Lawrence Raposo Advanced Design Architecture Portfolio USF SA+CD

Dedicated to all my friends and professors.

Without you, I would’nt have gotten as far I ever dreamed of.

DESIGN A

DESIGN B

DESIGN C

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PROJECT 1 ARTCENTER manatee

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EXPANSION

PROJECT 3 LONDON royal docks DPU SummerLab

PROJECT 2 Chicago Museum of

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Amalgamated Art

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PROJECT 4 REVITALIZING Oldsmar

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DESIGN D

FURNITURE MAKING

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PROJECT 5 ABERDEEN BON ACCORD GARDENS

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PROJECT 6 STEEL + LEATHER CHAIR

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A DESIGN A

PROFESSOR MICHEAL HALFLANTS SPRING 2015

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PROJECT 1

ARTCENTER manatee EXPANSION SPRING 2015 8 WEEKS

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[P R O C E S S]Model I

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ARTCENTER manatee EXPANSION

Located in Bradenton, Florida, the ArtCenter Manatee currently houses small art studios and galleries for local artists.

With a near 10,000 sq. ft facility, their hopes were to double the size while maintaining the existing building. The new facility was to target artists of all ages and experience. While they currently hold art educational classes, the center wanted to expand and ensure that all their artists were comfortably housed and had the ability to move freely throughout the building. The current facility also maintains two galleries and a market where all artists had the capacity to display and sell their work.

However, the new gallery space would double up as a lecture hall. While the center presently has enough pinup wall space, their hall gallery is too narrow to serve as a gallery, thus any additional space would serve the center well. The marketplace and the gallery had to be easily accessible from the entry and serves as an integral part of the circulation. The renovated center would need a total of 9 studios similar in size to their existing classrooms. The pottery studio would need to be expanded into 2 classes. One studio would need to be wired to serve as a computer lab in order to start a graphic design studio. While most studios would be programmatically ambiguous, the pottery and jewelry spaces would not be interchangeable, due to the equipment needed, and must be dedicated spaces. The center currently holds children’s courses but the existing facility needs a larger space dedicated to them. A 300 sf coffee shop that opens to the shaded exterior deck was to be added in order to have artists feel more comfortable at the center, and was to house all of the books currently on display at the center with seating and tables to browse the collection. Phasing remained an integral part of the design as the center was to continue operation during any renovation. Artists require a relaxing yet explorative environment where they can truly express themselves.

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The current entrance to the facility was housed in the rear of the building where all the artists and visitors would enter. While keeping the original entrance open, a new entrance was extended to the city’s urban fabric by inviting passerby’s and guests to enter directly from the street, engaging the community.

[P R O C E S S] Model II

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[M A S T E R

P L A N]Level I

The existing facility housed all studios, classrooms, offices, and galleries, but with the expansion, the center begins to be divided in two. In the current building, all studios would be opened up to serve as larger gallery spaces, with enough room for them to double as lecture halls. The new addition would house all studios, with the connection between the two serving as the coffee bar and library, with access to a shaded patio area.

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[M A S T E R

The second level of the new addition would house more studios, leaving ample room for current artists to explore their interests. It’s known that surrounding oneself around nature contributes to relaxation, which is why a skydeck for a sculpture garden was designed to surround the adjacent studios.

P L A N]Level II

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[F I N A L]Model

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[F I N A L]Model

With soaring roof canopies, the design was to implement an exploration of freedom, where each canopy folds, revealing light to certain areas. Light itself became a huge factor, where certain studios would be enabled by partially shaded sunroof, providing able light to help artists with their work. The existing facility maintained most of it’s structure with a delicate renovation, while the expansion seems to elevate the surrounding area.

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[F I N A L]Model

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[F I N A L]Model

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PROJECT 2

Chicago Museum of Amalgamated Art FALL 2015

With a collaboration with Chicago’s Logan Art Center, the Museum of Amalgamated Art would be a gallery and studio to house many exhibitions, and house a permanent collection from artists El Anatsui, Kaarina Kaikkonen, Sarah Sze, Aurora Robson, Jean Baptiste DeBombourg, Cornelia Parker, and Doris Salcedo. All works vary in size, but the new Museum must have the ability to house large pieces. Amalgamate, meaning to combine or unite to form one organization or structure, means that the facility is to manifest with all forms of media.

