ANDRONIKI KARAMBASIS CORE DESIGN PORTFOLIO
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What counts more than style is whether architecture improves our experience of the built world; whether it makes us wonder why we never noticed places in quite this way before. — Ada Louise Huxtable
TABLE OF CONTENTS 8
MACHINE DE PHENOMENON
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SPACE INTO PLACE
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WAR MEMORIAL
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MIAMI CULTURAL CENTER
60
FORT MANTANZAS
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NEW YORK HIGHLINE
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MACHINE DE PHENOMENON CORE DESIGN I PROFESSOR COOKE Expanding from a three week exploration of spatial quality, tectonic connection, and scale, Machine de Phenomenon [mdp] introduces the understanding of architectural experience and phenomena into the designing of spaces. From graphical interpretation of the film “The Return” to constructed spaces of explored horizontality and verticality, the second project continues its precedent through a series of questions: what is a door? what is a window? what is a stair? [mdp] begins with a question to craft an intention. The use of learned architectural vocabulary (i.e. threshold, edge, frame, enclosure) is selective and careful, undergoing a thought process of itinerary and movement—the human experience absent in previous projects. [mdp] teaches the student to give the basic needs of a building (a stair or door) an experiential purpose. The application of intended experience and spacial quality combines to create an architectural phenomenon.
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A
B
ABOVE: 3/8” FINAL MODEL CONNECTED HORIZONTAL AND VERTICAL PROMENADES SET THE TONE FOR A NEW UNDERSTANDING OF PROCESSION AND EXPERIENCE. THE FINAL MODEL BEGINGS WITH AN ENTRANCE OF OPEN AIR AND HORIZONTALITY, GUIDING YOU INTO ITS MOST NARROW YET TALL SPACE. THE FINAL MODEL CONNECTS AN ITINERARY OF VARIED SPATIAL QUALITY THROUGH REPEATED SENSES OF EXPOSURE, PAUSE, AND REFLECTION.
Longitudinal Section A
Cross Section B
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SPACE INTO PLACE .
CORE DESIGN I PROFESSOR COOKE The third and final project of the semester grounds its previous studies through the introduction of site. With a precedent of movement and itinerary an urban fabric is woven into the designing of space, shaping the designer to see site as an architectural catalyst. Core concepts of spatial, tectonic, and experiential conditions are reapplied to an imagined site. These concepts are constructed to create site-related boundaries and identities, ultimately influencing a sense of place through intervention. Dialogue between site and intervention, what is present and what is possible, serves as a backbone to the project. The turning of potentiality into actuality through intervention allows one to explore and dissect the site, fully grasping its scale, culture, and character. In turn, the final model stands as a sum of site, program, and public character.
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B
First Floor
Recreational rental space A
Rock-climbing room
Entry/wellness room
B
Second Floor
Wellness room A
Rock-climbing room
Cross Section A
Longitudinal Section B
BELOW & RIGHT: 1/16” FINAL MODEL IN SITE THE FINAL MODEL SITS ADJACENT A HISTORICAL BLUFF CREATING A NATURAL BOUNDARY FOR THE RECREATION CENTER. A CANTILEVERED SECOND FLOOR AND GLASS FACADE FURTHER CONNECT THE INTERVENTION TO SITE.
LEFT: 1/16” FINAL MODEL ABOVE: 1/16” FINAL MODEL IN SITE CLOSE UP OF GLASS FACADE AND CANTILEVER (LEFT); CORE CIRCULATION (MIDDLE); CORE ROCK-CLIMBING WALL (RIGHT)C
WAR MEMORIAL
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THE FLOOR / CEILING Broken into three components of tower, floor/ceiling, and wall, the war memorial challenges the designer to reimagine architectural structure. An emphasis on public space, nodes, and harmony between the three components is instilled to create a performative matrix of reflection and healing. The imagined memorial sits on a border between two forces of historical violence, serving as both a boundary and threshold. The first component of the war memorial begins with the floor/ceiling, the site’s constructed catalyst. Hovering over an exposed tunnel once used for refugees, the floor/ceiling begins the tale through the eyes of the victim. The constructs circulation and program create an emotional connection to the site while one large wing embeds itself physically. Tectonics further this harmony through a seamless transition from floor/ceiling to wall. The floor/ceiling remains understated in design to allow for dialogue between intervention and site. Its focus on the importance of the exposed landscape allows it to fully reach the site’s architectural potential. The floor/ceiling plays the role of stimulus in both emotions and program.
