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personal background
age 27 date of birth 09.20.1982 place of birth milton, fl education 2010 master of architecture university of florida 2007 bachelor of science in architecture florida a&m university 2004 associate of arts pre-architecture okaloosa-walton community college
i
project index
2 26 32 44 54 60 72 78
2008-10
university of florida
2010 2009 2009 2009 2008 2008 2009 2009 2005-07
masters research project graduate design 3 graduate design 3 graduate design 2 graduate design 1 graduate design 1 advanced digital design advanced digital design
84 2007 94 2005
church in the wildwood funerary object funerary chapel urbaNoN::park for the city of orlando pavilion for cultural connection st. augustine interpretive center hurry up + wait: loft/morph inhabiting gainesville: deforming the grid
florida a&m university design studio 8 design studio 5
environmental learning center tallahassee planning pavilion
iii
church in the wildwood | embodiment of spirituality in northwest florida
7
6
5
4
3
1 2
rd
ind
fo ian
d
roa
1 2 3 4 5 6 7
entry courtyard new sanctuary Bible study prayer garden baptistery old church existing classroom building
4
5
master research project + site model
6
7
5
7
1 4
2
3
6
1 2 3 4 5 6 7 8
entry courtyard lobby new sanctuary office prayer garden baptistery old church existing classroom building
ground level
1/32”=1’-0”
8
5
7
4
3 3 3 1 2 3 4 5 6 7 8
secondary lobby nursery Bible study breezeway children’s church sanctuary (below) old church existing classroom building
second level
9
1/32”=1’-0”
6
2 1
master research project + floor plans
The aim of this design is to infuse the cross into the site and all of its components as the director of a journey. As believers engage the site and the spaces for worship, they are constantly reminded and drawn back to the moment their story began by the placement of the program along the axes of the cross. The fulfillment of programmatic needs is an integral part of the thinking for a project and produces the subsequent spaces, however it is the thoughtful creation of those spaces which generates memorable experiences. The three-fold program of this place of worship—church, garden, baptistery—engages the believer with the site, the buildings, and most of all the personal experience of the cross. Each element creates a unique experience which contributes to the whole of the worship experience at Indian Ford.
1 2
1 lobby 2 mech/elec 3 storage
basement level
3 1/32”=1’-0”
10
1 2 3 4 5
lobby sanctuary secondary lobby restroom lobby baptistery
3
1
4
2
site section
1/16”=1’-0”
The key time in a believer’s life is that moment when the decision is made to surrender to the service and worship of God. Following that decision, a person becomes transformed and transformation continues throughout the life of the believer. As the place where the believers come to gain weekly revival, this sanctuary is also a place of transformation. The transformation that the believer undertakes is an internal change that most often leads to an outward physical expression. The same is case with the space of the sanctuary; the transformation begins on the inside eventually manifesting itself in the outward appearance of the building. But the primary focus of this space remains internal as each believer strives to live a life pleasing to God and in accordance with His word.
5
1 2 3 4 5 6 7
lobby nursery Bible study breezeway children’s church restroom lobby existing classroom building
5
4
3
3
3
7
2
1
6
site section
1/16”=1’-0”
Movement of the body into this space creates an important moment of vertical circulation engaged with direct light allowing the body to be suspended between earth and sky and between old and new. Given its elevated situation, inhabiting these spaces allows for a new awareness of the landscape. Physical, visual connection between the old church and tree to the new intervention of the sanctuary, garden, and baptistery presents the opportunity for occupants to understand the site’s relationships with clarity, which is impossible from any other vantage point on the site.
17
master research project + interior images
18
The experience of baptism is an important time in the life of the believer. As a person decides to be baptized, the decision is made to follow the example set by Christ in scripture. The verse in Matthew has spatial implications that affect the experience of each candidate for baptism. Jesus’ experience deals with burial and resurrection, underneath and above. Descent into the water represents the willingness of the believer to take part in the act of baptism. The journey to this point of decision has been long and sometimes unclear, sinking gradually lower into the depths of sin in one’s life and at no time is the person more aware of the sinful status of the soul. As the primary vertical element on the site, the baptistery in this case bares another important symbolism. The slender scale and verticality of the cross is reminiscent of the pines that once stood in the same landscape as it reaches above the treetops to call to all who waywardly travel along the roads around the church. With the baptistery’s connection to the church, its cross leads the lost to home; to a place of refuge and sanctuary.
19
original wood cladding
wood form - presence of cladding
wood form - rotated
In regard of the old church positioned as a place of strength within the site via its materiality and the density of forest immediately surrounding it, the new church gives presence to the old in its materiality and its relationship to the new landscape. The vertical cladding once shown on the façade of the old church is reinterpreted as the form work for concrete. Upon the removal of the wood form-boards, the faces of the church evoke the image of the Church in and of the Wildwood. Concrete’s connotation of strength and durability coupled with the embedding of the sanctuary fortifies the image of the church as a place of strength, refuge, and sanctuary.