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[M A S T E R

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[F I N A L]Model

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[ F I N A L ]Model

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CHICAGO museum of EMALGAMATED ART

Located in downtown Chicago, the site sits directly across from Mies Van der Rohe’s Lake Shore Drive apartments.

While the site remains in the city district, the surrounding area tends to blur the line between residential and commercial/ retail. Due to this, an interactive facade was to begin to play with passerbys, inviting them into the space.

The program varied as the size of the facility stood to be over 14 stories tall, and accompanied a museum store, small cafe, multiple galleries, with it’s permanent collections interweaving throughout, a large auditorium, and numerous studios to be utilized by the Logan Center’s artists. The program was divided into three sections, as determined by height; Public, Semi-Private, and Private. The public aspect, remaining at the bottom, lets visitors enter and easily access the museum and store. The semi-private, located in the midsection, is composed of the auditorium and certain gallery spaces which could potentially serve as event venues for the future. The private, settled at the top, houses the studios, where artists can freely work on their pieces without interruption. These three worlds separated in lieu of how people react. Once you enter the building, you may encounter someone you recognize and are able to comfortably hold a conversation. As you progress upwards, you encounter a gallery where others around you are encompassed by the work and softly talk about each piece with fervor. Higher still, and you reach your studio, where fellow artists are working on their highly anticipated pieces, and are quietly in their own little worlds. As a pedestrian is crossing the street, they look up at the bold protrusion and see an event currently going on in the auditorium, which prompts them enter the museum to satisfy their both theirs as well as their child’s curiosity, who’s hopes are to explore the buildings facets and carves.

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[ F I N A L ]Model

The transparent nature of the design serves to act both physically as well as socially.

With more natural light, the museum’s permanent collection can be explored and take on new experiences for visitors throughout the course of the day. More ample light would benefit the artists by enabling them to work without the harshness of artificial light. Socially, the building can now have a conversation with Chicago’s passerbys by allowing them to look into the design and see the circulation and events.

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[F I N A L]Model

By allowing the auditorium to protrude from the building, the structure itself now informs the public of the museum’s functionality. Open on both sides, the auditorium acts as an invitation to view and hear any event or lecture being held there. As a guest speaker is giving a lecture, an artist in one of the studios above can look down the open atrium and participate in experiencing the event. The auditorium is meant to be more of an open space inviting all to learn and speculate.

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[F I N A L]Rendering

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B DESIGN B

PROFESSOR JOSUE ROBLES FALL 2015

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PROJECT 3

LONDON royal docks DPU SummerLab FALL 2015 16 WEEKS

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[ D P U ]Graphic Mapping

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ROYAL DOCKS DPU SummerLab

[PHASES

I - III ]

Royal Docks Regeneration

Through experiencing the London Docks area firsthand, we were able to establish the main problems that arose to the surface almost immediately. We could see the raw potential of the area, and the community’s effort to try and make the surrounding not only more appealing but striving to give the area substance, a true reason for either living or visiting the Royal Docks. By listening to the various representatives, who themselves live in the area, testify to what exactly was happening to the area, we were able to get a firsthand account of what its truly like to live there, and further our research.

With the site situated directly on the Royal Victoria Dock, it was evident that utilization of the water itself was of great importance. Because the conception of the design was driven by the idea of both the “greenspace” as well as “greenscape”, the water would later come to play a critical programmatic role.

With the east side of the site brushing up against the Connaught Bridge, the design was situated perfectly to align with it, in order to get the attention of passerby and promote an importance and prominence.

The site’s community recognized that the area had an unsurpassed potential of expanding to become a neighboring, accessible and attainable outside city that would give Londoners the ability to afford living on the outskirts of London, with all the benefits of being a Londoner, all while living just outside it.

The community posed a further challenge that while it has many forms of transportation to get to the Royal Docks, there was no true reason to stay. While it was very accessible, it still lacked substance. What they truly needed was a reason to come and stay in the Royal Docks, which in return is why the design focused on a method that would both bring outsiders in to visit, as well as offering a reason to live there.

Since the London Docks were the areas main source of distribution in the past, it was considered the “Power Hub”, as it was essentially London’s back door.

