Resch, G. Core Portfolio USF SACD

MACHINE DE PHENOMENE

THE INTENT BEHIND THIS PROJECT WAS TO FORM A SERIES OF VERTICAL AND INTERLOCKING SPACES THAT COMMUNICATE WITH ONE ANOTHER AT MULTIPLE SCALE LEVELS. THE MACHINE DE PHENOMENE HIGHLIGHTED THE IMPORTANCE OF EFFICIENT VERTICAL CIRCULATION CUTTING THROUGH THE SPACE AS WELL AS THE EXPERIENCE OFFERED TO THE VIEWER AT EACH POINT OF PAUSE.

AXONOMETRIC VIEWS

THE CENTRALLY PLACED STAIR OFFERS ACCESS TO A DIFFERENT SIDE OF THE BUILDING AT EACH LANDING AS WELL AS CREATES A FULL HEIGHT ATRIUM SPACE. THIS SEPARATION OF THE CONSTRUCT VIA THE CORE ALLOWS FOR A CLEARER LINE OF SITE WITHIN THE ATRIUM AS WELL AS UNOBSTRUCTED VIEWS ALTERNATING PERPENDICULARLY AS THEY REACH EACH FLOOR. THROUGH THE IMPLEMENTATION OF LINEAR STRUCTURAL CONNECTIONS, A CENTRALIZED CIRCULATION CORE, AND A FOLDING, RIBSUPPORTED EXTERIOR ENVELOPE, WE TOOK THE FIRST STEPS INTO FORMING OUR OWN NOTION OF SPATIAL ORGANIZATION AND EXPERIENTIAL QUALITY.

THIS PROJECT STARTED WITH THE ANALYSIS OF BOTH SAVANNAH, GA AND CHARLESTON, SC. HIGHLIGHTING THE UNIQUE CONNECTION BETWEEN AN ALREADY ESTABLISHED CITY SPACE AND THE PROGRAMMATIC INTERVENTION THAT WOULD BE PLACED WITHIN THE SITE.

OUR DESIGNS WERE TO DRAW ON PRE-EXISTING ELEMENTS OF DIVISION FOUND NEIGHBORING THE PROPOSED SITE SUCH AS DEFINING EDGES, PUBLIC VERSUS PRIVATE SPACES, AND NOTIONS OF OPEN VERSUS CLOSED. ADDITIONALLY, WE WERE TO RELATE BACK TO A KEY POINT OF INTEREST WITHIN OUR AREA OF DEVELOPMENT - THE COLLEGE OF CHARLESTON CENTER FOR THE ARTS.

THE TWO MAIN AREAS OF ATTENTION FOR THIS PROJECT WERE THE INTERVENTION AND THE SITE. THE INTERVENTION UTILIZES CONSTRUCTION LINES EXTRACTED FROM THE SITE TO INFORM ITS GESTURES AND MODE. THIS PULLING OF LINES RESULTS IN SPACES THAT FLOW WELL WITHIN THE SURROUNDING CITYSCAPE, SPEAK THE SAME LANGUAGE AS THE CONTEXT, AND EFFORTLESSLY GUIDE THE VIEWER INTO CURATED SPACES. STARTING FROM EITHER MAIN GROUND ENTRANCE, THE CIRCULATION OF THE PROJECT IS INTENTIONALLY CYCLICAL AND ENDS WITH THE VIEWER WALKING UP THE CANTILEVERED RAMP THAT BREAKS THROUGH THE FACADE AND REACHES OUT TOWARD THE COLLEGE OF CHARLESTON.

AXONOMETRICS VIEWS

FROM HERE VISITORS THEN HEAD BACK DOWN IN A DOWNWARD DESCENT AND EXIT FROM THE INTERVENTION INTO THE SPATIALLY FRAMED CONTEXT AT THE GROUND LEVEL. FITTING INTO MY CONCEPT OF A CAR EXHIBITION SPACE, I WANTED TO BRING SOMETHING INTO THE CHARLESTON DENSITY THAT I THOUGHT WAS MISSING. THROUGH THIS INTERVENTION I TRIED TO NOT ONLY CREATE ADDITIONAL LEVELS OF GATHERING AND OPEN PUBLIC SPACES, BUT ALSO A UNIQUE VIEWING EXPERIENCE OF THE COLLECTION, NOT COMMONLY FOUND IN CHARLESTON.

