advanced a dvanced d design esign p portfolio ortfolio
Univ Un iver iv ersi er si i ty y o f So Sout uth ut h Fl Flor orid or ida_ id a Sc a_ Scho hool ho ol o f Ar Arch chit ch itec it ectu ec ture tu re & C om ommu muni mu nity ni ty D es esig ign ig n _ 2O 2O2O 2O
ELIZABETH ACOSTA
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Advanced A Ad vanc va nced nc ed D Design es esig sig ign n C HILLSIDE HIL LLSI L DE VIL VILLAGE:CASABLANCA, I LAG A E:C E:CASA ASABLA ASA BLANCA BLA NCA, NCA , CUBA CUBA | JAN N WA W WAMPLER MPLER MPL ER R
Advanced Ad dva v nc ced D Design esig es ign ig n A ART & CUL CU CULTURE TU E C TUR CENTER:CHARLESTON, E TER: ENT ER:CHA ER: CHA HARLE H RLESTO STON, STO N, SOU S SOUTH TH CAR CARONL CARONLINA ONLINA ONL INA | L LEV LEVENT EVENT KA K KARA ARA RA & T THOMAS HOM MAS GOO GOODWILL OODWI O DW LL L
Advanced Adva Ad va v anc n ed D Design es sig i n D DEPOSITORY DEP E OSI OS TOR TORY Y O OF F T TIME TIME:TAMPA, IME E:TA AMPA MPA, , F FLOR FLORIDA LOR ORIDA DA | PAU PAUL L O RO ROBIN ROBINSON BINSON BIN SON
Advanced A Ad Adva dva vanc n ed nc d D Design es sig gn B THE DU DUNES DUNES:SARASOTA, NES E :SA : RAS RASOTA OTA, OTA , F FLORIDA LORIDA LOR I IDA | MIC MICHAEL ICHAE HA L HALF HAE H HALFLANTS ALFLAN ALF LAN NTS
Thinking Thin Th inki in k ng & M ki Making akin ak ing in g LEVENT LE LEV VENT E KARA KA RA
PHOTOGRAPHY PHOT PH O OG OT OGRA RAPH RA P Y PH WILLIAM WILLIA WIL LIAM LIA M D DOUGLAS O LAS OUG AS
HI LSI HIL S DE VIL VILLAG LAG GE_ E adv advanc a ed des anc design ign C
HI LSI HIL S DE E VIL LLAG LAGE_ E E_
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adv d anc n ed d des d ign C
advanc adv anced anc ed des e ign C
HILLSI HIL L DE LSI E VIL VI LAG AG GE_ E adv dvanc anced anc ed d des esign ign C
HILLSI HIL LSI S DE VIL VILLAG LAG AGE E_
_CASABLANCA
HILLSIDE VILLAGE
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advanced design C
Our focus for r Casabla C blanca nca, , Cuba Cuba ai aimed med at en enhan hancin cing g an an exi existi ing g plac ce that already po posse sesse sses s a ri rich, ch, nu nurtu turin ring g cult culture ure by pr provi ovidin di g more or ore opportunities for connectio ti ns. This includ des the creation of chanc nce es for diverse connections not only between different social gr group oups s of locals but for tourists as well, increasing the pockets of of ex exposur u e to one another. We achieve this on multiple [scales of plac lace] ] suc uch h as pla plazas zas, , comm c mmuna u l gardens, , and semi-private courtyards s. Th The e smal mall l scale of sca o the village was not altered from m wha wh t we expe xperie rienced whil ile e visiti vis iting, ng however the th publi blic spaces are now organized int into o a cohesive framework.
HILLSIDE VILLAGE
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advanced design C
HILLSI IDE VILLAGE
enhancin an existi enhancing enhanci PLACE C by providing p g chances CONNECTIO CONNECTION
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advanced design C
[FOUND OBJECT MODEL] The found object model initialized our design phase and was a way to view the site after our return from Cuba. The intense focus with this model is the relationship the land has with the waterfront, a piece we decided to keep throughout the rest of the project. The abnormal shapes of the junk pieces assisted us in developing a loose design and to discover significant contour lines.
HILLSIDE VILLAGE
The framework of public places and paths move with the natural contours of the hill to keep the organic feel and holds together the different neighborhoods with a meandering canopy of trees. Along with the places, our design for the framework is defined by the paths. These paths include larger scale public driving roads and aerial lifts, as well as smaller green paths that create a slower paced walk. These green paths function as linear gardens for locals to use for their homes or shops.