Without its economic drive, London would have never had the opportunity to grow as it did. However, the concept conceived would ultimately switch how the Docks will effect London, where in the past by giving London an exponential growth in industry, but today by providing an extension to city itself. In the past the energy was seen to transfer from the Docks towards the city London, whereas today the energy would be shifted from London towards the Docks. This essential reversal of roles is critical in the fact that London heavily depended on the Docks until technology came into play, in which the docks were no longer needed. Now, the Docks require a new purpose, which would now be to help expand London outwards.

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[A B S T R A C T]Section

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[A B S T R A C T]Section

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[A B S T R A C T]Section

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[A B S T R A C T] Construct

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ROYAL DOCKS DPU SummerLab

Challenged by the idea of mixed residential housing, the construct itself was designed with its central core that spans throughout, much as the human spine would. This “spine” integrates both the Market Rate and Attainable Housing by the flow of circulation around the datum, which in return would enable both tenants to interact in a more relaxed green environment where their engagement would have no segregation.

The concept of a “Greenspace” was formed early in the project and ultimately led to the formulation and design of the construct.

The greenspace was utilized as a powerful tool in the design process, as it would be the generating force to bring people together for a common purpose. This purpose, having a much more unconscious force, is that nature can ultimately bring together anyone creates an environment that not only relaxes, but makes one’s self feel in-tune with their surroundings, thus making communal engagement more likely.

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[A B S T R A C T] Construct

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[P R O C E S S]Model

The design was to be divided between 4 major areas; the Botanical Gardens, The College of Botanical Arts, the Attainable Housing units, and the Market Rate Housing units. The site was meant to be an area where the tenants and community alike could circulate throughout where the concept of “greenspace� would ultimately bring them together, both directly as well as indirectly.

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[M A S T E R

P L A N] Basement

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[M A S T E R

P L A N] Ground

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[M A S T E R

P L A N] Level II

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[M A S T E R

P L A N] Level III

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[F I N A L]Model

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[F I N A L]Model

By having the Botanical Garden Structure, the tenants are given a direct haven away from their lives where they can immerse themselves into this world of relaxation and wonder. On the other hand, by having nature as a simple backdrop, this would ultimately have the most significant subconscious effects on residents and visitors.

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[ F I N A L ]Model

By engaging greenery all around oneself, you have just created a more comfortable environment by the pure nature of which human beings have been known to respond to.

By having nature and “Greenspace� serve as the Thirdspace, the concept is therefore creating an environment that the tenants could actually feel more inclined to actually want to experience, rather than just sprinkling around areas for congregation here and there.

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The program of the site was designed so that both the residents as well as the community would have a certain belonging to the site. By making the site their home, the residents already feel as though they belong, and by making the site a public space, the community is now welcomed into the site.

[ F I N A L ]Model

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[ F I N A L ]Model The “Thirdspace” of the design was translated from the construct, as it was originally designated that it would be a “Greenspace”. This “Greenspace” would act as subconscious adhesive that would ultimately hold everything together. The idea was that these spaces would allow the individual to be at ease, comforted, relaxed, and most importantly, at home. Without the feeling of belonging the concept of the “Greenspace” would never truly work, as the individual wouldn’t feel secure, which in return would cause a decline in sociability. But since the nature of “Greenspace” already allows for comfort in the fact that the landscape induces an unconscious calmness, the individual is now in an ideal environment that allows for social interaction.

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[F I N A L]Model

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[F I N A L]Model

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C DESIGN C

PROFESSOR TARYN SABIA SPRING 2016

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PROJECT 4

REVITALIZING Oldsmar SPRING 2015 16 WEEKS

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REVITALIZING OLDSMAR

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[R E S E A R C H]Transportation

The city of Oldsmar was historically the passthrough city when traveling between Tampa and St. Petersburg. Before the bridges were built transportation relied on road travel and ferries. After the bridges, Oldsmar was used less in this fashion. However, Tampa Road (SR 584), the 6 lane highway running through the city, still gives transportation to over 55,000 vehicles per day. The CSX railway line is also still used for transportation of goods. Despite the intention of being a live/work community, only 2,500 residents live and work in Oldsmar with over 6,000 commuting out of the city and over 5,000 commuting into the city.