FLOOR PLANS

JELLYFISH DIAGRAMS

THE WAR MEMORIAL

THIS PROJECT FOCUSED ON A VARIETY OF TYPOLOGIES THAT RELATE TO NOTIONS OF TECTONICS, PROCESSION, AND THE FUNDAMENTAL MODES OF VERTICAL AND HORIZONTAL SPACE MAKING. THE CREATION OF A PROMENADE WAS A LARGE ELEMENT TO THIS PROJECT, OFFERING A SELECTIVE VIEWING EXPERIENCE OF EACH NODE AND THE POINTS OF PAUSE LOCATED BETWEEN THEM. THE GRAPHIC BELOW HIGHLIGHTS THE GEOMETRIC ARRANGEMENT OF OUR SITE, EMPHASIZING THE CONNECTING DETAILS BETWEEN EACH NODE AND HOW THE PROMENADE NAVIGATES BETWEEN DIFFERENT ZONES OF DENSITY. THE NECESSITY FOR THE VERTICAL CIRCULATION TO PENETRATE THE SITE IS WHAT PROMPTED ME TO CREATE STRONG GESTURES OF ASCENT AND DESCENT, LIGHT VERSUS DARK, AND NOTIONS OF EDGE AND BOUNDARY.

THE TOWER, FLOOR CEILING, AND WALL ARE EACH PLACED INTO THEIR DISTINCT LOCATIONS IN CORRESPONDENCE TO THE PROJECT CONCEPT AND THE CREATION OF EXPERIENTIAL MOMENTS.

MIND DRAWINGS

UNDERSTANDING EXPERIENCE, LIGHTING, AND NOTATIONS OF ITINERARY VIA WALL AND FLOOR CEILING ANALYSIS FROM ARCHITECTURAL WORKS

THE WALL

THE WALL REPRESENTS THE RAPID PACE AT WHICH TECHNOLOGY HAS EXPANDED THROUGHOUT THE YEARS.

THE FLOOR CEILING

THE FLOOR CEILING IS A PLACE OF REFUGE FOR THOSE THAT HAVE BEEN DISPLACED BECAUSE OF TECHNOLOGY, OFFERING MOMENTS OF LIGHT AND OPPORTUNISM FROM ITS ENTRENCHED POSITION.

THE TOWER

THE TOWER

REPRESENTS

THE FINAL SINGULARITY, THE PUSHING OUT OF WHAT WAS FOR WHAT IS. THE TOWER IS A SYMBOLICAL TORCH PASSED ALONG FROM THE HUMAN RACE TO THE TECHNOLOGICAL, REPRESENTING THE FALL OF TRADITIONAL REALITY IN PLACE OF AN EXPONENTIALLY ACCELERATED, ALGORITHM BASED ONE.

AXONOMETRIC VIEWS

ST. AUGUSTINE INTERVENTION

EVENT VENUE + PRIVATE WORKS ARCHIVE

DETAILS

THIS PROJECT FOCUSED ON THE PROGRAMMATIC USE OF THE SITE, AS WELL AS PRESERVING SOME RELEVANCE TO THE HISTORICAL CONTEXT THAT IT IS PLACED WITHIN. LOCATED ON THE EDGE OF A SMALL FOOT TRAFFIC STREET BETWEEN THE ST. AUGUSTINE HISTORICAL RESEARCH LIBRARY AND THE XIMENEZ - FATIO HOUSE MUSEUM, THE INTERVENTION IS ENSHROUDED WITHIN A SEMI-PRIVATE COURTYARD.

OUR INTERVENTION WAS TO OFFER A LARGE GATHERING SPACES FOR EVENTS, A PRIVATE WORKS ARCHIVE, AS WELL AS ACT AS AN EXTENSION TO THE EXISTING TOURISM HUB PREVIOUSLY LOCATED ON THE PROPERTY.

THE INTENTION OF THIS PROJECT WAS TO CONSIDER THE LANGUAGE OF OUR MODERN INTERVENTION WITH THE PRE-EXISTING ARCHITECTURAL VERNACULAR IT IS PLACED IN. OTHER IMPORTANT ASPECTS INCLUDED LIGHT PENETRATION, SPATIAL EXPERIENCE, AND PRESERVATION OF THE XIMENEZ HOUSE AS TO RESPECT THE HISTORY IT HOLDS WITHIN.

