Core Design Portfolio

CoreDesign Portfolio

[USF+SACD 2015]

GRAPHIC +DESIGN

MANUELALVARINO

manuel alvarino - [university of south florida] 2013 - 2014 malvarino@mail.usf.edu

“I love the beginnings. I marbel the beginnings”...”The desire to be to express is a motivation for living. There is no other motivation for living than to express.”

Louis Kahn “The Invisible City”

manuel alvarino - [university of south florida] 2013 - 2014

Contents...

6 .Core D1

Prof: LEVENT KARA

6 . Space & Order 12 . Machine de Phenomere 18 . Gallery

24 .Core D2

44 .Core D3

24 . War Museum 38 . Miami Beach Cultural Center

44 . Long House 52 . Morgan Library Annex

Prof: BRANDON HICKS

Prof: NANCY SANDERS

CORE DESIGN I

6

SPACE & ORDER | Prof: LEVENT KARA [CORE D1]

The goal of the project was a recurring process of analyzing, understanding,creating, and post-rationalizing spatial possibilities. I formulated a dialogue between two Assemblies and one Armature.

First, I made a [diagrammatic studies], ink on mylar layered with imagery. Later, I made [Folded diagrammatic studies] & spatial constructs in third axis.

[Diagrammatic Study]

[Folded Diagrammatic Study] [Assemblies]

7

CORE DESIGN I

8 [Elevation]

[Assemblies + Armature]

CORE DESIGN I

10 [Details]

11

CORE DESIGN I

12

MACHINE DE PHÉNOMÈRE [mdp] | Prof: LEVENT KARA [CORE D1]

The [MDP] is a place of phenomena and experience.

It is the intersection of ideas; of instinct and insight. Using the final model of Space & Order project, I made a set of diagrams because [MDP] is a calibrated intentions of thresholds, boundaries, frames, gazes, vectors of body, transparencies, enclosures, etc.

[Elevation photos from Space & Order project]

[Diagrams over Photos]

13

1

2

3

[Details]

[Cross Section]

1 2

3

[Elevation]

15

CORE DESIGN I

16

17

CORE DESIGN I

18

COPENHAGEN ART GALLERY | Prof: LEVENT KARA [CORE D1]

Our final project in CORE DESIGN 1 was about analyzing and understanding a site as a unique place and revealing its architectural potentials through clarifying and imaging its underlaying spatial, experiential, and programmatic conditions. I started making a diagram and model like a [memory map] of our course trip to Savannah and Charleston. For me it was very important how the squares in Savannah and the courtyards in Charleston are connected with the city and at the same time is a transition between building.

[Memory Map]

[Memory Map Model]

19

CORE DESIGN I

20

My intervention is a Copenhagen Art Gallery that creates a transition between two plazas. The streets lead you into the gallery and as you go inside you can see that all spaces are vissually conected to the couryards as well. Also, the entry is a cafe, and its upper level works as a transition to the galleries.

[Site Model]

[Details+Intervention]

2 1

3

[Floor Plan] 3 3 2

1

[Cross Section]

2

3

1 -Entry, Cafe 2-Upper Cafe 3-Galleries

1

23

CORE DESIGN II

24

LINCOLN WAR MUSEUM | Prof: BRANDON HICKS [CORE D2]

On this project I investigated the critical dialogue between tectonic, materiality and volumetric of the vertical and horizontal planes.

Also I investigated the notion of ground, Floor-Ceiling, Wall and Tower in meaningful unity. This water front museum(Lincoln War Museum) have three main elements. The Wall is not just a simple wall. The Wall is the spine of the museum on the ground. There is a lineal pattern from the Wall, [on the matrix of the site], to the ocean that lead you see the entire site from the Wall and the Floor-Ceiling. The Tower is placed strategically to be assessed from any point. The entrance of the museum is a narrow and close road behind the Wall remembering that war is a very bad experience.