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advanced design C
[1� = 120’] After, we were able to test our initial design on the whole site. We considered placement of wind and solar farms and began to design a reservoir in order to irrigate the farm. Expanding the existing farm and placing smaller reservoirs,which are being fed by the larger one. Since many locals rely heavily on the ferry boat as transportation from working in Havana to returning home in Casablanca, ideas of emphasizing the space and significance of the main ferry plaza came to life in this model and became an important aspect to our design.
Pedestrian pathways are an alternative to the many methods of public transportation that give people agency to travel safely and pleasantly. A busy and scenic arcade of storefronts provides a public path for people to hang out. Directly adjacent to the arcade, a serene forest provides a buffer from the water that often has harsh waves.
HILLSIDE VILLAGE
A HOUSE FOR MARTA
Marta is a daughter, sister, mother, grandmother, greatgrandmother, and friend. She has a loving family , yet she still spends most days alone. Her son works and her greatgranddaughter goes to school, while most of her cousins have moved to America. She spends her days trying to find things to do to pass the time. Her neighbor, who she considers like a daughter, spends some of the day with marta. A few years ago, Marta’s home was reconstructed; originally being a wood house, it is much more durable now that it is made out of concrete. She was able to receive help and add in her own touch to the design. She moved her backyard bathroom indoors, and made her two bedrooms a little bigger, unfortunately causing the space of her living room and front porch to decrease. After the renovations, she still lacks a space for entertaining her family members and neighbors. During the talk we had with Marta, we concluded that we wanted to improve her daily
life by providing shareable spaces to interact with her neighborhood. We are relocating her on a road that is more traveled and active, near the waterfront. She was very welcoming to us when we visited her, so this will allow her more chances to bring in new friends. She will have a porch she can share immediately with her neighbor, making it easier for them to sit outside and conversate. People can walk through the public paths along her house, however she still has a private back porch for more quiet moments. A master bedroom and two guest bedrooms are being added. Marta has a room dedicated for her greatgranddaughter, so an extra room is nice for more activity. Marta loves to sew and has made several outfits for her greatgranddaughter. This extra room can be utilized to host sewing workshops, to teach anyone in the neighborhood how to sew or to have community sewing gatherings. This room will have its own entrance, apart
from the rest of the home. In her neighborhood, there are more public courtyards and green spaces that are adequate for the children’s playing needs, like her greatgranddaughter, and to have the accessibility to connect more with the people. We hope these modifications will make her days a little more enjoyable, providing these moments for private and public interactions.
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H LSID HIL DE VIL LLAGE
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adv vanced d design g C
[1�=32’] TAKING A CLOSER LOOK As a test of the scheme, this model zoomed in on one section of the earlier model. We brought to light ideas of how to organize buildings around communal courtyards. Paths that connect these courtyards to the shared farm are peppered with trees in order to create a green enclosure. We positioned buildings to create smaller scale transition spaces in between public and private spaces.
HILLSIDE VILLAGE
[3/16�=1’] In these elevation models, private and public distinctions are explored in three dimensional form. Light is manipulated through screens and color of material is used to break up the facade. Different kinds of openings are used to create a more dynamic push and pull along with balconies that face each other to facilitate community The idea of an arcade is introduced to provide another level of public community. space.
