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Vignesh Madhavan USFSACD 2015 CORE DESIGN PORTFOLIO

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to AMMA, who taught me to walk, and ACHA, who showed me the way

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VigneshMadhavan

2610 Rustic Ridge Loop Apt 104D Lutz, Fl 33559 vmadhava@mail.usf.edu 407 408.1451


CONTENTS _The Slavery Memorial................................................................................... 06 13 A memorial to slavery along the Riverwalk of Savannah, GA _The Museum of Light................................................................................... 14 21 A museum celebrating light and other phenomenologies _Floor+Ceiling................................................................................................ 22 31 A cabin on the mesa exploring the floor ceiling relationship _Door/Window............................................................................................... 32 37 A place of study exploring the relationship between door and window _Wall Project.................................................................................................. 38 47 An analysis of the facade condition of a structure in Centro Ybor _Miami Live+Work..........................................................................................48 63 An auxiliary building for the New World Symphony in South Beach _Moonlight Sonata......................................................................................... 64 79 An Independent study exploring the relationship between music and Architecture _Boathouse/Natatorium................................................................................. 80 91 A civic center located adjacent to the Tampa Riverwalk 92 _The Chelsea Modern.................................................................................... 103

A mid-scale civic building on New York’s High Line

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[ FALL 2011

P r o f e s s o r M A R K W E S T O N D1]

SLAVERYMEMORIAL

A memorial to slavery adjacent to the Savannah Riverwalk


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section perspective


SLAVERYMEMORIAL

A memorial to slavery adjacent to the Riverwalk_ Savannah, Georgia_

The project called for a slavery memorial to be erected in Savannah along Savannah’s Riverwalk. This particular site was chosen because of the way in which the break in the buildings allowed for a view to the river and the riverwalk. This break in the buildings allowed for a “funnel” where circulation could flow. It was important that the memorial itself not become an obstacle that stopped circulation through the site. Furthermore, it was important the memorial would not become a visual obstacle where the memorial would break the view of the river. This created the idea of the Plinth, a simple wall that sits in the middle of the site dividing it. This Plinth would be the only obstruction to the view toward the river. This would allow for a continuity in the forms generated by the occupying buildings, but the negative space created would bring awareness to the Memorial. On the right side of the Plinth would be an open boardwalk allowing for public activities to take place. On the right side of the boardwalk would be a staircase that would take you into a space that would document the struggles of slavery through the use of a time line. This time line would depict significant moments in the fight for freedom as an occupant walks through the structure. The sojourn ends with the inhabitants exiting down onto the riverwalk with vistas to the river.

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SLAVERY MEMORIAL[final]


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[ FALL 2011

P r o f e s s o r M A R K W E S T O N D1]

THEMUSEUMOFLIGHT

A museum celebrating light and other phenomenologies


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THEMUSEUMOFLIGHT

A museum celebrating qualities of light_ The program asked for a museum that celebrated light. An important facet of the project was Jun’ichiro Tanizaki’s In the Praise of Shadows. The reading outlined how there are different “qualities of light.” That light is changed by the way in which the light is refracted/reflected/diffracted. Taking these ideas constructs were created made from wood scrapes cut to certain proportions. Then these constructs were photographed using artificial light to simulate how light filters through the construct and how qualities of light were effected.

The museum is divided in two, in a

North/South orientation, creating two separate experiential conditions as the day progressed. On the East side is a circulation space acting as a Conduit allowing people to move through it taking them from the berm to the beach. As the day passes the rising of the tides would push occupants up the Conduit and allowing them to become aware of a passageway through the wall into the Harmonic Volume, a space where the rising tide would be caught inside moving around creating an aural experience. Outside of the Aural space is an open walkway that takes the inhabitant down to a boardwalk that is just below the water level. This space would allow the occupant to experience the air, sunset, and water.

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concept section axo


The Conduit

a circulation space taking occupants from the berm to the ocean.

The Harmonic Volume

A space that traps the ocean water beneath the inhabitant, creating an aural experience


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[ SPRING 2012

P r o f e s s o r S T E V E C O O K E D2 ]

FLOORCEILING

A cabin in the mesa exploring the floor ceiling relationship

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FLOORCEILING

A project exploring floor ceiling relationships_ Desert/Flat lands_

The program asked for a space that was completely open to the elements, where only the floor and ceiling qualities divided the space. Another parameter was that there wouldn’t be furniture but rather all sleeping, sitting, and eating would be resolved through architecture. The project began with the establishment of the form of the floor ceiling relationship. It was decided that the ceiling would be projected from the ground creating a skin that would cover the site of the cabin. A secondary ceiling would then be created underneath the skin to establish more intimate spaces like the dining room Then to affect the plan the forms in Marcel Duchamp’s Sad Young Man in a Train by Marcel Duchamp were analyzed. The painting seemed as though it were carved out of the ground. As a result the floor condition was carved out of the ground creating oppurtunites for sitting. A screen was added to the south side of the structure to give protection from the desert sun, but was raised just of the ground to allow for sitting inhabitants to get a view of the desert from the level of the horizon.