The average resident has about a 27 minute commute. The entire city spans about 3 miles from the city center. Many commuter amenities are already in place to provide more than just vehicular traffic. Sidewalks, bike lanes, bus route, and a community trail that crosses the entire city are all features that make different types of commuting possible. Currently the city is looking into expending the CSX rail line into a full service transportation line including a hub of a station and additions to the library in the downtown area. Plans for a large pedestrian overpass are put in place over Tampa road as well as plans for many new bike lanes to provide a safer environment for commuters outside of the vehicle traffic. Gaining most of its geographical importance by functioning as the connector from Tampa to St. Petersburg, Oldsmar is currently the only link from Hillsborough to Pinellas through natural land. Cutting through Oldsmar is Tampa Road which is a significant corridor that networks an average of 55,000 vehicles per day between the North Pinellas County peninsula and the Tampa area. With Oldsmar’s geographical location, links to major areas (Tampa, Saint Petersburg, Clearwater, Tarpon Springs, USF, etc.), proximity to the interstates (I-275, I-4, and I-95), and accessibility to the Tampa International Airport are made possible. As Oldsmar’s location is still directly in relation to it’s surrounding major cities, it’s economic drive is dependent on them. While there are more people who commute to work in Oldsmar, than the actual number of residents, the area is seen as highly commercialized.

COMMERCIAL

RESIDENTIAL

ROADS

PROPERTY

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[R E S E A R C H]Transportation

Most of the metropolitan area is concentrated along State Street.

Commercial development coulbe benefit by being accompanied by more public spaces and density. The residential area is currently socially and culturally segregated from the commercial area. There is currently an underutilized bus system that travels through Oldsmar.

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[R E S E A R C H]Transportation

One of the most integral aspects of contemporary Urban Design is that of a walkable and public transit-served city. America is currently one of the only countries that invests more money into individual transportation versus public transportation. Areas that utilize more public amentities generally thrive in social and cultural life. People like to feel a sense of community in their towns. Known as the “Walkability Theory� the average walking distance that a citizen would feel comfortable travelling is around 1/4 of a mile. Anything outside of that radius would be deemed unworthy unless with the aid of a vehicle. While Oldsmar may be undermined by its size, the distance from each of its major communal points of interest lie within the 1/4 mile radius. With that being said, the Oldsmar Public Library strategically becomes a more prominent destination because of the fact that it is the only communal point that is within comfortable walking distance of multiple points within the C.R.A.

Cur Current mostly great po itself is the orie the buil The imp ground gr would a and its s

STATE STREE

COMMERCIA

MIXED-USE

PEDESTRIAN ACCESS

- Exissng buildings look like they were intended to be mixed-use - By making the ground oor mainly commercial, it will engage more pedestrian interaccon

- Comfortable proximity to parking + buildings - Safety: parked cars create barrier for sidewalk

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PARKING

-Lines the edges of the street -Gives the street a great opportunity for retail -Faces the facades of the buildings

DOWNTOWN

STATE STREET COMMERCIAL BUILDINGS

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[R E S E A R C H]Retail retail Currently, the Downtown Oldsmar commercial and residential worlds are mostly segregated. However, some of the buildings in the area show a great potential to become mixed-use buildings in the future.

State Street itself is an encouraging location to become prosperous in retail due to the orientation of parking along the street, whi ch faces the facades of the buildings (Similar to West Grand Central Ave. in Downtown Tampa). The implementation of mixed-use buildings would have retail on the ground floor and residential above the ground floor, which in return would activate the entire area by adding a level of energy to State Street and its surroundings.

Due to and Old have tre the park hoods a which c hood th brick or tribute nent. T wards t Downto formed -ons: it

RESIDENTIAL

RESIDENTIAL

DRAINAGE

CORRIDOR

- Drainage system lacks eďŹƒciency - Moderate to severe ooding could happen aaer harsh weather condiions

- Neighborhood streets lead to the water - Streets needs character: brick / cobblestone roads and vintage street lights

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HOUSES

-Each home has individuality and are all unique from each other - Large trees provide shade for the front of the house as well as the sidewalks

DOWNTOWN

RESIDENTIAL HOUSES RESIDENTIAL CORRIDORS

nique from each other of the house as well as the

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[R E S E A R C H]Neighborhoods Due to the radial demeanor with which the areas between State Street and Old Tampa Bay have been organized, the existing residential areas have tremendous opportunities to create engaging corridors that lead to the parks along the edge of the water. The streets parallel the neighborhoods are corridors that lead people to the water from State Street which currently exhibit a distinct character and charm in the neighborhood that should be highly embraced. Details such as simply adding brick or cobblestone-paved streets and antique streetlights would contribute to the historical character of the area to make it feel more prominent. The development of these residential corridors should look towards the theory of Walkability from the book, “The Walkable City: How Downtown Can Save America, One Step at A Time.” The general theory formed by this book being that “a walk has to satisfy four main conditions: it must be useful, safe, comfortable, and interesting.”

