ARCHITECTURE | DESIGN
Michael Garcia University of Florida
2009-2012 Architectural Works M.ARCH APPLICANT
“Even Picasso at his most bizarre was bound by a kind of formal architecture within the frame. Of course it’s one thing to know what you’re looking for, it’s another to find it.”
- Ken Mosby
SELECTED WORKS PANEL MORPHOLOGY | 04
Professor: Donna Cohen - Fall 2012
PERSPECTIVAL DEMATERIALIZATION | 12 Professor: Marc Mcglothlin - Spring 2010
ECOLOGICAL COHORT | 16 Professor: Stephen Belton - Fall 2011
RECONCEIVED HORIZON | 22 Professor: Wendy Fok - Spring 2011
PALIMSESTIC EXPANSION | 24 Professor: Stephen Bender - Fall 2010
GRAFTED SHOWCASING | 28
Professor: Lee-Su Huang - Spring 2012
CULTURAL UNIFICATION | 32 Professor: Jairo Vives - Spring 2012
COLLEGIATE FABRICATION | 40 Professor: Lee-Su Huang - Spring 2012
FASTENED EDGE | 44
Professor: Donna Cohen - Fall 2012
THE CONCEPT CITY | 54 PEDAGOGY | 56 ILLUMINANCE | 58 UNDERGRADUATE STUDIES
TriBeCa Mixed Use Hotel - New York City, Ny
Upper Division: Design 7 - Fall 2012 Professor: Donna Cohen Project in Collaboration with David Babb
This project was formalized in the neighborhood of TriBeCa, New York City. The decision for a Mixed used Hotel and Fashion Institute stems from the trendsetting manner of the neighborhood itself, known for the plethora of designer studios and the spaces which they sell their pieces. These notions are investigated through use of a wrapping skin assemblage and circulation.
From an exterior view, the TriBeCa Hotel and Fashion Institute dictates circulation and view from strict use of operable mesh panels that have Hotel Site
been delegated for the hotel room spaces. Opportunities arise in the form of Atrium and Gallery Spaces along the corner facade condition.
Articulating a clear distinction in program for the mixed use hotel was resolved in unconventionally demonstrating the private spaces at the front of the facade. By doing so, the public nodes developed as relief sectors that unified the fashion institute and hotel amenities for a systematic envelopment around a voided core.
Parks & Recreation
Present High Rises
Mullions and Glass
Perforated Steel serve the purpose Track and Support
of optimizing light filtration as well
as restricting views, dependent on how the panels are organized per
Section Legend 1. Hotel Rooms 2. Gallery 3. Designer Studios 4. Textile Factory 5. Catwalk and Runways 6. Designer Boutique 7. Restaurant
Mullions and Curtain Wall Floors and Circulation
Shear Walls Hotel Rooms
Steel Structural Framework Operable Mesh Panels
Perspectival Dematerialization PERSPECTIVE FIELD AND VESSEL EXERCISE Lower Division: Design 2 Professor: Mark McGlothlin Graduate Assitants: Joelle Szerdi, Noah Marks
The analysis of Vessel focuses on the relationship between a constructed path and notion of light to influence experience. Light is permeable through various mediums and influences specific emotions along with the concept of belonging in a space. These studies correlate the experience of light with the manipulation of ones perspectives within certain spatial respresentaions. Movement is propagated by rythyms within light or around areas of void.
ECOLOGICAL COHORT Intervention in a Florida Landscape - Cedar Key, Fl Upper Division: Design 5 - Fall 2011 Professor: Stephen Belton
This project takes on the exploration of integrating multiple systems of structure into a sloped landscape. These components materialize through the use of forces resultant of nature; diffusing light and integrating shadow. There is interplay of movement created by the mixture of the two, layering upon one another to create visual differences and bounded regions. Taking these ideas, The program of Environmental Research Facility holds to the idea that shadow and boundaries regulate circulation within the programmatic scheme of the main Research labs and library and the spaces for exhibition. Light is a catalyst for static space, where gathering occupants can dwell. These spaces are larger in nature and open to the surrounding landscape, descending into the slope manifesting as courtyards, uniting these structures through path towards the lighthouse. are results of system between overhead condition and floor. At points, the overhead condition in one scheme of the program begins to descend and form a floor condition for circulation in another sector of space.
