Spring 2015 | Steven Arrubla Ruíz | SACD Core Design Portfolio

CORE_DESIGN

STEVEN ARRUBLA RUIZ [2013-2014] SACD

“Architecture is a learned game, correct and magnificient, of forms in the light.�

Le Corbusier

Thinking + Making A Place for Beauty

_COURSEWORK

Lounghouse Extension Highline

CORE_DESIGN III

Museum of War Constraint as Opportunity

CORE_DESIGN II

Speculative Constructions Machine de Phénomène Finding place creating space

CORE_DESIGN I

6

CORE_DESIGN ONE Space and Order Machine de Phénomène Space Into Place

Professor Levent Kara - Fall 2013

The genration of space came along after a study of a dinamic visual media.

These findings were then used to create two dimensional media that began to explore the composition of this media as a speculative abstract collage. Order was established in the form on a syntax that created a language that trancended from process to final. The collages became the organizing elements for extruded constructs. These constructs after being rebuilt in a manipulated form began to dwell on the possible spatial qualities these could generate.

Core_Design One

| Space and Order Professor Levent Kara - Fall 2013

After a visual study of the film “Return� a series of two-dimensional diagramming were composed. These diagramms were the generators of a set constructed surfaces. These constructed surfaces were rebuilt again turning a 90 degree angle to explore the turning condition of textonic systematwic language. The sectional qualities of the folded constructed surfaces began explore the lighting conditions that appeared within.

10

Axonometrics of the Constructed surfaces .

Elevations of final model as light studies.

The diagramming was based on how different scenes of the film were composed as a whole. The use of cameras to convey the emotions of the scenes gave these moments a meaning beyond what was visible there. Evidently the collages precense is still present in the final spatial construct. The speculative nature of the final model, as shown in the final collage, depitcs the disspation of spical complexity from the base of the construct towards the top.

12

FInal Collage of the light dissipating in the dense matrix.

FInal diagram based on the fim “Return.�

Series of light studies of the interior matrix.

Axonometrics in natural daylight depicting a multiplicity of light conditions.

14

The [mdp] is a place of phenomena and experince. It is the intersection of ideas and maps; of instinct and insight.

It binds the notational with the represenational, the ambiguous with the lucid and the speculative with the concrete.

It is an excercise on spatial detailing.

It combines procession with place and itinerary with moment. [mdp] is a continuation of the space and order construct.

The space and oder model works as a tectonic/volumetric seed. [mdp] discuesses a series of distinct experience on a vertical promenade.

Core_Design One

| Machine de PhÊnomène Professor Levent Kara - Fall 2013

[mdp] is a set of caliubrated intetions of thresholds, boundaries, frames, gazes, vectors of body, vectors of sight, fields of light, transparencies, and enclosure that unfold as one moves in the construct. As a place of phenomena and expeirnce, this spatial construct dwells on the idea of being a vertical promenade. [mdp] in this version is reminicent on the idea of when we visited Savannah, GA where we expeirnced the factors walk. The intention of this [mdp] is to convey the third meaning, that indescribable essence of those who were slaved and lived to eventually become free. In this [mdp] that transition is experinced in a vertical promenade.

18

First edition of the evolution of light in the vertical transition.

Back elevation of the first edition showing the human expeirnce nearting the top.

Final draft axonometric of the [mdp] where the sense of enclosure is evident.

Final version of the [mdp] in axonometric with the final tectonic details.

[mdp] returns back to the film “Return� for its programme, now terms of distinct experiences of it subjects, and generates its architectural apparatus using the experimental modality of some scenes in the film. Experimental modality of the moving images is a construct composed of many layers ranging from the grain of the film, colors, and tones, hues, and shades, to the subjects’ consiousness of space and time and other subjects, to the score and literary narrative. [mdp] translates/transforms these into lived architectural space.

20

Cross sectional light study.

Longitudinal light study.

Tectonic detial moment / transition to exterior circulation.

[mdp] in its final form is composed of a armature that creates the horizontal promenade leading to the construct, the maroon piece that disects the model and is a transition piece within the model, and the vertical promenade itself that is the spatial construct. The perforations that make the [mdp] porous in nature are a represenation of the scarring that slaves went through.

22

Moment depicting the scale of the vertical exterior piece.

Moment depicting the insertion of the maroon piece.

Moment depicting the scale of the cap piece.

Shows the relationship of the horizontal promenade to the vertial.