HISTORIC BUILDING

- Prissne white exterior from Italian glazed le - Oldsmar Historical Society preserves all historical documents relevant to the City

LANDSCAPING

- Palm trees and sculpted bushes add to the aestheecs - Taller more abundant trees would provide more shade and create a natural canopy

PAVEMENT

- Brick pavement adds to the historic character to the area + should be uulized more in the residennal area for aestheics and cohesiveness of the City

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DOWNTOWN

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[R E S E A R C H]Heritage Parts of Oldsmar’s history (documents, old photographs, records, and stories of events) are being preserved by the Oldsmar Historical Society, which is held within the Oldsmar Bank which was originally built in 1916. The buildings character is made exclusive by the use of Italian glazed tiles that cover the exterior. The program of the building, however, has gone through numerous functions: public library, drug store, post office, etc. By having Oldsmar preserve part of their history, it will in return give the city its distinctive character.

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[F I N A L]Model

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[F I N A L]Model

The focus of the Urban Design Framework is to provide a physical interpretation for how the area would be structured with its given visions and strategies. It is meant to help the area establish a set of ideas that would ensure that the built environment would accurately reflect how the community envioned it to be.

By breaking up the framework into 4 parts: Cultural Infrastructure, Residential, Entertainment, and Public Space, the area now can be designed to be integrated into the Urban Fabric of the area.

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[F I N A L]Model

Entertainment must be programmed in the new development area to enhance the social aspect of the city.

Set throughout the network of public spaces, the entertainment characteristics of this development must serve as a connection between the public and private systems. The entertainment aspect of this devel opment serves as a means of connection; not only connecting a matrix of public spaces with each other, but also drawing connections between the commercial and residennal networks. The incorporation of entertainment aspects of this development serves as a social generator to prompt community interaction.

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[F I N A L]Model

The development (hard infrastructure) of this area must incorporate program to improve the social element (soft infrastructure) of the area. The organization of programmati functonality of this area is centered around a social network, creating a cultural node within the city.

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[F I N A L]Model

The design of the area is focused around creating a variety of unique public spaces. These public spaces are arranged linearly along a central passage to prompt circulatory exploration. The blending of public space with private space creates a paradigm which is repeated throughout the development of this area.

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[S E C T I O N]Model

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BAR

TOWN HOMES

PUBLIC LIBRARY

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OFFICES

[F I N A L]Model

RETAIL + PARKING

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A closer view of St. Petersburg Dr. reveals how by adding Row housing in close proximity to the Oldsmar Public Library, it can now by further utilized by the public. As more than 75 homes are proposed for Arlington Square alone, the Public Library would be seen as a valuable asset to the community and can be properly engaged in it.

By allowing the residents to have a full open view to the park, it is allowing for the citizens to be the eyes and ears of the community, and provides a safer alternative to security.

Providing shaded semi-public areas near the library proposes a new outdoor alternative for congregating, or simply a nice area to read your newly checked out book.

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D DESIGN D

PROFESSOR JOSUE ROBLES SUMMER 2016

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PROJECT 5

ABERDEEN BON ACCORD GARDENS SUMMER 2016 5 WEEKS

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[R E S E A R C H] Mapping

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ABERDEEN BON ACCORD GARDENS

Scotland’s third largest city, Aberdeen, boasts a quiet yet highly industrial environment. The city itself is one of the world’s leading distributors of oil and petroleum, and bases itself in the heart of city, overtaking the docks and channels. Aberdeen is the powerhouse of northeast Scotland, fueled by the North Sea petroleum industry. Oil money has made the city as expensive as London and Edinburgh, and there are hotels, restaurants and clubs with prices to match the depth of oil-wealthy pockets.

