rachael dippel
university of south florida sacd core design portfolio | 2014-2015
Core Design 1 | Levent Kara Space and Order Machine de Phenomena Space and Place
Core Design 2 | Brandon Hicks War Memorial Miami Media Center
Core Design 3 | Mark Weston Fort Matanzas Highline Annex of the Morgan Library Miscellaneous | Steve Cooke Summer Study Abroad
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Space and Order
The first project of Core Design I focuses on incorporating the fundamental elements of architecture: thresholds, apertures, framed views, placement of sight, boundaries, natural light, stairs, etc. to spatial thinking. Through the cinematography of the Return, hierarchy, connections, and spatial order were taken and put into graphics. Schemes and concepts were developed from the two graphics. The two graphics were then folded and morphed into constructed plans that later helped create the horizontal and vertical spaces of the final model. From there the concepts were put into 3D models that showed systemicness and continuity. The continuation of construction lines is prominent in this project to show the linkage of spaces and tectonic elements.
Spatial framing is shown in this picture.
Tectonic elements frame and create spaces to the right.
Machine de Phenomena Project 2 is all about the experience a space can offer. Space and time were concious thoughts when designing the program and spatial conditions. Architectural elements learned from the first project are used when constructing the model. Program and movement start to be thought of simultaneously. Machine de Phenomena focuses on making the diagrammatic aspect of two-dimensional drawings come to threedimensional life. Spatial detailing was the driving force of this project. Three spaces had to be created within and around two vertical walls. The details of the joint connections brought together all three spaces, yet kept them separate and lucid. The three separate moments in the model start to develop spatial purpose. The two vertical walls were used to help create thresholds and passageways to transfer the viewer from one space to the next. The phenomena and experience a person has in a spatial setting is one of the most important things that was learned from this project.
The manipulation of light, circulation, and inhabit-ability are three of the main factors in making Machine de Phenomena. The red piece in the core of the model helps guide the circulation of the spaces throughout.
Space into Place
The third project of Design I focused on translating the site(s) that were chosen and turning them into spatial constructs. Two cities were visited for site analysis and observation. Charleston, SC and Savannah, GA were walked and recorded to get aspects of how cities and cultures thrive together to create dwellings. In these two cities there were small thresholds and crevices that were found that held the most important of places and meeting points. Charleston’s alleyways brought together linkage and spatial meaning, while Savannah’s open parks in the middle of the squares were nodes where people gathered. Location and form were key when designing and making of the city shape. Program was brought into this project and a Quidditch Factory was developed from there because it allowed play with different size spaces.
Aspects of the two cities visited were combined to make a city grid. In grid formation the two cities visited were very different. Savannah, GA was very orthogonal and rigid, while Charleston, SC was more loose and free flowing. When making a grid for the Quidditch Factory to sit and inhabit, both aspects were used. The rigidness of Savannah and the angles of Charleston seemed like a great place to insert the Quidditch Factory. There the two cities break through and combine into one.
Detailed shots of the constructed, hybrid memory map.
The cantilevered space is where the brooms are manufactured and produced. The tall, vertical space is where they test out the brooms. The visitor walks through different size thresholds and interwoven spaces to get their brooms and watch the quidditch game of the day.
Plan
Broom Testing Room
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Broom Workshop
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Entrance
War Memorial
The War Memorial focused on the interrelationship of three nodes: the Floor/ceiling, the Wall, and the Tower. A focus was put on the journey one takes in a memorial along with how all three of these nodes engage and merge together to become one system, yet be individual moments. The idea of directional movement was a driving force in how the nodes were placed in the site. As viewers come and visit the site the placement of the nodes is imperative to what their viewpoint should be focused on as they take their journey through the old battlefield. The memorial was placed on the land where the actual battle took place. A rare mineral located underground was the motive for this war between the two colonies.
Sketches and early schematic schemes to the left. To the right there is a map of all three nodes together.
Floor/Ceiling
The viewer starts their journey through the memorial in the floor/ceiling. As shown in the picture to the right the ground of the floor/ceiling drops to allow the visitors to be taken into the memorial. Light manipulation and changing height conditions were critical elements when designing the floor/ceiling. The light wells are there in memory of the fallen soldiers. The ceiling is heavily constructed to allow the play of light manipulation. Tectonic membranes that come from the constructed ground hold up the ceiling. As the visitor leaves the floor/ceiling they are taken upwards and directed into the wall. The tower is not visible from this point.
In the picture above the floor/ceiling and the beginning of the wall start to integrate together. They are both placed on the edge of the site where the two colonies met. A chasm now separates the two lands.
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Wall
After the visitor leaves the floor/ceiling they are met with the beginning of the wall. The wall, along with the floor/ceiling define the edge of the battle. A chasm now lies where the edge of the battle was. The visitor walks through, around, and in the wall to get different information about the battle. The wall showcases a dark room that visitor can walk inside of to be able to look at the the rare mineral as it glows. (See section 3 to the left) Old artifacts are displayed throughout the wall telling information about the battle. (See section 2 to the left) At the end of the wall a plexi-glass floor is available to walk onto to see down into the chasm. (See section 1 to the left) As the visitor leaves the plexi ground they turn the corner for a visible shot of the tower.
The picture above shows a detailed shot of the dark room (without the ceiling on it). The tectonics are visible along with the chasm.