The Island Dense, altered, remissive
Driftwood Disordered, Void, Moment
Initial Process dealt with the experimentation of porosity that can be conceived through systems such as guiding walls and overhead conditions. The porosity of these massive systems dealt with the notion of directionality and threshold.
Soldiers Barracks and Amenities
The barracks are located on the western side of the site, alloting for privacy from light and a seperation from the rest of the observatory. The repetition of structural elements provides modular rythym in the sense of itinerary. This member of the cohort relies on domesticity and relation back to nature, as the structure digs into the ground.
Gallery and Exhibition Spaces
This node of the Research Center dictates movement of natural daylighting. The structural components direct how light enters the Gallery and what is being showcased during specific times of day. The terrace area has a direct view that relates back to the Research labs and library, programmatically tying these spaces together.
Research Labs and Library
From the dock, the Research labs are located in close proximity as a way of maintaining their spatial relationship to the site and program. The library situates itself as a form of cross programming reacting to any scientific findings and analysis that can be archived. This section of the cohort emphazies the lateral relationship within the site, initiating itinerary for both types of occupancies.
reconceived horizon COMMUNAL HABITAT FROM A BARREN LANDSCAPE Lower Division: Design 4 - Spring 2011 Professor: Wendy Fok
A Desert Landscape provides the canvas and datum for inhabitance leveled and below ground. This drastic context stimulates conciousness of how the forces of nature impact circulation, programming, and materiality.This studio investigated how form comprised functional components within a structure by manipulating these forces and providing shelter in a barren environment. The manipulation of the landscape is minimal bringing the form of the intervention to counteract these forces.
PALIMPSESTIC expansion PROGRAMMATIC INSERTION THROUGH aRTICULATED eDGE Lower Division: Design 3 - Fall 2010 Professor: Stephen Bender Software ued in Project Development: Adobe PhotoShop, InDesign & Illustrator AutoCAD
Mayan Agriculture relied heavily on the seasonal cycles within their religion for harvest. Crop storage was a primary factor as well, pushing for ease of manouvering food by allocating public gathering spaces near them. This program focuses on how distinct progressions in time from an ancient civilization correlate with Decay and disassemblage. This palimpsest of program emphasizes how ritualistic trends and human occupation go hand in hand. Adjacently, how does this intervention of sorts respond to an articulated edge condition that is already established in the given space?
Progression of sun within the articulated edge is a primary factor, considering this culture relied heavily on these natural occurences. The sun governs the threshold of circulation as well as emphasizes the central node of space for the market. The space is that of a congegration assembly, pushing all occupants from an interior condition to a more social and activated interspace.
GRAFTED SHOWCASING DIGITAL VIRTUOSITY Upper Division: Advanced Digtal Architecture - Spring 2012 Professor: Huang Adobe PhotoShop, InDesign & Illustrator Software ued inLee-Su Project Development: AutoCAD
Project was an exploration of intervention within an established structure with use of digital software medium for digital modeling and scripting . Programs used were Rhinoceros 4.0, Grasshopper
The Space is utilized as the Performance/instructing + projecting space and the panels along with the structure suggesting threshold entrances on latter side of the theatre by an articulate peeling of panels. Utilization of this grafted addition promotes use at different times of day as well. When accessible, the space can be manipulated into exhibition spaces for a nigh event in the Architecture Building and easily become a viewing center for lectures or films. The space is generative, at the disposal of professors and the studios.
CULTURAL UNIFICATION CHARLESTON CULINARY INSTITUTE Upper Division: Design 6 - Spring 2012 Professor: Jairo Vives
Charleston, South Carolina is the epitome of Historical preservation and cultural revelation. Through the years and natural disasters, older buildings within the city were salvaged by being hinged, quite literally, at the seams to add additional support as well as preserve many facades. This Historical edge that has been manipulated serves as context for a cultural unification. The Culinary Institute implements one of the main aspects of Charleston society; Food and Presentation.
