zc
ug
15 16 portfolio
zachary adam correa zcorrea@mail.usf.edu
S tat e m e n t A s often to
visualize
our
a
approach
d e r s ta n d i n g
the
back
each
of
same of
uses
customized
the
n at i n g the
Maestro many
W e
all
the
having
to
of
skill
presented; of
inspiring
the
control
over
small
an
process hand
to
scale
d e ta i l s .
to
fields
aid
often
in
form,
the
to
then gain
more
in
a
than
order
rescaling
un-
fluid any
other
a grand scale project, T h e A r c h i t e c t u n d e r s ta n d s work outside of Architectural
overseeing of
the
c r e at i n g often
production
scales;
m u lt i p l e essence
and
thinking
smallest
h at s ,
in its
“answer”,
The Architect,
other
b u i lt
cohesive
and
to
at
enough?
many
the
many
thought
approach
this
skills
the
“question”
the
large
is
out
in
developed
maximize
of
wearing
working
cappella
approach
between
ta s k
“question”
di
we
issues
e n c o m pa s s i n g
forth
time,
these
hands;
design
complex
“question”. But
knows
the
and
and
the
i m p o r ta n c e
design, is
at
the
simplistic
of
professional, while,
thinkers,
architectural
abstracting
Intent
of
design a
managing
while
influence
for
custom
a
specific
approaching
said
needs
within
possible
facets
“answer”. The Architect many minds, and coordi-
design
all
would
have
on
society.
s e e t h at i n t h e e a r l i e r p r o f e s s i o n o f a r c h i t e c t u r e , t h e g r e at s o f s u c h i n n o vat i o n
w e r e n e v e r m e r e ly a pa r t o f t h e a r c h i t e c t u r a l s c h o o l o f t h o u g h t .
R at h e r ,
thought itself
w h at t h e p r a c t i c e , a n d p e r f e c t i n g s u c h t h o u g h t i n c l u d e d l e a r n i n g i t s m a n y f o r m s o f d e r i vat i o n , l a n g u a g e , a n d l i m i tat i o n s .
For
Architects,
these
t o d e s i g n a g r e at b u i l d i n g , r at h e r , d i s c o v e r t h e p e r f e c t
They with
the goal would have never been
“answer”
t o a g r e at
“question”.
k n e w t h at i n o r d e r t o a r r i v e at t h e r i g h t a n s w e r , va ry i n g m o d e s o f o p e r at i o n , c o u p l e d
persistence,
were
critical
in
achieving
success.
e a r ly a r c h i t e c t s w e r e r e a l ly r e n a i s s a n c e m e n .
We
As
a
r e s u lt
of
this
m e n ta l i t y ,
our
s e e i n t h e s e a r c h i t e c t s h i g h ly d e v e l o p e d
s k i l l s i n a r t , m at h e m at i c s , m u s i c , l i t e r at u r e , a n d a r c h i t e c t u r e , a l o n g w i t h o t h e r f i e l d s o f interest. some it
end
Each
f i e l d o f s t u d y u t i l i z e s a u n i q u e l a n g u a g e b y w h i c h c r e at i v i t y i s m o l d e d t o
design.
processes
To
acquire
i n f o r m at i o n ,
the
and
knowledge
its
of
a p p l i c at i o n
each in
the
c r e at i v e design
form,
its
process,
language
one
would
b r e a k a w ay l i m i tat i o n s , w h i c h c a n o c c u r f r o m a s i n g l e p o i n t p e r s p e c t i v e o f a
by
which
begin
to
“question”. T h e s e A r c h i t e c t s o f o l d , a p p r o a c h e d d e s i g n t h r o u g h m u l t i p l e s c h o o l s o f t h o u g h t , u t i l i z i n g s e v e r a l d e s i g n l a n g u a g e s , a n d t h u s a p p r o a c h i n g t h e “ q u e s t i o n ” f r o m m u lt i p l e c r e at i v e v i e w p o i n t s . I t i s a s t h o u g h A r c h i t e c t s t o d ay , l e a r n h o w t o t h i n k i n va ry ing scales of thought, but the same type of thought, the same language. It then bec o m e s a p pa r e n t , h o w t h e e a r ly A r c h i t e c t s , w h o u n d e r s t o o d e a c h o f t h e s e l a n g u a g e s o f d e s i g n , c a m e t o “ a n s w e r s ” m a n y c o n t e m p o r a ry d e s i g n e r s m ay s t r u g g l e w i t h t o d ay .
