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Danielle Barozinsky Core Portfolio 2014-2015 School of Architecture & Community Design
Table of Contents Design 1
8 Machine de Phenomene 16 Space into Place
Design 2
28 Field Study: Floor/Ceiling/Wall 48 Miami Beach Narrow Spaces
Design 3
60 Matanzas Inlet; Longhouse Connection 76 The Highline, NY
D1
MACHINE DE PHENOMENe
New Circulations
Spatial detailing in the Phenomene project intersects cinematic experiences from the film “The Return� with human experiences of procession and itinerary. The focus of the procession began with studying the realities faced by the characters in their physical setting, the cinematic lighting and musical scores. Their reality and consciousness of space translates into the program used in the models on the right while considering vertical circulation. Whether it was escape, transition, or solidarity, one could inherit these personal and unexplainable experiences in the itinerary of the final model. 11
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1 Final section cut reveals the lower public stair for leisure gatherings that lead to the small aperture into the narrow stair. 2 This section focuses on revealing the vertical circulation and highlighting the narrow and intimate stair on the left.
Sounds Of the City What is a window? A door? A stair? These questions develop spaces and thresholds of phenomena that circulate the subject through the model. In the final model, I imagined a small space at the top for a musician to write their music and perform for the people walking below. This elevated “street performance” was only accessible through a small entrance located in a public seating area into a narrow stair (seen in the photo on the right). The subject’s itinerary is driven by a desire to escape the public and retreat into an intimate setting where music is found. In this sense, we learned how architecture calls for human interaction and how human experiences conform in an architectural environment. 13
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1 Public seating highlighted 2 Narrow stair from above 3 Glow illuminating narrow stair directs subject to the private space above
4 Final destination allows for a gathering of 2 or 3 people creating a more private space but allows the sounds of the intended music to escape to the public below
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SPACE INTO PLACE
At one time they were a living and floating part of marine life. They took the form of calcium carbonate, made up of Foraminifera, from millions of years fossilizing inside the Earth’s crust. This sediment forms in current and past marine areas, is quarried and manufactured into the oldschool teacher’s best tool, chalk. With this simple and easy to access media, artists have learned to make sidewalks and roads their canvas where thousands of people visiting can admire their chalk-art work. This city located on the coast showcases its main export through a museum that begins submerged under the water’s surface where visitors can get a first glance of these microscopic marine animals that still occupy the ocean. As they continue their journey, the next level of the museum breaks the surface of the water to show how these animals have been fossilizing over the past millions of years. Here visitors find themeselves surrounded on all walls by the pure sediment. The next step would be to display the sediment that’s been quarried just outside of the city before it is manufactured. Although the museum is not the current factory where the chalk is made, visitors, continuing their journey upwards, still get
a stop for the flaneur
A series of plaza studies and city itinerary influenced by the class trip to Savannah and Charleston began our final project. What lures a stroller from point A to point B? In this development, a space was set into an existing place. The goal was to have an environment and place engaging with one another, providing a stopping point for the city flaneur, the stroller, and experience the city differently. On this spread, the plans on the left correlate to the models on the right, containing the first set of shapes and ideas that would provide walkability and exploration for the flaneur. 19
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Longitudinal Section
1 Sediment Compaction Zone (underwater viewing accessed through here) 2 Threshold allowing vertical circulation and the flaneur to meander the museum 3 Cantilever has partial transparent flooring to allow the visitor a higher perspective of the plaza area, a major role in the final program
Cross section
The cross section reveals the plaza and building close relationship, access from the plaza into the first segment, and the segmented spaces.
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Plaza Entry 1 Entrance from Plaza 2 Sediment Compatction Room 3 Gallery Space 4 Underwater Viewing 5 Slit acts as water level moderator
Museum Exploration 1 Gallery Space 2 Stair access to second gallery space
Final Destination 1 Cantilever acts as final destination and alternative view-point of the city
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A city of Dissapearing Art
The concept of the final model was based on the idea that a labor-intensive artistic media, chalk art, is so easily washed away in the rain. The location’s relationship with the intervention allows the city to learn about it’s major resource and export, limestone. Limestone is a key element to making street chalk. To engage the flaneur, he can watch the chalk artists create their work in the plaza below the cantilever portion of the building, but to fully see the artist’s canvas, he had to travel through the building and reach the top to look below himself. Meanwhile, the building acts as a museum that explains how limestone is used to create chalk.The most fascinating element of this location is that the plaza allows the high tides to flow through a slit and wash clean the canvas for the next day, creating a city of disappearing art.
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D2
Lost and Found
Lost and found items come with their own shape and their own uses. Breaking them apart reveals a new story that allows them to be reused differently. This studio focused on assembling these lost and found items to reinvent an unconventional floor, ceiling and wall condition, which led to the inspiration behind the final models.
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Discovering Itinerary
The first construct helped shape the itinerary of the plan. Beginning with the overhead condition and into a fractured ground path leading to the final tower. 31
Floor Ceiling
The first set of studies focused on relationships between the overhead and ground conditions. These bug models on the right were all inspired by the idea that the ground fractures all over the earth and led to the concept of built form engaging with the earth’s changing formations.
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Floor Ceiling
By quieting the wall, the formation and apertures in the ceiling allow light to permeate, striking the floor with fractured light. The wall made of glass is also fractured, allowing the entire construct to respond appropriately to moving ground conditions. The floor and ceiling causes major impacts on human interaction with one another but more importantly with the earth’s natural changes.
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Wall-ology
Following the concept of built-form reacting to ground form, the wall conditions are bound and connected with moveable joints while also allowing light to permeate into the space only slightly restricted. This construct on the left in particular considers different water levels and allows it to flow freely underneath the walking plane. 37
Floor Ceiling Study
Fractured wall, ceiling and floor conditions remain a constant. This floor plan graphic, which is also featuring the cut wall conditions and ceiling, reveals the fractured elements to allow specific lighting conditions that reflect the concept.
