neil j. long graduate design portfolio
neil j. long
neil j.j. long neil neil j. long long G RADUATE EDUC AT IO N G RADUATE EDUC AT IO N G RADUATE EDUC AT IO N neil j.oflong University of Florida School of Architecture - Gainesville, FL - Master Architecture, 2010 University of Florida School of Architecture - Gainesville, FL - Master of Architecture, 2010 University of Florida School of Architecture - Gainesville, FL - Master of Architecture, 2010 Honors & Activities Honors & Activities G RADUATE EDUC AT IO N Honors & Activities Joh n W. Stovall Scholarsh ip Awarded 2009 University School of Architecture - Gainesville, FL - Master of Architecture, 2010 Johof n Florida W. Stovall Scholarsh ip Awarded 2009
O tis A. Skin ner Scholarshi p Award 2008
Joh nA.W.Skin Stovall Scholarsh p ip Award Awarded 2009 O ner Scholarshi 2008 Honors & tis Activities Ar th uA.r Blen n AnScholarshi derson Scholarship Award 2007 O tis Skin ner p Award 2008
Ar th u r Blen n An derson Scholarship Award 2007 Pu b lication Arch i trave, Un iversityAward of Florida u dent d esign retrospective 2008/2009 Ar th u W. r Blen nin derson Scholarship 2007st Joh Stovall Scholarsh ip 2009 Pu bnlication inAn Arch i trave, UnAwarded iversity of Florida st u dent d esign retrospective 2008/2009 Stu t Liaison for ithe School of Architecture io Cu lt u re Committee 2008/2009 Putis bden lication in Arch trave, iversity of Florida Stu st ud d esign retrospective 2008/2009 O A. tSkin ner Scholarshi pUn Award 2008 Stu den Liaison for the School of Architecture Stu ddent io Cu lt u re Committee 2008/2009 Grad uate Teach in g Assistan t for Theory I 2009 Stuthden Liaison for School Architecture Stu d io Cu lt u re Committee 2008/2009 Ar uuate r tBlen n Anin derson Scholarship Award 2007 Grad Teach g the Assistan t forofTheory I 2009 Teach in g Assistan tg for Design 1 &Theory 2 2007/2008 Grad uate Teach in Assistan t for I 2009 Pu b lication in Arch i trave, Un iversity of Florida st u dent d esign retrospective 2008/2009 Teach in g Assistan t for Design 1 & 2 2007/2008 Project leader for tthe ann ual design & constr uction of a Sukkah for Hillel at the University of Florida 2008 Teach gLiaison Assistan for Design 1of & Architecture 2 2007/2008 Stu denint leader forthe theann School Stu d ioofCu lt u re Committee 2008/2009 Project for ual design & constr uction a Sukkah for Hillel at the University of Florida 2008 Par tici paleader tion inforthe AIA Florida Healthcare foruction the Homeless Design Charret te Project the ann ual design & constr of a Sukkah for Hillel at the2008 University of Florida 2008 Grad uate Teach g Assistan t forHealthcare Theory I 2009 Par tici pa tion in in the AIA Florida for the Homeless Design Charret te 2008 Par tici pa tion in the AIA Florida Healthcare for the Homeless Design Charret te 2008 Teach ining AutoCAD, Assistan t forRhinoceros Design 1 & 2 2007/2008 Proficient with Grasshopper, 3ds Max, SketchUp, Adobe Photoshop/Illustrator/InDesign
Proficient in AutoCAD, Rhinoceros with Grasshopper, 3ds Max, SketchUp, Adobe Photoshop/Illustrator/InDesign Projectin leader for the Rhinoceros ann ual designwith & constr uction of a Sukkah for Hillel at the University of Florida 2008 Proficient AutoCAD, Grasshopper, 3ds Max, SketchUp, Adobe Photoshop/Illustrator/InDesign Project experience in Form-Z, ParaCloud, Revit & Ecotect Analysis Project experience inAIA Form-Z, Revit & Ecotect Analysis Par tici pa tion in the Florida ParaCloud, Healthcare for the Homeless Design Charret te 2008 Project experience in Form-Z, ParaCloud, Revit & Ecotect Analysis Proficient in AutoCAD, Rhinoceros with Grasshopper, 3ds Max, SketchUp, Adobe Photoshop/Illustrator/InDesign G RADUAT STUDI E S ABRO AD ParaCloud, Revit & Ecotect Analysis Project E in Form-Z, G RADUAT Eexperience STUDI E S ABRO AD G RADUAT E STUDI E S ABRO AD Vicenza, Italy Fall 2009 Vicenza, Italy Fall 2009 • University of Florida Vicenza Instit u te of Architecture Vicenza, Italy Fall • University of2009 Florida Vicenza Instit u te of Architecture • Seminars: ItalianE futurism & AD rational ism; Italian conversation & grammar G RADUAT E STUDI S ABRO • University of Florida Vicenza Instit u te of Italian Architecture Seminars: Italian futurism & rational ism; conversation & grammar