Shows the proportions of the different spaces in elevation.

As a refinemnet to establishing the definition of internvention, a site was imagined.

By understanding site a site as a unique place and revealing its architectural potential through clarifying/imagining its underlying spatial/tectonic/experiential qualities of such. We continue with a making of place with a specific intervention in the imagined site. The programs essence is to put ones self as the city dweller. A pace was created that embotied a multiplicity of programatic spaces with a variety of scales.

Core_Design One

| Space Into Place Professor Levent Kara - Fall 2013

Detail of the mass and the tectonic elemtns attached.

Based on the memories recollected from the visits to Savannah, GA and Charleston, SC a collage was created to embody the essence of both cities. Charleston’s unique ciy grid is a resulant of the charleston longhouse architype. This archetype is characterized by a narrow garden running parallel to the home from one end of the porperty to the next. Savannah’s city grid is ecnompassed by a grid of parks and properties that are facing them. The memory map converys the historical petina of time.

Memmory map

26

Map of Charleston, SC showing the grid created by the Charleston Longhouses.

Map of Savannah, GA showing the grid created around parks.

After the memory map was created, it became a generator for a city texture model that embodied the individuality from both orgininal cities. The city texture map is composed of nodes that as much as they gain density they gain height. The repetitive nature of both cities is present. Other elements speak of the models length with the size of the pieces. The city mapping model analyzes the dissipaton of cities as they have sprwaled with time.

28

Axonometric moment showing the scale.

Axonometric moment showing the interaction betweem the buildings.

Axonometric showing the nature.

moment repetitive

Axonometric of the final draft of the city texture model showing the density in certain areas.

The intervention is a “stop in the Flaneur�, the city dweller, the stroller. This is a small urban hub that holds a multiplicity of programmatic spaces with a variety of scales. This intervention has public characher, to be used by many people at once, and to have a particular interface with the city. The facade of the structure emobies a dynamic rhythmic design which encompasses one of the sides of the intervention. The intervention is penetrated by an armature that serves as an organizing element within the intervention.

30

Axonometric of the final draft of tectonic detail.

Axonometric of the final draft showing the extruded space.

Axonometric of the final draft showing the insertion of the armature.

Axonometric of the final draft showing the human scale of the public hub.

Top view of the final intervention and its promenade.

32

Plan drawing of the intervention and the surrounding site.

Logitudinal section drawing showing the surrounding city context.

Cross section drawing showing the elevation changes of the city conext.

Axonometric of the final draft of the site model with the intervention inserted.

36

Axonometric of the final draft of the intervention showing daylighit conditions.

38

CORE_DESIGN TWO

Professor Brandon Hicks - Spring 2014

Performative Matrix: Museum of War Constraint as Opportunity

In the performative matrix there is an investigation of the notions of ground, wall, floor/ceiling, and tower in a meaninful unity where fundamental architectural conditions construct a sense of place with a distinct tectonic, material, and volumetric attitude, thus a distinct experimental quality. While each notion will be explored in its identity, the relations between different elements, and the relations between overall underlying matrix and the elements are determinitive in the final form of these elements as they took shape as a part of a larger whole.

Core_Design Two

| Performative Matrix: Museum of War Professor Brandon Hicks- Spring 2014

40

Axonometric of the final draf of the site model showing the lighting conditions.

Each node of the performative matrix has a unique spatial experience for the visitors. In this case the floor/ceiling condition is an expeirnce of the plenum space not only between the ground and the cieling but also within the ceiling itself. The ground is proportionally reactive to the cieling’s dynamic attitude and weight. The cieling serves as a filter of light that designates an illuminated importance to the part with the larger ceiling height. In contrast, the part with the lower ceiling height conveys a more sheltered emotion from its visitors and allows less light to penetrate its envelope.

42

Sectional drawing of the floor/ceiling node exemplefying the relationship of ceiling to ground.

Sectional drawing of the floor/ceiling node displaying the filtering of light from the ceiling envelope.

The final draft of the floor ceiling model came after a play of not only how the structure gave a form to te ceiling condition but also how it was held up, floating above the ground.

It shows the multiplicity of materialitiy in the envelope. The heaviness of some moments is proportionally displayed with larger pieces of structure inserted. While others remain light but have their stregth stemming from their repetitiveness.

44

Axonometric daylight depiction showing lighting conditions in the part with the higher ceiling.