I t
thought; ing
would
used,
so
to
the
be
beneficial
when
one
obstruction s o lv i n g ,
problem
to
comes
language,
another
overcoming proach
then
t h at
approach
to
their
approaching in an
the
from
c r e at i v e
o b s ta c l e
“question”
the
limit
too
in a
pat h .
g r e at
sight
from
of
the
angle,
different
Without for
m u lt i p l e design
might
succeed
m u lt i - d i m e n s i o n a l
the
one
schools
language
school
of
thought
m e a n t h e e n d o f c r e at i v e p r o g r e s s i o n , a n d t h e e x t i n g u i s h i n g o f t h e p o s s i b l e
in
fluid
transition
effort
I
to
could
break
varying
outside
of
c r e at i v e
the
languages
traditional
during
mode
the
of
design
s o lv i n g
think-
logis-
allow-
process
“problems”.
t h i n k a b o u t d e s i g n i n g t h e n e w a r c h i t e c t a s a ta s k t o c r e at e o n e w h o a d a p t s t o t h e
changing
world
would
in
single
formula
f o r m at . design
from
in
ap-
“answers”.
M y i n t e n t i s t o u n d e r s t a n d t h i s r e n a i s s a n c e m o d e o f d e v e l o p i n g a g r e a t e r , a g r e at d e s i g n e r . I p l a n t o , m y s e l f , a c t i v e ly p u r s u e m u lt i p l e c r e at i v e a n d tical disciplines, which will push the boundaries of intelligent design, ing
of
be-
I
a
and
sense
c u lt u r a l
not
or
be
a
system,
differences.
concrete which
ta k e s
in
In
music,
pa r t i c u l a r ly
architect,
or
single
variables
think of music as a study in which
process.
This
solution
Jazz
I
and
pure and universal, “ q u e s t i o n ” . R at h e r a answers, in a structured
which
answer
to
outputs
is
a
can visualize the architect to follow in the
i m p r o v i s at i o n ,
The
musician
c r e at e s
music
in-
s ta n ta n e o u s ly , w h i c h f i t s i n t o t h e s u r r o u n d i n g e n v i r o n m e n t b e i n g i n s ta n ta n e o u s ly c r e at e d
b y t h e o t h e r m u s i c i a n s , t o c r e at e a s y n e r g y t h at w i l l n e v e r b e c r e at e d t h e s a m e w ay a g a i n .
It
i s a l i v i n g s u b s ta n c e t h at c o m e s a n d g o e s w i t h a p l e a s i n g s y n e r g y t h at e n c o m pa s s e s t h e
pa s s i o n s
and
impression are
being
on
emotions the
p l ay e d ,
of
the
audience.
can
be
time
Though recorded,
into the
an
ephemeral
concrete
studied
and
expression,
sound,
or
reproduced
which
specific at
a
leaves
musical
l at e r
time,
concrete which was the focus during the original conception of such music. means random either.
Instead,
a
lasting
notes,
it
It
is
which
not
the
was by no
a s y s t e m , o r l a n g u a g e w a s c r e at e d a n d s t u d i e d b e f o r e h a n d ,
s o t h at t h e a r t i s t s w o u l d t h e n b e a b l e t o c o n v e r s e c r e at i v e ly b a c k a n d f o r t h , c r e at i n g , o n
( a n d m a n y t i m e s p u r p o s e f u l ly w i t h o u t ) t h e c o n s t r a i n s This is how musicians are able to perform with each o t h e r , r e g a r d l e s s o f d i f f e r e n c e s i n c u lt u r e , g e o g r a p h y , i d e o l o g i e s , r e l i g i o u s v i e w s , o r fa miliar musical genre. Because though these concrete studies, which the individual musician h a s b e e n t r a i n e d i n , m ay b e a g r e at i n f l u e n c e i n t h e c o n c r e t e p r o d u c t i o n o f t h e m u s i c a l n o t e s , t h e fa c t t h at a u n i v e r s a l l a n g u a g e o r s y s t e m h a s b e e n c r e at e d a l l o w s a l l m u s i c i a n s t o c o m e t o g e t h e r t o c r e at e a n e w s o u n d w h i c h i n c o r p o r at e s a l l l e a r n e d c o n c r e t e k n o w l e d g e , t o p r o d u c e a n i m p r o v i s e d a n d c u s t o m i z e d s o u n d f o r t h at s p e c i f i c m o m e n t i n t i m e . T h i s l a n g u a g e o r u n i v e r s a l s y s t e m o f c o n v e r s i n g i s w h a t I h o p e t o c o m e t o a n u n d e r s ta n d i n g o f f o r a r c h i t e c t u r e w h i c h w i l l t h e n b e a b l e t o p r o d u c e s i m i l a r “ a n s w e r s ” t o “ q u e s t i o n ” , w h i c h a r i s e g l o b a l ly , g i v i n g w ay f o r c u s t o m i z e d a n d i m p r o v i s e d “ a n s w e r s ” t o s p e c i f i c c o n c r e t e q u e s t i o n s g l o b a l ly . I p l a n t o d e s i g n t h e A r c h i t e c t . the
spot,
musical
genius
all
within
o f t h e s y s t e m o f l a n g u a g e e s ta b l i s h e d .
