Trace Gainey
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Trace Gainey
2013-2014 School of Architecture and Community Design University of South Florida
“What is admiriable about the fantastic is that there is no longer anything fantastic: there is only the real.� Andre Breton, Manifesto of Surrealism, 1924
Contents Machine de Phenomena
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Space into Place
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Constraint as Opportunity
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Form of Absence
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Museum of War
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Port Tampa City Library
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The Morgan Library Annex
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Machine de Phenomena
Utilizing The Return as a generative device, collage informs the edge and the corner. The constructs are the arranged, forming the narrative of the machine de phenomena.
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Constructing narrative
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Left Final model elevation Above Final model corner
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Space into Place
explorations of Savannah & Charleston
Left Friend, 4AM Savannah Georgia
Memories of Savannah and Charleston inform the map above, becoming a hybrid context containing traces of the two cities, through the filter of perception, experience and memory. The mapping then undergoes transformation into an imagined density along a waterfront, into which intervention occurs, becoming a hub for trade and commerce.
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Above Final Constructed Context with intervention Right Intervention framed through context
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Old Hawthorne Trail Grady County Georgia
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“But the imagination is as vast as the universe multiplied by all the thinking beings who inhabit it. It is the first come Among all things, interpreted by the first to come; and, if this last has not the soul that sheds a magical and super-natural light on the natural obscurity of things, then the imagination is a horribly useless thing; it is the first come contaminated by the first to come. Here, therefore, there is no longer analogy, if not by chance; but on the contrary murkiness and contrast, a multicolored field through the absence of a regular culture.� Charles Baudelaire
Process parasite removed from host
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Left Vertical Courtyard Charleston, SC
Above Final Section
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Intervening within the context, the model assumes the role of a center for trade. Much like Savannah’s Founders Walk originally functioned. The parasitic intervention becomes a filter, receiving goods into the city, and then distributing them through framing a large scale public plaza as a market
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Site Plan
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Intervention, host mass, and plaza
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Above Southern Elevation Below Northern Elevation
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Final Model from the southeast
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Final Model from the southwest
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Inspired by the pragmatic Charleston Single, the intervention latches on and carves away at an otherwise unsheltered wall, exposed to the harsh southern Sun. The circulation forms long, porchlike, gallery spaces, which shade the public space below while preserving its open air quality. The essence of the intervention will be experienced through the shadow garden it creates on the public plaza below, enticing the flaneur up to the galleries contained within.
Final Model from the southwest
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Selfie with Radio, Nocturne, model no. 1186 Walter Dorwin Teague 1935 The Wolfsonian Collection
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14th & Collins
Constraint as Opportunity An alley connecting Beach Drive and Collins Avenue in South Beach becomes the slender site for, noise artist, Jesse Thelonious Vance’s Miami expansion of St. Petersburg’s, The Venture Compound.
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Collection of experiences, found art, and imagined possibilities.
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Recording of entry perspective and vertical ascension of unknown club, South Beach
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Diagramming of possible plan in alley at 13th & Collins
Conjecture of noise from opposite page of sketchbook.
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Left & Right Photograph of lost sketch model, layered with graphite and spray paint.
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As an important generator for experimental music, video, and performance art, the Venture Compound (II) would bring a dynamic previously unheard to Miami’s Art Basel and Miami Music Week. While Vance acknowledges South Beach lacks “any edge, except cocaine,� he sees opportunity for the experimental music he curates to gain exposure, and more importantly money.
The proposal introduces a series of volumes lifted above the alley, preserving an important pedestrian path between the beach and Espanola Way retail and entertainment district. Smaller scale volumes become a series of artist studios, while two larger spaces become black box theatres. As pedestrian s stroll through the alley, they are presented with an ever changing ceiling condition, from which emanate intriguing noise.
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Slicing into the building on the northwest end of the alley, the main entry ramps up, and pierces through the existing building. A performance space cantilevers out over the large space below, left primarily unaltered, to be used a large scale venue and installation space. The rooms and circulation above add an experiential ceiling condition to which video art can be projected on and watched from below.
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Paul O. Robinson:
THE FORM OF ABSENCE x-rays|paintings|reliquaries Professor of Art in Architecture at the University of Ljubljana, Paul O. Robinson dis-embodies artifacts through use of the x-ray, then transforms and embeds the information with his own experience, before finally enfolding the ghost of the original into a reliquary. I was fortunate to assist Robinson in the creation and installation of his exhibition at the Institute for Research in Art’s Contemporary Art Museum, Summer 2013.
Research Assistant December - June 2013
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Mold making process for the Door reliquary.
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Above Scene in Calvino’s lier Left The Door installed at CAM, with Box Stele in alignment
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The Door installed at CAM, with Box Stele
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Hydrocal was poured over Kristus Indexus, an oil painting by Robinson, in hopes of utilizing the thickness of the paint as a mold itself, creating relief in the hydrocal. While the relief in the hydrocal was minimal, the resulting impact on the painting created a remarkable ever changing field of texture. As the paint peeled away, it left behind only the thickest and most vital paint, revealing the x-ray below.