• Stud io: Relocation of the Vicenza Publ ic Library withi n a deteriorated Renaissance garden • Seminars: Italian futurism rationalPubl ism;icItalian conversation & grammarRenaissance garden Stud io: Relocation of the & Vicenza Library withi n a deteriorated Vicenza, Italy Fall 2009 • Stud io:Mexico Relocation of the Vicenza Guadalajara, Summer 2008Publ ic Library withi n a deteriorated Renaissance garden Guadalajara, Mexico Summer 2008 •• University of Florida Florida InstitInstitu u te ofteArchitecture University of PVicenza reservation Guadalajara, Mexico Summer 2008 ••• University of Florida P reservation Institu Seminars: Italian futurism rational ism; Italian &ten grammar Seminar: New strategies of& place in ruralte areas, conversation with special at t ion to t he use of water & the colonial hacienda Seminar: New strategies ofVicenza place in rural with special at ten t ion toRenaissance t he use of water & the colonial hacienda University of Florida P reservation Institu ••• Stud io: Relocation of the Publ icteareas, Library n na de deteriorated Studio: Civic buil din g & publ ic promenade in Sanwithi Martí las Cañas, a rural Ejido garden village in the Tequila Valley • Seminar: Newbuil strategies place in rural areas, with special ten t ion to t he use of water the colonial Studio: Civic din g & of publ ic promenade in San Martí n deat las Cañas, a rural Ejido village& in the Tequilahacienda Valley Guadalajara, • Franc Studio: Civic builSummer din g & publ2008 ic promenade in San Martí n de las Cañas, a rural Ejido village in the Tequila Valley Paris, e Mexico Summer 2007 Paris, e Summer • Franc University of Florida PResearch reservation Institu te Florida2007 Center, Paris •• Franc University of Research Center, Paris Paris, e Summer 2007 Seminar: The NewFlorida strategies of of place in Experiments rural areas, with special at ten t ion to t he use of water & the colonial hacienda Architecture Paris: in Place University of Florida Research Center, Paris in San Seminar:Civic The Architecture of ic Paris: Experiments in Martí Placen de las Cañas, a rural Ejido village in the Tequila Valley •• Studio: buil din g & publ promenade • Seminar: The Architecture of Paris: Experiments in Place
Paris, Franc e Summer 2007 • •
University of Florida Research Center, Paris Seminar: The Architecture of Paris: Experiments in Place
system system system
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U ND E RG R ADU AT E E DUC AT IO N U U ND ND E ER RG GR R ADU ADU AT AT E E E E DUC DUC AT AT IO IO N N Elmhurst College - Elmhurst, IL Bachelor of Arts Cum Laude, 2005 Elmhurst College Elmhurst, IL IL --- Bachelor Bachelor of of Arts Arts Cum Cum Laude, Laude, 2005 2005 Elmhurst College -- & Elmhurst, English Literature Music Majors; Philosophy Minor English Literature & Music Majors; Philosophy Minor English Literature & Music Majors; Philosophy Minor Honors & Activities Honors Honors & & Activities Activities
