USF SACD Core Portfolio

JACKSON TALLEVAST CORE DESIGN PORTFOLIO

2

TABLE OF CONTENTS

CORE DESIGN ONE MIRA TABBALAT

CORE DESIGN TWO LEVENT KARA

CORE DESIGN THREE NANCY SANDERS

4

MACHINE DE PHENOMENON

12

OCCUPATION IN AN URBAN SYNTAX

32 44

REACTIVATED EXPANSIONS IMAGINING THE HORIZON

68 88

FORT MATANZAS EXTENSION MORGAN LIBRARY ANNEX

JACKSON TALLEVAST USF SACD 2020 - 2021

3

MACHINE DE PHENOMENON CORE DESIGN ONE

The purpose of Machine de Phenomenon was to create and explore spaces through the development of various interweaving vertical spaces. We explored concepts of architectural experience such as scale, hierarchy, and the creation of moments. One of the methods we focused on was developing our facade and skin system that would make up the enclosure of the model. The balance between opaque and transparent or closed and open became a dominant driving factor in design decisions. Transparent glass pieces became moments of relief and pause as an occupant circulated up the space.

4

5

6

Jellyfish Axonometric

Circulation became a key aspect of this project as design developed. I focused on keeping the circulation linked with the main structural ribs that extended upward from the ground system and into the height of the vertical construct. This allowed me to be able to access all of the different interlocking spaces in the interior. It also created a unique experience of moving through the vertical spaces as an occupant would have to move in-between the ribs. I expanded on this idea by introducing an interior surface system, which can be seen in the jellyfish axonometric above, to add more to this experience. These surfaces added complexity to the pushing and pulling of spaces on the interior, as well as the construction of the frame, resulting in a richer tectonic expression of the facades on the exterior.

7

8

Elevations These elevations show the spatial hierarchy created through the differentiating scales of interior and exterior spaces. The large open space as you enter allows for a moment of pause and to be in a double height space. More private and intimate spaces appear as one progresses up the intervention and branch away from the circulation core. Various lookouts into the landscape can also be seen at points between the different constructed surfaces.

9

10

Exploded Axonometric

Sections

11

OCCUPATION IN AN URBAN SYNTAX CORE DESIGN ONE Derived from a combination of Copenhagen and the movie Reconstruction, an elaborate analysis of the urban condition is conducted to re-imagine how it can exist. The ideas of solid, void, and edge are all explored allowing for a more in-depth story of how the city comes to be a dynamic knot of tension, release, and movement. These three graphics represent the chronological evolution of my city as a contextual framework for nodes to emerge from. The memory map serves to establish the various scales and main ideas of the movie. The analytique begins to overlay contextual and perspective information about how the nodes exist within their rigid context. The mapping diagram takes a step back from the more concrete construct and uses essences to highlight connections.

Memory Map

Analytique

12

Mapping Diagram

14

RESEARCH LAB The first node in this fictitious city houses a research lab where experiments are being conducted on children in an attempt to give them psychic powers that can be used by the government to help prevent future catastrophes, and ultimately help fight and win conflicts before they even begin. The two key physical features of this node are, the large articulated exterior wall and the internal walls that surround the circulation. The internal walls are a spatial crack and divide that has led society to chaos and the government to perform such experiments in this lab. The exterior wall aims to block out and hide the truth behind what occurs here, but it too has a crack and the truth cannot be hidden about what is really happening.

15

Elevations

16

Cross Section

The large exterior wall also serves as a light mediating device to allow only certain amounts of light into spaces that would need delicate or little lighting. The nodes integration into the surrounding context and the manipulation of the ground around can be seen in the section and elevations.

17

Exploded Axonometric

18

SPEAKEASY The second node is the smallest of the three and houses a speakeasy that acts as a gathering point for the resistance group trying to take action against the research lab conducting the experiments. In an attempt to be covert, most of the space is housed within the context it self and it latches it self on and through the wall of the context. Like the first node, this node also houses an interior element that spatially cracks and divides the interior. An entry into the underground aspect of the context and interventions is present in the ground in front of this node.

Cross Section

19

MILITARY FACILITY The final node is the largest and most important node in the city framework.

Housed here is the military base that is attempting to keep control over society, the rebels, and the research lab.

20

21

Elevations

22

23

Exploded Axonometric

The most dynamic connection with the context is present in this node. I wanted to accentuate the spot in the context where it is present while also allowing for a complex weaving of spaces to occur.

This resulted in a relatively small and narrow entry way in between two context pieces that allow for entry from both sides, and then a large, block-like, system above to house the program. This approach led to a large void created inside the node that spanned multiple floors. To continue the theme of the cracks, I decided to house the largest and most complex wall system at this point. It operates in multiple axes, and branches out to become an exterior member of the enclosure. The scale of it allowed for thresholds and apertures to be easily cut through it to allow a richer manipulation of space and more interesting connections between the various blocks.

25

26

27

The dynamicness of the internal walls are best showcased in this section and perspective. The section highlights the turn and how it opens up to release some tension and allow for some visual connections to be made through various spaces. The light manipulation coming in from the roof and then moving off the articulated walls allows for an alternating experience throughout the day.

