USF Core Portfolio

zackYARNELL Core Design Portfolio 2013

“If you’re not prepared to be wrong, you’ll never come up with anything original.”

- Sir Ken Robinson

Table of

CONTENTS

CORE DESIGN I, II, III [ I ] memory MAP [ II ] light BOX [ III ] mother+daughter RETREAT [ IV ] the CORNER [ V ] scholar’s RETREAT [ VI ] art CENTER [ VII ] ptcl ADDITION [ VIII ] sarasota HOUSING [ IX ] highline LIBRARY

[ Fall 2012 CORE DESIGN I ]

Professor Stanley Russell

The Memory Map project was developed from experiences in the cities of Savannah, GA and Charleston, SC. A model was constructed from the architectural analysis of the two cities which later became the site for the intervention. A union between site and architecture formed, yielding views into cavernous spaces along with moments of solitude.

[ memory MAP ] The spatial development of the model heavily drew from experiences of Savannah’s grid system and Charleston’s alleyways. Factor’s walk was used as a spatial anchor.

This provided a pattern in which spaces could be organized efficiently. In moments of compression, the connection to Charleston became more apparent, and hilighted how the city’s occupants have utilized the narrow spaces throughout the city.

[ initial CONCEPT ] The Memory Map evolved into a series of floating islands that anchor onto the mass. A variety of spaces and views were created by the interaction between the different islands and voids.

A path is formed, bridging the islands throughout the site. Taking advantage of the diversity of spaces, the intervention tucks into different cavities to form private spaces and then emerges at specific moments to provide different views of the site.

[ Fall 2012 CORE DESIGN I ]

Professor Stanley Russell

There are a variety of ways to control and manipulate light. The goal of the Light Box was to explore the different ways light can be used in architectural applications.

Through precedent studies and experimentation in both material and form, a greater understanding of light was achieved. These findings were then introduced to a box construction to showcase the different forms of light that were achieved.

[ tonal STUDIES ] An initial study was done exploring different light conditions around the University of South Florida campus along with precedent studies of other architectural works. Tonal drawings were done as in depth investigations of how light reacts to materials and constructions.

[ aperature I ] By manipulating plexi-glas, the view through the material is then distorted. Moments of light and shadow are created depending on both the angle the object is being viewed and what is behind that object.

[ aperature II ] As the light hits the construct from various angles, light is distorted to cast different types of shadows. Light and shadows then become a sculptural material that evolves with the time of day. An orthagonal construction takes on a new persona as the light changes.

[ aperature III ] Working with the different intensities of light, the spatial qualities of the various moments within the model become more or less defined. The shadows are controlled in a similar fashion, creating a range of crisp to diffused shadows.

[ layered EDGES ] At this point in the project, these new understandings of light were explored through geometric repetition. A form of construction developed, applying different methods of controlling light into a system of folding materials to form the envelope of the Light Box. By changing scale, material and even the subtraction of material, a variety of light and shadows conditions were formed adding diversity to a very repetitive construction.

[ Fall 2012 CORE DESIGN I ]

Professor Stanley Russell

For the Mother+Daughter Retreat, a site was provided with a dual program. There would be private space provided to the family, along with a location for historic manuscripts to be displayed for the public. The construction was intended to be a pavillion for the Mother and Daughter to spend time outside the city and to enjoy their surroundings. The site also had a historic wall running through the center that would be considered an artifact that needed to be addressed accordingly.

[ initial CONCEPT ] Having a historical artifact residing in the center of the site, the wall became the main focus of the design. An axis was formed along the wall that would work to divide the program, create a threshold into the private spaces and as an anchor for the pavillion to canitlever over the sloping site.

By developing a series of large concrete walls running parallel to the axis a path was formed leading to the private portions of the program. A large plane would then lay across the structure to unite the two halves of the design.

[ anchored THRESHOLD ] To accentuate the existing wall, two large concrete planes slice into the site. This creates a path to the retreat portion of the program that is hidden from view. The entry sequence is formed as an extention of the artifact, therefore celebrating the wall.

Once the occupants have made their way along the wall, a single puncture is made in the wall creating a moment of reveal. While making the turn into the retreat, the entire construction is brought into view while allowing the panoramic image of the surrounding park.

[ anchored DISPLAY ] A portion of the pavillion was intended to display of manuscripts for the public. As the concrete extends up from the site, a portion of the ground settles down to create designated area of pause to read the documents. The architecture works to draw attention towards the work and away from the private entrance of the pavillion.