Omicron Delta Kap pa, National Leadership Honor Society Omicron Delta Kap pa, National Leadership Honor Society Omicron Delta Psi KapRecogn pa, National Leadership Honor Society Lambda Sigma i tion Society (Music Honor Society) Lambda Sigma Psi Recogn i tion Society (Music Honor Society) Lambda Sigma PsiInRecogn i tion En Society (Music Society Honor Society) Sigma Tau Delta, ternational glish Honor Sigma Tau Delta, In ternational En glish Honor Society Sigma In ternational En glish2001, Honor Dean’s Tau List Delta, Fall 2003, Fall 2002, Spring FallSociety 1999 Dean’s List Fall 2003, Fall 2002, Spring 2001, Fall 1999 Dean’s 2003, Fall Dyer 2002,En Spring 2001, Fall 1999Awar d 2003/2004 Rober t List an dFall Gou d yloch dowed Scholarship Rober t an d Gou d yloch Dyer En dowed Scholarship Awar d 2003/2004 Rober anCollege d Gou d yloch dowed Scholarship Awar d 2003/2004 E lmh utrst MusicDyer TalenEn t Scholarshi p 1 99 9/2000 E lmh u rst College Music Talen t Scholarshi p 1 99 9/2000 E rstl College t Scholarshi p 1 99 9/2000 Recording) 2000/2001; 2002/2003 Clmh l assuica G u i t a r EMusic n sem bTalen l e Guitarist (Performance/Studio C l ass ica l G u i t a r E n sem b l e Guitarist (Performance/Studio Recording) 2000/2001; 2002/2003 C l ass ica l G u i t a r E n sem b l e Guitarist (Performance/Studio 2000/2001; 2002/2003 Head of Publicity and Concert Recording) Sales 2002/2003 C l ass ica l G u i t a r E n sem b l e Head of Publicity and Concert Sales 2002/2003 C loass Gou n i tcaer rEt nCsem Head ofTenor Publicity and Concert Sales 2002/2003 l l eica g el C h o ibr l eSecond 1999/2000; 2000/2001 Choir Board Member 2000/2001 C o l l e g e C o n c e r t C h o i r Second Tenor 1999/2000; 2000/2001 Choir Board Member 2000/2001 C o l l e gJazz e C oEnn csemble e r t C h“Late o i r Second Tenor 1999/2000; 2000/2001 Choir Recording) Board Member 2000/2001 Vocal Ni g h t Bl ues” Guitarist (Performance/Studio 2000/2001 Vocal Jazz E n semble “Late Ni g h t Bl ues” Guitarist (Performance/Studio Recording) 2000/2001 Ni g h t(Performance/Studio Bl ues” Guitarist (Performance/Studio Recording) 2000/2001 JVocal a z z GJazz u i t a rE nEsemble n s em b l“Late e Guitarist Recording) 2000/2001 J a z z G u i t a r E n s em b l e Guitarist (Performance/Studio Recording) 2000/2001 J a zzzz G t a br oE nGuitarist s em b l e (Performance) Guitarist (Performance/Studio Recording) 2000/2001 Cuoi m 1999/2000; 2000/2001 J a z z C o m b o Guitarist (Performance) 1999/2000; 2000/2001 J z zh uCrsotmCo b ol leGuitarist 1999/2000; 2000/20012000/2001 E alm ge Jazz (Performance) Fest i v a l Publicity Team 1999/2000; E lm h u rs t Co l le ge Jazz Fest i v a l Publicity Team 1999/2000; 2000/2001 E lm i v a l Publicity Team 1999/2000; 2000/2001 l m h u rs r s t Co C ollle l ege g e Jazz T h e aFest t e r Cast Member 1999/2000 E l m h u r s t C o l l e g e T h e a t e r Cast Member 1999/2000 E lm l m h u rs r stt Col C o lle l ege g e MTusic h e a tDepa e r Cast Member 1999/2000 r tmen t Boar d Freshman Representative 1999/2000 E lm h u rs t Col le ge M usic Depa r tmen t Boar d Freshman Representative 1999/2000 E u rsder t Col geh uMrsusic d Freshman 1999/2000S ummer 2003 T lm he hLea ( Elelm t CoDepa l le ger tmen st u det nBoar t newspa pe r) StRepresentative aff Wr i te r 2002/2003; T he Lea der ( E lm h u rs t Co l le ge st u de n t newspa pe r) St aff Wr i te r 2002/2003; S ummer 2003 T he leference ge st u de n t ks newspa St affi rWr So u tLea h amder p t o( E n lm Whr iut irs n tg Co Col n Wor ho p ope n r) Memo Wri te i t ri n2002/2003; g w i t h F r a n Sk ummer McCo u2003 r t S ummer 2003 So u t h am p t o n W r i t i n g Co n ference Wor ks ho p o n Memo i r Wr i t i n g w i t h F r a n k McCo u r t S ummer 2003 So am n Wpr ioe t i nt rgy Co ho o nWe Memo Wrice i t i n ligtewra i t rhy Fma r a ngkazMcCo u r t S ummer 2003 P u ub tl h ica t ip o tno for ann d ference sc u l p t uWor re i nksM i dpd le s te r ni r Vo i ne 2003 P u b l ica t i o n for p oe t r y a n d sc u l p t u re i n M i d d le We s te r n Vo ice li te ra r y ma g az i ne 2003 P b rl ica t r y aber n d sc u l p t u re i n M i d d le We s te r n Vo ice li te ra r y ma g az i ne 2003 I nute n a ttiioonnafor l C lp u oe b Mem 2002/2003 I n te r n a t i o n a l C l u b Mem ber 2002/2003 I n te r n a t i o n a l C l u b Mem ber 2002/2003