The various scales and types of thresholds and apertures are visible as well.

Cross Section

28

29

Long Section

30

31

REACTIVATED EXPANSIONS CORE DESIGN TWO

This project, titled reactivated expansions, opens up the discussion for bringing life to something often times devoid of it. Instead of a more developed programmatic intervention, we were tasked with designing a spatial constructed surface, or edge condition.

Consisting of mostly intimate, narrow, vertical spaces protruding off of the large stereo-tonic garage condition. The ground located in front of the garage would become an integral part of the project as well, introducing systemic and spatial aspects in it. The project started with the conceptual graphic to the right where various movements and axes were introduced and highlighted. These were given hierarchal statuses to begin defining a composition that would dictate the design process further.

32

33

34

Front Elevation

Back Elevation

The elevations were critical to the integrity of this project, as it exists mainly as a constructed surface. The front elevation was designed keeping the dimensions and rhythm of the parking garage it is connecting to in mind. The back was crucial to understanding the porosity of the enclosure and the dynamic scale of spaces being created in contrast to the grid of the garage. Addressing the turning of the corner was another integral part in the understanding of this project. The interlocking and folding of the surfaces create a rich variety of space.

It also created the challenge of not breaking any systemic or linguistic rules established by the front and back elevations.

35

Ripple Diagram The ripple diagram is an experiential representation of various spaces and moments throughout the intervention and ground condition, and how they connect.

36

37

38

The circulation is housed within two walls that are positioned perpendicular to the main orientation of the intervention. I wanted the circulation to be a substantially altering spatial element that would act as the bridge and divide between the larger public spaces and the smaller private spaces. This would allow for some intense moments of compression and relief where the floors meet the stairs.

39

Exploded Axonometric

40

41

Section A

Section B

Section C

42

The vertical nature of the spatial construction of the intervention is best showcased in these sections.

The larger gathering space located in Section A serves as the main public space inside. From here intimate spaces branch off and the circulation can be accessed that takes you to the higher levels.

The porosity of the exterior surfaces are also shown. These openings allow for light to enter.

43

IMAGINING THE HORIZON CORE DESIGN TWO

This project focused on the idea of the familiar and the unfamiliar through the landscape the intervention would exist within, the desert. The desert was chosen because of its ability to pose itself as a problem full of possibilities. The first step in the design process was to define the landscape a horizon could be pulled from, and then to begin speculating on how to break the line between ground and sky. A series of exploratory watercolor pieces were created, and then collaged to highlight connections and hierarchal zones. Three of these zones were chosen to become plaster study models. These plaster models were at a very zoomed-out scale focusing mainly on the large gestures that could be created and to begin experimenting with the idea of varying topographical qualities. Of these three, the bottom one was chosen to be enlarged and expanded upon. Speculations of placement, scale, orientation, and further articulation around the intervention could be explored, even opening up the possibility of other smaller interventions in the landscape as well.

44

45

South East Axonometric

South East Axonometric

South West Axonometric

North West Axonometric

46

Once the orientation and overall scale on the imagined intervention was determined, we zoomed in even further to it and the surrounding landscape that would serve as the promenade to and from. Important qualities a desert environment has, such as temperature, intense sunlight, and wind patterns were taken into account and how they would affect the program. A more solid and rigid south side, seen in the perspective to the left, would emerge to act as a spine that overhead conditions would branch off of. This would allow for generous coverage from the southern sun limiting how much light could infiltrate the exterior. I also chose to submerge my intervention deep within the landscape to help facilitate an even cooler climate within interior spaces.

The intervention became so tied to the ground it occupied, that you could not separate the two without losing part of one.

Sundial Diagram

47

Section A

Section B

Section C

Section D

48

49

50

51

Within the vast horizontality of the landscape, it was only natural for large horizontal spaces to emerge in the sectional quality of the intervention. Because of this, I wanted to introduce a large dynamic vertical object that would create an enclosed gathering space. This object could also bring dramatic sunlight into the central spatial axis of the intervention allowing for a richer experience. This object, and how it punctures through the space, could be seen in the previous sections. Its placement within the composition allowed for some tighter vertical spaces to emerge surrounding it as well. The dynamic light it introduces to the gathering space can also be seen in the perspectives above and on the previous page. The exploded axonometric diagram to the right shows its connection to the overall enclosure. The complex shape and construction of the object is also visible, and paints a clearer picture on how it brings light to the interior.

52

Exploded Axonometric

53

54

A large dip in the topography, visible in the top view, allowed for a connection to the promenade both visually and physically. The rigid spine on the southern side, left edge, is visible. The much more open and inviting northern connects with this crevice in the landscape, allowing for easy access inside.

56

57

58

59

South Elevation

North Elevation

60

Some of the various work spaces housed on the first floor can be seen in the perspectives above. They also showcase the varying levels of sunlight transparency that exist in the intervention. The elevations to the left show the breaking of the defined and constant horizon line through the introduction of the intervention. Both also show how the central object affects the different profiles and spaces.

61

Stitched Experiential Diagram

62

63

Section E

Overlaid Top View

64

To the left is the final rendition overlaid on the original speculative plaster landscape to show the integration with the full landscape.