[ Spring 2013 CORE DESIGN II ]

Professor Steven Cooke

The exploration of how edges are detailed and meet pushed the design to question what are the possibilites of a corner? As the layers and joints interact, they form a condition that not only frames but creates a transitional space between the viewer and the object or space being viewed. Although the corner marks a point where the materials come together to create an enclosure it also allows the outside to reach within and become a part of the space.

[ initial CONCEPT ] The design of the corner was about the layering of edges to create a gradient from interior to exterior.

How can the density of materials change from a heavy envelope to a panoramic view of the surroundings?

Another question that came about was: how can the materials emulate the image in the background? Can the architecture become a metaphor to graphically relate to its surroundings and further push the idea of gradient?

[ layered EDGES ] When completely enveloped by the corner, the heavy wooden columns along with the metal mullions, work to create an abstract representation of the surrounding trees. As one approaches the extent of the corner, the concrete floor breaks down to become a series of terracing wooden platforms. The space expands as the wall begins to deteriorate until it is only a skeletal structure cantilevering out into the surroundings.

Two different levels of enclosure are accomplished here in one corner allowing the structure to gradient from the dense concrete construction to the floating steel and glass.

[ Spring 2013 CORE DESIGN II ]

Professor Steven Cooke

The USF Scholar’s Retreat called for a design of an apartment that would be in a nine foot wide alley floating above a pedestrian path. This apartment would be used by USF to house a visiting scholar while they work with the univserity throughout a semester.

The main challenge of the project was to maintain a private residence that promoted thought and intellilect in a bustling downtown setting. Knowing that the visiting scholars would also be coming from different regions of the country, the concept was heavily based on introducing the natural beauty of Florida to the occupant.

[ initial CONCEPT ] With both sides of the site being brick walls, there was only the concern for privacy from below. This lead to a very transparent conctruction that took advantage of the texture of the two adjacent buildings.

The ceilings and walls transitioned from exposing the brick to a wooden finish to mark moments within the program. The design as a whole became a series of linear elements and wood paneling to filter light into the different areas of the apartment.

[ STRUCTURE ] Anchoring to the surrounding buildings, a structure system was developed that allowed the building to be light and tectonic. The structural beams formed a way to organize the spaces and allowed for shifts in elevation. The goal was to ensure views of both the buildings surroundings and other spaces within the structure. Soundly anchoring to the masonary prevented the need for additional wall for any structure.

[ ENCLOSURE ] A very light system of enclosure then floats upon the beams bridging the two buildings. Only the floors, along with very specific moments of program required opaque materials, the rest of the design was wrapped in glass to take advantage of the site and its surroundings. For the majority of the structure, the exterior brick walls would be used as the finished material.

[ green WALL ] Once it was decided how the design would be enclosed, a skin was used to take advantage of local greenery. The skin and vegetation would filter light and reintroduce the natural surroundings of Florida to the project. The average occupant of this apartment would be coming from very different climates and this design would be a way for them to emerse themselves into a new enviroment. The goal of this was to create a space that would promote thought and enhance the scholar’s visit.

[ Spring 2013 CORE DESIGN II ]

Professor Steven Cooke

The Art Center South Florida is located on the popular pedestrian path of Lincoln Road. This art museum is unique in how the artists gallery space is also their work space, so it is not just their work on display but their process as well. The addition, located in the middle of Lincoln Road, is intended to be a gallery space, work space, as well as housing for the visiting artists.

With this expansion the Art Center will further emerse itself into the experience of Lincoln Road.

[ initial CONCEPT ] Architecture in Miami Beach puts emphasis on the storefront, reaching out into pedestrian spaces engaging the street and passers-by. Restaurants on Lincoln Road take advantage of the green space in the middle as an extended seating area. This inspired the idea of having the building work as an interactive sculptural piece to present their art work.

Here, large concrete constructions create thresholds defining exterior gallery spaces. The work spaces float above providing a location to work without having too many distractions while allowing the artist’s process to be on display.

[ light PILLARS ] The path and work spaces above create a shadow that marks the edge of the gallery spaces. It is only punctured by moments of light created by the gallery spaces. The design was heavily driven by this concept of a mass hovering over the center of Lincoln Road. The architecture creates a moment of pause that can draw passing pedestrians in to look at the work on display. An artist interviewed on site yearned for real street presence to bring more attention to their work. Now their work can be a part of everyone’s experience of Lincoln Road.