Elevation of the daylight condition of the floor/ceiling model.

Axonometric daylight depiction showing lighting conditions in the part with the lower ceiling.

The nightime lighting conditions change how the structure is experienced as its glowing from within. The plenum space of the ceiling envelope filters light as it exits the node. Those parts of the ceiling that are thinner glow more while the parts that are heavier in nature are darkest.

46

Axonometric showing how light is allowed to excape more in the larger spaces.

Elevation of the floor/ ceiling nightime lighting condition.

Axonometric showing how light is prevented to excape more in the smaller spaces.

The wall condition node of the performative matrix has a very horizontal form that is similar to that of the floor/ceiling. The tectonic complexities of the wall condition give structure interesting sectional qualities. The wall node has directionality and lead from one end to another by exposing its visitors to elevation changes, narrowed moments, and moments of transition as they experience the wall.

48

Section speculating the changes in experiential moments for the visitors.

Section drawing showing the moments of heavier imporance in its promenade.

The wall on the farther right side is in lower altitue than the moment on the left. This is done to take you into a low moment for contemplation as the spaces narrow down and dip, while in the higher part of the wall condition the visitors can experience a more open moment that will lead them onto the next node. The wall is littered with moments where openings are revealed and light is allowed to enter within its plenum space. The wall is mostly on both sides for half of them model then at a transition space, wraps around and continues on only one side of the condition.

50

Top view of the final model showing the dichotomy of spaces.

Axonometric showing how the wall node dissipates.

Axonometric showing how visitros do not have to enter the wall to experince it.

Axonometric showing how the wall in the transition space, wraps around.

Axonometric showing how visitors enter the wall.

The wall condition’s tectonic qualities are exemplified when the lighting changes to exagerate shadows and intertion of light sources from within.

From the moment of entering and leaving the visitors are constantly exposed to a series of rhythmic moments of controlled lighting where in the abscence of light light is given most importance.

52

Top view of the wall’s nightime lighting conditions as it glows from within.

Elevation showing the moment where the wall wraps around.

Elevation showing how light highlights the fractured tectonic qualities of the wall.

Elevation showing the horizontal part of the wall.

Elevation showing the rhythmic structure of the wall condition.

This node of the performative matrix is the embodyment of a vertical promenade. The tower is a single person experience that allows for moments of rest and moments of enclosure. In contrast the towers viraiety of materials allow for some of those moments to feel very light and open. The tower in located in a part where the land is lower in altitude than the other side of it. Sectional studios of the tower show the extensive use of large vertical spaces to induce an emotion of lightness throughout.

Section drawing showing the proportions of spaces.

54

The circulation exits to the exterior of the tower.

The mass portrudes forward to shield the front of the tower.

The thicker moment of the mass is in direct correlation with the heavinesss of the bending moment.

The tower is a very porous single person experince. The tower is a resultant of vectors derived from the other two nodes. The promenade that leads to the tower is dictated by this speculation.

This node encloses visitors in certain moments in different levels of privacy.

Each moment invoking a different emotion from the visitor.

Axonometric showing the human scale of the final mode.

56

Axonometric showing the ciculation’s important precense in the tower.

Axonometric revealing the spatial qualities behind the massive shield.

The tower node when illuminated makes for interesting moments. Light is so present that those moments that use a high ammount of transparent surfaces almost seem to lose the sense of enclosure. This also conveys that although the massive armature of the tower is heavy, the armature does not make the visitors uncomfortable.

Axonometric showing the illumination fo the circulation throughout.

58

Moment showing a moment where one can completely exit the tower.

Moment showing the circulation being illuminated throughout.

Moment showing moments of semi-transparent surfaces ecompassing the tower.

Moment showing the verticality and grandure of the front of the tower.

Each notion is an exploration of its identity, the relations between different elements, and the relations between overall underlying matrix and the elements were determinative in the final forms these elements take shape as a part of a larger experimental whole. The way each element interacts with the matrix, the way each element is placed in relation to others, and the internal conditions of the elements must cohere in the programatic unity of an architectural operation where expansions, vecors, and nodes construct a narrative layer upon the constructs.

Final Floor/Ceiling Axonometric.

Final wall axonometric.

60

Final tower axonometric.

Final site plan axonometric showing the relationships between all three nodes.

Final Floor/Ceiling Axonometric low lighting.

Final Floor/Ceiling Axonometric low lighting.

