Baron Baumeister Architecture Portfolio UF

ARCHITECTURE PORTFOLIO

BARON BAUMEISTER UNIVERSITY OF FLORIDA 2018-2020

0 SYMBIOSIS: U

Design 7 Studio | Fall 202 Instructor: M

0 MOTION PICTUR

Design 6 Studio | Spring 20 Instructor: Mic

0 VESSEL: FLORID

Design 5 Studio | Fall 201 Instructor: N

0 LUNAR: ROCK

Design 4 Studio | Spring 2 Instructor: Ni

01 URBAN FARM

20 | University of Florida Martin Gold

02 E: CIVIC CENTER

020 | University of Florida chael Montoya

03 DA LANDSCAPE

019 | University of Florida Nina Hofer

04 KET ARCHIVES

2019 | University of Florida ic Rabinowitz

01 SYMBIOSIS Urban Farm Professor Martin Gold Design 7 | Fall 2020 New York City, NY Symbiosis, which is the positive association of two organisms living together, took a new meaning when applied directly to the urban fabric of New York City. At the forefront of this proposal was two organisms, the human inhabitant and the vegetation to sustain these inhabitants. The notion of an accessible urban farm within the heart of Manhattan became the main driver to bring these two elements together. The objective was to develop design proposals for the integration of housing, commerce, and agriculture that reorganizes the site and increases residential density to at least 200 persons per acre.

Proposed in collaboration with Nicole Nigri.

Street view down Amsterdam Ave. sketch (right)

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SYM B I O S I S

“I think one of the big architectural issues, of the issues of the future, is realizing the real significance of plants and human life. The connection between plants and buildings can only get closer.” -Nicholas Grimshaw (Grimshaw Architects) Initial analysis of New York City was focused on finding a language that currently existed between the datums of the city and urban farms. Finding a sustainable source of food in Manhattan is a major challenge.

To combat this issue, design decisions were made to create a program that revolved around a central greenhouse. This “oasis” would be able to house crops for residents while also bringing in maximum sunlight to the site. The central node of the site would also provide as break from the concrete jungle for the passer by.

Amsterdam House superblock site analysis (above). Yellow textures highlight main means of transit to site. Black textures resemble moments of pause that could help drive space and program. Early speculation on plan is also developed.

1 Proposed site

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Service industry housing

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High intensity C02 emissions

High rise opportunity for urban farming

Existing urban farm sites

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SYM B I O S I S

Section analysis through three distinct civic spaces of Manhattan (Washington Sq. Park, Union Sq. Park, Bryant Park). Key landmarks provide clarity in orientation. Red texture is residential space. Pink texture is commercial/office space.

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Concept plan sketches that represent ideas of housing gravitating around a central node (greenhouse). Datums of 62nd and 63rd street clearly impose the Manhattan grid within the site while keeping movement fluid around the greenhouse space.

64t h S t

We s t En d Av e

A m s t e rd a m Av e

63rd St

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Program 1. Farming and processing 2. Public housing 3. Business 4. Education 5. Light wells

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SYM B I O S I S

The core greenhouse space is the binding joint that occurs within the site. The structures that surround this space react in a way that promotes a productive flow of circulation; furthermore, they define the street edge to encourage urbanism. The ground level includes spaces for commerce, education, and farming that actively engage the community. Public and market rate housing occupy the areas above this including the towers.

Concept section sketches (below) promote the idea of an undulating overhead condition that would create a vessel for public space.

Market housing Public housing Farming Business Education

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With adjacency to Lincoln Center and the American Musical Academy, the amphitheater space was designed to connect the preforming arts community to the site.

Skylights were also incorporated in the greenhouse to redirect natural light and provide a connection between inhabitants on multiple levels.

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SYM B I O S I S

The section above clarifies the principle of symbiosis. The towers are broken up into communal, harvesting, and residential spaces to invite inhabitants and plant life to share a positive relationship. These spaces add value to residents and further promote urban farming within the city.

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Cross section clarifies how the site starts to become an ecosystem of inhabitants, farmers, and workers.