BELOW: 1/8” FINAL WIREFRAME FLOOR/ CEILING RIGHT: 1/8” FINAL SECTION
LEFT & BELOW: 1/16” FINAL FLOOR/CEILING IN SITE
THE WALL The second component of the war memorial centralizes the site with the interactive wall. The purposeful tilt of the previous floor/ceiling guides the flaneur into the narrow threshold of the wall. Tall constructs envelop one in an informational meeting space, building from the artifacts housed in the floor/ceiling. The wall sits adjacent a historical check point where the foundation remains as an artifact and reminder, highlighted by a vantage point within the wall. Walkways break through various points in the wall to leave the wanderer with a sense of discovery, allowing one to choose their journey. The wall serves as a memorial, a museum, and a guide throughout the site.
THIS PAGE: 1/8” FINAL WALL PLAN RIGHT: 1/8” FINAL WALL SECTIONS
LEFT: 1/16” FINAL WALL IN SITE ABOVE: 1/8” FINAL WALL
1/16” FINAL WALL IN SITE
THE TOWER The first component of the war memorial begins with the tower, the vertical-most construct of the site. Anchoring the very end of the site the tower stands as a relic and final meeting point. Formally titled the “Timeline,� the tower serves as an interactive itinerary, retelling the history of the territorial war as one circulates its core. Various moments of pause interrupt the Timeline with framed views of site-specific, historical events, to connect the wanderer back to the landscape it left. The final meeting point of the Timeline caps the tower as a whole, exposing the flaneur to a 360-view of the entire site. The tower’s open finality harmonizes both sides of the border, creating a metaphorical moment of peace and acceptance.
ABOVE: 1/8” FINAL TOWER RIGHT: 1/16” FINAL TOWER IN SITE NEXT PAGE: 1/16” FINAL TOWER IN SITE
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MIAMI CULTURAL CENTER .
CORE DESIGN II PROFESSOR BRANDON HICKS The second project of the semester restricts site to an existing lot in South Beach, Miami. The triangular lot exists today as a pedestrian threshold between street and waterfront. Intervention highlights the site’s challenges of light, movement, and efficiency in addition to the marriage of program and culture. Limited to fashion, performance, and/or sculpture, the cultural center anticipates a program of the arts, the public, and the product of both. Primarily a private dance studio the cultural center breaks its program into two functions: an artist’s and dancer’s studio. The mouth of the lot is welcomed by a multi-level private studio. Glass facades and an outdoor main stage invite the individual into the studio through performance and music. The furthermost building holds a semi-private artist’s studio, encouraging a collaboration between the two. The cultural center questions the separation of dance and art while inviting the public to further the challenge.
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ABOVE: 1/8” FINAL SECTION MODELS; PRIVATE DANCER’S HALL (LEFT); PRIVATE ARTIST’S STUDIO (RIGHT) LEFT: 1/16” FINAL MODEL
B
C
A
Longitudinal Section B
Cross Section A
Cross Section B
1/16” FINAL MODEL
ABOVE: 1/16” FINAL MODEL IN SITE (LEFT); 1/16” FINAL MODEL RIGHT: 1/16” FINAL MODEL IN SITE
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FORT
MATANZAS EXTENSION CORE DESIGN III PROFESSOR NANCY SANDERS
. Focusing on the horizontal, the extension at Fort Matanzas explores the possibility of site through an unbounded landscape. The landscape itself, amorphous and ever-changing, reveals its potential through site analysis and extensive mapping, allowing the designer to build with landscape in mind. Reaching beyond the hard landscape into the inlet’s water, the constructed extension—a park center—begins with an exterior archive represented by walnut edges. The dock leads to a building of private and public program, each separated by floor. The main staircase leads the public to a theater, archive, and fort access. Heavily exposed to the east, the public floor treats the landscape before it as an archive of its own. Oppositely, the private first floor hides behind the grand stairway, leading one from below the fort into a large meeting hall, focusing itself to the west. The extension serves as a ripple to the historical fort, aiding in its impact on place and phenomena.
