R. RUBLEY
| CORE DESIGN |
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ROBERT RUBLEY
| CORE DESIGN | SACD | 13 - 14
4 | Contents
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Brandon Hicks, Fall 2013
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Space and Order Machine de Phenomena Space and Place
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Steve Cooke, Spring 2013
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War Memorial The Wall Floor Ceiling Tower Miami Media Center
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Mark Weston, Fall 2014
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The Old and New: Constructed Continuity Highline Annex of the Pierpoint Morgan Library
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Thinking and Making
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CORE DESIGN ONE BRANDON HICKS F a l l
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8 | Zen Line
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S PA C E A N D O R D E R
C O R E D E S I G N O N E | BRANDON HICKS
This project focused on the exploration of some of the fundamentals of architecture: scale, hierarchy, datum and enclosure. Using a silent film as a spatial catalyst, a series of both two and three-dimensional
collages were constructed to convey those core relationships. The concepts were then telegraphed to a vertical construct to experiment with different lighting conditions, spatial qualities and scaled systems.
12 | Study Collages
14 | Spatial Studies
An axonometric drawing was created from merging plan and section. These exercises helped develop and convey ideas on some of architecture’s fundamental spatial concepts. Hierarchial planes were superimposed around stereotomic masses to create abstract spaces which would be used later on in the vertical construct.
16 | Final Model
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MACHINE DE PHENOMENA CORE DESIGN ONE | BRANDON HICKS Machine De Phenomena picks up where Space and Order left off by deriving spatial moments from sectional trace overlays of our previous project. Concepts of tectonics,
circulation and experiential transitions between programmed spaces were introduced. A heightened focus on enclosure was given to promote an array of interior lighting conditions.
Concepts of the approach through the armature were essential. The manipulation of the ground appropriating the structure led me to the idea of descending into the centralized entry space. This would then heighten the vertical experience of the inhabitant. The circulation would
then work its way around this center, through apertures visually and spatialy connecting the inhabitant back to where they started in the procession. A strong focus on the tectonic character of the constructed edges allowed for a controlled range of lighting conditions.
22 | Interior Lighting
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T R A V E L
J O U R N A L
It was important to grasp the sense of place from each historical town visited. The primary goal was to document through plan, perspective and section spatial relationships from my point of view of the various destinations. An emphasis was set to understand the progression of the scale comparison between the two cities; Savannah, GA and Charleston, SC. Understanding the site allowed me to acquire new knowledge on pedestrian transit through the organization of plan and what that can do to enhance a cities enthusiasm.
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S PA C E A N D P L A C E CORE DESIGN ONE | B R A N D O N H I C K S
This project used precedents to make an intersection between program and the idea of an imagined place. Using tectonic and spatial relationships, a site was constructed
to house a public intervention; a place for the city dweller or stroller. The intervention was to house a multiplicity of programmatic spaces with a variety of scales with public character.
Memory Map
30 | Space and Place
A fraction of an imagined city was designed. It derived from a memory collage representing spatial qualities from our trip to Savannah, GA. Two terraced promenades were conceived
to establish visual continuity between the two public spaces. The linear bluff, connecting the two, tapers at the end causing a tension and release effect just before entering the museum.
Gallery Space Entry
Cross Section
Reading Cafe Exhibition Courtyard
Longitudinal Cross Section
32 | Final Model
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CORE DESIGN TWO STEVE COOKE Spring 2013
36 | Corner Axonometric
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C O R N E R
The corner project dealt with tectonic material connections and the inhabitant’s movement through a sequence of spaces. Research was done on making private spaces more public, which led me to create an elevated outdoor platform visually connected to the interior.
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WA R M E M O R I A L CORE DESIGN TWO | STEVE COOKE
The War Memorial delved in to three interrelated components: The Wall, Floor Ceiling and Tower. The integration of these moments became critical, as the site should read as
a cohesive whole. Concepts on directional movement through spaces were made. Experimental studies were done to re-think the use of conventional model making materials.
War Memorial Parti Model
40 | Site Composition
Wall Concept Model
42 | The Wall
44 | Wall Section Study
46 | Floor Ceiling
The Floor Ceiling dealt with an oblique approach and over hanging ceiling condition. It enhances the effect of the site in relation to the sunken courtyard. The path was redirected more than once
to delay and prolong the sequence of the approach. The procession eventually leads to a delimiting space of solitude over-looking the sheltered sacred spaces adjacent to the burial grounds.
48 | Tower Axonometric
The War memorial had a strong emphasis on entry and approach to the site. Precedent studies were done to conceive a fluent transition from exterior to interior. I researched the Bjerkebak Visitor’s center. This architecture took a different approach
with the duality from inside and out. The entry was very mundane and dreary and the inside was lush with vegetation and gardens. I incorporated the same idea by creating the sacred memorial spaces to be surrounded by lively vegetation.
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MIAMI MEDIA CENTER CORE DESIGN TWO | STEVE COOKE
The Miami Media center dealt with the bustling nature of South Beach, Miami. Some of the objectives related to pedestrian transit and how inhabitants transition and move through spaces.
The compressed site meant that the intention of directing the light would be essential. These qualities will help make a seemless transition from the busy Collins Avenue to Ocean Drive.
52 | Study Model
Between Collins Ave. and Ocean Dr. resides a pedestrian pathway tucked in between two multistory buildings. The site exists where a shift happens in the street grid of S. Beach creating a unique type of footprint for a public construct.