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SYM B I O S I S

Through section, layers of circulation and vegetation start to emerge. While the main purpose of the greenhouse is to nurture plant life, it also provides a moment of pause within the site. In the lowest level inhabitants are able to engage and learn in the community gardens. On the main concourse larger installations of greenery react to the scale of the city. Urban farming also branches from the greenhouse to moments of the façades. This continues the critical dialogue between architecture and sustainability.

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The glass structure of the greenhouse is activated when it rains. Runoff water flows through an assortment of drainage vessels that collect in holding tanks for inhabitants to use for farming.

Early sketches focus on the role of inhabitance and sunlight within the greenhouse and its supporting spaces.

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SYM B I O S I S

Sun diagram represents the different effects of shadowing throughout the year.

Organization of the site relied heavily on this study to maximize natural light.

One of the challenges with farming in a city like New York is creating enough opportunity for sunlight within the site. Design decisions to keep the overhead condition transparent reflected this ambition to provide natural light. The precise orientation of the towers also followed these fundamentals. The human experience is enhanced because sunlight is able to illuminate the main walkways of circulation year round.

Main walkway (right) that connects circulation from 62nd street through the site to impose Manhattan grid.

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02 MOTION PICTURE Civic Center Professor Michael Montoya Design 6 | Spring 2020 Jacksonville, FL In the early 1900’s Jacksonville was the focal point for the winter film industry. Within the city, new advancements in cameras and development sparked a newfound love for cinema. To acknowledge this rich history, the purpose for the proposal was to create a cultural center in downtown Jacksonville that celebrates the history of motion picture. This construct would house a variety of civic spaces that give back to the city such as galleries, libraries, and lecture halls. These spaces provide an experience that deeply engages the individual to the history of the city through architectural expression.

Parti sketch of two schemes, one building (right)

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MOTION PICTURE

The fracture study above holds ideas of light refraction and porous voids that would inform how an inhabitant would experience space.

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The process of this proposal began in finding forms through context and diagrams. Downtown Jacksonville provided an abundance of historic construction, along with postmodern developments, that started to influence the design. Elements of rhythm and motion throughout the city also guided how to construct this new civic center.

An important question that endured through the design process was: How do you respond to historic elements when creating modern architecture? Within the context of the site, the new architectural system formed a language with the existing Henry Klutho building to the south and a gestural form with the open street corner to the north. Blending historic and modern architecture became a primary focus to enhance the notion of civic space in the heart Jacksonville.

Sketch captures how axo and plan become one.

Early sketches aimed to find how motion could be applied to this dynamic site.

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MOTION PICTURE

In this set of sections, the street corner is addressed by suspending the auditorium to create an informal forum. This move acts as the grand entrance to the most crucial part of the project, the atrium. In the section above, the form of the building takes rectilinear elements from the adjacent historic building on the right. On the left, the civic center takes on a sculptural form by reacting to the constant motion of the street.

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MOTION PICTURE

The atrium space is the binding component of historic and modern architecture in the project. The rectilinear wing of the project reacts to the opposing side by taking on a form that creates moments of intimacy in the library spaces. The upper catwalk takes direct influence from the process of motion picture in its assemblage. When patrons walk over the transparent space there is a visual reaction experienced by inhabitants below.

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Massing study model highlights three distinct spaces

The galleries and lecture hall become moments of motion

Rectilinear wing that responds to the historic Klutho building

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MOTION PICTURE

The information center on the lower level is carved by a void that brings a moment of motion into the heavy space.

The atrium experiences a constant shift in visuals due to sunlight penetrating the upper truss system.

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From space to space, it was important for the construct to carry a sense of motion and unity. The rectilinear wing is a great example of this. On the first floor the glass façade buckles to allow for distorted reflection of passing inhabitants. On the second floor the façade carves into the building providing a smaller scale spaces in the library for function.

The model photo to the right became the template in how to render the library space. The process of working between model and render pushed ideas of how motion could become an architectural experience.

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MOTION PICTURE

Initial plan sketch to the left organizes the trilogy of spaces. The right sketch represents the catwalk above the atrium and its assemblage of transparent material.

The site plan gives definition on context and scale of the immediate downtown area.

In plan as well, a clear definition of the juxtaposition between rectilinear and organic architecture emerges. An important moment in the proposal is the entrance into the atrium.