Hannah Han Ha h Mo Moore ore
Elizab Eli zabeth zab eth et h Ac cost sta a
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advanced design C
M que Mar q ssa Pi Pic ic che h tte he
HILLSIDE HILLSI HIL LS LSI S DE E V VIL VILLAGE ILLAG AGE GE
[1 1/1 /16� 6 =1’ mo m de d l] l At thi h s scal ale, e our o desig sig si gn was w tes te e ted ed d li l ke nev ver r bef before re. re . The The h mai main plaz la as are ar giv i en n pur rp pos os se and d mor or re deli deli el liberate ber er te e ch c ara r cte teris r tic ris ri t s defi defi e n ef ne e eac ch one. o e. e Se Sever ver ral dif d iffer f e ent nt sc s ale ales s of spac spa pac ces are a a so al s exp x lor red e to to bre r ak a up p the the in be b tween twe w en spa s ce. La g Lar ge e p pav ved d plazas a with th wat at ter, e g rde ga den n pl la laz azas, as s an a d smal ma a l love lov overs r spa rs spaces ces es ar re the he main cate a gor go ies es of sp space ace c that at provid vi i e a rh rhyth yth thm or melo ody dy wit i hin i th the e fram mewo ework. rk. k
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HILLSIDE VILLAGE
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Surrounde Surrou nded d by by plan plants ts and po popul pulate ated d by by peop people, le, th the e spac spaces es in bet betwee ween n are are whe where re lif life e really rea lly ha happe ppens. ns. Ba Balco lconie nies s that that fa face ce one an anoth other er and fr front ont st steps eps fo for r peop people le to res rest t on all allow ow the re resid sident ents s of of Casa Casabla blanca nca to co commu mmunic nicate ate wi with th one an anoth other. er. Ve Veget getati ation on provid pro vides es sep separa aratio tion n betw between een pa paths ths an and d priv private ate sp space aces s and and peo people ple ca can n safe safely ly wal walk k or rid ride e bicy bicycle cles s in in the the spa space ce bet betwee ween. n.
HILLSIDE VILLAGE
[1 1�=10 00’] FINALI L ZING THE H IDE D A The h final a model d ke eeps th t e same a focus c of f creat a ing op o portun t iti ies of i int tera r cti ti ion o and a sen e se of commun m ity. A ma ain i pla plaza whe where the fer e ry boa o t drop r s off vis v ito ors giv ves a space e wher re many y peopl p e can a ga gathe ther r. Sma Smalle ller er cour cour o tyards tya ards an a d path paths s prov rovide ide d ch chanc anc n es for for mor o e inti n mat te mome m nts s. Inst s itutio t ns are pl p aced d surr roundin i g plazas pla zas th that at ope open n up up f fr rom publi rom pu ubli blic c path paths s in in orde order r to to brea break k the the sch c eme into severa r l neig e hbo orhoods d . The h com mmercia i l arca r de is a plac l e for f int i tens n e acti ti ivit vity whil hile smal hil ller comme m rci rcial l hub hubs occ c ur at t inters e ect tions s of paths. A new w form m of tran r spo ortatio i n up the hi hill ll is exp x lor lored ed with wit th aeri aerial r al lif lifts ts alo along ng g thr three e major ee maj jor axe x s.
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HILLSIDE H HIL LS DE VIL LSIDE LSI VI VILLAGE I LAG LA L AGE E
BUILDING USE SCALE 1”=2OO’ RESIDENTIAL
EXISTING
RETAIL INSTITUTION
CIRCULATION SCALE 1”=2OO’ PUBLIC DRIVING ROAD DRIVING/PEDESTRIAN ROAD PEDESTRIAN ONLY PATH GREEN PATH
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HILLSIDE VILLAGE
SECTION A 1”=32’
SECTION B 1”=32’
SECTION C 1”=32’
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final sections [Section A] highlights the space created for locals and visits that are utilizing the ferry boat as transportation. Since Havana is a tourist hotspot, this area becomes the first step in connecting new visitors and residents once they arrive.
[Section B] Illustrates the multiple places and their differing ing scales. Larger gathering spaces can usually be found outside an institutional building while the smaller spaces are shared between homes. [Section C] points out the two sized reservoirs at the top of the hill accompanied with the farms.
HILLSIDE VILLAGE
A
A
final master plan
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C B
C B
ART RT & CUL CULTUR TU E CENT TUR TER_ ER adv ad anc a ed e des design ign g A
ART & CUL LTUR T E CENT CENTER ENT N ER R
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ART R & CUL CULTUR TUR URE E CENT ENTER_ ER adv ER_ ad anc an ed d des design ign A
A ART & CUL CULTUR TUR TU U E C CENT ENT NTE E
_ C H A R L E S T ON
CHARLESTON ART & CULTURE CENTER
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advanced design A
The initial process of this project began by analyzing and forming spaces and shapes with th found sections. This allowed for an abstract creation of what the building could potentially look like while also opening up options of different uses of materials. This project aims to emphasize an open space concept. The core of the building allows each program to exist within it, enabling chances for communications and interaction. A program isn’t isolated from another with walls or doors, rather there is seamless transition between one to the other. A mesh screen system that wraps around the exterior of the theatre, becomes a guide once you enter, moving you up the vertical circulation and into the spaces on each floor.