[ ground LEVEL ] The structure is focused on being a part of the pedestrian path to either side of the building.

The artist wanted to expand their demographic to the passing crowds that would not normally find themselves in an art gallery. This evolved into the idea having an exterior gallery.

The structure is designed to imply the boundaries of the gallery while remaining as open as possible. The artists work can now be displayed in locations that allow it to be seen by everyone who is passing by. Those who want a closer look can remove themselves from the pedestrian movement happening on Lincoln Road and more closely explore the work.

[ second LEVEL ] Just above the pedestrian traffic of Lincoln Road are the artist’s work spaces. The focus of the original gallery was to allow the artist to not only present their work but present their process as well. This setup keeps the artist from being distracted by all of the movement below but retains the idea of putting the process on display.

After one walks up the main stair in the center of the structure, they can follow the paths that weaves in and around the work spaces. A display space is also provided in the center of the two mass walls for larger installations, where the work can be viewed from both the first and second levels. The gallery spaces below puncture holes in the path, creating dynamic spaces for the artist to present their work and allowing them to diversify their presentations beyond simply hanging the work on the walls.

[ third LEVEL ] At the rear of the building, the apartments for the artists can be found. The elevation, along with the existing greenery on Lincoln Road, provides the privacy for the artist. During the artist’s stay at the Art Center, they will be on display just like their work, so it seemed very necessary to give the artist a refuge where they could remove themselves from the spotlight.

The structure becomes far more dense and less transparent in comparison to the rest of the building. Windows still provide views in all directions of Miami Beach but the design is very mindful of the necessary privacy. At the center of the apartment portion sits space for the main patron of this gallery addition. These rooms are given views of both Lincoln road but more importantly the gallery itself so the occupant can see the artists they have recruited.

[ Fall 2013 CORE DESIGN III ]

Professor Michael Halflants

The project called for an addition to the existing Port of Tampa City Library. The new program essentially doubled the square footage of the existing library and forced expansion into the surrounding parking lot. My approach to the addition focused on creating a series of spaces that enveloped a central courtyard. This allowed for interaction between all the spaces and levels of the structure. The openness of the design and variety of multi-use spaces promotes experiencing the library as a whole instead of focusing on one part of the library.

[ initial CONCEPT ] Pulling from the structural lines of the original library, a grid was formed that began to organize the spaces of the addition. The design was also focused on openning up the floor plan of the old library and celebrating the grand space that is already there.

The new program was then inserted while maintaining a focus on respecting the historical library.

[ humble CONNECTIONS ] With respect of the original building, the new architecture that was inserted hovers just off of the interior walls. Remaining very transparent, the new spaces promote interaction with the library’s employees while showcasing the structure just behind. In contrast to how the program was originally placed in the library, everything is moved outward allowing the space to feel more unified and grand.

[ ground LEVEL ] The courtyard is the main driving force behind how the ground level is composed. To take advantage of the beautiful weather in florida, the large exterior space is surrounded by the other portions of the library allowing the activities to spill over.

A variety of lighting conditions occur as the sun interacts with the spaces floating above.

Concrete benches with grass centers pull up from the ground providing plenty of space to lay out with a book, sit down with your lunch from the cafe or just enjoy the sun.

[ second LEVEL ] The concept of openning up to the courtyard continues to influence how the spaces are formed at the second level. The elevated path wraps the courtyard creating moments where one can sit and read a book overlooking the activities occuring below.

The periodicals section also provides a balcony space for parents to sit and watch their children play below. It reaches out and floats in the triple height space above the outdoor play area connected to the courtyard.

[ third LEVEL ] The main stack area reaches up and then floats atop the original library. Accending the stairs, one emerges into a room wrapped in windows at an elevation that allows views of the city above the neighboring buildings.

A grand stair different reading another location

sits at the back of the spaces.

On the opposite to bring a book outside

space side, and

that transforms into a balcony provides enjoy the weather.

[ Fall 2013 CORE DESIGN III ]

Professor Michael Halflants

The Modern Housing project was very demanding in that the spaces required natural lighting while still providing necessary privacy for a residential program. The floating mass created an envelope to provide that privacy and by carving into the center, spaces could have large windows creating a unique open concept design. The project had a very heavy focus on not only creating great spaces but ensuring they would be a functional and enjoyable place to live.

