, by joining them at the central node along the equatorial division line of the site. This node becomes the Plaza Mayor, the heart of the new Quito proposal.
Analysis of the site produced varied schematic responses from the group. Recognizing that each initial proposal was engaging a unique perspective of the site and local culture, we chose to explore an additive, composite approach. Overlaying the multiple sketch explorations created a dense palimpsest of information, reinforcing vital ideas and establishing a heirarchy within the image. Using found “junk�, this composite plan was then interpreted into an object model for further analysis and exploration. The maiking of the model introduced key elements not only for organizing the scheme, but figurative and formal clues to addressing the needs of the massive project.
Central to the scheme is the elevated pedestrian thoroughfare that stretches the length of the site. This concept was generated early in the design process as a strong armature to anchor the directionality and organization of the intervention. Drawing on precedents such as the Highline Park in New York City and Olympic Sculpture Park in Seattle, the scope of the initial idea was expanded to include additional elements of program and circulation within the structure. The original elevation changes that served to span vehicular traffic, define public space and facilitate multiple layers of circulation, are coupled with modulation in both width and scale. These horizontally directed changes capitalize on opportunities to support a variety of activity programs, expand the types of parkspace, and extend connective members farther to additional civic nodes. The circulation armature breaks at only one location throughout it’s longitudinal axis: the Plaza Mayor. Envisioned as the central core to both the network of public spaces within the site and the cultural community of the area, the plaza is positioned as the fulcrum between the northern and southern portions of the thoroughfare. The unique figural tension suggested by the dissolution of the paths into the plaza creates a strong connection to the circulation network while simultaneously reinforcing the hierarchal importance of the space.
BICYCLE PATH
AUTOMOBILE ACCESS
PEDESTRIAN THOROUGHFARE
URBAN BUILDING COMPONENTS
URBAN FABRIC
CI RC U L AT I O N D I A GR AM
Situated at the heart of public circulation structure is the Plaza Mayor. This large plaza serves as the main gathering space for civic and political events while also fostering the experience of “public room� within the dense urban fabric of Quito. The location of the plaza emerged from studies of the surrounding site geometry, analysis of the circulation systems, and precedents of the unique public spaces found in Siena and Luca, Italy. A maze of overlapping grids, the context of the area was highly varied, typically generated in response to the site boundary of the former airport and the topography of the landscape. The generous space of the plaza perfectly reconciled and softened these competing geometries. In a similar manner the plaza itself offered the ability to collect and gather all the various circulation systems of the scheme into a central node. Attempting to define the space and assist with navigation throughout the site, the scheme recalled the Compo of Siena, defining the periphery with buildings from 3-6 stories and inserting a mid-rise tower to provide an axis mundi, a hierarchal point of reference.
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Dependent on the Spanish Colonial style found in the historic Old City, Quito has struggled to establish a contemporary architectural identity. Such an identity is not repeating a style, nor merely cloning buildings, but rather an attitude towards the making of space and the structures surrounding it. Form and space in this scheme are direct responses to light conditions, level changes, and inside/outside relationships. From it’s position along the Equator, Quito enjoys extremely limited changes in the azimuth of the sun. This condition minimizes questions of direct lighting on north and south faces of building structures, instead shifting the issue to roofing elements and east/west control. In residential buildings, the use of courtyards and other types of recessed spaces afford residents adequate daylighting and negative-pressure ventilation. These semi-private spaces also provide means for the residents to enjoy the outdoors while still being at home. Other structures, requiring more controlled lighting through indirect means, were designed to manipulate the roof planes in order to carefully expose the internal spaces to daylight. By pulling the roof away from the main structure vertically, clerestory windows create diffused light from above. Extending the roof plane horizontally provides shading for larger apertures on the surface of the structure. Bending planes provide slivers for light to wash down into more intimate and internal spaces.
Transitions between level changes provide a challenge in any building environment, but the drastic landscape of Quito this heightened to an even greater degree. To mediate this varied topography, the first levels of most buildings were used as a space for these transitions to occur. Typically a double height space, the main public spaces within this first floor offered interaction both physically and spatially.
Home to the Galapagos Islands and numerous astronomy sites, our proposed scheme seeks to connect Quito to the larger context and culture of Ecuador. To this end, additional programmatic elements are proposed within the fabric of the project. First, to the northern end of the site, a zoo and ecological preserve both study and discuss the rich diversity of the ecosystems found not only on the Ecuadorian mainland but also the completely unique environment of the Galapagos Islands. Just south of the zoo is the Museum of Culture and Art. This structure emerges from the landscape, much like a rock or landform, presenting itself to be truly of this place. The museum houses indigenous artifacts and promotes new, currentday artists from Quito. Anchoring the southern end of the scheme is the planetarium science center. These facilities reference the proximity of Quito to the equator and the city’s unique environment for astronomical study. Supported by the new public transit system with nodes located at each destination, all of these facilities generate tourism and interest. Yet, the most important contribution may be the connection they share with the new university located on the site. A comprehensive program providing education related to trades and disciplines including graduate level degrees, the school is a muchneeded boost to growth of Quito’s intellectual capital. The university campus is urban and largely situated east of the core area. Certain departments and facilities however reach out into other areas within the urban fabric as satellite facilities.