U ND ER GR AD U AT E S TU D II E S A BR OA D U UN ND DE ER RG GR RA AD DU U AT AT E E S ST TU UD DIE ES S A AB BR RO OA AD D Oxford, England Spring 2004 2004 Oxford, England Spring Oxford, England Spring and 2004 • Centre for Medieval Renaissance Studies, Keble College, University of Oxford • • • •
Centre for Medieval and Renaissance Studies, Keble College, University of Oxford Centre forShakespeare Medieval and Renaissance Studies, Keble Renaissance College, University of Oxford Tu t orials: / Greek Tragedy / European Art & Archi tecture Tu t orials: Shakespeare / Greek Tragedy / European Renaissance Art & Archi tecture Tu t orials: Shakespeare / Greek Tragedy / European Renaissance Art & Archi tecture
• • • •
Radboud Universiteit Nijmegen Radboud Universiteit Nijmegen Stu d ies: American Litera t ure / Race & Gender in American P op-Cul t u re / In terna tio nal Law Stu d ies: American Litera t ure / Race & Gender in American P op-Cul t u re / In terna tio nal Law Stu d ies: American Litera t ure / Race & Gender in American P op-Cul t u re / In terna tio nal Law
• • • • • •
Institu te of European Studies Institu te ofCattol European Studies Italian conversation & grammar Università ica, Studies: Università Cattol ica, Studies: Italian conversation & grammar Università Cattol ica,ionale Studies: Italian conversation grammar Accademia In ternaz Della Musica, Stu dies: & Classical Gui tar; Music History / Theory Accademia In ternaz ionale Della Musica, Stu dies: Classical Gui tar; Music History / Theory Accademia In ternaz ionale Della Musica, Stu dies: Classical Gui tar; Music History / Theory
• •
Elmhurst College “Educational Experiences in Jamaica” teaching music to underprivileged middle school chil dren Elmhurst College “Educational Experiences in Jamaica” teaching music to underprivileged middle school chil dren
Nijmegen, The Netherlands Fall 2003 Nijmegen, The Netherlands Fall Nijmegen, The Universiteit Netherlands Fall 2003 2003 • Radboud Nijmegen Milan, Italy 2001 Spring 2002 Milan, Italy Fall Fall 2001 & & 2002 Milan, Fall & Spring Spring 2002 • Italy Institu te 2001 of European Studies
Montego Bay, Jamaica January 2000 & January 2001 Montego Bay, January & 2001 Montego Bay, Jamaica Jamaica January 2000 2000 & January January 2001 • Elmhurst College “Educational Experiences in Jamaica” teaching music to underprivileged middle school chil dren
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agua y ladrillo | community center
oasis | urban pavilion
selected projects
31 lanterns | spanish history museum
47 skin | facade project
agua y ladrillo advanced studio summer 2008 program: community center location: san martĂn de las caĂąas computer modeling: SketchUp rendering: Podium
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neil j. long
san martín de las cañas Centrally located in the state of Jalisco, Mexico, San Martín de las Cañas is a small village of 780 inhabitants situated within the Tequila Valley 3,600 feet above sea level. A rural landscape of blue agave farming and tequila production surrounds the agrarian village. Operated as a traditional hacienda up until the agrarian land reform of the Mexican Revolution (1910), San Martín is now within the jurisdiction of an Ejido, a region of land governed and farmed communally and supported by the state.