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Sad Young Man in a Train - Marcel Duchamp


THE ARTIFACT [initial study model]

The artifact explored the conditions created when space was carved out of a mass.

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THE CABIN[parti model]

The ceiling was separated in two separate levels, allowing for the walkway and the dining room to feel more intimate. The sitting room is depressed so that when sitting the inhabitants of the space could get vistas along the horizon line of the desert.


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THE CABIN[final model]


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[ SPRING 2012

P r o f e s s o r S T E V E C O O K E D2

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DOOR/WINDOW

A memorial to slavery adjacent to the Savannah Riverwalk


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when night is nigh and wind is near I remember our weary times in here beyond this world we create our own without the get of needs or want but goodbye my friend, my shift is done for to the elements, I must succumb -the window


DOOR/WINDOW

An intervention to a warehouse built for a writer_ An abandoned building in a park_

The program asked for an abandoned concrete structure to be turned into a space for a writer to work. The concrete structure allowed for an intervention in one corner of the structure. Here a door/window condition would be designed to allow for the space to become a more apt place of creation. The project began with an exploration of the poetics of space. This begun with analyzing a Philosopher in Meditation by Rembrandt. When looking at the painting it became clear how the window brought knowledge to the philosopher. The window brought light which allowed for the space to become a place of study. Then a poem was composed exploring the relationship between the philosopher and the window. Following the development of the poem it was clear that the intervention needed natural light to enter into the space. The solution was to have a door that was open to letting natural light in even when the door was closed. It was also important that the door have an unique manner and material to it; from the weight of the steel members to the way the door would sound when being turned. The hope was that the opening of the door would give the inhabitant the mindset that this was a place of study.

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open

shut


THE SANCTUARY[final model]

It was important that the door be transparent to allow for natural light to enter into the space. This also allows the writer to always get a sense of time and be aware the amount off time she spends in the space. When closed the door allows for inhabitation, creating a porch condition where the vistas of the park could be enjoyed.

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[ SPRING 2012

P r o f e s s o r S T E V E C O O K E D2 ]

WALL/SKIN/FACADE

An analysis of the facade condition of a structure in Centro Ybor

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concept perspective


WALLSKINFACADE A project exploring the facade_ Centro Ybor, Tampa, Florida_

The project asked for a new facade intervention on an existing building. Since the site was in Centro Ybor, a district that is known for preserving its architectural heritage. The site was across from the heart of Centro Ybor, where the Gasparilla parade runs along 7 th street. South of the site is the primary parking garage for the district. The program asked that only fifteen feet of the facade be used. To begin the idea of what an architectural skin is was explored, this was done by taking paper and manipulating it to create forms that explored these conditions. But after analysis of the site it was evident that a skin system would not fit inside the district. As a result a material study was done to decide what materials would fit in this site. It was decided that corten steel and corrugated steel would be used. Next, forms were defined based on the constraints of the materials. To protect the building from the Eastern and Southern exposure a corrugated steel wall was attached to the facade in SE orientation. The public spaces of the cafe and the auditorium were defined by the corten steel, which pushes through the corrugated steel to allow for inhabitants to have a view of the district. The bottom floor of the facade was left open to allow for and interstitial space where pedestrians could occupy it.

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CONCEPT MODEL[skin studies]

A series of skin studies exploring the idea of skin. The studies were all created using paper that were then scored/cut/folded


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THE WALL [final]

Due to the location of the building it became evident that it was important for the facade of the building to react to the site forces within Centro Ybor. It was decided that this would be done through materiality. The facade would highlight the public spaces of the cafe and the auditorium by using corten steel, which would reflect the rustic elements in Ybor. Furthermore, the screen of th facade was corrugated metal giving the feel of a rustic facade.