Final Tower Axonometric low lighting.

Final Wall Axonometric low lighting.

Final Tower Axonometric low lighting.

Final Site Axonometric low lighting.

Located in the heart of the Art Deco district of South Beach Miami, the site provides a constrained opportunity that is a transitional space from the beach to the heart of the urban area. The specific importance of the construct is that it needed not only to be a transitional space but a space that those who are the tourists and citizens of the area alike can both hesitate and stop to enjoy it.

The multiplicity of usages to this tectonic construct is a promenade of discovery at every level. Each level having a certain variance of privacy.

Core_Design Two

| Constraint as Opportunity Professor Brandon Hicks- Spring 2014

Moment where the building portrudes past the nearby facades.

The site analysis provided with a perspective on what the dichotomy of the beach goers and the city dwellers are and how they interact. Much of the buildings along south beach are restaurants with front porch outside seating. Most of the restaurants cover their sidewalks almsot entirely with umbrellas, sheilding you form the direct sun. On the city side the buildings extent onto the sidewalks is a lot more minnimal and conservative in form. This brought the conclusion that the site needed to read as a transition from a conservative archetype to one that harnesses the sun and esence of the beach at the other end. After spending some time doing field research, it became aparent that most of the pople who used the empty alleyway were mostly on their way towards/ away from the beach. Nobody ever stopped to contemplate anything as the experince was dull and lacked a variety of scales. In conclusion the space needed to become an opportunty for an interesting construct which would not block some visitors daily procession and also make it memorable.

66

South Beach, Miami mayor transportation intersections

Long alleyway with no significant changes.

View coming from the beach towards the city.

Analytical sketches of existing conditions.

As a precursor to visiting the Miami site, a speculative project was concieved based on an imaginary site with perscribed parameters. The site exists within a narrow urban condition - 15’ wide - between two 4 story structures, 60’ in height. The depth of the space is approximately 1/2 block - 50’ overall. The highly speculative program emphazises the movement from the street/entry space to a viewing/observation space that shifts sectionally both horizontally and vertically. Public pedestrian movement through the site exists at street level and remaines unimpeded. This structure takes advantage of the existing conditions as an opportunity. There is a careful coordination of the private moments versus the transitory moments.

Moment showing the armature bending and creating space.

Moment showing the underground theater.

Moment showing the filtering of light in dark conditions.

Moment showing the smaller scale moments.

In the absence of light, light is more appreciated. The building works as a filter of light, just how the pathway along South Beach is covered with umbrellas. It immitates the lightness of the overhead conditions. The use of screeens provides a measure of privacy and also gives the construct a certain scale. The structure is held up by two distinct masses that run parallel along the directionality of he site.

70

Moment showing the “jewel� being held up high above the city side of the site.

Moment showing the second story viewing area to the large performance space.

Moment showing the hidden garden thats slightly revealed from the back and from the main stiarcase.

Axonometric showing the bleeding of light throughout the site.

The height of the second story of the building is great to allow the ground floor [the transition space] to be more illuminated both during the day and night. The multiplicity of spaces, some more private in nature than others, give a different experince of the site from different point of view.

Axonometric showing the essence of the carved walls.

72

Moment showing the second story viewing area to the large performance space.

Axonometric showing the dissipation of light from one end to the other.

The program for the builng finally left the sepcualtive realm and used its limitations as far as its dimensions to create opportunities for special moments where the visitors can interact with the building. Several studies were performed in order to magnify the manipulation of light. A grid based on the nearby buildings helped to create a sense of order and logical organation. The building itself has been proportionally carved away from the wall next to it to exemplify the magnitude of the space.

Axonometric showing the aerial view of the entire finished site.

Axonometric x-ray study of how the grids created by the nearby structres created order.

Series of sketches studying different light conditions to the human scale.

Top view of the finnished site modl.

The structure and design is envisioned to be a modern adaptation of the 1950’s-1960’s golden era. The time when Miami was at its high and the Art Deco movement came to Miami to give it its grandure at an approproate scale. The builings open and airy parti emcompasses the emotions that one feels when walking around the nearby areas. The structure runs parallel along the alley, giving those visitors who just want to get to the beach a unimpeded transition.

76

Moment showing the use of screens creating an envelope around the main mass.

Moment showing the entrance perspective from above.

Moment showing how the structure dissipates towards the end of the alleyway.

Axonometric moment showing the essence of the parti.