Fortunately, most of the cultural attractions, such as the excellent Maritime Museum and the Aberdeen Art Gallery, are free. Known throughout Scotland as the granite city, much of the town was built using silvery-grey granite retrieved from the now abandoned Rubislaw Quarry, at one time the biggest artificial hole in the ground in Europe. Because of the sudden boom in the oil industry, Aberdeen received an entirely new population, but didn’t have enough time to adapt to it. Thus, some areas lack in developing a sense of community, and there are very few areas around the city to interact, and socialize, aside from the malls.

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Aberdeen boasts a variety of highly participated events that spread out through the year, which bring the communities together. The graphic maps out where each event takes place, as well as how big the venues might be. In chronological order, the festivals are shown, while also measuring how many participates attend each event, portraying their popularity. This social capital was to be used as a resource in furthering our designs.

[RESEARCH]Social Capital

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Having a rich history, we find that Aberdeen has been able to maintain much of its history.

Looking at Aberdeen in two different worlds, we see both its modern mapping, as well as its historical, deeply rooted into the heart of the city. The intent was to map out all historical buildings as well as the adjacent blocks, describing the relationship between each of them.

[RESEARCH]Heritage

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Taking the information received from the Social Capital, and Heritage mapping, we find that there were many connections between them. The opportunity mapping locates all regions that the city of Aberdeen could find highly potential for new community development to help boast the festivals of the area, provide better overall city design, and contribute to preserving more of its history.

[RESEARCH]Opportunity

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[RESEARCH]Heritage

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[RESEARCH]Opportunity

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[F I N A L]Design

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[P R O C E S S]Rendering The Bon Accord Terrace Gardens are situated at the threshold of the residential, retail and business areas. The diversity of the surrounding program gave us the opportunity to view the park as a collective space for the community.

Initially, we talked to some residents and observed the park at different times of day to understand the challenges and needs for a safe communal space. We started by breaking the slope of the land by creating gradual steps from the Bon Accord Crescent to the residential neighborhood. The park includes a Cultural Center that can serve as a venue for the some of the events, and museums of Aberdeen, as well as, a free space for the residents of the city. The park includes a new land mark to the city, The Granite Walls of Aberdeen. The walls are a representation of the famous granite material and its significance to the history.

The granite walls also act as an eye catcher to the visitors of Union Street, directing them towards the park along with adding to the Bon Accord Crescent by creating a “green street� while keeping it open to one lane of traffic.

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[F I N A L] Section I

The cross-section shows how the cultural center connects to the landmark and plays with the landscape.

An existing historic terrace would be restored and then enclosed with a sunroof so that even in the harsh weather of Aberdeen it can still be enjoyed

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[F I N A L] Section II

The connection to the Bon Accord Terrace, a highly used historic office complex, was taken into great consideration and now boasts a robust green street, closing one lane of traffic to make the area safer. The terraced steps help bring in passerbys by making the area feel more inviting.

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[F I N A L] Section III

The Landmark, an large granite monument to the city, plays with levels for visitors to enjoy. While the park is named Bon Accord Gardens for it was once a private garden for local residents, we decided that a new garden could take shape to help locals interact.

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FURNITURE MAKING PROFESSOR MIKE LEMIEUX SUMMER 2015

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PROJECT 6

STEEL + LEATHER CHAIR SUMMER 2015 8 WEEKS

Exploring into an additional world of design, furniture making looks into how a piece can be well designed in respect to materiality, ergonomics, aesthetics, affordability, and simplicity.

In this 5 week course, we were given the task to design and create a chair of any standing which looked to stand the test of looking good, being comfortable, and maintaining structural integrity. We were to first design a functioning prototype, so that we could feel the chair and its proportions, and how well the body could sit into it. Then the production of final completed design was to be created with showroom quality.

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[P R O T O T Y P E]

The idea was to design a sling chair so that the body could fully form around a material and have the user be completely comfortable. Steel was used for the frame, as it was the strongest and not as visually heavy to the eye. The only malleable material for the free-forming sling was leather, as it was the only thing willing to take the weight of a person. The Leather was also made detachable for further customization.

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The final design took alot of consideration from the prototype, without changing the aesthetics. Because the prototype felt unstable due to a small base, an elongated heavier base was added. The ribs also seemed to flex too much for comfort, so two additional rods were added for support.

[ FINAL]

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