KITCHEN KITCHEN K I T C H E NP
R E ST A U R A N T
D E M O FFICE N S T
IBRAR A T I O N
S TRANSITIONAL THR RO O M Y
C L A S S R OF O M
L F Y A DMISS I ONS C S ECTURE S TUDENT LOUNGE
R D E SHOLD N
Taking the object of the earthquake rod that is unique to Charleston and utilizing it as a generator, The Culinary Institute hinges itself into the context of its surrounding neighborhood, showcasing just like other institutions exactly what the program capitalizes on. In this case, the kitchens are pushed forward to the facade as a strategy to invoke pedestrian views. The programmatic core then begins to hinge itself to a central voided core of circulation that puts brings the institute to exhibition as you rise.
The Skin materializes in areas of the facade that begin to showcase internal program to the streets of Charleston. Louvers begin to peel away to reveal moments in areas such as the Kitchen, Restuarant and Bake Shop for these are largely public areas and often act as programmatic elements of performance. However, the skin tightens as rooms such as the Library and Demonstration Lab appear along the itnerary.
Structurally, the building celebrates the act of joints that hold these elements together. An example is the fact that the glass, mullions, skin, steel structure, and concrete floor slabs all unite at a particulr section in multiple instances to set a rhythm and motion for the pedestrian to see how one begins to ocupy the space internally. The skin also flows in unison throughout the facades and strategically breaks in moments that showcase program. Additionally, the louvers that compose the skin act as shading devices, especially for the East and South facing facades and block out any excess heating loads put upon the building.
3 1 1
5 1 4
Plan Legend: 1. Culinary Kitchens 2. Restaurant 3. Wine Room 4. Demonstration Lab and Auditorium 5. Administration Offices 6. Culnary and Research Library
COLLEGIATE FABRICATION tRANSPORTATION pAVILLION Upper Division: Advanced Digital Architecture - Spring 2012 Professor: Lee-Su Huang Software ued in Project Development: Rhino with Brazil and Vray Rendering Software Grasshopper Plugin Adobe PhotoShop, InDesign & Illustrator AutoCAD
Pavilion (noun): A projecting elecment of a facade, used especially at the center or at each end usually treaed so as to suggest entry to a greater component Museum Road is a central location for the majority of UF bus routes. It Stems into the central core of the University, like a vital organ, supporting the infrastructure around it. The Pavilion focuses on reiterating the concept of an organism that stems into the core. Much like the epidermal system, the layersof the Pavilion house a body with function.
Structurally, the Bus Pavilion envelopes a sitting space. The Primary components undulate into a form that optimizes views from the east and west, alotting for proper views of forthcoming buses on campus. The hexagonal skin brings in sunlight and dictates light conditions depending on time of day.
retrofitting PULSE within the manhattan block
Upper Division: Design 7 - Fall 2012 Professor: Donna Cohen Project in Collaboration with David Babb
New York City is a palimpsest of Historical context. To dwell within the city, structures are comprised of similar components and follow a rhythm strictly governed by the New York City grid. This project investigates how the distinction of the New York Block relates to the pedestrians experience of the Architecture and moments of relief for gathering.
THE TEMPORAL EDGE
THE URBAN RELIEF
THE REISDENTIAL BLOCK
There are three particular situations along a New York city block that consider an occupational intervention. The Temporal Edge establishes an indefinite boundary, intermixing the sensations of exterior and interior inhabitance. Program in the fom of Urban Relief acts as a threshold for the interior of the block, breaking from the continuity of endless infrastructure. Finally, the Residential Block proposes a repetition of program for multiple typologies of occupants. For this project, these typologies provide a unification of the blocks edge condition with the verticality that juxtaposes architecture in New York.
Neighborhood of Chelsea, New York
Subdiving the Podium alotts for visual connections of Program to be established with what is at pedstrian level and what occur above. In order to encourage full use of the block, certain portions of program are included within the higher levels of the towers that generally cater to specific instances of use such as Commercial offices or Residential units. However, these inclusions of â€œurban roomsâ€? that occupants can dwell within stimulate a hierarchial relationship for the Vertical programming. The emphasis of the block is one of a communal identity, attempting to unite these components to create essentially a smaller scaled machine with the grand spectrum of the New York
The porosity of the curtain wall differs for each level, densifying in areas of hyperactivity and diminishing where there is a continuous use or occupance. From an exterior view, the curtain wall guides the view of a pedestrian and charges the towers and podium to signify these moments of hyperactive occupation. The skin also guides the view of the pedestrian as they walk along the edge, escalating and densifying near moments of threshold.