Moment showing the second story viewing area to the large performance space.

Moment showing the highest habitable point of the multiuse hub.

Moment showing the second story viewing area’s height of spaces.

Axonometric showinf the elevation of the building.

Rooftop/Terrace floor plan showing private and more public spaces.

First floor plan showing circulatory spaces and the different levels of privacy.

Ground floor plan showing the cirulatory spaces and moments of enclosure.

Logitudinal section drawing showing the southern buildings profile.

84

CORE_DESIGN TWO Longhouse Extension Morgan Library Annex

Professor Nancy Sanders - Fall 2014

The existing Fort Matanzas is a national historic monument. The site does not have adequate facilities for enteraining the large number of daily visitors. The monument stands as a reminder of the might of the early Spanish empire and as a reflection of European conflicts as countries battled for land and power in the New World. The Longhouse is an extension of the fort, it is an unwrapping of the fort onto the lanscape, a deconstruction of the heaviness of the fort.

Core_Design Three

| Longhouse Extension Professor Nancy Sanders- Fall 2014

Moment showing the detail of the light connection with respect to the fort’s importance.

Matanzas Inlet is a channel in Florida between barrier islands connecting the Atlantic Ocean and the south end of the Matanzas River. It is 14 miles (23 km) south of St. Augustine, in the southern part of St. Johns County. The inlet is not stabilized by jettys, and thus is subject to shifting. Fort Matanzas was built by the Spanish in 1742 to guard Matanzas Inlet, the southern mouth of the Matanzas River, which could be used as a rear entrance to the city of St. Augustine. Such an approach avoided St. Augustine’s primary defense system, centered at Castillo de San Marcos. The fort, known to the Spanish as Torre de Matanzas (Matanzas Tower), is a masonry structure made of coquina, a common shellstone building material in the area. The marshy terrain was stabilized by a foundation of pine pilings. The area is characterized by the dynamic features of the terriain of constantly shifting sand bars, sand dunes, and tides, making it a different experince every time you visit. The land is a result of the petina of time scarring the land and creating land formations within Rattle Snake island and the waters around.

88

Mapping showing the scarring of the land by the petina of continous surges of water with time.

[top] Sectional drawing showing the topographical changes in elevation and sun directionality.

[bottom] Aerial map showing the inlets relationship with the ocean.

Due to the lack of adequate facilities, it became evident that a logical path that connected the main Atlantic Ocean to the inlet and ultimately the island, was necessary. The path is aproximately 1 mile long. It commences at the Atlantic ocean and crosses over to a resting point halfway to the secondary welcome center. At the secondary welcome center the path deliniates the perimeter of the inlets edge continously refferencing the previous nodes and other nodes across the water to create a visual connection. The best way to cross the water would be by maritime transportation but when the tides lower enough, one can simply walk acros the bridge that is partially submerged during certain parts of the day where there is a low tide. Once one crosses over the inlet onto the island, the fort’s location becomes a centralized hub for the entire pathway that many of the angles and grid established align with. after the fort a sense of tontinuation is implied by the use of land art excavations and manipulation of the lanscape where visitors can actually step off the path and explore the land on foot.

89

[top] Aerial macro scale mappig showing the directionality of the fort in relationship to the island.

[bottom] Speculative construct based on an established grid to dictate the promenade.

The parti for the Fort Matanzas extension Longhouse was concieved after a intent to convey that the building would be the transition from the water to the land or onto the fort itself. This was acheived by making the longhouse and the dock as one. The dock on the ground level brought guests under the floating longhouse into a large communal space. The overall concept was to disect the essence of the fort by unfloding it onto the landscape via the longhouse.

The longhouse’s nature is to read as a fracturization of the building onto the land and vice versa. The built enviroment bled onto the landsapce, formind it and excavating it. Allowing water to enter the structre too, to avticate the interior spaces and bring the outside in. Three schemes were produced to acheive this concept. Out of the three one took the approcah of a very separated connection to the fort. The other showed a version where the structure reached beyond the fort and was higher in elevation. The last was one that has a seam that is lightweight in connection to the fort. The last squeme [the chosen one] became the evident best choice for the project as it embodied the notion of land and built enviroment blending together seamlessly.

92

Top view of scheme 1 showing relationship to water and land.

Top view of scheme 2 showing relationship to water and land.

Axonometric views showing scheme 1 & 2 [top to bottom].