The proposed clients are three artists: a craftsman, a visual artist and an architect with two team members. The key concept was to effectively funnel the pedestrian traffic through the public pathway from Collins to Ocean.
54 | Floor Plans
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First Level 1. Interior Courtyard 2. Eating Area 3. Observation Balcony 4. Artist’s Studio 5. Public Entry 6. Architect’s Office 7. Staff Office 8. Staff Office
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Ground 9. Public Entry 10. Stage Seating 11. Cafe 12. Bongo Workshop 13. Private Entry 14. Performance State 15. Eating area 16. Public Entry 17. Dance Floor
Final Model
56 | Interior Perspective
Situated on the second and third floor are public catwalks. These winding passages would allow the artists to have privacy as well as let the public peer in to the various studio atmospheres. Also, a shift in the buildings front gallery space caters to the performance space enclosing the stage. The catwalks and offices are situated around this centralized public courtyard. The intent is to connect the inhabitant to the lively action on the first floor staying true to the Miami character. Longitudinal Cross Section
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CORE DESIGN THREE
MARK WESTON
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THE OLD AND THE NEW
CORE DESIGN THREE | MARK WESTON This project entails the renovation and extension of the existing Port Tampa City Library. The construct conveys a productive and dynamic relationship between the old and
new using past and current construction methods. Proportions from the existing library were used to enclose a more private inviting space for young adults in the urban neighborhood.
Located on south Westshore Boulevard, the original incarnation of the Port Tampa City Library opened in 1926. Georgian white Italian marble was imported and used to construct the facade of this Neo-classical structure. The building sat vacant until
February 1993, when the Port Tampa City Woman’s Club began raising funds to turn it into the new Port Tampa City Library. It was imperative to preserve the existing facade and be considerate of the tradition of the historical city.
64 | Process Studies
66 | East Cross Section
68 | Materiality Collage Housing the public program in the center of the construct is a double height atrium lobby. The private functions were pushed towards the perimeter of the building away from the public for sound consideration. The public to private organization was conceived through precedent; studying how program can transform and effectively change the way a building works. Through site analysis it was discovered that more than eighty percent of the people visiting the existing building are children. To accommodate that demographic, the main focal point of the building is the children’s library and play area.
North Cross Section
70 | Final Model
Ground: 1. Reference Desk 2. Gallery Exhibit 3. Restrooms 4. Children’s Library 5. Parent’s Reading area 6. Young Adult Library 7. Outdoor Reading 8. Mechanical Room
Second: 9. Cafe 10. Stacks 11. Study 12. Public Internet Cafe
Third:
13. Directors Office 14. Reading Terrace
Final Model
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HIGHLINE ANNEX O F T H E P I E R P O I N T M O R G A N L I B R A RY C O R E
D E S I G N
T H R E E
The primary goal of the Highline project is to provide an archive/exhibit space for the library’s collection and to supplement its public outreach function. The connection to
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M A R K
W E S T O N
the highline is also key. The transition from highline to building to 25th and back should be fluid and emphasize the construction methods used to create a memorable experience.
74 | Site Diagram
76 | Study Models
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Two separate libraries, one for children and one for young adults, sit adjacent to one another. These over lapping tiered spaces are designed to evoke social exchange and collaboration between different age groups. The interior skin system made out of a permeable wooden material allows for enhanced reading spaces making the quiet zones more intimate.
Exhibit Collection
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Peter Paul Rubens Wolfgang Amadeus Mozart Giovanni Battista Tiepolo Michelangelo Buonarroti Antoine Caron Leonardo da Vinci Gabriel Jacques de Saint-Aubin Gutenberg Bible
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Program Diagrams
Highline Circulation Private Rooftop Courtyard Young Adult’’s Library Children’s Library Bookstore Vaults / Chambers Restrooms Exhibition Gallery Space
The elevator circulation becomes the grand vertical space housed on the front facade stemming from the bookstore. The elevator transports pedestrians from the highline through the building and creates an unforgettable view overlooking the historical elevated railway.
82 | Floor Plans
1. Vaults / Chambers 2. Restrooms 3. Private Gallery
4. Reference Desk / Checkout Counter 5. Bookstore / Highline Entrance 6. Main Entry Lobby 7. Public Gallery Space 8. Exhibit Space
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10. Observation Deck 11. Highline Entrance
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9. Cafe Terrace
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12. Stack Area 13. Children’s Library 14. Green Reading Terrace 15. Exhibit Space
16. Stack Area 17. Young Adult’s Library
18. Staff Offices
19. Private Rooftop Courtyard
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84 | Interior Perspective
The Interior Skin system acts as a focal point seen through the exterior glass facade, drawing casual passerby’s inside. On top of the glass facade is a green terraced outdoor reading space with slit fenestrations. These apertures create a lighting condition for the public entering from the highline drawing them towards this public zone. This area is also intended to reunite the separated young adults and children’s library spaces. It provides the same character as the highline while maintaining the view from both directions.
Final Model
86 | Thinking and Making: Levent Kara
Daniella Covate | Steven Arrubla | Kyle Santilli | Robert Rubley
Using readings as a conceptual driver, the group was to devise a dynamic strategy for designing three homes and a watchtower for three separate clients. Speculative collages and sketches were used as a tool to demonstrate the character of the place of the imagined program as well as the clients residing within them. Telegraphed scales helped to produce a final site assembly depicting the imagined locations.
rubleyr@mail.usf.edu