21
master research project + 1:1 detail
finished concrete - presence of wood
22
south elevation
23
As an introductory project, the funerary object is designed specifically for American artist Robert Rauschenberg and initiates contemplation about the emotion involved with death and the burial process. The urn is designed in such a way to connect between the artist and his family as the piece is placed in the earth. The process of making, manipulating, and composing material is derived from Rauschenberg’s process of collage and allows those mourning to almost “grasp� the body of ash in the same way that the art world was not able to completely grasp the work of the famous artist. In response to tactility, the exterior envelope of the urn is composed of hundreds of slender pieces of paper which react the pressure of the hands as the object is held. Degradability was a requirement and became part of the thinking about materiality and temporality. The inside container is made of textile with biosafe adhesive to give structure to its form and slow the degradation to allow the outside to disintegrate a greater rate the container of the body.
f u n e r a r y
o b j e c t
plan
27
elevation
graduate design 3 + funerary object + drawings
section
diagram
28
framework
29
skin
framework as skin
graduate design 3 + funerary object + model
30
When dealing with sacred spaces, the emotional and psychological experience of the inhabitant must be addressed with great care, and when that sacred space involves the process of mourning death, the concern for the space is magnified exponentially. Sitting within the downtown context of Ganesville, FL, separation and refuge were at the forefront of the experience. The chapel addresses the street in one way and handles visitors in different way. Purity and simplicity of light and materiality usher mourners through this emotionally heavy process engaging each moment of light with a different sectional condition in regard to the building. At each encounter of light is also an encounter of tactility such that light denotes contact and the building responds with presence of wood in an otherwise purely white space.
f u n e r a r y
c h a p e l
east elevation
south elevation 33
8 9
3
1 2 3 4 5 6 7 8 9 10 11 12 13
entry lobby chapel private viewing officient body preparation restrooms garden proper meditation garden hearse arrival/departure storage mech/elec adminstrative office
11
2
4 7 10
6
1
11
5 12
7
13
section at chapel entry
section at chapel seating + family viewing 35
graduate design 3 + funerary chapel + sections
section at altar
longitudinal section 36
view to altar from entry
37
view to chapel seating + registry from altar
graduate design 3 + funerary chapel + light study
view to registry
view to east | family viewing
view to west | family viewing
38
approach to registry
39
plan
section
graduate design 3 + funerary chapel + 1:1 detail
1:1 model
40
finished model
initial concept model
41
graduate design 3 + funerary chapel + models
context model
process models
42
u r b a n
n e t w o r k
o f
n o d e s
view at bike path
45
This urban design proposal focuses on an area of Orlando that would be about the city and for the city. In order to attract attention from without the site and serve those living within the site, a new park for the city and by the city anchors the old industrial district as the common organizing and orienting element. Contrary to typical urban design, urbaNoN is a subtractive process opening of the urban fabric while selectively choosing areas of added density in relationship to existing areas of density. The design of the park is dictated by the literal connection of nodal activities allowing the topography to be pushed and pulled dividing the park into its respective parts: transportation, culture, and recreation. Given the counter intuitive design of the park, urbaNoN creates a place for people to thrive in work, play, and education.
atlanta avenue
47
urbaNoN park
commercial
transportation terminal entry plaza bike
pedestrian underpass
graduate design 2 + urbaNoN + section
view at transit terminal
sligh boulevard plaza
commercial/restaurant
pedestrian greenway
parking
entry plaza
section at transit terminal 48
cut & crease | definition of nodes & connections 49
graduate design 2 + urbaNoN + process diagrams
scale & walkability
park at every node 50
street/block figure ground
51
parking strategy
hardscape
graduate design 2 + urbaNoN + layers of design
public green space
water
canopy
building infill
52
c u l t u r a l
c o n n e c t i o n s
55
graduate design 1 + pavilion + drawings
plaza/amphitheater seating 1 pavilion staging area 2 park 3
the objective was create a pavilion in tribute to the original wall encompassing St. Augustine along the Rosario Line with a focus on the layering of cultures & their connections throughout the city’s history. each architectural element & its materiality comprising the pavilion exclusively depends upon another; alluding to the way in which each layer or period of St. Augustine’s history rests on the previous. the program is simply a public amphitheater & plaza to work in conjunction with the Lightner Museum & the city of St. Augustine. also included in the site is a natural growth wooded park providing green soft landscape in the midst of an area dominated by concrete.
