Stacey Brown
University of South Florida Core Design portfolio
Zen Line, 1 week
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Light Project, 1 week
Design I Final, 3 week
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Space and Place, 2 weeks
Positive space| no separateness, 1 week
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Mirror of Masterworks, 1 week
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Slice of Space, 1 week
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Line with Three Corners, 1 week
Selected Works
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Design I
Fall 2010
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Corner Project, 3 weeks
Floor|Ceiling, 3 weeks
Design II
Spring 2011
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Design III
Fall 2011
Intertwining|Confinement, 2 weeks
Passage|Constraint, 4 weeks
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Highline Project, 4 weeks
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Boathouse, 6 weeks
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Re-Placing Home, 4 weeks
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The Wall, 2 weeks
Window|Door, 2 weeks
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Architecture and Dance
Summer 2011
Line with Three Corners Design I Professor: Steve Cooke This project challenges the definition of what a line is. A line is continuous; it bends, turns, and folds. It can be any width and have depth. A line is continuous in any direction folding and changing direction as it continues. A line is a mark that creates a boundary, shows directions, and multiple lines can and be used to create a composition of many things. It can show movement, rapid, slow, or even a pause. It has a starting point but continues with no end until intersecting or connecting to another line at a single point. This image is the magnificationof a line, folding and creating three corners extending continuously in both directs.
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Positive space|not separateness Design I Professor: Steve Cooke The three compositions were created using a kit of parts, or specific pieces that were cut to specific dimensions creating three separate unified compositions constructing a number of positive spaces. The kit of parts creates three separate compositions of large and small spaces organized according to alignment, hierarchy, and the scale of each piece. The larger square pieces are used as a hierarchy and are aligned with the edge of another piece creating positive spaces. The linear pieces were used to define the edge and divide the space into a smaller region. Each piece is placed to create order without positioning a piece off center or positioning it separate from the others. The alignment of each piece creates a boundary or edge, which forms the different positive spaces of various sizes. The amount of compositions are endless, and any arrangement of the pieces could create positives spaces organized based on alignment and hierarchy.
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Zen Line Design I Professor: Steve Cooke The Zen line is about capturing the essence of an object in one smooth swoop. Using one tool and one medium, different textures and thicknesses can be achieved based on how the tool is positioned or held, how much medium is on the tool or how fast or slow the stroke is made. To capture the essence of a natural object, such as a potato is challenging. Each potato is different and has is on distinct dents and curves. Depicting this natural object using the least amount of strokes is a process that takes several attempts but eventually the end result is achieved using the least amount of strokes.One stroke to depict and capture the very essence of this one object.
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Slice of Space Design I Professor: Steve Cooke This exercise is to explore spatial relationships by mentally cutting through objects and space using the technics of hatching, poche, and line weight. It also compares the different sectional qualities of each object by cutting a cross section as well as longitudinal section of the object and each composition. It was done by free hand drawing objects and using the three techniques to display the relationship such as adjacency and depth between each object. This was done by constructing and drawing each composition correctly with consistent lines as well keeping each composition scaled in relation with each other.
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Hatching and poche are both techniques used to fill the objects to show what has been cut. However, hatching is also a technique used to practice freehand skills. By freehand drawing hatch lines closely and continuously drawing the line at the same angle and each line spaced evenly apart, it is an exercise that helps improve free hand skills such as drawing consistent lines, practicing steadying the hand, as well as scaling each object to match the composition drawn before.
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Mirror of Masterworks Design I Professor: Steve Cooke The concept of this exercise is to draw a freehand contour of an image that has been traced and studied beforehand. However, the contours are slow, in ink, and scaled to fit a larger sized paper. This exercise is completed by practicing continually to get the correct angle as well scale the picture to fit in the composition. An attention to detail is also necessary. This exercise is also to prepare for drawing in the field. It enables the ability to capture the image of a building or space without using drafitng tools but by drawing a quick contour.