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[ SPRING 2012

P r o f e s s o r S T E V E C O O K E D2]

MIAMILIVE+WORK

An auxiliary building for the New World Symphony in South Beach


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concept perspective


MIAMILIVE+WORK

New World Symphony alternate building_ Miami,Florida_

The New world Symphony is a nonprofit fellowship program that gives musicians the opportunity to continue their musical career by being a part of a symphony. The project asked for a new building for the organization to be built in the heart of South Beach. The building had to have a performance space, cafe, museum, a room for the fellow, and a room for the caretaker. Miami’s South Beach district is very unique because of the way in which pedestrians interact with each other along the sidewalk. In South Beach the sidewalk has a enough space for both pedestrians and for seating. The site was in an alley where a lot of pedestrians would walk through to reach the beaches on the other side. This created a great opportunity to bring awareness to the New World Symphony. The aural experience of the building was also taken into account, how would this building differentiate itself as a musical experience? 51


SITE ANALYSIS[ocean drive]

The layout of Ocean Drive in South Beach allowed for an interesting condition along the side. The foot traffic running along the sidewalk allowed for the site to create a “funneling� quality to the site. The more pedestrians taking the shortcut through the site allowed for more awareness to be brought to the New World Symphony. There is also the interesting interaction between the pedestrian and the onlooker. Furthermore, thought was given to the materials and the palette that surrounded South Beach.

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THE AMPLIFIER[concept model]

Being that the New World Symphony was non-profit, it became apparent that publicity for the organization would be important. Therefore the idea arouse that the building itself would become an amplifier, where the music that was being played inside would be projected through the city.


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THE TEAR[parti model]

The biggest hurdle to overcome in the site was to bring light into spaces that would be in the lower levels of the building. To do this the building was torn away from one side of the site, allowing natural light to filter down the circulation of the structure.


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GROUND LEVEL _Cafe 1 _Stage 2

SECOND FLOOR _Museum 3

THIRD FLOOR

_The Fellows Bedroom 4 _Dining/Kitchen 5 _ Bathroom 6 _The Caretakers Bedroom 7

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[ SUMMER 2012

P r o f e s s o r S T E V E C O O K E INDEPENDENT STUDY ]

MOONLIGHTSONATA

A study into the relationship between Architecture and Music


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Graphical analysis of “Moonlight Sonata”


MOONLIGHTSONATA

An Architectural study of Beethoven’s “Moonlight Sonata”_

The goal of the Independent study was to define how music could become a part of my own architectural process. Eventually, this process would become a language where forms/space/order would be created just by listening to a piece of music. This was going to be done through a process of continuous creation and constant reflection on the finished work. The study begin the creation of graphics to establish geometries that represented different aspects of the Beethoven Moonlight Sonata. The piece had a strong structure of triplets that slowly disintegrated as the song progressed and this was imagined as a strong visual structure. But this breakdown in melody created the imagery of color, or perhaps a change in material. The piece also has a transparency to it where harmony were reflected in the melody. The second part of the study was a series of constructs designed to remain in the conceptual realm. This allowed for only pure forms and space to be represented. These series of “vignettes” were an exercise in exploring different semiotic relationships between the piece and real architectural archetypes.

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SKETCH MODEL[one]


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SKETCH MODEL[two]


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SKETCH MODEL[three]


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SKETCH MODEL[four]


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MOONLIGHT SONATA[final]

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MOVING FORWARD[Reflection]

Architecture and Music have long been synonymous, but to understand that connection for myself was the goal of this independent study. Artist and musicians have been know for saying that they see music in color and forms. Through this journey I established my own language for music, being able to visualize my own forms and space in music. 79


[ FALL 2012

P r o f e s s o r SHANNON BASSETT D3 ]

BOATHOUSE/NATATORIUM

A Boathouse/Natatorium complex that is adjacent to the Tampa Riverwalk.


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The Artifact


BOATHAUS/NATATORIUM Boathouse and a Natatorium_ Tampa, Florida_

The program asked for a Boathouse and a Natatortium to be built just North of downtown Tampa. The site is on public land that belongs to the city of Tampa and has the possibility of being a future park space. The site is also a part of the future Tampa Riverwalk. The site also had an exit off of I-275 and great views to the sunset and downtown Tampa. The site was once the location of the Trolley Barn, now an abandoned warehouse where the city of Tampa would fix the trolleys that once ran into the city. This barn charged the site because the new structure would have to find a way to react and respond to it. The project began with the Artifact, a site analysis model that pulled sited lines and other information from the site. One of the most important things about the site was the way in which the Tampa Riverwalk was handled. How would the Riverwalk be handled when it came to the site of the Boathouse? Also the seawall was another important factor, should it be torn down to allow for a natural beach to occur? But what was most important was the actual placement of the building because the entire site was park space, and the larger the building the less space there would be for future parks.