1 Section Legend 1. Loft and Suites 2. Tower and Residential Amenities 3. Commercial Businesses 4. K-8 School 5. Manufacturing Offices 6. Quality Housing * Spaces highlighted in yellow represent gathering spaces and lounges
1. Apartments Lobby 2. Car Retail 3. Museum 4. Commercial Lobby 5. Restaurant 6. Interior Courtyard 7. Manufacturing 8. Townhomes 9. Tower Lobby 10. Business Offices 11. School Curtyard 12. School 13. Shops
The skin emulates a sense of charged movement and articulation, tied back to the notion of an energized block. The vertical components of the skin emphasize views and light filtration and a hyperactive motion of verticality that gives a complete distinction from the public spaces.
The CONCEPT CITY | PREVALENCE OF NEW YORK IDENTITY Upper Division: Architectural Theory II - Fall 2012 Professor: Martin Gunderson
The “concept city” is characterized as a separate machine; the city itself set by the unanimity and function of all aspects from skyline to the lungs within. This machine is not a system of individual components, but an entire network that works around itself. The cities identity is infamous and holistic, able to manifest itself as a space with hints of historical reference. The notion of a concept city is slowly decaying; not in danger of extinction, but rather changing from its former composition. As architects design with emphasis on innovation and Avant-garde conceptualism, a unanimous metropolis seems to decrease in legibility. Such hierarchical significance is commonly investigated in high rises and skyscrapers, once also seen as an impossible manifestation in and of itself. Striving for iconicism in individual structure allots for multiple views in multiple moments, similar to a panorama. As elaborated in De Certeau’s “Walking in the City”, “The reliance on the basis of being an unachievable view with which as designers we strive to achieve in order to express forms of identity and individuality within a cityscape and skyline.”1 However, one brings to question what is the purpose of creating limited views in correlation
with elitist regulation of a programmatic series?
“New York has lost its clearly defined character. The city takes on whatever character is relevant to the resident.” The city of New York relies too heavily on expedient dictation from its surroundings. Metro areas such as Paris and London have a palimpsest of city strategies and historical artifacts. Each layer is different yet resilient in its nature. These layers all work with one another to create one Paris . There is no sense of political or social order seen in the colonial cities of Boston and Philadelphia. Most certainly there is no architectural order. Mixed styles of Neoclassicism, Art Deco and even Gothic aesthetic were once all attempts to reverberate prestige and a sense of cultural maturity. As Koolhaus states in “Delirious New York”:
“The age of what can be considered architecture is dead and has not existed since the end of the nineteenth century.”
Koolhaus claims that the architecture of designers in present practice is not justifiable as design in its purest essence because imitation supersedes the inspiration and experience of the architecture2. A smorgasbord of sorts, the styles lost all meaning, along with a sense of unanimity for the city they reside in. Similar to precedence, the panoramic city deducts individualism from the skyscraper. Examples of work from Koolhaus, Skidmore, Owings & Merrill, Nouvel, and Gehry within a city grid all take form to the Architects sole aesthetic.
Meager attempts of relation to a city or allotting public space in a makeshift rooftop bar cannot be compensation for a design that only relates on the basis of the first floors. Perhaps the notion of a true “New York City Identity” is more along the lines of how the machine itself is at a loss of a true identity. New York continuously shifts its direction and horizons. The New York City we dwell in present day will not be the
same NewYork city to exist in 2022. When embracing such a reputation, the city can unify in the idea that nothing is permanent. Like we celebrate the Greek Temples and Renaissance Architecture, there will be rejoice in the futurist principles of the New York machine. How one occupies these spaces will at the forefront of its time and continuously seeking redefinition within an urban context. Much like today, the neighborhoods within New York speak with different characters and dialogues but blend in when referencing the greater Manhattan area. All these components push forward a unanimous identity for New York, rather than just the one skyscraper an egotistical Architect chose to brutally design. Similar notions hold true in Middle Eastern cities like Abu Dhabi and Dubai. Once thought to be wastelands, these metropolitan areas prosper from the identity of being a successful place. What occurs there architecturally is highly experimental and Coney island-esque for the rich and wealthy. However, they are identities that muster innovation and speed. 1. De Certeau, Michael, “Walking in the City” pg. 125
2. Koolhaus, Rem, “Delirious New York: Manifesto of the Manhattan Block, pg. 167-169
Pedagogy | ARCHITECTURAL DESIGN Teaching Assistant Fall 2011- Spring 2013 Professors: William B. Smith, Jairo Vives
Preliminary years of Architectural Design are subject to a rigorous relationship between the student, Teaching Assistant and Professor. The relevance of a Teaching Assistant within the studio environment is to reiterate and further enhance what has been taught within Studio from the Professors. Our mission is to enlighten students on the experience of space and how we as bodies occupy a space not only physically, but rather with our senses and mind as well. The core structure of Lower Division design continuously pushes these notions in the form of projects such as Room and Garden (Design 1), Vessel (Design 2), Door Window Stair (Design 3) and Vertical Datum (Design 4). All these projects relate to circulation and basic principles of Architecture by its definition, but are conceptualized to encourage an abstract thought process.
