Jocelyn Triana Architecture Portfolio

JOCELYN TRIANA Architecture Portfolio 2017-2020 M. Arch Candidate 2021

01

INCEPTION manhattan, ny

02

GREENHOUSE gainesville, fl

03

A NEW LENS flatwood reserves, fl

04

SPATIAL RHYTHM gainesville, fl

05

EARTH, SKY, + HORIZON orlando, fl

INCEPTION

DESIGN 7 - FALL 2020 PROFESSOR MARTIN GOLD

MANHATTAN, NEW YORK IN COLLABORATION WITH ELIZABETH GOOCH

In the study of zoning and population levels in Manhattan, New York evolved the interest of understanding how individuals occupy urban spaces along the city grid throughout diurnal and nocturnal periods of the day. By analyzing how 1. residential and commercial zones are divided, and 2. the population density in those areas, emerges a sense of a “center of gravity” revealed in moments of compression and expansion throughout Manhattan. The concept of “north-ness” is amplified by the division of upper and lower Manhattan, where Times Square is the center point in tying both urban spaces, very distinct in terms of their commercial and residential zonings.

EXTRACTED LINEWORK + SITE COLLAGE

01

|

INCEPTION

TRIANA + GOOCH

|

3

Manhattan is described as a place of “multiple realities and partial comprehensions.” An urban network of infinite perceptions and multiple views, where every change has a ripple effect down throughout the whole city fabric. Inception represents these concepts of perceived and subjective reality, where the city itself becomes a place to live inside fantasy, where the real and natural cease to exist.

Through analytical study of site and form, the landscape begins to weave into the tower via excavation and manipulation of ground.

Interconnectedness is achieved through the integration of housing types, multiple entries, and the merging of housing with urban farming. A flow of horizontal spaces are split yet interconnected into three areas of the site: residential, agricultural, and commercial. Horizontal bars and the tower are allocated for housing and commerce.

01

|

INCEPTION

TRIANA + GOOCH

|

4

The ever-changing culture of Manhattan lends itself to the idea of a space, or series of spaces, that emulate different realities and perspectives. The model photo series experiments with exterior façades and how they would shift the occupants’ experience. By understanding the sun’s movements and shadows casted, the idea of a shifting floor plan that responds to its surroundings allows for a constant dialogue between the space and its environment. Sunlight and shadow begin to inform the character and rhythm of residential and public spaces and how they interact.

Together, they influence itinerary and how the occupant can coexist in these spaces.

01

|

INCEPTION

TRIANA + GOOCH

|

5

The floor plans of the tower shift ten degrees counterclockwise every sixteen floors. Every sixteen floors the floor plans are also reduced in size, with the constants being the slit and the stairs/elevators. As the floor plans turn and shrink, the balcony experience is also shifting depending on what floor one is on. The balconies shift in design to accommodate for the size and orientation change.

01

|

INCEPTION

TRIANA + GOOCH

|

6

The urban farm present is a grape vineyard, which is used by the adjacent restaurant and winery. These vineyarwds are sustained by the central slit, or core, of the tower. This enclosed slit lets water flow downward the tower, being collected into water tanks every sixteen floors to be used for plumbing and hydropower for the building and its occupants.

01

|

INCEPTION

Collected greywater is utilized for the waterfall where it is then collected at ground level in a reflection pool. This pool then moves the water through an underground system where it is then pushed up into the roots of the vineyard with the use of water pumps to sustain the farm. Water is also distributed to the neighboring pond. This urban farming system not only promotes sustainable living but also enhances an urban city experience by making it more intertwined with multiple functions of modern day living.

TRIANA + GOOCH

|

7

GREENHOUSE

DESIGN 5 - FALL 2019 PROFESSOR BRADLEY WALTERS

GAINESVILLE, FLORIDA This project is a dormitory building design as a living, learning community for students attending university studying under a sustainability program. The purpose of this project is to create a greenhouse environment that could be integrated in a student’s day-to-day life.

Initial plant studies revealed a connective quality in the leaves. The leaves of an Asian Jasmine plant grow in pairs at a uniform distance of about one and a half inches along the branch. This plant study drove the majority of the project towards a unifying concept of a harmonious nature experience. The curvature of how the leaves metrically come out and in along the branch informed the decision to create a space, or a linkage of spaces, that flow and interconnect with one another, whilst still remaining distinct experiences. The curvature nature of this project is also informed by the site’s neighboring buildings to direct circulation.