CHARLESTON ART & CULTURE CENTER
[SUN STUDY]
december
june
9am
3pm
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advanced design A
32.7783546447754, -79.9268264770508 [VIEW [VI E OF EW O SOU OUTHE THEAST HEAST CO C RN RNER] R R] The build Th lding ld ng receives it ts most t sunli l ght gh on th this sid ide, id , the th exter t ior i f cad fa de consist i s of mul of mu tip tiple l cur curtai tai wall su tain surfa faces fa es, as well es ll as ll as sk sky y ligh ligh ights, s, to o pr provi vide vi e ade de ua dequa u te e li ht lig h ins nside ns de e. The e mes mesh h scre scre re een n sy syste tem th hat a sur ur rrou o nds ou ds th he circ ir r ula latio la tion tio n and d the th ce c nt nter gather gat hering her ing sp pace ce es, , lig li ht is abl able e to filt f lt l er r thr hroug hr ough to avoi oug vo d hars a h direct ire ect t lig ight. ig t.
CHARLESTON ART & CULTURE CENTER
BLACK BOX THEATRE
WEST SECTION 1”=20’
CIRCULATION
SOUTH SECTION 1”=20’
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advanced design A
OFFICE The studios are grouped together from the second floor and up, concentrating the most within the core of the building. The large vertical space throughout all the floors, aims at emphasizing the connected feeling of the inhabitants.
The lobby, cafe, gift shop, and office space are located on the ground floor, this allows for more accessibility for any one passing by the street. The black box theatre can also be accessed from both the second and third floor.
CHARLESTON ART & CULTURE CENTER
[Image g A] ]
[Image [Im [ age g B] ] 40
advanced design A
[Image A] Looking out into the building, it emphasized the sense of open space. Occupants from lower levels are able to interact and engage with others on the other levels. [Image B] On a different scale, concentrated areas in smaller spaces allow for small groups of people to join in participation of activities together, away from larger groups.
cei il li g lin
porous por ous in inter terior ter ior
skin sy sys stem ste s m
fl ors flo r + cir i cul lat tion ti
curtai cur tain tai n glas glas lass s sys sys stem st em exterio or con ncrete s skin
CHARLESTON ART & CULTURE CENTER
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The im image age ab above ove ve sh shows ows s th t e occupi occ upi iabl le exte exte xterio rio ior r spac a e that tha t resi res esides esi des un under der e th t e blac blac ck box o theat th eatre. eat re re. The Th e sect sect ection ion ons s on the he le l ft ill illust ust strat rate rat e the the rel elati ations ati ons nship hi hip be etwe tween en the h interi int er or spa eri p ce and th the e angl led con concre oncre cr te wal wall l syst syst y em. Th The e push push h an pu and pull ll of the e wa walls l lls provi pr ovide ovi de a more o d nam dy namic ic fee feelin ling lin g sinc n e the he ma main in n spa spaces c ces a e main ar i ly y open ope n spac spac paces. es es.
CHARLESTON ART & CULTURE CENTER
advanced design A
[west elevation] On the main street, the building offers shelter under the black box theatre for anyone passing by. To the right of this area is where you will see the grand curtain glass system with the entrance to the building on the ground floor. The delicate glass spans vertically the entire front facade and forms into skylights. As contrast, the glass is accompanied with a precast concrete facade.
CHARLESTO ST S T N ART & CULTURE CENTER
First Floor
LEGEND: 0_MECHANICAL/ELECTRICAL 1_LOBBY 2_DINING 3_GIFT SHOP 4_OFFICES 5_ART LIBRARY 6_MUSIC STUDIO 7_GALLERY 8_PAINTING STUDIO 9_SCULPTURE STUDIO 10_BLACK BOX THEATRE 11_DANCE STUDIO 12_ROOFTOP LOUNGE
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Third Floor
advanced design A
Second Floor
Fourth Floor
CHA ARLE R STON ART & CULTURE CE ENTER
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DEPOSI DEP OSITOR OSI TORY TOR Y OF OF TIME TIME IME_ adv advanc anc anced ced des d ign i D
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DEPOSI DEP OSITOR OSI TOR ORY Y OF OF TIME ME_ adv vanc anced ed d des es sign D
DEP E OSI OSITOR TORY TOR Y OF OF TIME TIME
_ R O B L E S P A RK
DEPOSITORY OF TIME
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advanced design D
We began this class by utilizing an xray to capture the essence of something. To analyze the relationship between an object and what holds the object, how do we begin to read the image of the x-ray. We then took the x-ray machine where the families of Robles Park Apartments were displaced. Capturing an image of the material possessions left behind. Due to the lack of light towards the rejection of the cemetery, the huge disturbance caused in the past, has now returned to haunt those there now.
