Core Design | 2014-2015
Stephanie
Ezell
University of South Florida School of Architecture and Comunity Design ezell@mail.usf.edu
4 | Contents
06 D e s i g n O n e
Space and Order Machine de PhĂŠnomĂŠne Space into Place
34 D e s i g n T w o
A Performative Matrix The Miami Media Center
62 D e s i g n T h r e e
Inhabited Landscape The Highline Urban Section
90 S u m m e r E l e c t i v e Tropical Architecture
Design One
Professor Brandon Hicks Semester Fall 2014
Space and Order
Translating filmic tectonics into spatial constructs
10 | Diagrammatic Studies
Speculative Constructions
This project focuses on the exploration of some of the fundamentals of architecture within space and time for example, place, scale, and hierarchy. A silent film was used to generate a logic and intention for the
project. Using an understanding of spatial qualities from the film such as, movement, progression, and camera angles, horizontal constructive planes were created. Later these constructs were used to create vertical diagrammatic studies through folding and layering.
12 | Final Model
14 |
Section Drawing
Final Model
Machine de PhĂŠnomĂŠne
A place of phenomena and experience
18 | Process
Te c t o n i c s
The Machine de PhĂŠnomĂŠne derives from the speculative constructs of the last project, Space and Order. Using the spatial conditions from the last project and adding habitation, circulation, and enclosure a series of programmed spaces were created. Circulation is used as an experiential transition between the programmed spaces allowing you to fully experience the vertical construct. Experimentation of light and tectonic connections between materials was key to creating a variety of experiences.
20 | Final Model
Reveal and Conceal
The vertical armature connects the model back to the base creating a key circulation point in the construct, walking through and around it as you proceed to the top. Reflective surfaces are used on the ground, walls and ceiling to give the occupant a feeling of how high they are above ground. As you proceed up the experience changes giving different views and lighting, revealing and concealing the occupant from the outside.
22 |
Final Model
Space into Place
Translating “site” into “spatial” constructs
26 |Memory Map
Draft Model
Occupying the Synthetic Fabric
Space into Place starts with discoveries found while traveling to Savannah, Georgia and Charleston, South Carolina. A memory map was created of the recollection of experiences while traveling the two cities. Creating spaces of pause within the highly dense cities was important while also integrating the public and the private. The memory map shows the dialogue between the void and the
occupied and the public and private. Overlapping both systems and merging them together a spatial and locational system was created. The map was then use to create an imaginary site to house the intervention. The intervention is a place of rest for the city stroller and dweller, The Flaneur. The intervention being an addition to the city. A programmatic space that catches your attention and directs you in while also connecting you back out to the city.
28 | Final Model
Le Parcours
A P a r k o u r Tr a i n i n g F a c i l i t y Le Parcours is a French term meaning “The Course�, which parkour derived from. Course being defined as a forward or onward movement, such as an obstacle course. Course can also be defined as a succession of stages, like a school course. The program, a parkour training facility, derived from this double meaning. Also the structure focuses on the old and new, the interaction between the historic city and the new intervention, a modern sport (parkour) training facility.
30 | Sections and Site Plan
The Old and The New
Savannah and Charleston have made an art out of repurposing the old for uses that are in keeping with the times. Historical Architecture has been retrofitted in such a way that it maintains its sense of place and time while creating layers of utility. The training facility repurposes an original brick ruin into a climbing wall, which gives an alternative route to the top viewing deck. Focusing on the interaction between the old and the new, there is also a outside courtyard where people can practice amongst the historic buildings and the new intervention.
Third Floor
Viewing Deck
Second Floor
Advanced Training Room
Ground
Public Performance Space Courtyard Extention into City
Underground
Beginner Training Room Entrance to Climbing Wall
Design Two
Professor Levent Kara Semester Spring 2015
36 |
A Performative Matrix
Floor Ceiling, Wall, and Tower
38 |
Floor Ceiling
The floor ceiling creates an interaction between the ground and the sky, manipulating the light through linear elements and reflective planes. The Floor Ceiling is penetrated into the ground and folds up creating a cover for below while also creating moments of void, framing the sky and the t o w e r. W h e r e t h e c e i l i n g t o u c h e s t h e g r o u n d v i s i t o r s c a n lie back on the elevated ground and reflect on the past.