Wall Study
This wall graphic mocks the floor study on the left to combine the ideas into a single construct. 39
TOWER STUDY
Considering how natural disasters affect people drastically, the tower reintroduces water and light at first with small amounts. Through thin apertures and fractured joints, the tower carries similar characteristics leading the subject vertically to the top while illuminating the entire tower with a filter of light in the center.
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Final Plans; Field Study
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TOWER STUDY
Inspired by the tragedy of natural events, the final model took place in a location where earthquakes are prevelent and water damage has destroyed cities. In order to form a relationship with the natural environtment, all three elements of the project (wall, floor/ceiling, tower) react with the earth as it moves. Moveable joints and fractured elements allow the built form to react to the sudden changes of the earth without destruction while also allowing visitors to acclamate themselves with their environment in a healing way.
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1 Tower 2 Wall element provides guided direction to the tower 3 The Floor/Ceiling portion provides a central location between the entrance and the tower where visitors can experience the field outside while also being sheltered.
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MIAMI Beach; Narrow Spaces
Miami Studies
Working within constrains of an alley, I analized the culture during the day and night, the way people apporached the alley and how space was being utilized for art, music and eating. 51
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Cafe Space and stage for musical performance Indoor cafe seating Architect’s Gallery Space Artist’s Studio Artist’s Gallery Space
Floor Plan
Offering a multitude of spaces that would occupy visitors, musicians, architects and clients, cafe and dining, artists and locals, the existing site between two buildings recreates the path from a busy vehicle heavy street to the lively city life adjacent to the ocean.
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Longitudinal Section
This section provides andinternal view of the Artist’s gallery and the artist’s studio (the shift between the two sides of the intervention.
Cross Sections
The space is occupied on both sides allowing for an aperture to provide complete visibility through the entire intervention. On the left, the architect’s office and the upper seating of the cafe have been cut through to show how they are tied in but provide a sense of privacy in the midst of a very public city. On the right, the section cuts through the artist’s studio (the only public overhead condition) and the private stair leading to the architect’s office. 55
Final Model
By piecing together the importance of the arts in the city of Miami, the intervention allows for travelers to slip into a more intimate space to experience a small portion of symphonic music or local art. The transparency of the spaces creates a bright, living and inviting passage for visitors to experience the local scene just by passing through.
D3
Matanzas Inlet; Longhouse Connection
Violin and Bow
Using found materials and collected research on the site in St. Augustine, I created these three dimensional models alongside of the two dimensional graphics. They speak to one another as a violin and bow work together to form their own language that compliments the other. One is delicate and light while the other is heavy and constructed to hold the other.
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Fort Matanzas, St. Augustine, FL This historic landmark named after the slaughter of men to protect land is home to the Fort Matanzas. Hundreds of years after the event, it became a visitor’s attraction for one of the oldest cities in the nation. The first task of this project required a site analysis and a historical documentation to help shape the concepts we took with us on the site visit. The first map (on the left) starts the beginning of a path study highlighting significant moments that we experienced on the trip and historical points.
Perspective 1
This perspective cuts from the west end facing east into the meeting hall. This meeting hall has two access points and provides conventional space for large group gatherings.
Perspective 2
This perspective is cut through the gallery space facing west. In it the visitor can view information on the fort and local artists can use the space to showcase their art. The space has stair access that leads to and from the fort.
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Longhouse Experience
The Longhouse portion of the project is an addition to the Fort offering gathering spaces for private and public events and it provides a different experience of the landscape and view of the historic grounds.This section model on the right provides a larger study of the gallery space which acts as a major connection between the existing fort and the new addition. The bottom left photo shows the direct view from the pathway to the door of the fort, a minor detail included in the design.
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floor Plans
1 Boating dock, first access to the longhouse 2 State park officer office spaces 3 Meeting room for visitors and front desk 4 Theatre space 5 Family Restrooms 6 Gallery space 7 Water has ability to pass under path 8 New passage in the fort that offers slits to view the river before being taken to the main open-air floor of the fort 9 Overhead path from fort to longhouse 10 Conventional gallery space
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Sections
1 North facing into the entire longhouse 2 Section cut of the fort with the new cut-out 3 Gallery space with both overhead paths 4 Cut through of lower level meeting space and upper level conventional room
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Extending the Past; new opportunities
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New York Highline
The Highline, NY
Vertical Horizons
The highline offered a horizontal experience into a vertical city in which we could experience the vertical city without interruption. The hope was to bring that same element of the highline into my model along with the natural aspect of the highline to bring green into a concrete world.
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Site Analysis
The site was located snug between an existing building and the highline. We also had to utilize an existing parking lot for a plaza which created an outdoor experience that extended our addition.
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Sections
The intention of this project was to offer an extension to an existing museum known in NYC as the Morgan Library. Influenced by the experiences I had visiting various museums, libraries and firms, I decided to include a book case that would extend from the third floor to the main gallery spaces seen in the section on the left. This book case offered a connection between the spaces and an opportunity for visitors and workers to be a part of something so valued.
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Wonder in chaos
The pedestrian of NYC finds his way around by taking new paths. Around each corner is a new surprise and in each crevese is a secret. The plaza is accessable by the public but surrounded mostly by a tall barrier and can be the perfect place to read, reflect or look at art. The facades of the construct control most lighting for areas that art and books need protection while also allowing the visitors and workers a spectacular view of the city. The most important element the extension provides is an opportunity to wonder. Whether a visitor is captured by the relics on the shelves or in a moment of solidarity and quiet in the chaos.
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Danielle Barozinsky dbarozinsky@mail.usf.edu