DEPOSITORY DEPOSI S TO TOR O Y OF TIME OR E
The [first African-American cemetery recognized by the city], has been forgotten. Zion Cemetery has been identified to have 382 death certificates buried from 1913 to 1920. The lack of acknowledgment and care for the cemetery has caused for the future plans of demolishing the current apartments that reside on top. Eventually, displacing and pushing out the families that call this place their home. During our visit to the abandoned apartments in Robles Park, the one thing that caught my eye the most was seeing the left behind backpacks and toys of the children that once resided in these homes. The effect displacement has on an adult is just negative as the effect it has on a child. This project will focus on remembering the past, and recognizing the present and future lives that resided on this land, both in the ground of Zion Cemetery and in the rooms of the Robles Park Apartments.
REME RE EMEMBERING ZIO ON N CE C E M E TE T E RY RY 54
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DEPOSITORY OF TIME
original x-ray scan
A: The x-ray was printed out and manipulated with black paint. Altering the image in a linear form by hand painting allowed for unapologetic results that could suggest a different way of understanding the box. 56
I decided to reach out to the X-ray of the box, the [toy box] symbolizing safety for a child, a feeling that can not really be equally provided in other objects or people. [Unit 213 on Moore Ave, second floor] the location of the box, nearly filled to the brim with toys, some fallen to the ground, scattered all around. A child’s life is occupied with the connection and memories they create with their toys, toys become the child’s first tool in sparking imagination, interacting with others, developing their senses, basic motor skills and so on.
B: I then translated the permanent effects of the paint on the x-ray of the child’s soul aka their toy box into this image.
DEPOSITORY OF TIME
Zones within n the manip pulate ed x-ra ay, a general a izatio t n of f how I plan a to represen s t the si signi gnific ficanc ance e of of the the toy bo box x with within in the ho home me and th the e live lives s of of the the fam famili ilies. es. Sectio ons of spatia i l conc o eptual u iza ation. how do o these s zones e conta t in their own zo ones and ho how w does does th the e obje object ct of the bo box x work work wi withi thin n the the spa space ce of the ro room. om.
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DEPOSITORY OF TIME
east elevation
A child’s world, where things are stored, things are hidden, memories are stored, secrets are kept, a portal to a new world, order within the chaos.
south elevation
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N
DEPOSI DEP O TOR OSI TORY Y OF TIME TIME IM
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DEPOSITORY OF TIME
The zones that I created in my process translate into these wooden forms. These forms are kept in its wood material to emphasize the comfort the toy box has on a child. This room is where one is able to access the box the best which only works for the child, while the adult would struggle to comfortably arrive at the box, causing them to not be able to understand the box as well as the child.
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DEPOSITORY OF TIME
When the box is brought down through the glass, it becomes chaotic but keeps its organization. Here one is able to witness the occurrence of the box’s essence in the room above, but there lacks a physical and visual grasp
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DEPOSITORY OF TIME
The other room, the box is only visible through a small portal. Just a different pov, how most of the view of the box is limited. An adult is not able to see the bigger picture or place themselves in it. They are aware of its existence, but just like in real life...
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...An adult, especially during the hardship of the displacement, becomes distant to the experience the child goes through. The remains of the toy box loses the connection it has with the child.
THE DU DUNES NES_ NES _ adv advanc anc n ed des design ign n B
THE HE DU DUNES NES E _ adv dva a
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THE DU D NES S_ adv d
_SARASOTA
THE DUNES
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Sarasota has experienced a lot of growth over the years, reshaping different areas has allowed for more development, connections, and opportunities for residents and visitors. An area that is still lacking a sense of place, is the waterfront location off of Bayfront Drive, perpendicular to Main Street and Ringling Boulevard. I’ve noticed there aren’t many reasons to stop by this area besides going to Marina Jack or walking through Bayfront Park. The landscape is rather flat and its open space does not spark excitement.