DESIGN DEVELOPMENT JOH N M C K EN N A
PROJECT:
MAYA N M A NU S CR I PT L I B R ARY LOCATION:
MERIDA, YUCATAN MEXICO R
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Metal Coping
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Counter Flashing
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Continuous Cleat
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Single-Ply Roofing Membrane
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Vapor Barrier
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Rigid Foam Insulation
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Concrete Subdeck
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Vapor Barrier
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Reinforced Concrete Structure
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Concrete Roof Structure
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Partition Wall
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Structural Columns
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Concrete Panel Curtain Wall
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Perforated Steel Screen
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Screen Steel Bracket Structure
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Inset Butted Plate Glass
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Light Well
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Air Handler Unit
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VAV Terminal Box
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MODEL TYPE: J25ZFN/S320 25 TON ROOFTOP SINGLE PACKAGED UNIT TONNAGE REQUIREMENTS:
SUSTAINABLE FEATURES
TOTAL BUILDING AREA: 7239sf
Anti-Short Cycle Delay of 5 minutes to prevent energy wasting short cycling.
CAPACITY IN TONS: TONS
TONNAGE:
7239 SQFT/400 = 18.10
Gas Monitor for safe heat operation. 365-Day Real Time Clock with automatic Daylight Savings Time adjustment. Occupancy Schedule allowing two different occupied schedules per day for each of the seven days of the week. 20 Holiday Schedules with a length of up to 99 days, each with flexible start times.
18.10 TONS
BUILDING AREA:
Low and High Ambient Lockout to prevent cooling
below or heating above a programmable setpoint GROUND: of outside air temperature. 1827sf SECOND: Multiple Zones for constant- or variable-air vol2312sf ume. THIRD: 1614sf Energy-Saving Economizer Operation with the FOURTH: flexibilityof using dry bulb, outside enthalpy and 1486sf
TOTAL BUILDING AREA: 7239sf
DUCT SIZING
differential enthalpy. Our economizer enthalpy control has setpoints for outside air temperature, supply air temperature, small space cooling demand, and large space cooling demand. Demand-based Ventilation control using CO2 sensing for improved indoor air quality. Dirty Filter Switch to detect dirty filters.
Intelligent Recovery brings space temperature to the occupied setpoint just before occupancy. The controlwill “learn” how much runtime is required to heat or cool the space to setpoint before occupants arrive.
COMPONENT DIAGRAM
DETAIL DIAGRAM
Underground Fire Main
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Key Valve and Road Box
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Post Indicator Valve
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Alarm Valve Drain
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Fire Department Connection (Siamese Pipe)
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Water Motor Alarm
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Thrust Block
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Riser To Sprinkler System
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Siamese Pipe Connection
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City Supply Line
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Main Supply Riser
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Distribution Lines (6� Pipe)
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Downfeed Lines
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Roof Access
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Fire Hose Box Junction
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KAWNEER 2000 SKYLIGHT
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Glass (Double Pane Glazing)
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Casing Fitting Cap
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Steel Structure
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Concrete Structure
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DESIGNTEAMWORK
U S F P H Y S I C A L E D U C AT I O N
PROJECT:
U SF P HY S I CA L E DUCATI O N B UI L DIN G LOCATION:
TAMPA, FL
USA
TEAM:
MICHAEL HALFLANTS, Architect NATE BOYD DAVID MORRISON DAVID ZAWKO Housed in an aging building, the University of South Florida Physical Education Department has begun preparations to develop a new building on campus, directly abutting the largest public facility at the university: the Sundome. The project is designed in two masses sliced by a cruciform figure. Each mass, or wing, provides differing programmatic elements. The eastern wing houses the techincal support and observation areas on the lower floor. The upper floor houses all administrative spaces, each with their own view to the outside. The southern wing is predominantly a student focused area containing all classrooms and laboratories. The circulation void forms the piercing cross between the two masses. At the very point of crossing the lobby and main entrance highlight the importance of this gesture. The main hallway extends back to connect with the Sundome. This double-height space providing overlooks and balconies from the second story for the full length of the corridor. Striving to engage the noteable Florida environment, the majority of circulatory spaces remain open to the air, shielded by an overhanging roof and a louvered shading system. Included as well is a courtyard, created by one of the voids from the cruciform folded figure. This folded form also extends beyond the northern facade of the building, acknowledging the main pedestrian axis that terminates directly at the site. As the fold reaches out and begins to wrap over, the main formal move offers to collect and welcome both students and visitors alike.