[ initial CONCEPT ] The street presence of the building was a focus at the beginning of this project. How does the building stand out but retain the clarity of what is private and what is public space?

Being a large and dark mass, the building became a unique sight from 2nd Street. With the storefront pulling away from the building it reaches out towards the pedestrians passing by on the sidewalk.

[ Storefront/Ground Level ] While the stairs that lead up to the residential portion of the building are tucked behind the storefront, the glass is able wrap the side of the structure creating a public space under the building that is floating above. This creates the illusion of the side walk extending under the building, making a unique public space on 2nd Street.

[ Residential Levels ] Having a public space on the ground provided problems with privacy from the spaces below. This was resolved by having the spaces retreat back from the central void so the occupant can freely move through the residence without having to worry about pedestrians viewing them from below.

By spliting the residences into two portions, the spaces were able to open to each other without having to be concerned about losing too much privacy to the neighboring apartments. The bridge connecting the gathering spaces to the bedrooms could then be used as balcony space. With this layout, one can see their entire apartment from any point in the residence creating a unique form of the open concept layout.

[ Fall 2013 CORE DESIGN III ]

Professor Michael Halflants

For the NYC Children’s Library on the Highline, the design called for the structure to function as not only a library, but also a connection from the Highline to 25th Street. This had a heavy influence on the form of the building. The conceptual movement of the Highline works as a force that has carved away at the building, leaving a void. What is left is the spaces of the library with panoramic views of the city.

[ initial CONCEPT ] Similar to a highway exit ramp, the conceptual movement of the Highline has pulled down to 25th Street, creating the pedestrian connection.

The structure begins to wrap the path and a large exterior space is created.

Instead of the design being an object that is adjacent to the Highline, it has now grafted onto and become a part of the Highline system.

[ tectonic DETAIL ] The skin of this design was conceptually driven by the idea of this building being carved away over time. The deterioration from skin to structure implies an overall volume, making an exterior passthrough feel as though it is an interior atrium. This space creates a void within the library allowing for a visual connection from all elevations.

[ ground LEVEL ] Along with the connection to 25th Street, a seperate study area is located below the main portion of the building.

The young adults are given this space so that they can have secluded area from the commotion up above. With its twenty four foot high ceilings and walls of glass, natural light is allowed to filter down even though the space is tucked down between the surrounding buildings.

This room is focused more for highschool and middle school students who have research projects and book reports. The reference section is located here with reading carrels, computers and a print station.

[ third LEVEL ] Being the point of connection with the Highline, the third level recedes to allow the path of the Highline to reach into the void at the center of the structure. With the building pulling back, the passing pedestrians can experience the structure extending over them with the skin trickling down the facade. At this point the whole building works as a threshold not only to itself but between 25th Street and the Highline.

The program at this level is kept simple, having only the front desk and a portion of the cafe. This allows the void to be the main showcase and occupants are able to view the floors floating above.

[ seventh LEVEL ] Similar to the ground level, the program at the top of the library focuses on the spaces that need to seperate themselves from the rest. This is where the study rooms, conference room and offices are located. At this level the different rooms can enjoy the cityscape as a back drop to the meetings or projects at hand. The floor extends out over the Highline, allowing veiws down the path of the former railway below.

There is also a space provided for the children to gather and enjoy themselves without disturbing the other library guest. Here, couches and computers provide a way for the children to take a break from their studies.

ZACHARY ROSS YARNELL The University of South Florida School of Architecture and Community Design Email

ZRYarnell@mail.usf.edu

Thank you, to my Family for the love and support Mom, Dad, and Jordan to my Professors and Teaching Assistants at the University of South Florida SA+CD for guidance, critique and continuing to expose me to new concepts in architecture Bob Macleod, Stanley Russell, Steve Cooke, Michael Halflants, Eric Colon, Nate Boyd, Ken Williams, Bob Hudson, Carlos Molnar, and Jason Welty to my Professors at the Valencia College for introducing me to the world of architecture and developing the foundations of my education.

Allen Watters, Kerry White, Jerry Benitez Mier, Kristopher Stenger and Rick Dunn and to my friends who have provided support and advice along the way Christine Schorr, Jason Lacy, Charles Green, Lucas Najle, Christopher Cattanno, Christopher Reynolds, Jesus Lopez, Jorgelina Moretta, Erick McGartland, Genevieve Frank, Craig Daniels, Manny Dominguez, Ed Smith and Mikel Amias