Axonometric view of scheme 3. This is the chosen one as most appropriate.

The preceeding longhouse extension fort drafts honed in on the tectonic details of the important connections.

The connection of the longhouse to the fort was found to be most succesful if it respected the historical importance of the fort. By lightly touching the fort it also implies the transition is significant. The second moment that was also given importance was the point where the dock met the under part of the longhouse, as it comes in at an angle from the work likes shot across the inlet to the fort and its longhouse complex.

94

Axonometric moment of the connection between scheme 1 and the fort.

Axonometric moment of the connection between scheme 2 and the fort.

Top view of scheme 2, depicting the overall masses of the longhouse.

The final model of the Fort Matanzas Longhouse extension is the result of a macro grid created by sepculative nodes. This trancended onto the micro scale and ultimately the human scale of the fort. The parti of bringing mature in and letting the built enviroment bleed onto the landscape promotes a harmmonny that although the building is not natural to the area, it tocuhes the the ground delicately. The fort is touched by the longhouse delicately as well. The harmony created is logical.

Moment view of the ground floor communal spaces.

Moment view of the extruded build enviroment bleedig onto the landscape.

[bottom] Tectonic details of the transition from the longhouse to the fort.

[top] Tectonic details of the turning point that connects the longhouse to the dock.

Shows the continuation and eventual dissipation of the promenade continuing past the fort.

98

Axonometric showing the relationships between ground, building, and fort in daylight.

Top view of final site with the model inserted, showing the worklines and excavations of the lansdcape.

Moment showing the dock extending out onto the inlet waters.

100

Moment showing the interaction between the communal spaces and the excavated land.

Moment showing a densely tectonic part of the construct.

Moment showing the fort connection from the back.

Moment showing the fort connection from the front.

Moment showing the bleeding of the build enviroment onto the land and water.

[bottom] Showing the fort and longhouse composition when the sun is reflecting off the building at dawn and sunset.

[top] Showing the fort and the longhouse composition in low light.

Axonometric in low light.

Shoing the sun reflecting off the side of the building.

Longitudinal section drawing of the fort and longhouse facing West.

Cross section drawing facing the south.

4

1 1

2

2

3

Ground floor plan in relationship to the fort and the land.

1. Officer quarters 2. Public restorooms 3. Main meeting space 4. Dock

1 4

2

4

3

First floor of the Longhouse visitor center in relationship to the fort.

1. Theater 2. Archive 3. Main meeting space 4. Exterior spaces

The Morgan Library’s extensive collection of works is located in a dichotomy of structures that are up to par with the significance of such works. The existing location in Manhattan is the generator for the Annex, as it has seamlessly involded different entities into a whole. The cohiesevenss is highly reliant on its sorroundings. The new location would only hold some selected works to be displayed, the annex is a hub with a plethora of supplemental works that compliments the original Morgan Library.

Core_Design Three

| Morgan Library Annex Professor Nancy Sanders- Fall 2014

Axonometric of the Annex in low lighting.

The High Line [also known as the High Line Park] is a 1.45-mile-long New York City linear park built in Manhattan on an elevated section of a disused New York Central Railroad spur called the West Side Line. Inspired by the 3-mile Promenade plantÊe, a similar project in Paris completed in 1993, the High Line has been redesigned and planted as an aerial greenway and rails-to-trails park. The park’s attractions include naturalized plantings that are inspired by the landscape that grew on the disused tracks, and views of the city and the Hudson River. The High Line Park also has cultural attractions. As part of a long-term plan for the park to host temporary installations and performances of various kinds. Chelsea is a neighborhood on the West Side of the borough of Manhattan in New York City.

Since the mid-1990s, Chelsea has become a center of the New York art world, as art galleries moved there from SoHo. From 16th Street to 27th Street, between 10th and 11th Avenues, there are more than 350 art galleries that are home to modern art from upcoming artists and respected artists as well.

110

Aerial Mapping of Chelsea showing the site in relationship to different kinds of traffic.

Arial map showing the location of the site in relationship to the macro scale of the New York City texture.

First a series of iterations of the Morgan Library Annex were concieved using section drawings to speculate the spatial relationships of the tower. The interaction with the Highline being a key part of the shcemes. The essence of the schemes began to be molded by the existing surrounding buildings. Just how the original Morgan Library’s addition by Renzo Piano was a resultant of the surrounding structures, the Annex is also a resultant of the surrounding structures. Early in the design process the logical move to excavate the ground was concieved. As an implied partial privatization of the property. But not enclosing it off. The parti of the tower also insinuates a wrapping of the ground condition to become the facade of the structure. The Annex section drawing drafts showed he importance of controlled moments of views and light.