40 |
Wa l l
T h e Wa l l a c t s a s a t r a n s i t i o n a l s p a c e , w h e r e o n e c a n d e c i d e t o g o explore the tower or the floor ceiling. The wall also creates moments of interaction where artifacts are held and visitors can learn about the history of the Battle of Crete, the first airborne battle. The wall leads down and out to trenches built into the ground experiencing what the air force men did while fighting in the battle. These trenches also lead to locations on the field where paratroopers landed. These locations are marked with a memorial of the people who passed while serving in the battle. In the model these memorials are marked with pieces of steel.
42 |
To w e r
T h e To w e r i s a v e r t i c a l s t r u c t u r e t h a t c o n n e c t s t o t h e h o r i z o n t a l field and brings you up to multiple different lookouts over the war museum. The tower imbeds its structure into the ground and shifts as it proceeds up to the top. These shifts were created to represent the landing motion of a paratrooper in the Battle of Crete. The tower marks the ground with an indent, creating a power ful moment, celebrating the paratroopers that had a successful landing in the battle.
Floor Ceiling
Wa l l
To w e r
46 | Final Model
Ground
The ground connects the wall, floor ceiling and the tower of The Performative Matrix. The ground marks important information about the battle. The three nodes are connected by a pathway guiding the visitors around the museum. The pathway has small moments of pause creating a rhythm for the walkers.
48 | Longitudinal Section
50 | Site Plan
The Miami Media Center Fashion Runway and Design Center
54 |
Draft Model
Final Model
Ground Floor
City to Beach Pathway
Second Floor
Fashion Show Seating Runway Street Gallery Space
Third Floor
Fashion Design Studio
56 | Final Model
58 | Final Model in SIte
The Site
The site is located in the heart of South Beach, Miami between Collins Avenue and Ocean Drive. It is a small alley way that many pedestrians use to get to and from the beach. The new intervention will serve both as an art museum and a major walkway connecting the shops on Collins to the beach on Ocean. The Museum is divided into three pods that all direct light down to the alley. The pods delicately touch the ground and direct you up into the light wells.
60 | Longitudinal Section
The Hatter’s Brim
The program is a fashion runway, studio and store for a hat designer to design and sell hats for the pedestrians going to the beach or shopping on Collins. A display space is located above Collins avenue used to catch tourists attention and bring them inside. The center pod is the designers studio located up above keeping it private from the visitors walking below. The third pod, located closest to Ocean drive, is a seating space for guests interested in watching a runway show. The runway connects the three pods together and runs through the store located next to the site. When runway shows are not happening this path is open to the public allowing pedestrians to explore the design process.
Design Three Professor Mark Weston Semester Fall 2015
Inhabited Landscape
Fort Matanzas “Long House” Extension
The Site Analysis
Fort Matanzas is located on the Matanzas Inlet. The inlet is a very diverse water landscape with a variety of marine wildlife. The mangroves cover the shoreline acting as a buffer reducing wave action and preventing erosion. The current moves from north to south wearing away the sand from the north end and depositing it on the south end. Jetties are located around the Fort reducing this movement of sand and causing deposition on the up current side. The longhouse extends out into the water like a jetty, preserving the land and the fort.
68 | Process
Final Model
70 | Sections
Sectional Quality
A portion of the longhouse is floating allowing the tide change sectional experience of the longhouse. The archive is located on this lining up and connecting to the meeting hall canopy space at lowering at low tide. This allows the meeting hall to extend into the archive
to effect the floating section high tide and for large events.