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Compressed then released by the hyrdrocal, Kristus Indexus, underwent a parallel process of disembodiment ,followed by unfolding, to the entirety of Robinson’s work towards reliquaries. The only difference is the process was entirely chemical, and without the artist. Therefore embedded within the body of work, there is an added layer of depth given when Robinson managed to create a micro-cycle of transformation, autonomous from his intention in one simple step.
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The exhibition had no title plates or explanations of the work, therefore a didactic room was critical to understanding the work. JoseLuis Bedoya and I were responsible for jointly curating the room, walking the viewer through Robinson’s process from the start in Slovenia to the built works at the museum.
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Previous Objects in a Field Nebraska & Sinclair Hills Tampa Florida Left Speculation layering transparent prints of my work with Karlos Medina’s
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War
“In the civilizations I have created voice draws vibrational lines of inclusion. Language varies from country to country, but the sounds spoken can be comprehended when experiences align. Listen to the sounds and carefully contemplate the words, for sound is a primal form and language, often an equation controlled.” Robert Strati Creating Civilizations Given the notion of a World War l battlefield, the War Memorial seeks the “vibrational lines of inclusion,” Strati writes of, only not through understanding of speech but the discovery of markings on scarred land, resurrected as architecture to be felt. The architecture becomes through a horizontal matrix, creating a path and informing momentary pause as interventions assert themselves within the field. A journey through the War Memorial constructs a subject understanding on a primal level the preeimenant weight of the battlefield as site.
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Above site plan Left detail plan of wall & tower
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Above final constructed site Right tower with approach in the background
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Above Pissed-off sketch of journey in plan which can be used as section for tower Right Wall & path to tower
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Speculation layering transparent prints of my work with Karlos Medina’s
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final cross section
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Tower & approach study utilizing found object.
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The Tower As the most visible object in the field, the tower becomes destination, providing an otherwise wandering subject with intent. From a distance the large lookout space and its occupants can clearly be seen, allowing the subject to long to be there, and then experience a sense of delayed gratification upon arriving, after experiencing he journey of the approach, including the floor|ceiling and the wall.
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the ceiling, in progress
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The Floor|Ceiling
A foreign object disrupting the flow of an otherwise rather linear path, the ceiling seems to land on the field. Upon impact, the field splits along striations long embedded within the matrix of place. The path begins to inform the subject of a rhythmic advancement, and reveals through the striations an Earth different that the surface, one where the bodies of soldiers once lied. Under the ceiling, ditches and embankments are carved, providing pause, and placing the subject within the Earth, shielding from above by the filter of the ceiling.
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Above aerial of final floor|ceiling Below section through the floor|ceiling
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The Wall An experiential, and defensible, threshold, the wall filters the approach to the tower. Cutting into the otherwise inaccessible reaches of the field, the wall provides trenches to explore, removing understanding of position before they emerge amongst a field of strawberries.
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Port Tampa City Once home to the workers of a bustling port, Port Tampa is now a mostly abandoned field of industrial objects and oil tanks, with a small neighborhood nestled into its side. The project proposes an addition to a 1926 neoclassical bank turned public library.
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Above Speculative drawing of site and context Left Industry joined Port Tampa
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Precedent Study Peckham Library WIlliam Alsop
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Working drawing
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1: 30 Diagram
1/16 Sketch model of Circulation
1/16 Sketch model
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Above Final Sections Below Final Plans
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Left intervention within existing building Right intervention on matrix
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Scarf & Unkown Pose “Solar Reserve” by John Gerrard Lincoln Center
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New York City
“The horizon is porous, percolating with our movement, under-construction, or eroding in time. At night solids and voids reverse themselves in a spatiality of darkness. A kaleidoscope of color, a misty night in New York is a marvelous liquid matter of green beyond yellow, reddish ridges undulating on a blue haze; orange blurs slowly, unfolding from shapeless marks to precise white glows. The spaces, buildings, window walls, signs, and colors all intertwine. The glow of night’s spatiality in the metropolis , a depth formed from shadows, colors, and a line of sight, differs from the depth of daytime spatiality formed by the Sun.” Steven Holl “Intertwining” New York City contains boundless amounts of information and knowledge, some of which is contained within the Morgan Library. It contains many rare books and manuscripts, kept in vaults ,for few to see. Along the Highline in Chelsea an annex for the Morgan Library is proposed.
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Occupying the skin 41 Cooper Union Morphosis Architects
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Reflections on a journey through East Village, and experience of 41 Cooper Union.
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Recording of ascension through an unknown building, with the discovery of an autonomous object as reward at the top.
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The New York Public Library
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site plan
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1:30 NYC lands in Tampa
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1:30 sketch model in context
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Looking South from 26th Street along the high-line
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The Morgan Library Annex has two towers, one public and one private. The public tower contains a children’s library, main reading room, and observation room atop it. The smaller, private tower contains the vaults and restoration rooms. The vaults hold the priceless books and manuscripts in the collection out of reach from the public. Hidden beneath the surface , under layers of city infrastructure, is a secret vault. Here is where the Morgan keeps it’s most prized position, the 2nd edition of the Encyclopedia of Tlon. Underneath a seemingly public place lies a secret of vast knowledge, kept only for the privileged to peruse.
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Above Final model before settling down Right Main Library plans
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Longitudinal-section and cross-section
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Final Model
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