Here the pedestrian can freely pass through the columns to enter the main space. With the auditorium compressing the space over this, there becomes a moment of relief when one enters the atrium.

The floor plans (right) reacted to the process in motion picture of overlapping film. This is why many of the walls act as tectonic plates slipping and overlapping one another to create detailed voids.

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Underground Theater

Floor 2

Floor 3

Floor 1

Floor 4

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03 VESSEL Florida Landscape Professor Nina Hofer Design 5 | Fall 2019 Paynes Prairie Micanopy, FL The Florida landscape is a diverse ecosystem that encompasses a variety of natural springs and wetlands. One of the cornerstones of this context is the constant shift of its environment. Paynes Prairie became the focus of this landscape with its constant fluctuation in water level. The objective of the proposal was to take this context and provide guest with a set of scenic spaces to launch and observe hot air balloons.

Study that interprets the subtly of the Florida landscape (right)

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FLORIDA L ANDSCAPE

With the context in mind, many spaces were activated based on water level in the plan. Erosion pools, floating docks, and public ramps were programmatic elements that became “temporary” based on time of year.

The plan evolved through the design phase to become one with the horizontal landscape by fingering out. This provided panoramic views of the surrounding prairie.

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An important part of the process of this proposal was the study of the aquifer and its edge conditions. Collages emerged that represent these elements along with how they react to specific lighting conditions. This assemblage of elements pushed design decisions of details in the construct.

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FLORIDA L ANDSCAPE

Another fundament aspect of this proposal was creating generative section sketches that expressed a relationship with the context. The horizontality of the landscape along with a constantly changing water level heavily influenced ideas of how to structure these ecological spaces.

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The lower level acts as a prep area for the hot air balloons, while the upper level provides inhabitants with an uninterrupted view of outgoing balloons.

The function of the roof assembly is drain rainwater into a green room where plants are harvested for the café.

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FLORIDA L ANDSCAPE

This section exposes two crucial elements of the construct, scale and subtly.

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Gradual elevation changes in the proposal react directly with the horizontal landscape as you enter.

The erosion pool acts as a medium between the built and natural landscape.

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04 LUNAR Vertical Datum Professor Nicolas Rabinowitz Design 4 | Spring 2019 Apollo 11 Landing Site, Moon In contrast to the horizontality of the Florida landscape, this proposal called for a vertical approach in construction. Initial analysis was based on a markings diagram where nodes started to inform the outline of the design scheme. A key component of this design process was also about tectonics and their role in a narrative based on a progressive space aesthetic. This information would be applied to the context of the moon where an archive of the Apollo missions would be held.

Sketch of archives that takes inspiration from Apollo launch pad (right)

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LUNAR

The archives would be contained within a vertical tower that would house important artifacts from the missions such as the lunar lander and Saturn V rocket. The circulation was inspired from datums brought up through the initial process. A vertical tram would take inhabitants from the base archives nestled in the moon to the upper levels. Using this approach, visitors could become a vital element in the process of the architectural machine.

Section sketch based on mass over void

Section study with direct relation to initial markings diagram

Lunar collage that pushes ideas of architecture acting as the machine. Exploration of transit through the project is also present.

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The physical construct expresses abstract ideas of tectonic plates and voids interacting cohesively. This element portrays the rugged landscape of the moon.

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LUNAR

Angled void creates the program outlook

Linear node represents rectilinear form

Organic masses infer lunar surface

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Axo focused on rhythm

Elevation that explores proportion

Axo resembling the “tendon”

Experimenting with plaster implemented the correct material to capture the porosity of the lunar landscape. This set of spaces acted as the foundation for the tower.

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LUNAR

The initial marks diagram set up a language that was utilized throughout the design process.

Datum, mass, module, rhythm, and void were the key components in the drawing.

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The collection of elements within the markings diagram acted as an abstract foundation for construction. The initial component and the final construct of the proposal share an abundance of relationships from human proportion to sectional quality.

Harmony between process and final product is the keystone of this collection.

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Baron Baumeister

e. bvaughnb99@gmail.com p. 954-644-0331 ig. @baumeister.design