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CONCEPT[sketch model]

After careful analysis of the site it became clear that the site for the civic center should be at the area of the old boat launch. The dredged area was conducive for its future use as the public pools. Furthermore, the proximity of this site to the river and also the future Riverwalk would allow for the building to be a node along the Hillsborough River. The site is also land owned by the city, so reducing the footprint of the buildings could allow for future parks/public spaces to be built around the site. Also, though the Trolley Barn is no longer used for the mending of Trolleys, the Trolley Barns current tenant uses the barn as a warehouse to store boats. These boats are usually launched along the riverbank and building along that would be detrimental to those activities.

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natatorium administration wading pools locker rooms boathouse tampa riverwalk


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THE BOATHOUSE[parti model]

The boathouse runs along the Tampa Riverwalk. This would give the boathouse awareness to the public that walk along the Riverwalk. The 20’ boat skulls are kept perpendicular to the Riverwalk allowing easy access to them. The 60’ skulls are hung on the door and are accessed by opening the door.


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THE NATATORIUM[parti model]

It was important that the Natatorium be completely transparent because there needed to be a connection between the people inside the building and those outside in the wading pools.


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[ FALL 2012

P r o f e s s o r SHANNON BASSETT D3 ]

CHELSEAMODERN

A museum of Lyrical Abstraction in the Chelsea Neighborhood adjacent to the NYC Highline


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Georges Mathieu


CHELSEAMODERN Museum of Lyrical Abstraction_ New York, New York_

The program asked for a midscale civic building in the heart of the Chelsea District in New York, New York. Being anchored to the morphological gesture of the highline allowed for the museum to take advantage of the vertical circulation. Adjacent to the site is “the spur”, an auditorium that allowed for the city to become a spectacle. Here the general public had an opportunity to enjoy the interstitial space that existed between the buildings. It was important to be cognizant of the site ecology and how “the spur” has become a nodal point within the district. South of the site is the wellknown Chelsea Market, a busy market with offices, food court, and mall. Because of proximity to this urban attraction an awareness of the importance of the building footprint became more important. Allowing the site to become more of a pavilion would allow for market-goers to enjoy lunch/breaks at the site. Furthermore, the importance of the streets was observed, allowing for the only perspectival views of the city. Lyrical Abstraction was chosen as the art featured in the museum because of its progressive overtones, reflecting the progressive atmosphere of the district. The movement, also known as Tachisme, is the reaction to abstract art that was blossoming in the United States. Abstract art was also chosen for the way it disembodies itself from the object that the painter depicts. But despite this distortion of reality observers are still able to decipher what the object really is. This is an impressive way of creating a language that does not require any human interaction.

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speculative collage


THE SITE GRID[site lines]

After careful consideration of the site, site lines from the many points of interest were drawn to create a grid. From this grid the plans of both buildings were derived. This process allowed for the final structure to have strong views to the spur, the IAC Building, and the Chelsea Market.

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MEZZANINE 1_Outdoor Terrace 2_Cafe Elevator

CHELSEA_MODERN

GROUND FLOOR 1_Auditorium 2_Tickets 3_Bookstore Elevator


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CHELSEA_MODERN

SECOND FLOOR 1_Gallery A 2_Gallery B 3_Auditorium Elevators

CHELSEA_MODERN

THIRD FLOOR 1_Gallery A 2_Gallery B 3_Balcony Elevator Bridge

CHELSEA_MODERN

FOURTH FLOOR 1_Storage 2_Reception 3_Administration Elevators

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ACKNOWLEDGMENTS This last year and a half has been the most edifying experience of my life, it has changed the way in which I experience and interact with the world. None of that would have been possible without the people I have met at USF SACD. First and foremost, I must thank my professors, especially Steve for giving me the confidence to explore ideas without a fear of failure. To my TA’s; Leo, who taught me never to settle for the mediocre, and Daniel, who helped feed my insatiable curiosity. Also, I must to thank David, without his honest criticism and insightfulness I would be nowhere. Finally, to my friends, especially Norbert, Josh, and Israel, who not only made me a better designer but a better human being.

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Core Design Portfolio (Year1) - USF SACD  

USF SACD 2015 Core Design Portfolio Vignesh Madhavan

Core Design Portfolio (Year1) - USF SACD  

USF SACD 2015 Core Design Portfolio Vignesh Madhavan

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