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building by Bramante Hills House -Wright
Another element of completing this exercise is omitting information that is not necessary and capturing the essence or the most important elements of the building or space needed to show the general ideas or overall appearance of the structure.
Trajan’s Market Chandigarh -Corbusier
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Space and Place Design I Professor Steve Cooke Scale 3/16" = 1'-0" The matrix is constructed without scale and represents the relationship between the grid systems of Charleston and Savannah. The matrix also incorporates a narrative of the transition or journey to reach a tower in the distance by interacting with a gate and wall. The matrix is constructed around the idea of creating or defining place which is made by the geography, form, and narrative of a place, and explores the relationships between how a space is affected or constructed depending on the place and its surroundings. With these elements place becomes site specific. For instance, the matrix diagrams the shift of the grid system of Charleston and that Savannah is on a grid system with factors walk at the water’s edge of the city as a series of public squares are spaced in a linear organization throughout the city. The integration of the gate, tower, and wall were incorporated into the matrix after it was constructed. The narrative is represented in the matrix by using different materials, making it easily distinguishable from the original matrix. Starting by transitioning over the wall, through the gate and ending at the tower
tower
gate
wall process sketches and models
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Design I Final Design I Professor Steve Cooke Location: Tampa, FL Scale 1/8" = 1'-0" Residential halls are a home away from home, the project is an adjacent community center that allows for residents to gather and communicate with one another and become more acquainted with their peers, as well as adjusting to being away from home. It is a transitional space between the residential halls and is generated around a path that connects the residential halls to the surrounding campus. Each space is organized around the curved gesture which is the central linear path that incorporates and utilizes the existing paths of the site.
ground level process models
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second level
The main structural element is the intersecting walls that supports each level and incorporates the main circulation, which is adjacent to the linear gesture that connects the residential halls to the community center. The curved gesture being the main circulation path, penetrates through the structure allowing light to filter through each space, and is the main organizational element creating and framing views of the landscape displaying the movement of the residents as well as more private and more public spaces such as the amphitheater, which is carved into the landscape located to the south. The amphitheater, is a place for residents to gather as well as have performances making the community center a central location to gather outside of the residential halls.
section AA
section BB
third level
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chamber of solitude
journey of transformation
place of anticipation
hall of hope
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Light Project Design I Professor: Steve Cooke The light project is constructed around the idea of transforming light and creating and manipulating forms to create different types of light in one space. The structure is about the journey or transition to the chamber of solitude, a place of meditation. It is located directly over the center of the river to be lit by filtered light and the reflection of the river from beneath. It is the most tranquil and will be filled with the sound of the river flowing below. The place of anticipation receives the most amount of light at noon; it is located over the river as well and is not protected by any enclosures or overhead conditions. As the water flows below surrounding walls will be lit by the reflection of the water beneath, as it is positioned directly over the river as well. Throughout the journey the light becomes dimmer and changes according to openings as well as the material of the structure during the journey to the chamber of solitude.
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The Corner Design II Professor Brandon Hicks Scale: 1/2" = 1'-0"
The corner project is a portion of a residence that is used as a living space for a sitting area as well as a social gathering space. The separate living space is formed as the floor shifts downward becoming a sitting area and the surrounding space becomes social space. The space is constructed around a central core or wall that supports the structure as it sits on the side of a hill, penetrates the ground as earth grows upward through the wall and folds downward back into the ground. The skin system, an important element of this project, is constructed of multiple layers allowing various degrees of transparency. As the skin folds inward making it inhabitable, it becomes a passage way or entrance to the exterior space and also engages the ground. The folding creates a space for a screen system that covers a large opening at the corner to view the landscape and also allows light to filter throughout the space and cast shadows in the living space.