THE DUNES
SARASOTA’S PARK
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advanced design B
I propose to create a park where anyone can use the site as a place of play. Manipulating the ground by creating hill-like buildings allows for people to utilize the surfaces of the hills for play and occupy the space underneath the buildings for different programs. programs The Dunes will become the main attraction, attraction focusing on a concrete central location for connection and gatherings. These dunes are occ cupiab iabl le underneath and on n top as we wel ll, with other amenities on the site of a new Marina Jack restaurant and boardwalk k that unifies the central hotspot with bayfr bay yfr fro ont t par park. k.
THE HE DU DUNES N NES
MULTI-USE M MU MULT ULT LTITII-US USE US E AT ATRIUM TRI RIUM UM S SPACE P CE PA C
Nestled under the largest and longest dune on the site, is a large interior gath normal days, the space is used as a condition to take a break from the outside, wit typically where one can go to rent boat spots or speak with the marina jack manag are able to utilize the large exterior space for weekend farmer’s market, local c 76
advanced adv a dvanc ance ed design ed d ign de des i B
hering space. The open space is fluid,suited for any person and any occasion. On th a nice,clear view out to the water. New offices are located on the second floor, ger. Right outside of the large curtain wall (to the left of the image) occupants oncerts, weddings, etc.
THE DUNES
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THE DUNES
“GARDEN-TO-FORK” RESTAURANT AND BUTTERGLY GARDEN & LEARNING CENTER
The sl slope oped d hill hill fa faces ces to towar wards ds the so south uthwes west, t giv ving an op ptimal l vie ew of the water r and the island d park. rk. A hi hill-l - ik ike build ildi ing provi ovid des mul ltiple e uses. s Vis sitors r uti ilize the underne eath for co condi nditio tioned ned pr progr ogramm ammed ed spa spaces ces wh while ile th the e ext x erior r for r loung n ing g and gath hering g spac ces. Visito Vis itors rs are ab able le to occ occupy upy th the e land landsca scape pe and use the slope for r seatin t g. These e hills l cre eate less les s of of an an obst obstruc ructio tion, n, as the they y slop slope e up up from from the groun o d, with maxi imum he h ights t of 30 fee e t. The fo ocus of th t e land la dsca scape pe gen ge era erates tes th t e idea idea tha at this is first t of all, Saraso s ta’s s Park k.
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THE DUNES
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“GARDEN-TO-FORK” RESTAURANT: A DIFFERENT APPROACH TO AN EATERY, THIS RESTAURANT PROVIDES CLASSES TO ANYONE WHO IS CURIOUS ON HOW TO PREPARE THEIR OWN MEALS FROM THEIR OWN GARDEN. ONE IS STILL ABLE TO COME AND ENJOY A MORE CASUAL SCENERY FOR ANY AFTERNOON MEAL. THE ROOF IS ALSO OCCUPIABLE, WHERE SOME LOCAL FARMERS ARE ABLE TO UTILIZE IT FOR THE GROWING OF ANY FRUITS AND VEGETABLES.
BUTTERFLY GARDEN & LEARNING CENTER: OCCUPYING THE SPACE FOR AN EDUCATIONAL PURPOSE,
VISITORS
COME
LEARN
AND
ARE
ABOUT
WELCOMED THE
TO
MARVELOUS
BUTTERFLIES AND VARIOUS INSECTS LIVING IN THE GARDENS. THE
REST OF THE SPACE
IS FILLED WITH SHOWCASES OF ARTIFACTS, GUIDED BY VOLUNTEERS WHO ARE TEACHING ON THE SUBJECT OF WILDLIFE, SUSTAINABILITY, NATURE, ETC. THERE IS ALSO A COZY COFFEE SHOP NEAR THE ENTRANCE.
THE DUNES
SOUTHEAST SECTION CUT VIEW OF THE INSIDE OF THE TWO HILLS: LEARNING CENTER & RESTAURANT 84
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NEW MARINA JACK RESTAURANT Creating a new marina jack was the nex xt ste ste ep to t enhanci ing the importance ce of o the groun nd condition of the site. This are rea ha re as an n optimal view out into the horizon and th he sky, therefore, e, pro p vid viding ing an abundant t amount of outdoor space in this area is idea deal l for eve events nts, , espe pecia i lly ones that have fireworks going off. The new building has an oc occ cupiable roo roof that follows wit wi h grassy areas to inc increa rease se use us of outdoor acti ivit viti ies.