ELEVATIONS

AXONOMETRIC VIEWS

MY PROJECT PLAYS ON THE INTERTWINING OF INDOOR AND OUTDOOR VIEWING SPACES, PLACING AN IMPORTANCE ON OVERLOOKING THE HISTORIC SITE WHILE ALSO CREATING VIEW LINES DOWN THE CONNECTING STREET. I AGAIN TRIED TO IMPOSE A CYCLICAL MEANS OF CIRCULATION, BRINGING THE VIEWER AROUND THE LARGE INTERNAL GATHERING SPACE AND THEN TRANSITIONING INTO SMALL, MORE PRIVATE, VERTICAL MEANS OF CIRCULATION.

AXONOMETRIC VIEWS

IN CONTRAST TO HOW AN ARCHIVE WOULD COMMONLY BE APPROACHED, I MADE IT THE FOCAL POINT OF MY PROJECT. THE TOP FLOOR IS KEPT EXCLUSIVELY FOR THE INTIMATE PRIVATE WORKS ARCHIVE, SHOWING THE IMPORTANCE OF WHAT LIES INSIDE AND CONTRASTING WHAT IS COMMONLY A PLACE FOR OBSERVATION WHEN PERCEIVED FROM OUTSIDE.

CORE DESIGN III

PROFESSOR TARA DOZARK FALL 2019

FORT MATANZAS EXTENSION ECOLOGICAL RESEARCH CENTER

THIS PROJECT EXPLORES NOTIONS OF HORIZONTALITY AS WELL AS THE CREATION OF A STRONG CONNECTION TO THE SITE. THE MANNER IN WHICH THE BUILDING TOUCHES THE GROUND IS TO BE EXPLICITLY ELABORATED ON AS WELL AS THE NECCESSITY FOR AN INTEGRATED PROMENADE THAT CREATES A STRONG CONNECTION BETWEEN THE FORT AND OUR INTERVENTION. THE PURPOSE OF THE SCREEN IS TO PROVIDE SUN SHADING AS WELL ACT AS A MEANS OF NATURAL VENTILATION.

AXONOMETRIC VIEWS

FINAL MODEL

AXONOMETRIC VIEWS

FLOOR PLANS

NEW YORK HIGHLINE DIA CENTER

ANNEX

THE FINAL MODEL

THE MAIN OBJECTIVE OF THIS PROJECT WAS TO PROVIDE THE DIA CENTER WITH ADDITIONAL EXHIBITION SPACE FOR THE DIA CENTER’S COLLECTION.THE CONSTRUCT WAS TO CONNECT VISITORS TO SITE-SPECIFIC AND OTHER OFF-SITE WORKS, AND TO OFFER ARTIST APARTMENTS AND STUDIO SPACE FOR DIACOMMISSIONED ARTISTS. THE MAIN DESIGN INTENTION WAS TO ENGAGE THE PUBLIC WITH ART AND ARTISTS THAT WOULD NOT TYPICALLY BE FUNDED AND SHOWCASED BY A TRADITIONAL GALLERY OR MUSEUM.

ELEVATION

THE MAIN GENERATIVE DEVICE FOR MY PROJECT WAS THE ARTIST JOHN CHAMBERLAIN’S WORKS. CHAMBERLAIN TOOK THE SCRAP METAL FROM OLD CARS AND FOLDED IT INTO SCULPTURAL PIECES THAT REFLECT ARCHITECTURAL NOTIONS OF SPACE, COMPRESSION, AND TENSION.

AXONOMETRICS

MY INTERPRETATION OF THE PIECES CORRELATED WITH THAT OF A CAR CRASH. INTENSE PRESSURE CREATES DIRECTIONAL FORCES OF COMPRESSION RESULTING IN THE CRYSTALISK FORM OF MY PROPOSED INTERVENTION. THIS PENETRATING FORCE NOT ONLY CREATES AN AWE-INSPIRING EXPERIENCE FOR THOSE NAVIGATING THE HIGHLINE BUT ALSO CREATES AN INTERLOCKING SPACE BETWEEN THE TOWERS.

DETAILS