original hacienda dam
site
bull ring
Built into a hillside, San Martín de las Cañas has adapted to the naturally steep grade of the terrain. With the exception of the old hacienda town square, nothing commits to an orthogonal geometry – no road is even remotely flat. The city has grown organically from a man-made reservoir along a river, forming an enclave of ad hoc houses and roads that become part of the landscape itself.
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agua | water Every village throughout the arid Tequila Valley has a unique relationship with water. The most vital of all resources, water is at times also the most scarce. High above the valley floor, San Martin is advantageously positioned near some of the highest cascades in Mexico, allowing it to harness water for both power and drinking. In fact, narrow aqueducts (both above ground and embedded into the streets) carry water through the village to a dammed reservoir, which is also fed by the San Martin River. The townspeople routinely construct makeshift dams of their own along these aqueducts to create personal water supply for laundry or other household needs.
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community center
Particularly undeveloped, the site at the north side of the reservoir offered a unique opportunity to expand the free public space of the town through a multi-use community center. The site was little more than a discordant intersection of winding roads, water and landfill. It was the leftover space of several intersecting axes and geometries that were never intended to find resolution. Interestingly, the site provided a prototypical example of what Eduard Bru coined the “urban void”. While San Martín is far from the scale of the mega cities Bru refers to in his Untried Territories, this was still the type of “conflictive space” that forces the architect or urban planner to invent new places and new uses. By expanding the reservoir embankment in the direction of the water, the north shore of the reservoir is transformed into a functioning public plaza and promenade. At the intersection of the plaza and promenade, a new community center is created.
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public plaza
sketches from initial visit map intersection of site lines
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ladrillo | brick As the soil is rich in clay there is an abundance of brick makers scattered throughout the Tequila Valley. The design of the community center incorporated the typical concrete frame with brick inlays that pervades the architecture of the region. Not only did it make good design sense to utilize local materials and methods, it also created an inherent connection between the architecture and the landscape in terms of both the natural and fabricated environments.
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1 - ejido room 2 - event space 3 - kitchen
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event space
programmable space
ejido room entrance
By providing open event spaces as well as private rooms of varying sizes, the community center can host a wide variety of social events throughout the year. It also provides much needed accommodations for overnight guests for bull fights, carnivals and regional meetings of the Ejido. For this reason, the center is divided into two wings, each with two levels and separate entrances, to allow for multiple events at the same time. neil j. long
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ejido room & laundry San Martin benefits from a semi-arid climate and a relatively high elevation, causing little variation in temperature year-round. This allowed the main gathering spaces of the community center to remain open, with uninhibited views of the surrounding landscape. The largest space was designed to accommodate governmental meetings of the Ejido. The porosity of the tilt-up concrete wall to the south regulates the wind and sun entering the Ejido room and offers privacy while still engaging with the adjacent plaza. The room’s massive, cantilevered roof provides shading while also collecting rain water. Folded metal panels, which form the ceiling of the Ejido room, act as channels to carry water to the laundry below. rain water collection
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public pavilions
water terraces
water pavilions Several small pavilions and terraced platforms were designed to occupy new landfill along the reservoir embarkment, offering highly programmable public space for local residents and vendors. This provides a venue for the regular markets, which are held in the village. Likewise, the shade offered by the pavilions and the coolness of the water will most certainly draw more people to the reservoir in the hot summer months. In the rainy season when the reservoir is high, parts of the terraced platforms will be partly submerged, providing a visual reminder of the passage of seasons.