THE DUNES
BAYFRONT BOARDWALK
A NGS ALO GSIDE GS E THE E OCCU CUPIA CU ABLE SLOPE PES, RUNS A PE BOARDW BOA RD RDW DWALK ALK TH ALK THAT AT T CON ONNEC NECTS NEC T FRO TS FR M MA MARINA JACK, THE MAIN N HUB B AR REA, ALL THE WAY Y TO THE END OF BAYFRO R NT T PAR RK. THE T BOARD R WAL RD LK HUGS THE WATER’S EDGE TO MARRY THE EXISTING PARK AREA TO THE WATER.
A
Access from both sides allows for a smooth transition between the boardwalk and the park.
B
Designated bike lanes controls traffic and provides space movement between the bikers and pedestrians.
C
Kayaks are accessed quikcly from the ground level of the boardwalk.
D
Auditorium seating is situated on the recreational center is located under.
E
Windows looking down into the water break up the open space, and give a passerby a different view down under.
hill,
where
the
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C
E MEDIUM SCALE
SMALL SCALE
A
LARGE SCALE
advanced design B
B
D
THE DUNES
Multi-Use Atrium
New Marina Jack Restaurant
Bu
Bayfront Boardwalk
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Parking Garage with Rooftop Garden Space
utterfly Gareden & Learning Center
“Garden-To-Fork� Restaurant
TH NKI THI K NG G & MAKI KING N NG
THINKI THI NKING NKI NG G
92 9 2
& MAKI K NG NG
& MAKI ING G
T NKI THI NKING NG & M MAKI AKING AKI NG G
THI INKI NKING NG
_COLLAGES
WHAT ARE WE WATCHING?
We began with the production of collages, to initialize a concept derived from the collection of images. I wanted to base my collages off the analysis of the 2012 fantasy/drama film “Holy Motors” directed by Leos Carax. I stayed within the area of just this film and not the other films directed by Carax. The film is quite confusing, my initial interpretation is that the viewer is forced to try to make sense of a ‘dream-like fantasy’ set in the real world. I believe that through the use of mise-en-scene, editing, and soundtrack, the film portrays multiple themes of an ode to silent cinema, love, a journey from womb to tomb, paying dues to past failures, etc.
The main character, played by t
trayed in this collage in the r
scene of the film, he leaves a r of a theatre, filled with an a
screen. He may be inhabiting li
forming for someone or somethin
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thinking & making
The film seems to take a powerful role on being a parable of human relationships in the internet age. This collage reiterates the quote “I miss the cameras. They used to be heavier than us. Then they became smaller than our heads. Now you can’t see them at all.” Denis plays multiple characters and always seems to be acting for someone,whether he receives recognition or not.
the actor Denis Lavant, is por-
role of the ‘viewer’. The first
room only to then enter the room
udience blankly staring at the
ives, but maybe we all are perg.
After creating the 2-d collages, it was time to process the created information into the 3-d realm.I utilized found objects (located to the right) to begin creating occupiable space for the main character of the film, into this “world� he is living in. I assembled the mechanical-like pieces to allow the screen to show this other place. I then digitally modeled this piece in order to explore more with scale and questioned myself as to what can become the use of these different elements within the model. 96
WHAT ARE WE WATCHING?
a sequence of images that allows you, the viewer/main character, to experience the sa 98
me process as the viewer/main character in the film.
thinking & making
PHOTOG PHO TOG OGRAP RA HY RAP
PHO OTOG TO
100 0 00
RAP A HY Y
GRAP RA HY Y
PHOTOG PHO TOG O RAP R HY
PHO PHOTO HOTO
LIGHTS, CAMERA...
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photography
These photographs represent my interpretation of the process of uncovering the unspoken reality of a kpop idol. I decided to focus more on korean pop artists because there seems to be two sides to the story in their life. Idols are portrayed to appear as perfect role models and train for hours and hours on low budgets. The abundance of kpop groups increase the difficulty of reaching top peak fame in the industry. However, like many artists and performers in the world, there is always hate, hardships, and failures along the journey to fame.
LIGHTS, CAMERA...
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thank t hank y you ou f for or y your our c consideration. onsideration.