Section E above that is the most comprehensive showcase of the spatial manipulations present within. The submersion into the ground is fully realized and shows how the profile protruding from the ground does not tell the full story of the space within.

The central object’s vertical effect is shown best here as well. It pierces the full height of the intervention and opens up a channel for light to enter allowing for it to be experienced on multiple levels by multiple occupants at the same time. Gaps and reveals in the enclosure are also showcased within the section to allow for a more complete light transfusion into the interior spaces.

65

66

67

FORT MATANZAS EXTENSION CORE DESIGN THREE Fort Matanzas, built in the mid 18th century by Spanish conquistadors and then refurbished in the early 20th century by the US government, has stood as a colonial monument for hundreds of years. Originally positioned to guard the inlet of the Matanzas River that leads upstream to the back-door of St. Augustine and Castillo de San Marcos, the fort fell out of use and into disrepair when the US gained its independence and the Spanish ultimately abandoned Florida. The present day site includes land across the river and protects a diverse marshland and estuary ecosystem.

The aim of the project was to create an intervention within the site that would celebrate the fort and allow for a richer experience to be had while visiting. The process began with multiple diagrammatic site studies that highlighted various thresholds and aspects of the landscape that could be used to develop key ideas that would later be implemented into the ground condition as well as the building intervention.

68

69

After the diagrammatic stage, the graphic highlighting the threshold between the cannons and the river inlet was chosen to be the dictating graphic moving forward. The drodels to the right were two iterations of ways to create a constructed surface that would serve as a fictional ground to have our intervention emerging from. The left took a more orthogonal dimensionality and had the angles to the inlet set within. The right, which would be the ground used for the final, took a different approach and positioned the entire intervention at the angle of the cannons within the landscape.

This allowed for some more dynamic cuts to be made and for greater opportunities to push and pull.

70

71

72

When it came time to decide materiality for the final, I decided to go with sheet metal for the ground. I did this to represent how even though the island had changed shape over the centuries, it still remained ever so present in the landscape. I also decided to invert the original graphic and transfer the image onto to the metal.

73

For the final model, I wanted to include a large stereo-tonic element within the composition to break up the highly tectonic nature of the building. I decided on a large and robust wall that would serve as the central core and also respect the fort through the reflection of construction techniques. All of the main spaces revolve around the wall and lots of structural members emerge from it. Thresholds to and from certain spaces are cut through it, and it even houses the main public circulation up to the second floor.

74

75

76

77

78

79

Long Section

80

81

The section perspective on the right shows the main public circulation moving up and through the wall element and how an occupant must move through the wall to experience every space within. I wanted to have the wall be a crucial item that would allow for the weaving of space in and out of it. The perspectives to left also show some close up detail shots of the overall scale and articulation of the wall.

82

83

Cross Section Perspective

North East Axonometric

South East Axonometric

North West Axonometric

South West Axonometric

84

85

87

MORGAN LIBRARY ANNEX CORE DESIGN THREE

On the corner of W 26th Street and 10th Ave sits the corner lot that would become the extension to the Morgan Library that currently houses the vast collection of Financier Pierpont Morgan. Despite the length of the site, the building could only exist on the west part of the site, in between the highline and neighboring building behind. The rest of the site would be developed into a large urban plaza with the aim to introduce a large public gathering space and to funnel people into the building off of the street.

This plaza would emulate characteristics of the building to ensure a cohesive connection between the two. The building would contain a variety of programmatic spaces such as a children’s library, archive, restoration studio, and lecture hall to name a few. The site also allowed for an entrance directly off of the highline to serve as a moment of pause for people traversing on it.

88

89

North Elevation

South Elevation

90

The driving design factor for the building was pure sectional quality. I wanted to bring a sense of the sheer, almost overwhelming, vertical qualities present on the street to the interior of the building. This resulted in large vertical voids in both the long and cross sections.

I used these voids to act as a basis of where to articulate interior surfaces moving in and out creating spatial qualities both in the central atrium as well as in the separate space connecting to the atrium. This allowed for a system of interior walls creating moves that would span multiple floors in most cases. This variation of space would allow for a rich experience as you moved upwards through the building and could inhabit a different space than the floor below but understand and see the continuation of the elements defining it.

91

Section A

92

Section B

93

94

95

A critical moment in the building was the connection to and from the highline within the facade. I decided to introduce a special translucent enclosure element that would start at this level and protrude up the remainder of the building. This element is pulled slightly away from the rest of the enclosure to allow for another unique spatial experience to be had in the void in between. This also allowed for ample light to enter the interior from the front of the building to interact with light entering from the top and other sides. This ensured the mostly public spaces affected would receive ample natural light.

96

97

98

99

100

101

102

103

104

105

106

107

I wanted the plaza to be an easily accessible to all passersby and to have clear funnels that would draw them in. The ground subtly ramps down multiple times to a slightly below grade ground level entrance and to an amphitheater that serves as a large gathering and seating area as well as a direct connection to the basement level drawing natural light in. A pair of long extremely subtle ramps takes you below the plaza to access the basement.

108

109