High Tide
Low Tide
72 | Floor Plans
Ground Floor
Male and Female Restrooms Park Ranger’s Offices Archive Wall Theater
Second Floor
Family Restrooms Archive Study Space
The Program
The longhouse is a physical extension of the fort. Designing the connection to the fort is an integral part of the project. The program includes a meeting hall, theater to learn the history, archive to hold historical documents , park ranger’s offices and restrooms. The extension should also include a promenade that extends into the landscape. There are four volumes that house the program for the longhouse. The floating volume holds the offices that are glass enclosed, elevated above the outdoor promenade allowing the park rangers to look out but the visitors to not be able to look in. Below the offices is an archive wall that visitors can learn about the history of the fort. Above the offices is the meeting hall canopy that looks over the Matanzas inlet and the fort. The restrooms are located in the center volume, for easy access from all spaces. Anchored to the Landscape are the theater and the Fort. The volumes are all connected by a canopy system that provides shade for the meeting hall and provides a pathway to the fort.
Third Floor
Meeting Hall Canopy Connection to Fort
74 | Final Model
The Canopy
The canopy is designed to act as a barrier for the longhouse. The structure goes over and down under the water into the ground, built similarly to mangroves. The structure allows marine life to live and grow beneath the longhouse while also protecting the extension from erosion, currents, tides, and waves. The canopy also acts as a shading device for the meeting hall. Allowing events to happen in all weather conditions.
76 |
The Highline Urban Section Annex of the Pierpont Morgan Library
78 | Process
Connection to The Highline
The Morgan Library Highline Annex is an extension to the Morgan Library, providing additional archive and exhibit space for the library’s collection while also outreaching to the public through the highline. The highline is a public park located in the middle of Chelsea on a 1930’s freight railway. They transformed the railway into a park, planting greenery and creating a pathway for pedestrians to walk through the city elevated 30 feet in the air above the streets. The project started with three 1/32 scaled models, focusing on the mass, the structure and the skin. The skin of the model is two materials folding together, similar to how the highline merges the old and the new together. The library Annex also connects to the highline and the street allowing public access to both. The Annex wraps over the highline creating a relationship between the highline and the Library’s Annex. To extend the highline into the building, multiple outdoor spaces were created, allowing the greenery to expand into the urban fabric.
80 | Final Model and SIte
Public Outreach
The outdoor spaces are the hierarchy of the Annex, providing views out into the city and the highline. The outdoor seating space showed in the photo above is a lecture hall space that gives Musicians and dancers a chance to publicly share their art to the city. People walking along the highline can look up and see them performing bringing them up into the building. The ground floor shown in the photo above to the left shows the entrance into a gallery space, with a large window allowing pedestrians to view the gallery from the outside. A cafĂŠ is also located on the ground floor allowing the public to sit beneath the highline.
84 | Section
86 | Floor Plans
Underground
Gallery Restoration Studio Security Office Custodial Storage
Ground
Lobby CafĂŠ Gallery Balcony
Second Floor Gallery Security Office
Third Floor
Private Reading Room Librarian Conference Room
Fourth Floor
Public Reading Room Librarian Suites
Fifth Floor
Private Lecture Hall Highline Observatory Seating
Sixth Floor
Storage Chambers Outdoor CafĂŠ
Seventh Floor
Rooftop Observatory
88 | Final Model Elevations
Tr o p i c a l A r c h i t e c t u r e Professor Michael Halflants Semester Summer 2015
92 | Tropical Architecture
Passive Cooling Strategies
The single family home is located on St.Armands circle in Lido Key, Sarasota on a lot with a view of the Gulf of Mexico to the West. This Tropical house uses passive cooling strategies to cool the house without the use of air conditioning. Using the East and West winds air is able to cross circulate through the downstairs living space. A screening device helps shade the exterior while still letting air enter the space. The pool is located on the south side allowing the midday sun to hit the pool and cool the home. A skylight is located on the west side allowing the sun to warm the space in the winter.
ezell@mail.usf.edu