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THE VIOLIN & BOW Abstract 3D mapping guided the project through the use of the stereotomic and tectonic—the violin and bow. Each represent an imaginative landscape of Matanzas Inlet. The bow, constructed in basswood, maps three important nodes along the two lands and their connecting body of water. The violin, heavy in blocks of walnut, focuses on the in between, serving as a connection to each node. Together, the violin and bow make a complete map.
VIOLIN (LEFT); BOW (RIGHT)
LEFT: 1/200” SITE MAP OF MATANZAS INLET ABOVE: 1/32” DRAFT MODELS
1/16” DRAFT MODEL
1 3
2
4
5
A
B
C
First Floor
1-2 3 4-5
Meeting hall Ranger’s office Male/female bathrooms
D
2 1 3 A
B
C
Second Floor
1 2 3
Gallery Theather Male/female bathrooms
D
BELOW: (LEFT-RIGHT) 1/8” FINAL LONGITUDINAL SECTION A AND FINAL CROSS SECTIONS B-D
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B.
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D.
BELOW: CLOSE UP OF STAIR ENTRANCE TO PUBLIC FLOOR (LEFT}; EAST END OF EXTENSION. THE USE OF SOLID FACADES FRAMES THE OPPOSITE VIEW OF THE MATANZAS INLET AND FORT. RIGHT: 1/16” FINAL MODEL
1/16” FINAL MODEL EAST END
1/16” FINAL MODEL WEST END
1/16” FINAL MODEL
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NEW YORK HIGHLINE CORE DESIGN III PROFESSOR NANCY SANDERS Expanding from the existing Morgan Library, the call for a multi-story museum and archive focuses on the challenge of building vertical. Located along New York City’s Highline, the intervention continues its focus on questions of efficiency and density. Situated within a lot of existing built boundaries, the museum takes the hand of the city via alleyway, plaza, and the Highline. The plaza, a horizontal connection between public and private, serves as a moment of pause and extension to the Highline. Within the museum, galleries and archives relate the exterior skin to the interior program. Stained walnut houses private access to the Morgan Library’s most delicate collections, while glass and white material mark places of gather and reflection. Upon reaching the museum’s uppermost level, views of the Hudson river and New York cityscape complete the urban procession.
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LEFT: 1/32” DRAFT WIREFRAME DEVELOPED FROM TWO SCHEMATIC MASSING MODELS (LEFT); 1/32” DRAFT MODEL OF SKIN (RIGHT) RIGHT: 1/32” DRAFT MODEL OF SKIN
LEFT: 3/32” DRAFT MODEL RIGHT: 1/16” SKETCH SECTIONS
GROUND FLOOR LO B BY G I FTS HOP CA FE
BASEMENT G A LL E RY SEC U RI T Y R EST ROO MS
HIGHLINE FLOOR LO B BY K ID ’S L IBRA RY RESTROO M S
THIRD FLOOR GALLERY LECTURE HALL MECHANICAL
CONSERVATORY
SEVENTH FLOOR
SIXTH FLOOR READING ROOM STORAGE
FIFTH FLOOR LIBRARY READING ROOM
FOURTH FLOOR LIBRARY OFFICES
Longitudinal Section A
Cross Section B
3/32” FINAL MODEL AND PLAZA
GLASS CURTAIN WALLS ENVELOPING READING ROOMS AND GALLERIES
WALNUT ‘VAULTS’ HOUSE THE LIBRARY’S ARCHIVES AND PRIVATE READING ROOMS.
LEFT: AN 8’ SETBACK CELEBRATES THE LIBRARY’S SURROUNDING ALLEY WAYS CONNECTING THE STREET TO AN UNEXPLORED URBAN CORE. RIGHT: THE THIRD FLOOR GALLERY FLOATS ABOVE THE ALLEY WAY FOR URBAN PLAY FROM WITHIN THE LIBRARY.
3/32” FINAL MODEL AND PLAZA IN SITE
Androniki Karambasis akarambasis@mail.usf.edu 954.812.0151