1
pavilion plan
pavilion section
2
3
57
graduate design 1 + pavilion + renderings
58
interpretive center from castillo de san marcos
u r b a n o
e s p a n o l
process sketch | lines of force
st. george st.
site section
61
spanish quarter
interpretive center
entry plaza
pedestrian crosswalk
restored glacis
graduate design 1 + interpretive center + site
the design began by establishing the limitations of the site, in other words defining what is the site from there lines were projected from the context, primarily from but not limited to, the most prominent element, castillo de san marcos. the projecting lines began to set-up lines of site & movement, which began to define the building edge. ease of movement around & through the site are essential to the success of the program. the building is based on 2 primary axes: n+s & e+w. movement along the n+s axis promotes movement within the interpretive center, while movement along the e+w axis is the link between the castillo & the spanish quarter.
site plan
underground parking
castillo de san marcos
62
63
graduate design 1 + interpretive center + site model
special attention is to be given the character of the different portions of the buildings. the larger mass matches the vastness of the glacis approaching the fort. the smaller mass to the north corresponds to the scale of the spanish quarter. the intent is to have the character of these respective areas differ in attempt to create a dialog with the adjacent spaces. the building is broken into [3] masses. the large mass to the south houses the exhibition space for the fort & allows for a unique view of the castillo as the view is elevated to the third level. the exhibition space for the spanish quarter is located on the ground floor of the northern mass, while on the roof is the enclosed outdoor exhibit space. the central mass holds the auditorium & the bookstore & acts a transitional space between the exhibition spaces.
64
lobby spanish quarter exhibition castillo exhibition auditorium staff work room staff break room + lockers office conference room restrooms mechanical + electrical bookstore storage
2
7 10
12 11
1 4
12
12
6
65
12
8
10
3
12
5 12
first floor plan
7
7
7
12
second floor plan
10
1 2 3 4 5 6 7 8 9 10 11 12
graduate design 1 + interpretive center
66
2
cross section
3
4
7
1
2
longitudinal section
67
2
2
graduate design 1 + interpretive center + sections
spatially the respective areas remain separate with the vertical and horizontal circulation revolving around a central courtyard. the problem discovered in designing on this site is that it must accessed from multiple locations. as I began exploring methods of accessing the site I looked at historical connections in st. augustine, the one lasting element is its urban fabric. many building have been modified, renovated or destroyed, but the organization of the city remains in tact. the beauty of spanish urban design is that users follow long narrow corridors eventually emerging in a large plaza. these plazas begin to be defined by the buildings & streets around them & are accessible from any number of angles or sides. concerning the exhibit for the castillo, visitors are elevated to a new vantage point for viewing the fort while inhabiting the largest volume of the museum in relation to the scale of the fort with its surroundings. by using a series of low ceilings to create small volumes within the exhibit space for the spanish quarter, the program is spatially divided while remaining physically connected. the execution of this space will enable the curator of the museum to explore the idea of having separate thematic exhibits or a singular motif. by using the idea of compression & expansion, the user of building is taken through small shadowed thresholds which lead to large areas filled with diffused & bounced daylight.
wall section
68
toward st. george street from auditorium exit lobby
69
inside of spanish quarter exhibit
graduate design 1 + pavilion + interior perspectives
toward castillo from lobby
70
h u r r y
u p
+
w a i t
|
m u l t i - u s e
f u r n i t u r e
[1] the idea began as an analysis of the various itineraries & purposes of my personal experiences within the space of the lobby. [2] in addition to those itineraries, programmatic needs were addressed within the space. there is an apparent need for a place for students to sit & wait while they are waiting to for advisement. also, this lobby is an important location for the display of information concerning classes & upcoming events. [3] the appropriate paths of travel & programs were placed into the space the delineated to a bare minimum of curves. [4] using the ‘curves from cross section profiles’ in Rhino, the wireframe of the form was created. [5] taking an average of the 2 curvilinear paths, a trimline was created to separate the two programmatic elements. [6] after trimming every other member, the profiles were extruded to create the entry experience.