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urban oasis advanced studio fall 2008 program: pavilion location: St. Augustine, FL computer modeling: 3ds Max rendering: V-Ray
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urban oasis The recent remaking of St. Augustine into a “living history museum” produced an unfortunate consequence; a once vibrant community of artists (especially street artists) became alienated from any kind of free public exhibition. The city council went so far as to issue a ban on all public art within fifty feet of the tourist-saturated St. George Street.
fort
This project repurposes a parking lot located in the historic town center, at the intersection of Cordova and Carrera Streets, into a free public forum or a place of refuge (an oasis) within the city. The grassy oasis is designed to provide a series of small, programmable urban “room-like” spaces for visiting artists or weary pedestrians looking for peace and solitude.
site Cordova Street
St. George Street historic restoration
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By utilizing a series of traditional Coquina walls, the space is defined primarily by movement. The seemingly indeterminate arrangement of planar surfaces produces a sequence of parallaxes, which are continually redefined as one progresses through the oasis. The visual porosity (or the physical depth of the field) fluctuates without anticipation as one moves in any direction. From the exterior, one is given fragmented views of what lies inside; from the interior, one is never without a glimpse of the city beyond the sanctuary of the walls. By contrast, the canopy is quite regular, housed within a symmetrical space frame; yet, it too destabilizes any singular reading of the field below with glass and mirrored panels of varying translucency that cast an array of shadows in fleeting patterns. The mirroring visually bridges the otherwise disconnected spaces, creating something of a virtual parallax.
angled mirrors in canopy reflect underlying spaces
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Historic Grace United Methodist Church 1886
TREET
ERA S
T
REE
ST OVA
D COR
CARR
section
T
REE
A ST
CI LEN
VA
Ponce de Le贸n Hall at Flagler College 1888
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a passing glimpse | 27 |
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patterns & parallax neil j. long
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remembering the wall
A new corridor linking Grace United Methodist Church and Flagler College conforms to the modern city grid on one edge while the other edge is rotated to follow the path of a now buried 16th century Spanish wall - a subtle reminder of the layers of history beneath St. Augustine. neil j. long
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lanterns advanced studio fall 2008 program: Spanish History Museum location: St. Augustine computer modeling: 3ds Max rendering: V-Ray
It is impossible to break ground in St. Augustine without uncovering some evidence of its remarkable history, especially from the Spanish colonial years. Therefore, it seemed appropriate to house the proposed Spanish History Museum within the earth beneath an artificial embankment rising from the edge of the adjoining glacis of Castillo de San Marcos, located on the waterfront just across historic Highway A1A. Unlike its 17th century neighbor, the museum’s glacis was designed not to impede the advancement of unwanted guests, but instead to allow access from every possible approach. The museum glacis, in contrast to the typically flat Florida coastline, rises just high enough to provide panoramic views of Castillo de San Marcos and the St. Augustine Marina while respecting the local height ordinances of the Spanish Quarter. Located beneath a scenic promenade, the Museum’s primary exhibition space is oriented toward Castillo de San Marcos as a constant reminder of its historical presence.
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Highway A1A reconfigured to provide museum frontage road accessible only to public transportation
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Castillo de San Marcos
pedestrian corridor
historic St. George Street
Highway A1A with new frontage road neil j. long
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1 - exhibition hall 2 - event space 3 - archives 4 - gift shop 5 - courtyard
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lobby with lightwell
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pedestrian corridor links St. George Street and Highway A1A neil j. long
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5 - courtyard 6 - exterior passage 7 - administration 8 - cafe & patio 9 - kitchen
exhibition hall 8
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facade minimizes light pollution - mitigating harm to coastal wildlife neil j. long
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The peripheral programs of the museum (lobby, cafe, archives and administration) are housed in two wings nestled within the constructed glacis. Within the wings, vertical voids are utilized as a means of capturing light without excessive heat gain. Externally, the wings are clad in perforated steel panels custom-fabricated to echo lantern patterns found within the Spanish Quarter. Throughout the day, the internal array of shadow and light becomes a measure of time, while at night, the glow from within projects the patterns of light outwards - becoming a symbolic beacon of light on the St. Augustine waterfront. At the same time, the building’s facade minimizes light pollution thereby mitigating potential harmful effects to coastal wildlife.