process models
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process sketches
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drawings exploring various homes and the relationship between the section compared to the plan, and also how each floor overlaps and relates to each other, as well diagraming the overall concept of the home
a constructed detail of a tectonic element of the corner project
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Floor|Ceiling Design II Professor: Brandon Hicks Scale: 3/8" = 1'-0" The project is to create a solarium that is constructed around four concrete piers extending outward over water. The concepts of the project is to construct the floor as it transitions and folds into the ceiling in a linear progression, while the floor and the ceiling conditions becomes thicker in width and depth creating smaller more confined spaces. Each space relating each condition above to the one below creating spaces as the form folds, being an open space without enclosure to allow light to fill each space. The circulation through out the space leads downward descending into the water. The pier and deck sit right on the water and shifts inward creating a smaller gathering space. While the surrounding spaces are larger allowing for more gathering space as the floor slopes upward. As the circulation reaches the bottom of the hillside, the water lounge is carved into the hillside facing the fire circle, and each space leading downward has varying ceiling and floor conditions. The ceiling gets lower and more compressed closer to the hillside while being more open towards the water allowing for activities such as star gazing, sun bathing, and fishing.
process sketches and models
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area for stargazing below with sun bathing above
shaded picnic area
path to fishing deck and pier
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studies of floor and ceiling conditions of various residential spaces longitudinal section
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Window|Door Design II Professor Brandon Hicks Scale: 1/2" = 1'-0" This project is an existing warehouse that serves as work space as well as a gathering space. The intervention investigates the idea of a threshold and questions what defines a threshold as a door, and what defines a window. As well as, when passing through a threshold what determines it as and interior or exterior space. Constructed of folding planes as well as interlocking pieces, each piece folds and transforms into a window or a door. The main “c-shaped” form is the hierarchal piece that interlocks with the existing structure creating an entry as well as a path leading to the outdoor space. The linear element that penetrates the “c-shaped” form interlocks with the existing structure and folds downward penetrating the earth creating a threshold, or a window to the landscape. The window formed by the folding of the plexi glass panels forms a private space that provides a view of the park and the river in the distance, despite its transparency it is a cool space shaded by the surrounding trees.
process models and sketches
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entry way into warehouse from the road, the steps behind the wall are used as a gathering space for a large group of people
entry way into warehouse from the east, depicts the linear element penetrating the “c-shaped” form and folding downward into the ground
small private space and entry facing the park “c-shaped” form interlocking with the existing structure of the warehouse
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The Wall Design II Professor: Brandon Hicks Scale: 1/4" = 1'-0" The wall serves as a connection or a pathway connecting a collection of rare books and a reading room. The collection of books is stored in a dark bunker type building and the reading room is transparent and filled with light. The intervention deals with the transition or merging of two very differing characteristics. It is a journey from darkness to light or the merging of a heavy and light element while the wall folds underneath the bunker like building, and the carved earth creating light along the path. The wall is segmented, shifts, and is constructed of several different components. It varies in degree of light as it progresses creating moments for a view of the landscape as well as seating areas. Its linear organization allows for a journey of contemplation and thought as the two elements merge at the center and puncture through the existing structures at each end.
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process sketches
plexi panel studies exploring depth, light, and the possibilities of what elements can construct a wall
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process axonometric and perspective studies of the various spaces and moments that could happen along the journey in the wall
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Re-Placing Home Design II Professor Brandon Hicks Location: Miami, FL Scale: 3/16" = 1'-0" This project incorporates a restaurant, gallery space, outdoor space for a market, and two residences. The purpose of the residence is for a workshop and the display of an airplane. The display of the plane is incorporated as part of the main circulation which is located in the center of structure. The plane parts hang in the core and act as a wall dividing the space, and can been seen through out the space. The space is also a separation of public and private space incorporating the existing public path leading into the gallery space which is below La Sandwichre, a well known restaurant located on the second floor. This space provides an unobstructed view of the ocean in the distance as well as a view of the hanging parts which could be seen as apart of the gallery space. The density in the center and then a release and sense of openness in the residential spaces mirror the compression that occurs within the streets surrounding the structure. As well as the compression that occurs when passing the intervention as it sits between two buildings. This compression allows for the merging of public and private space by directing movement into the gathering space on the ground level. process models
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ocean drive
collins a ve.