1_itinerary 73
2_program
3_curves
advanced digital design + loft/morph + process
bench
4_cross section profiles
display
5_average of itineraries
6_extrusion of members 74
75
advanced digital design + loft/morph + renderings
76
i n h a b i t i n g
g a i n e s v i l l e
85 150
139
74
69
89
128
134
176
55
96
88
102
129
67
117
65
75
174
91
50
58
194
101
121
67 199
104
58
124
124
59
31
108
140 85
63
230
21 47
241
36
150
130
59
63 142
126
67
downtown gainesville [1]
exterior garden 2 beds per dormitory 4 beds per dormitory major [non]housing program
repetitive element [2] 79
extrusion [3]
deformation [4a]
advanced digital + deforming the grid + process
60 sq. blocks of downtown gainesville were traced in correlation [1] with the programmatic requirements for 60 beds the repetitive element is a simple hollow cube that was [2] deformed by scaling to fill each individual block each cube was then extruded in both directions relative to the [3] total square feet of each block a bend in the design was anticipated, so the upper most [4] cubes were deformed in response to the curve followed by a deformation affecting the entire mass of the building also relative to the curvature of the building & the distance from the vertex at which the bend would take place nodes of activity & access were mapped on the uf campus [5] relative to the major [non] housing elements of the program. a voronoi diagram was constructed using the nodes & the curvature of the diagram defines the curvature of the building
voronoi diagram [5]
deformation [4b]
bending [6a]
the building was bent to match the curvature taken from the [6] voronoi diagram
bending [6b] 80
81
advanced digital + deforming the grid + renderings
82
Considering the project is for a natural museum/ nature preserve, the design’s concept comes from a member of the “natural environment.” With a desire to create a lasting architecture, the lizard, being representative of one of the lasting types of animals - reptiles, was chosen as the inspiration for the design. Focus was given to many aspects of the lizard throughout the design. Primarily, the division of the body into five segments (head, shoulder, torso, hip, & tail), the obvious presence of a proportioning system, & the curvature of the spine which caused the rib cage to expand or contract relative to the side of the body on which it is found. While the golden section is not the proportion observed in the lizard, it is the system used for the design of the museum in response to the lizard’s proportion. The golden section is the basis for design throughout the museum from the floor plan to the elevations & section to the layout of the window systems.
t a l l a h a s s e e
m u s e u m
After following the curvature of the lizard’s spine & using the golden rectangle to set up the footprint, the mass of the building was broken into five zones corresponding to the five divisions of the lizard & giving place to five primary functions of the learning center. The five divisions were pushed together so that they overlap one another & the spaces in which they overlapped became the solid masses or positive spaces of the plan, while the remaining negative space became transparent.
85
site section 1/32�=1’
floor plan 1”=100’
87
undergraduate + fourth year
88
view from northeast - entry
89
view from south
undergraduate + fourth year + site model
90
1
2
3
4
5 6
7
8
91
Standing seam metal roof system on plywood decking on 2x wd. nailerson roof purlings w/ batt insulation w/ wd. decking
1
Exposed wood truss
2
Glued-laminated lintel beam
3
2x8 T&G wd. decking on 2x nailers on metal storefront framing
4
Storefront system
5
(2) 12"x16" wd. columns w/ wd. block infill, typ.
6
Wd. louver w/ wd. mounting bracket
7
Stone retaining wall
8
undergraduate + fourth year + detail
92
radial parti
rotated grid parti
The site for the Tallahassee Planning Pavilion is located in an area that experiences a high level of public exposure with its adjacency to the Tallahassee Leon County Civic Center, Florida State University, Florida A&M University, & the Turnbull Center. The area is expecting tremendous growth in the near future. In response, the intent is to design a building in such a manner as to create public & private spaces for the enjoyment & use of the City of Tallahassee. The design is a fusion of the grid & radial partis. By means of the grid organization, the lot is divided into halves. Inside of the grid, the dominant feature is the oblique axis from the southeast corner to the northwest corner of the lot. The focus of the design is on (2) primary areas, the tower & the entry at the center of the site keeping with the radial design. From the entry, one can access all areas of the building. I chose to embrace the site as much as possible & to keep nature sacred. By means of manipulating the existing contours, I created a natural amphitheater. Interest is created in my design through the use of a composition of vertical & horizontal & planar elements.
t a l l a h a s s e e
p l a n n i n g
p a v i l i o n
1 2 3 4 5
3
4
2
1
5
exhibit space covered entry plaza amphitheatre garden theatre
undergraduate + third year + plan + process
subtraction from grid
vertical + horizontal intersections
additional geometries
rotated grid
96
The unique feature of this detail is the lights that are found inside the cavity of the awning. The purpose of the design is to create prominence of the horizontal element at night as well as the day. By using the lights to create ambience behind the facade of the awning, the horizontal element shows as dark opposed to its being bright white during the day.
translucent fiberglass panels w/ min. 3/8”:1’-0” slope on 7/8” metal channels on 2” tube steel framing steel cable attached to 2” tube steel framing @ 48” o.c.
fiberglass panel
translucent fiberglass panels on 7/8” metals channels on 2” tube steel framing low intensity tubel lighting
undergraduate + third year + detail
98
contact information
name Simon C. Barrow address 6933 W. University Ave. #1003 Gainesville, FL 32607 phone 850.380.2882 email snl.barrow03@gmail.com
100