d1 d2
I N T R O TO D ES I G N + G R A P H I C S I [ p r o f e s s o r ] - CHADDY HANWISAI - SPRING 2 0 1 5 KIT OF ELEMENTS
SACRED + PROFANE
I N T R O TO D ES I G N + G R A P H I C S I I [ p r o f e s s o r ] - NANCY SANDERS - FALL 2 0 1 5 PETIT CA BENON
INHABITA BLE WALL
UA
dd hd
TECTONIC CANOPY
U R B A N A CCU P U N T U R E [ p r o f e s s o r ] - JOSUE RO B LES CARA B ALLO - SPRING 2 0 1 5 THE UR BAN FIN
I N T R O TO D I G I TA L D ES I G N 1 [ p r o f e s s o r ] - JEFF MCDOWELL - FALL 2 0 1 4 MODERN TROPICS
H A N D D R AW I N G S [period] 2012-2016
I N T R O TO D ES I G N + G R A P H I C S I [ p r o f e s s o r ] - CHADDY HANWISAI - SPRING 2 0 1 5
final model axonometric with earth tone representing wooden
“l
piece� in model
KOE KIT OF ELEMENTS
the piece which propeled the project, was a composition by bach, tocatta and fugue in d minor. the many countermelodies, which independently, sound apart from each other, but when arranged by the briliant composer, create harmonies which guide the audience along a jouney through a story that they are able to create along the way. this story exposes us for who we are, breaking apart the facade that hides the tattered pieces of truth hidden within.
two plan view sections of final model spliced together
mo d el de ta ils two design pathways presented themselves as possible paths leading to the final. this is the draft for version 1 of the final model, which was not chosen to develop to full fruition. The focus in this model was more on the ascention upward toward the heavens and the nesting of this synergy which came together being born from within this major vertical movement. The whole movement upward is broken down, and can be seen as almost a completely different model when viewed at varying distances.
mo d el de ta ils The second of the two paths can be seen in these details. version 2 draft focuses on a non-linear circumventing path around and through the model with hints of the end early on given to the inhabitant through reveals. The driving force here was to create a experiencial path that echoed the format and dynamic layout of toccata and fugue in d minor. through this correlation, an achievement of a filmlike quality of synthesizing sound and visual stimuli in the experience was attempted.
S+P sacred
+ profane
This project, based on the short film “the red balloon�, exemplifies two extremes juxtaposed to one another for emphasized contrast in spacial qualities. the two qualities chosen for this project were persecution and redemption. as the boy wanders france with his oversized red balloon, he experiences hardship from the world around him. the only reliefe seems to come from the redemptive qualities brought to his life from this red balloon.
mo d el de ta ils In this draft model for project 2, an understanding of “the angle� in a frozen state of a pivot was the focus. The model is designed to be a pathway of the profane which travels around the destination but doesnt quite lead to it. Instead, it passes the sacred by and continues off into eternity. This takes the traveler down a familiar path that many embark on in search for solace. it is a comment on how we tend to travel in circles circumferencing the peace we seek but always being just out of reach until we give up and move on. few find the path which leads to such fulfillment.
mo d el de ta ils in this draft model, a book was used as the main mass for the construction. the selection of the book was critical in the design. the pathway through the model explores a dichotomy expressed in two major plains. the model leans more toward a representative state with the sacred being made up of two parts: the boy with his balloon, and the profane, creating the setting, which is the book and chip board. as we travel further away from the life source of the sacred at the center, we find the landscape dying, which is represented by the material, change from colored book to desaturated chipboard.