INITIAL STUDIES

02

|

GREENHOUSE

TRIANA

|

8

02

|

GREENHOUSE

TRIANA

|

9

A main focus of the project is the greenhouse aperture that is essentially a quiet, reflective experience in which one walks down a narrow walkway bounded by two slits in the building where vegetation grows. These large slits allow natural sunlight to enter and light up this narrow space. The walk-in pods allow one to physically insert themselves into nature and experience an embedded nature experience. The slits also allow for passive heating and cooling to minimize the building’s energy consumption.

The physical model is a sectional model to emphasize the apertures and show how the building is acting vertically. The layout of the floor plans has the dormitory rooms along the north and south wings of the building, allowing the social hubs, laundry spaces, and study rooms to live in the west side of the building. The idea of connectivity is pronounced in the extending building, continuing from the third floor through a stairwell; through this connection one enters the rooftop garden space. This rooftop garden is sustained by a system that collects and recycles the building’s gray water. The water then pours out into a constructed pond below; this also creates an embedded experience for the people standing under this waterfall—whether it be from the outdoors or elevated on the stairs. The garden regulates incoming sunlight and promotes personal consumption in the community.

02

|

GREENHOUSE

TRIANA

|

10

A NEW LENS

DESIGN 5 - FALL 2019 PROFESSOR BRADLEY WALTERS

LONGLEAF FLATWOOD RESERVES, FLORIDA By many, landscape is described as scenery and forgotten as environment. The juxtaposition between these two words brings to light the concept that landscape is less an image, and more a moving-picture film. A linkage of systems that have obligations to one another and to the land they occupy. When a person experiences a landscape, it is not just a singular entity. It is a flow of spaces in spaces — systems interconnecting with other systems.

Experiencing a space begins with understanding life from another perspective. There is no objective experience of reality. It is all based on our own individual prisms. Because we are all limited by our perspective, depicting spaces where us, as humans, consciously and purposefully dive into the lens of a new point of view was the main focus.

A study of horizontality relating to the snake experience and how it occupies the site through the use of layering and defining path

A study of verticality and how birds experience the site in different elevations though the use of various edge conditions

A study of itinerary and specific personal experiences through the use of analytical diagraming and spatial layering

03

|

A NEW LENS

TRIANA

|

11

In the analysis of the Longleaf Flatwood Reserves, there is a notable relationship between the bird and snake experience, along with the human one. These three radically different perspectives force one to experience the landscape in varying elevations.

The identity the birds have with this space is highly influenced by their elevated point of view.

They live amongst the tall trees and fly at high elevations. This vertical space with varying levels was constructed to resemble the bird experience. A layered façade with multiple openings resembles how sunlight penetrates the trees and scatter light into the space. This would allow one to embed themselves into the feeling of being inside the tree’s boundaries.

The obvious contrast of a bird that experiences the landscape from above, is the snake that engages with the landscape from below. At this site, many snake burrows were present. A juxtaposed space that is engraved into the site to connect with the different levels of ground present is constructed to imitate the experience of the snake in its burrows. This space allows for people to view the snake burrows through a transparent layer of ground.

03

|

A NEW LENS

TRIANA

|

12

To immerse one’s self in the bird experience, a layered mylar façade allows for light to enter the space, similar to how light is filtered through trees. This also allows for the viewing of birds in their natural habitats without disturbing their environment.

An elevated platform allows birds to land on, while keeping a comfortable distance between the viewer and the bird. This spatial moment creates an intangible connection between the two inhabitants.

“We do not see things as they are; we see things as we are.” -Anaïs Nin 03

|

A NEW LENS

TRIANA

|

13

Analysis of the site at plan view through analytical mapping allowed for a more specific and indepth understanding of the many systems that are present. Marking the trails and the vegetation, along with the moments of pause due to bird and snake encounters, enhanced the analysis of the landscape and how the interventions later constructed are directly influenced by the nature of the site.

03

|

A NEW LENS

TRIANA

|

14

SPATIAL RHYTHM

DESIGN 6 - SPRING 2020 PROFESSOR JOHN MAZE

GAINESVILLE, FLORIDA The first floor is a dining space with an exterior opening that lends itself as a service window for outdoor service. The second floor is functional for an event space, with two large skylights that filter natural light in. The second floor bleeds out into an outdoor rooftop courtyard. The floor of the balcony is the continued structure of the first floors overhead, allowing for the space to feel harmonious and uninterrupted.