112

Section drawings of the first draft scheme showing repationships to nearby structures.

Section drawings showing the second scheme and its relationship to the surrounding buildings.

The final draft of the Morgan Library Annex continues to assimilate the essence of what the Annex should be all about. The levels of the library that are below highline level are charaterized by a copious use of transparent surfaces. As light is scarce in that part. The introduction of an outside cafe at ground level opens up another entrance to the Annex from the park level. The superior levels of the Annex are distinctly concealed by the facade that stems from the core.

The core is heavy, it holds up the structure and it is one of the mayor organizing elements of the tower. The ground is proportionally reacting to this moment in the facade by it being excavated in direct reflection of it.

Sketch showing the entrace of light at the back of the structure.

Moments showing the begigning stages of the spatial relationships within and outside of the Annex.

Axonometric and Elevations of the final draft showing the interactions between the floor plates and the facade.

The final version of the Morgan Library Annex is a resultant of the surrounding structures. It takes from the Renzo Paino additon to the original Morgan LIbrary Annex where the renovation is a lightweight construct of simple orthogonal plan. The Morgan Library Annex is wrapped by a facade that participates in the structural stabiliy of the building. The facade is director of light as well, on the lower floors.

On the lower floors where light can be impieded by the highline, the facade works to refract light in more. The facade also controls light form entering in moments where its necessary for privacy. In the abscence of light, light is given most significance.

Axonometric of the tower showing the clarity of light control.

Moments depicting the deliniation of important spaces by the facade.

Axonometric and Elevation of the Annex showing profiles of the building.

The section model of the tower was chosen to partake in the excavated portion up to the beggining of the main gallery space. The Annex materiality of the mass is that of polished marble on one side and more rough marble on the other. The polished side of the marble envelope deflects the staircase, making for an interesting itnerpretation of scale on such a large shaft of stairs. The penetration of light is easily permitted as most of the dividing walls that delinieate spaces are transparent/translucent. The main elevator shaft is disected in hlaf to show its interaction with every landing and how the immediate part right outside of the elevators is semi-privatized. With only a 25 foot wide floorplate, simplicity is key. The section model allows for the wall details to show their tectonic texture. Theyre constructed and art can easily be placed onto them. This version of the library does not have many books, it is a modern edition of a library. It is the modern definition where a library has now become a mutiuse space.

118

Moments showing the use of partition walls that are transparent and translucent.

Moments showing the final details of the main staircase.

Axonometric of the section model showing the intergration of daylight.

Longitudinal Section Drawing of the Annex with the alignemnts of the highline and the nearby structures.

Cross sectional drawing of the Annex with the alignments of the highline, nearby structures, and the promenade.

Axonometric of the tower at human level inserted into the site at daylight.

124

Aerial of the site and the Annex inserted interacting the with modified highline.

126

SUMMER_COURSEWORK Thinking + Making A place for Beauty

The location of the site is in a wetland in Spring Hill, FL. The premice of the project is that we were assgined four nodes, those nodes went on to become housing for four different families. These four different families had a specualtive narrative that encompassed the design process. The site being a wetland that floods twice a day, meant that the entire complex had to be elevated off the ground. The resultant of the project was a collage that showed the third meaning to depict the modality of each one of the nodes. The characters were abstractified and we used work lines to connect them all in a spatial and visual grid.

Thinking + Making

| Spring Hill Housing Study Professor Levent Kara- Summer 2014 Group Project: Daniella Covate Robert Rubley Kyle Santili Steven Arrubla Ruiz

The parti for this object is that the moleskin, a tool for an architect is symbolically a blank canvas and the covers are usually black and plain. This was seen as an opportunity to make this every day object a beautful one by creating a mechanism of enclosure and storage. Made out of hard zebra wood. The mechanism is simple as an approcah but also is beautiful. When not in use the moleskine can be placed on the wall piece that holds the book. It displays the pages as they petina with use, becoming more beautiful with time. Beauty is fleeting, but it can also be something that with time can increase.

A Place for Beauty

| Creating Beauty out of an excisting object Professor Steve Cooke- Summer 2014

sarrublaruiz@mail.usf.edu