Tower
The tower is the vertical element of the three nodes. The inner core is a huge space that holds smaller spaces for place of rest, information, and views. Three main viewing points are extruded out of the layered skin system to showcase off different views of the battle and history of the land. The largest of the three orthogonal spaces is the first viewpoint the visitor encounters. It faces the chasm and memorial; this is the first time the viewer gets to see the nodes together as a whole. As they work their way up the tower the spaces get smaller for more intimate views. The second viewing point faces the main battlegrounds the two colonies fought on for the mineral, this is the place of reflection. The top of the tower holds the smallest, most intimate of viewing spaces. It views the tree in the distance that the mineral derives from.
These pictures show in detail two of the three extruded viewpoints and circulation of the tower.
Miami Media Center
The Miami Project focuses on awareness. This project makes the community and tourists knowledgeable of the problems that are happening in Miami at the time. Three words that drive the project are interactive, concentrate, and dada. The program has interactive art installations on the ground level that the community can explore and play with to gain knowledge of the city they reside in. Right now global warming is affecting Miami to its core, the installations give you knowledge and information on why its happening, how to achieve a smaller carbon footprint, and what could happen in the future if nothing changes. The installations change depending on what the topics are of the time.
As the viewer goes up the program, the building becomes less public and more private. The ground level deals with art installations all year round. The first floor plan has the dance studio (facing Collins) and the media center. Three months out of the year Art Basel takes place in the core of Miami Beach. This alleyway that the site is located in is prime location that people use all year round to get to and from the beach (Ocean) and shopping distract. (Collins) It is a perfect location to be apart of the Art Basel. Francis Alys is an artist that focuses his work on time and space of a city he is located in. He brings awareness to the problems and difficulties that the city has by exploring the urbanity and spatial justice of the city. He uses the tension between the poetics and politics of the city he is in. This ties back to the main idea of the concept: bring awareness to political issues.
Dance Studio
Outdoor cantilevered viewing deck
Apartment for Francis Alys
Core Circulation
Rent-able Space
Media Center
Waiting Area/View of Media screen
View into Dance Studio
First Floor
Second Floor
Third Floor
Fort Matanzas
Rattlesnack Island, is a long, marshy, overground island that is located in St. Augustine, FL. The inlet holds a fort that has been there for years. And extension of the fort was done to showcase and explore the history of the battle that happened on the island. When designing the extension of the fort the shape of the islands edge was an important factor in how the shape of the building was developed. Giving the building a loose shape allowed for different viewpoints of the island and inlet it sits within. Program consisted of a large meeting hall, an archive, theater, rangers office (3), and restrooms for the visitors.
Concept sections and floorplans
Concept Model for Circulation and Placement
This concept model focuses on the placement of the spaces and how the visitor moves around the constructed site. This model helped form where the nodes go (the maroon dots) and the circulation around the existing fort.
Final Draft Model
In this final draft the shape of the final model was formed. The constructed ground gave way to shaping the final ground made out of plaster. The articulation of the tectonics and layers carry into the final. This model played with light and movement through the spaces; casting a journey that one takes to observe not only the fort but the existing land as well.
The final model deals with materiality and journey. The basswood is a light wood that compliments the lush green surrounding it. Making it more about the views than the materials that the viewers inhabit. The pictures to the left focus on the archive that tells the history as the viewer walks through the new addition of the fort. While the picture to the left deals with the connection to the fort itself.
The final is broken into two parts of the model. The interior spaces is the L-shape to the right of the of the fort. It breaks through the fort to allow views of to the inlet and access to the barracks. As the viewer walks through the extension of the fort different size spaces and thresholds lead to more views. The spaces bring your attention out into the landscape and pull you back into the fort as you move throughout the model. Leading out of the large, cantilevered meeting hall you enter a pavilion (access to lower part of fort where canons are located).
Axonometric of the Extension - red line is circulation
Highline Annex of the Morgan Library In the middle of a robus, concrete jungle sits a jem called the Highline. The Highline is where urbanism and nature come together in the city of New York to create an atmosphere like no other. Our site sits underneath and next to the Highline. The extension of the Morgan Library’s program on the Highline consists of gallery spaces, a cafe, a large reading room, a private reading room, storage of books, a lecture hall, librarian suites, a restoration studio, and a viewing deck at the top. Making sure that the public get easy access was a necessity when designing the extension.
The form and structure of the final model came from these section studies that allowed the play of different size volumes and interlocking spaces.
These bug models deal with the form of the building and how it relates back to the highline.
Final Draft dealt with finalizing the volumes and how they connect spatially and tectonically. Connecting the horizontal high line to the long, vertical sky of New York was a main concept.
The final model shows the connection of the library to the highline. Visitors can walk through the core of the model, which holds the lobby and cafe, and proceed back onto the highline. The relationship to the public was very important in the making of the highline. Since the highline is a public, accessible part of New York City it was of utter importance to allow the public to be able to access the public spaces of the library from ground level and highline level. Ground level starts the gallery spaces, including an open gallery courtyard, and lecture hall. From there, people can continue up through the elevator to other gallery spaces and public areas. The extruding plexi, rectangular volume hold the large reading hall. One of the security offices overlooks the reading hall.
Observatory Librarians Suite
Large Reading Hall
Atrium
Gallery
Cafe
Lecture Hall Sections
Restoration Studio
The picture to the left shows the circulation in the atrium space and the cafe that protrudes out into the highline. The picture to the right shows the emergency staircase. It is in the front of the building to make it more inviting and accessible for people to use.
Miscellaneous
Vatruvian Man Study Abroad | Summer 2014
“Relaxing in Rome” Study Abroad | Summer 2014
Skyline of Firenze Study Abroad | Summer 2014
Rachael Dippel University of South Florida 3004 Cedaridge Dr Tampa, FL 33618 dippelr@mail.usf.edu 813-751-5161