Through analysis of Downtown Gainesville, Florida, the site revealed a measure and rhythm within its city grid lines as well as in the neighboring buildings, informing gestures made on the intervention. The structure is held together by concrete columns and its facade is made up of wooden panels, used for overheads and wall enclosures, that weave their way around and over the structure.

04

|

SPATIAL RHYTHM

The outdoor windows are wooden panels that open and close depending on table occupancy. The windows fold into themselves and serve as an overhead to create shade.

This creates an altering exterior facade system throughout the day which also allows for passive cooling to take place.

TRIANA

|

15

wooden decking concrete block wooden panel mounting track base channel ¾” tempered glass

bifold window system

cavity insulation 5” concrete block

04

|

SPATIAL RHYTHM

concrete floor slab

TRIANA

|

16

04

|

SPATIAL RHYTHM

TRIANA

|

17

EARTH, SKY, + HORIZON

DESIGN 6 - SPRING 2020 PROFESSOR JOHN MAZE

ORLANDO, FLORIDA

Through thorough site analysis of Downtown Orlando, Florida, geometries and lines already present at the site and the surrounding structures are extracted to influence the form of the design. The project is a proposal for a Performing Arts Center in Downtown, Orlando. The neighboring lake, Lake Eola, was a key guide for the design approach and its itinerary. By extracting tangent lines from the lake’s geometry, that also guided the finalized design.

Through photo collage of the site, it gave a greater scale of the site and how best to intervene. By photo collaging the site even further, it began to create depth and various spatial conditions with the use of the site’s surrounding.

05

|

EARTH, SKY, + HORIZON

TRIANA

|

19

The massing studies served as initial mass studies to study Earth, sky, and horizon, by excavating ground, forming spatial relations with the horizon, and create higher levels that touched “sky”. Photographing each model with an artificial sun served as a tool to study the shadows being casted at various times of the day.

Massing Study 1 focused on wrapping and forming horizontal circulation. Massing Study 2 focused on vertical circulation and dense mass components. Massing Study 3 focused on boundary and edge conditions through the formation of ground and wall.

The studies all influence the final design by taking key sptaial elements from each.

1 05

|

EARTH, SKY, + HORIZON

2

3 TRIANA

|

20

The overall theme of the design is how it touches and interacts with ideas of “Earth”, “sky”, and “horizon”. In the beginning stages of section, I wanted to include an initimate space for a small, outdoor performing space with descending stairs and a ramp. This space is intended to act as an audience-performer space as well as an outdoor sitting area. This excavation of ground was the main interaction with “Earth”, as well as the first floor which serves as a lobby space.

The third “sky” floor is extruded and reaches over the first two floors. This space serves as a space for people to look out and over the bridge as well as to look out at Lake Eola. This third floor is the the second floor of the auditorium space.

This floor also connects to the secondary building. This extension acts as the educational facility and houses music and dance classrooms and practice spaces.

The interaction with “horizon” was influenced mainly by Lake Eola. An extension of the Performing Arts Center at the second floor reaches over and extends over Rosalind Street. This extension acts as a pathway for occupants to travel from the lake area across the street to the interior of the space on the second floor. This also creates an overhead condition for the occupants on the ground level. This extension leads into the first floor of the main auditorium space.

05

|

EARTH, SKY, + HORIZON

TRIANA

|

21

05

|

EARTH, SKY, + HORIZON

TRIANA

|

22

By shifting and excavating ground, it created different ways to approach and interact with the site. People occupying the underground stair space would only be able to view the feet of those walking above them on the sidewalk, as well as can witness occupants on the elevated bridge going towards or away from the site.

05

|

EARTH, SKY, + HORIZON

With the use of various textures and materials, like metal mesh, steel, white textured plaster, and glass, it created a multi-varied textured facade, especially in the exterior nook that connects the performing arts building and the educational facilities building. The first floor is encased in white textured plaster, and the next two floors are encased in a glass facade with a metal mesh enclosing the angled edges.

TRIANA

|

23

05

|

EARTH, SKY, + HORIZON

TRIANA

|

24