ground level
second level
third level
site analysis
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process models process sections
patron residence
restaurant artist residence
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Boathouse Project Design III Professor: Levent Kara Location: Tampa, FL Scale: 1/16" = 1'-0" The Boathouse is located on the riverfront of the Tampa Museum of Art and incorporates a pedestrian path along the riverfront. The Boathouse project includes three pools, a gym, large event space, locker rooms, and also administration offices. The concept of this project is to construct a linear structure that does not obstruct the view from the museum to the riverfront while also keeping the existing pedestrian path. The shaping of the landscape creates gathering spaces for picnics and play grounds while dissolving as the landscape folds downward into the river creating the opportunity for more interaction with the river.
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process models
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land folding into the river creating easier access to the riverfront as well as more interaction with the river the boathouse is open and constructed around rowing and the act of launching the boats into the river, there for the storage of the rowing shells were placed perpendicular to the river allowing them to easily be removed and rotated to be placed in the river
recreational swimming pools
the main path into the intervention which leads to the recreational swimming pools and intersects with the existing path of the river walk
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process models
process floor plan longitudinal section of boathouse
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cross section of boathouse
recreational swimming diving platform boathouse
process plan and section
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Highline Project Design III Professor: Levent Kara Location: New York Scale: 1/16" = 1'=0" Located on the third phase of the high line the civic center is constructed of interlocking forms that shift framing various views of the city as well as the river from the interior. It also merges the relationship between activity on the street level and the highline, being assessable from the highline as well as from the street through the meeting hall. The shifting creates a large exhibition space with varying ceiling heights as well as an unobstructed view of the city from the restaurant on the top level. Through incorporating the skin system with the structure, the circulation can be seen from the street displaying the movement and life throughout the day. Also, the skin system reflects each space according to its purpose by varying degrees of transparency. The gathering space on street level creates a green outdoor space with seating with in the city and serves as a transition space before entering the center.
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30th Street
10th Avenue
panaramic view from highline
restaurant
theatre meeting hall
administration offices 43
axonometric spacial studies of the utrecht library
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a collage study of how the skin of the structure interacts with each space sectionally in relation to its degree of transparency
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process models
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theatre
entrance and lobby space outdoor green space
30th Street
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Passages and Constraint Architecture and Dance Professor: Steve Cooke Dancer: Jermaine Thornton Combining architecture and dance, a leg constraint explores dance and how the movement of a dancers’ body changes once a part of it is contained. The body is no longer able to move freely there for, his or her’s movements are different; planned creating new spaces and forms. The dancers are forced to contemplate each move. With this new element the usual process of dance changes, what type of dance can now be created, and what does it change are questions that the dancer has to answer.
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With the leg constraint the dancer was forced to think about how to move with in the space around him and create a swift and fluid dance using something that challenged his movement. Resulting in a different perspective of how an object or his body creates and forms space, and how architecture and dance relate.
Intertwining Confinement Architecture and Dance Professor: Steve Cooke Location: New York City The installation is constructed for a performance in the Lincoln Center square. It is positioned in the center around the water fountain, and is constructed of a series of wooden frames. Each frame is different and when combined they create a tunnel that changes as it continues, creating confined spaces that change the position or orientation of body while inhabiting the space and experiencing different degrees of light and enclosure.
axonometric showing the path through the installation and the focal point, which is at the center where there is interaction with the water fountain
renderings of installation in the Lincoln center square
The experience of each person passing through will be different based on what path they choose to take, the amount of people in the square, or by what time of day it is. The transition through the structure creates the performance for those walking past the structure as well as those interacting with it.
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“Architecture is life, or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived.� - Frank Llyod Wright
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