MYRA LARA[ 9 5 6 ] 3 7 1 8 3 1 4mylarara[at ]gma i l . com

GULF COAST FILM ARCHIVE

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Offi cesExhibitionMen’s RestroomWomen’s RestroomMechanical RoomMultipurposeSunken CourtyardBookstoreLobbySmall TheaterOpen to BelowCafeOutdoor TerraceArchivesLarge Theater

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Film, an art form within time and space, holds similar construction values and processes as architecture. Elements like narration structure, lighting, cimetography, editing, are constantly included within the vision of architecture and architectural representation. The GCFA stands as an architecture merging the two art forms. The GCFA primarily is used as an archive, home to an extensive collection of all types of fi lm. It holds events, screenings and lectures, and has a cafe as well. It is located in midtown Houston, near a light rail stop, in between popular restaurants and other venues.

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Studying the connection between two islands gave focus to two distinct properties which informed this project: the voyeuristic qualities of the edge condition, and the ephemeral, “nonplace” qualities of any given terminal.

[EDGES] Governors Island is itself a voyeuristic object. Its continuous promenade acts as a clean edge to behold the iconic image of Man-hattan, and is not only the greatest amenity the island provides, but is soul and identity. It is the differing factor between itself and Manhattan--- whereas Manhattan is a grid of congestion and symbols, Governors Island is a void in which to behold the shape of Manhattan.

[NONPLACE] The terminal, regardless of transportation type, is a point-guided process which is experienced differently upon arrival or departure. Departure requires waiting, whereas Arrival focuses on find-ing the nearest exit. Both rituals treat the terminal as an empty container sitting between the traveler’s original and desired destinations: a bridge between two points. Anything within it is merely used for either distrac-tion (coffee, wi-fi, exhibits, people-watching) or wayfinding. An archi-tecture of emptiness emerges from these set of qualities.

[SYNTHESIS] With these two ideas in mind, I propose a new edge for Governors Island. This new edge is situated in the north side of the is-land, between the historical icons of the island (Castle Williams, Fort Jay) and the spectacular view of Manhattan. This edge will form anoth-er degree of difference (an additional, visual layer) between Governors Island and Manhattan, segmenting the void while maintaining the main attraction of voyeurism.

[STRUCTURE & INTENTION OF FORM] The terminal takes the form of a bridge --- not only as a means to connect the new edge to the old, but also as a means to visually disrupt the promenade, while keeping its continuity intact.

Structurally, it is one, monolithic concrete plate, thickened and arched for support, with a light-weight, repeating steel structure which sits on top of it. This open-air “cage” supports only itself, and is made of painted, welded steel tube frames, which are striated by steel cables, anchored to the perimeter of the bridge, and wrapped around. This “ghostly” form of unconditioned space, and provides the shape of the terminal, and sets the stage for the program within it. It is porous, yet clearly defined.

GOVERNORS ISLAND FERRY TERMINAL

OLD FERRY TERMINAL

Studying the connection between two islands gave focus to two distinct properties which informed this project: the voyeuristic qualities of the edge condition, and the ephemeral, “nonplace” qualities of any given terminal.

[EDGES] Governors Island is itself a voyeuristic object. Its continuous promenade acts as a clean edge to behold the iconic image of Man-hattan, and is not only the greatest amenity the island provides, but is soul and identity. It is the differing factor between itself and Manhattan--- whereas Manhattan is a grid of congestion and symbols, Governors Island is a void in which to behold the shape of Manhattan.

[NONPLACE] The terminal, regardless of transportation type, is a point-guided process which is experienced differently upon arrival or departure. Departure requires waiting, whereas Arrival focuses on find-ing the nearest exit. Both rituals treat the terminal as an empty container sitting between the traveler’s original and desired destinations: a bridge between two points. Anything within it is merely used for either distrac-tion (coffee, wi-fi, exhibits, people-watching) or wayfinding. An archi-tecture of emptiness emerges from these set of qualities.

[SYNTHESIS] With these two ideas in mind, I propose a new edge for Governors Island. This new edge is situated in the north side of the is-land, between the historical icons of the island (Castle Williams, Fort Jay) and the spectacular view of Manhattan. This edge will form anoth-er degree of difference (an additional, visual layer) between Governors Island and Manhattan, segmenting the void while maintaining the main attraction of voyeurism.

[STRUCTURE & INTENTION OF FORM] The terminal takes the form of a bridge --- not only as a means to connect the new edge to the old, but also as a means to visually disrupt the promenade, while keeping its continuity intact.

Structurally, it is one, monolithic concrete plate, thickened and arched for support, with a light-weight, repeating steel structure which sits on top of it. This open-air “cage” supports only itself, and is made of painted, welded steel tube frames, which are striated by steel cables, anchored to the perimeter of the bridge, and wrapped around. This “ghostly” form of unconditioned space, and provides the shape of the terminal, and sets the stage for the program within it. It is porous, yet clearly defined.

GOVERNORS ISLAND FERRY TERMINAL

OLD FERRY TERMINAL

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DockIsland PlazaTheaterMechanical RoomWaiting RoomOfficeCafeExhibitionRestroomsLocker RoomsBike Checkout/ StoragePlaza

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Arrival by FerryEntering Northside of TerminalLooking South on the BridgeEntering through the Southside of the Terminal

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