The relationship built by interaction with students as well as the Professors is motivation to strive for further enhancing my own design education. Coming from my own experience as a freshman architecture student, the TA to student relationship is highly fundamental in aggregating and taking full advantage of what the University Of Florida School Of Architecture has to offer. Though each semester is different with what is being conceptualized, there is never a moment where what the student is learning as well as what I am involved in do no overlap. It is clear that as a Teaching Assistant, the main goal is to reinforce the design education we ourselves received and how it relates to the overall subject that is Architecture. I have grown to be extremely passionate about teaching Architecture alongside practicing design. I am very fortunate to have been a part of a program that has tremendous appreciation for an education hierarchy. I also would like to thank Professor Smith and Professor Vives for the collaboration and all that they have taught me through my position as their Teaching Assitants.
Room + Garden - Design 1 - Fall 2012 Student: Gibosn Bastar
Door, Window, Stair - Design 3 - Fall 2011 Student: Corina Ocanto
Matrix - Design 1 - Fall 2012 Student: Christina Graydon
Vertical Datum - Design 4 - Spring 2012 Student: Elia Magari
Illuminance | DIFFUSION LUMINAIRE COMPETITION Upper Division - Envrionmental Technology 2 - Fall 2012 Professor: Lucky Tsiah
Restaurant Generator: Pio Pio NYC - Sebastian Mariscal
The act of layering a sequential gesture from the same material provides for a diffusion of light amidst the voided spaces. This investigation of luminaire assemblage sets to establish ambience in correlation witn experience of a dining space. The experience itself thrives on the neccesity of intimacy and relation to a node within a larger scale space. For this deisgn, the purpose of light diffusion was to personalize an intimate space within a larger scale room that is the restaurant. Materiality played a significant role in the process of design.The Luminaire converges upon itself, folding to encapsulate light.
The rod and Linear components within establish a field in which the light is to diffuse and illuminate a space. The diffusion of light emphasizes a personal relationship to a space and a basis for an intimate scale.
Michael Garcia M. ARCH Applicant 2009-2012 Architectural Works 60
CONTACT INFORMATION Michael Garcia 2900 SW 23 Terrace Apt. 261C Gainesville, Fl 32608 Telephone: (305) 801-6901 Email: email@example.com
EDUCATION University of Florida (2009-2013) School of Architecture Bachelorâ€™s of Design 2013
PEDAGOGY UF_ SoA Teaching Assistant
Design Three - Professor Brian Smith - Fall 2011
Design Four - Professor Jairo Vives - Spring 2012
Design One - Professor Jairo Vives - Fall 2012
ARCHITECTURE FIELD EXPERIENCE Max Strang Architecture Position: Intern (07/2011 - 08/2011) 3326 Mary Street Miami, Fl 33133 Telephone: (305) 373-4990 x 102 Reference Contact: Jason R. Adams
EXTRACURRICULAR ACTIVITY University of Florida AIAS Chapter 2010-2012 Insanity Digital Fabrication Competition November 2012 ASCA Steel Competition - Charleston 2012
SKILLS Microsoft Office Suite, Autodesk AutoCAD, Autodesk Maya, Rhinoceros 5.0, Grasshopper scripting software, Lunchbox, Google Sketchup, Adobe Suite programs, Autodesk Revit, Autodesk Ecotect