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a bridge provides visitors with exterior passage and interior courtyard views without requiring entry to the museum neil j. long
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skin research project 2010 location: Chicago computer modeling: Rhinoceros with Grasshopper rendering: V-Ray environmental analysis: Ecotect
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a thickened skin rethinking high-rise living
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marina city towers a city within a city sax hotel
architect: Bertrand Goldberg constructed: 1964
private drive
height: 587 ft house of blues east tower
west tower
smith & wollensky
CHICAGO RIVER
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N. STATE STREET
N. DEARBORN STREET
program: mixed use / parking / residential
residential floor plans (parking floors 1 - 20)
east tower floor plan 21st - 52nd
east tower floor plan 53rd - 60th
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concrete problems a skeleton in need of skin When Marina City was built, it was the tallest reinforced concrete structure in the world. This engineering feat was obviously a point of pride for Goldberg and his team of designers, as they chose to leave a key element of architecture missing - the skin. While the radial formwork of the towers has become a hallmark of Chicago architectural style and innovation, it has not withstood the elements as well as it has the critics. If one were to visit the towers on any given day one would find a now familiar array of scaffolding and construction screens wrapping the towers. The Marina City Condominium Association reports spending millions of dollars to fix severe structural damage to the signature cantilevered concrete balconies. Residents complain of constantly rain-swept balconies and of puddling from deformations in the floor plates due to constant bombardment by wind.
wind swept rain
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severe concrete damage
nine suns According to Chinese legend, for thousands of years the Earth was scorched by ten suns. One day a man named Hou Yi came along and shot down nine of the suns along with a few flying beasts and dragons thus saving the people of the world from suffering inevitable destruction. It is interesting to consider only nine of the ten suns were shot down. It shows how vital the sun is for sustaining life, while recognizing too much of a good thing can cause destruction. This study of Marina City Towers focused on ways to address the building’s emergent environmental and programmatic needs. Specifically, it examined how an architectural skin may be utilized to protect an otherwise “skinless� building from the elements and how that then may affect the interactive spaces of high-rise living. It was important with Marina City Towers to respect the character of the existing structure, while allowing a new identity to emerge. This is fitting given the parable of the story is that survival is a product of both innovation and adaptation; in other words, evolution.
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sun mapping
current conditions
optimized sun shades (june - august)
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neil j. long
The initial skin studies began by addressing environmental issues of wind, sun and rain. There are essentially nine hours in a day when sun-shading is absolutely critical, especially for a high-rise building.
current conditions
optimized sun shades (june - august)
current conditions
optimized sun shades (june - august)
9 am
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mid-day sun
evening sun
wind analysis
As Marina City Towers are circular in design with sixteen bays rotated on center, it is equally exposed in every direction, making it especially difficult to adapt to continually changing conditions. Wind, unlike sun exposure, is far from constant. However, these prevailing wind diagrams clearly show a predominance of winds from the southwest, especially in the winter months.
spring
summer
autumn
winter
prevailing winds
annual average winds neil j. long
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modularity studies
To create a building skin, a cylindrical form was populated with modular components to compliment the repeated modularity of the towers. Secondarily, the components were varied as they were “grafted� onto the surface, adapting to the given conditions while creating functional ornament and visual complexity.
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variable components
The modular investigations continued by developing ways of populating surfaces with sets of components subtly varied according to irradiation maps. With this particular example, a component was stacked and then rotated to varying degrees relative to the sun-shading desired, thereby populating the cylindrical surface with a uniform gradient. A more complex surface would produce a larger variance in gradation. A full exploration of this concept can be seen in the Harvard exhibition of Adaptive Fritting, by Chuck Hoberman.
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skin gradations
Sun studies show how “wrinkles” in a skin can produce hot and cold spots throughout the day, as opposed to the smooth surface of a perfect sphere that has a constant gradient of irradiation that shifts throughout the day.