f inal m odel details
f inal m odel details
I N T R O TO D ES I G N + G R A P H I C S I I [ p r o f e s s o r ] - NANCY SANDERS - FALL 2 0 1 5
PETIT CABENON
Inspired by the case study of the Olson Kundig Cabin, the “Delta Shelter�, came the petit cabenon project. A sacred hidden home which comes alive with the presense of the people. In this project, a focus of mechanical engineering and its role in the functionality of the living spaces emphasises the role of the inhabitant in the movement of the building, bringing the cabin to life.
olson kundig
olson kundig
tom kundig
axonometric drawing: structure
axonometric drawing: mechanics
mo d el de ta ils in the petit cabenon project the goal was to focus on the mechanics, much like how olson kundig incorporated mechanical engineering into their architecture to bring it to life. to accomplish this, an elevating staircase was created and represented by the large plexy block anchored to the steel rods. this stair case acts as a security gate as well, by remaining on the second level to allow the inhabitant to park their car in the bottom floor cell. once parked the stairwell travels downward to allow access to the top cell. once up, the next challenge was to draw the inhabitant into the cabin, despite the harsh concrete, stone and metal materiality of the exterior. light and the form of the walls were shaped so that the light source could not be seen, but by traveling into the building.
INHABITABLE WALL
by selecting a site on the USF campus, varying environmental conditions were measured, including: wind speed and direction, solar movement, existing buildings and natural landscape, and the movement of people through the space. taking all of these conditions into consideration, an intervention was created to enhance the space. an Inhabitable wall which sings in harmony with the surrounding site.
hy brid gra phic This
graphic is a compilation of photographs from the outdoor landscaping behind the interdisciplinary sciences building on the USF tampa campus, a lake from a different landscape photo, project 2 final model, and a perspective drawing of my final model. they were layered toegether to give a representative view of the model within the site chosen. The goal was to transform the retention pond, which currently exists as a bed of rocks in this landscape, into a functional living pond. The intervention would then include a sitting space cantilevered over the pond, allowing for a peacful study area within this beautiful landscape.
TECHTONIC CANOPY
In this project, a greater understanding of light was the focus. Through the creation of light wells along the techtonic roof structure, Light is able to be filtered down to the lower level in three forms: tenebristic, chiaroscuro, and chromatic. The manipulation of light by means of the structural and architectural elements of the model lead to a new understanding of how the effect of the space on the experience of a person can change without altering anything, but light.
peter zumthor
se c tion gra phic Project 3
focused on the manipulation of light by means of the architectural elements in the model. The story begins with a united “C� shape, that underwent trauma and became separated into two parts. the two, slowly drifting apart were desperate to be reconnected. The top element realized the only way for unity again was through self sacrifice. It broke itself apart to allow light to filter down to the bottom element. The light became the joining force which reunited them with a bond greater than before.
mo d el de ta ils the key feature of the construction emphasized in this model was the floating cantilevered armature sustained by the lightwells. These connecting units join the two “L” pieces, which once were one whole “C” in a faint and delicate manner, creating tension underneath the techtonic overhead structure. an underlying structural element is hidden by the delicate architectural lightwells to give the illusion of an anti-gravity type environment.
U R B A N A CCU P U N T U R E [ p r o f e s s o r ] - JOSUE RO B LES CARA B ALLO - SPRING 2 0 1 5 [ p a r t n e r s ] - CHRIS WEAVER , TRACE GAINEY
THE URBAN FIN
The
urban fin was one of several intervensions woven together into a treasure hunt through Ybor City. The abstract mappings and enigmatic writtings lead the treasure hunter through an Ybor overseen by many. These hidden gems in plain sight allows the experience of the player in the game to be enhanced through slowing down and examining the smallest details of their surroundings. One might be surprised at what he/she finds when life is lived consiously. With the encounter of the urban fin, one would sit inbetween the fin intervention and be directed to stare at the adjacent brick wall. The hope is, once again, to slow the everyday explorer down long enough to bring them back to the undestracted creativity which once filled every child’s days. a blank canvas of brick is given to paint an imaginary exploration in the mind instead of surfing the internet on a cell phone to pass time and distract long enough to get to the next big moment in life.
I N T R O TO D I G I TA L D ES I G N 1 [ p r o f e s s o r ] - JEFF MCDOWELL - FALL 2 0 1 4
MODERN TROPICS
This
digital design project focused on the development and three dimensional rendering of a building using autoCAD, Rhino 3d, V-ray, and photoshop cs6. The final production goals included photorealistic results of an inhabitable building in a lanscape of our choice. I chose the setting to be a chilean vineyard.
H A N D D R AW I N G S [period] 2012-2016