[Study Model]

CORE DESIGN II

26

Floor-Ceiling [Cross Section]

CORE DESIGN II

28

Wall [Cross Section]

CORE DESIGN II

30

[Circulation in both site]

A

[Cover element]

B

[Open space over water]

C

CORE DESIGN II

32

Tower [Cross Section]

CORE DESIGN II

34

[Details]

[Axonometric Drawing]

CORE DESIGN II

36

[Wall and Tower transition]

[Entrances Details]

[Floor-Ceiling Details]

[Site Model]

CORE DESIGN II

38

MIAMI BEACH CULTURAL CENTER | Prof: BRANDON HICKS [CORE D2]

This project is a narrative through a series of specific conditions of site and abstract programmatic component. The site exists in Miami Beach within a narrow urban condition (15’ wide) between two 4 story building. The depth of the space is approximately 1/2 block (50’) overall. The Miami Beach Cultural Center is a combination of sea, wind and sun. The art is drenched by the ocean and cooled by its breeze. Having a single straight road to the beach and at the same time the artworks situated on the core and central wall of the building invited to go inside the building. The core and part of the central wall have a sculptural elements that is used to holds artworks and every space that contains this elements is a gallery.

[Site Model]

CORE DESIGN II

40 [Details]

42

[Cross Section]

[Second Level]

[First Level]

CORE DESIGN III

44

FORT MATANZAS LONG HOUSE | Prof: NANCY SANDERS [CORE D3]

The Long House is a physical extension of Fort Matanzas (1742) and integral to the Path/Promenade. My idea of the Long House is to protect the history of the Fort and enjoy the nature of the site. It can be a contemporary building, however it is a building enfolded by nature, combining [nature and human works].

[Island Map] - pedestrian access through the island enjoying the nature environment

[Parti Models]

45

CORE DESIGN III

.

[Fort Matanzas]

46

The Long House’s base is made from cochine concrete keeping the history of the Fort alive. The entrance is a very narrow and low space through the cochine concrete base.

[Site Map]

[Entrance]

47

CORE DESIGN III

48

[Diagrams] [Cross Section]

3

1

4

2

2

5

[Floor Plan]

4

5

2 1

2

1 -Entry+Theater 2-Meeting Halls 3-Galleries+Archive 4-Park Ranger Office 5-Restrooms

[Cross Section]

[Site Model]

49

CORE DESIGN III

50

1

1 2 3

1 3

2

[Site Model]

51

CORE DESIGN III

52

MORGAN LIBRARY HIGHLINE ANNEX | Prof: NANCY SANDERS [CORE D3]

The primary goals of the Morgan Library Highline Annex are to provide additional archive/exhibit space for the library’s collection. The design takes a strong and strikingly asymmetrical form that respond to the industrial character of the neighboring loft building and overhead railway [HighLine] while asserting a contemporary. The [HighLine] is New York’s newest and most unique public park located 30’ above street level on the ‘30s freight railway. The city came forward and said we are under the [HighLine].

[Parti Model]

53

CORE DESIGN III

54

[Study Diagrams] [Cross Section]

[Parti Model]

55

CORE DESIGN III

56

The Morgan Library Highline Annex have an imaginary central axis through the elevator shift dividing the building in 2 parts. The NorthEast side is more public [Liquid Space], including lobby, librarian’s suites, and two large reading halls(main reading hall and children’s re ading room), and restrooms. Otherwise, the SouthWest side is more private [Vaults and Chambers], for the storage of books, manuscripts, musical scores, drawings and small objects from the Morgan Library Collection plus a restoration studio.

[Coservatory Level]

[Fourth Level]

[Third Level]

[Second Level]

[HighLine Level]

[Ground Level]

57

CORE DESIGN III

58

[Study Diagrams]

59

CORE DESIGN III

60

[Section Model]

CORE DESIGN I

62

MANUELALVARINO [University of South Florida School of Architecture and Community Design] 2013 - 2014 5108 Eldorado Dr Tampa FL 33615 (813) 507 8918