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The plasticity of the skin may be manipulated by populating the surface with varying apertures. As shown, four components populate several “wrinkled” surfaces and are varied relative to anticipated average daily irradiation.
north
south
west
east neil j. long
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dynamic shading
sun variations indirect/diffused light enters during peak sun hours
cooling oblique winds enter folds in skin
self-shading surface could offer transparency for views with minimal heat gain
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turbulence deflected by curved surfaces and driven upward, avoiding wind-swept balconies
wind catchers pleated surface creates shifting pockets of warm and cool air throughout day
hot air ventilated through top of pleats by natural shift in air pressure
cooling winds may be harvested through overlap of pleated surface sun shaded by canopy
hot air ventilated through opposite scoop by natural shift in air pressure
cooling winds may be harvested from prevailing direction
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programmatic wrapping variable component as generator of surface modulation The boundaries of the skin were expanded so that a type of communal dwelling was realized around the exterior of the towers. An extended, fully inhabitable component was generated, with possibilities for highly interactive elements typically not realized by the autonomous balconies of high-rise apartment buildings. This would afford all residents access to the full 360 degrees of the building’s views. To reduce wind resistance, the curvature of the component shifts as it wraps the building, creating a cork-screw effect, directing turbulent winds from all directions up and around the building. Further investigation of this new typology of high-rise living would realize the expansion of public space at the lower parking levels and possibilities for shared amenities between the towers and the adjacent Hotel Sax.
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neil j. long
wrapping skin
expanded balconies neil j. long
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balcony expansion summer sun sun scoop
offset The extended balconies are offset from the existing towers, creating semi-public promenades accessible only by residents. Likewise, an atriumlike space is made in the gap between the new balconies and the old, providing ventilation, views and light.
winter sun sun scoop
shift In order to avoid limiting exterior views or inhibiting the desired winter sun from reaching apartment interiors, the new promenade is shifted upward, so that views are increased and winter sun angles from the months of November to February can reach deeper into the new atrium space. | 65 |
neil j. long
stack effect & weather screening open enclosure
closed enclosure
closed enclosure
rain
turbulence
cool air
increased stack effect
hot air
summer
winter
spring & autumn
During the summer the skin is allowed to breath through balcony and overhead doors. This provides natural, yet controlled airflow into the apartments while protecting the interiors from excessive wind. A natural convection occurs at each apartment, contributing to a stack effect in the surrounding atrium space.
During the winter all apertures of the skin (balcony and overhead doors) are closed, allowing the skin to serve as a large insulator for the building. The stack effect is still present, as towers naturally induce variances in air pressure as they rise. However, it is now not about cooling the interior space, but providing a winter garden for the occupants of the building.
One of the main reasons to pull the skin away from the original structure was to displace the most severe conditions of the high-rise typology, wind and rain. So when the exterior temperatures are optimal for natural ventilation, but the exterior conditions do not allow for the facade to be completely open, vents at the bottom and top of the skin may be used to induce the stack effect. In fact, such a configuration would produce a more intense, yet regulated stack effect than if the facade was opened at individual balcony apertures. neil j. long
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balcony typography The new balcony and overhead wing-like doors can be opened durring favorable conditions thereby allowing the encompassing atrium space to be naturally ventilated by oblique winds. The twisting skin also provides varying spatial conditions relative to the fixed module of the original bays. As shown in the diagrams to the right this was achieved by modulating the shape of the extended bays on a fixed axis.
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neil j. long
extended balcony above extended balcony below
The twisting curvature of the skin allows for nine variations in the extended balconies relative to the fixed module of the original towers. As the sun shifts no space is overheated as the rotated curve of the new balconies are incrementally shaded by the floors above.
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summer terrace june 21st 10:45 am
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neil j. long
neil j. long
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winter garden december 21st 10:45 am
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neil j. long
neil neil j.j. long long
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new high-rise living
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neil j. long
neil j. long graduate design portfolio 1810 NW 23rd Blvd / Apt 231 Gainesville, FL 32605 neiljlong@gmail.com (630) 217-5664