Nathan Baker University of South Florida Undergraduate Portfolio

Intro 1- Spring 2011 The Matrix

Final Project for Intro 1Intro 2- Fall 2012 Extensions Toward the Horizon

Ceiling, Summit, Canopy

The Urban Wall

Analysis of a Bound Space

Page 05

Page 01

Table of Contents

Page 11

Page 09

Page 19

Page 15

The Matrix Generating SpacesProfessor Alexander Bothos

The Matrix, an interesting term, one of which when incorporated with architecture causes one to look for the underlying connections. Using Ocean Park No. 27 by Richard Diebenkorn I was told to look for ways that he connected his painting. From there I came up with my own definition of a matrix: A continuous network that generates from a main space, with nodes or special moments happening within the network. From Ocean Park No. 27 the main “shape“ that was continuous throughout my models was the red polygon, because it was the only one that he painted red and it stands alone. Using the shape of that polygon I started to design my generator and then make it my own.

1First Matrix Model from Painting Matrix “Framed” Draft Model

Ocean Park No. 27 by Richard Diebenkorn

Matrix Parti

INTR

O 1

Matrix Draft Model

Matrix Final Model

2

Section of Final Matrix Model

Final Matrix Model

3

INTR

O 1

Drawing of Final Matrix Model

Framed Generator

Draft Generator

Final Generator

Close Ups of the Generators

4

Using spaces from my Matrix and concepts from one of Joseph Cornell’s boxes: Untitled 1956-58; I had to make a model that not only had to use spaces again, and concepts from an outside source, but it also had to be a path either circular, or one that leads to an interesting space. I chose to have my path start at a space of security and with a direct reference to my matrix (the Basswood). Then lead into a space of ascension (the Museum Board). Finally ending in a space of exploration (the Chipboard). My idea was to go from an area of linear pieces, into an area of planes, and ending it in an area of mass, which would leave someone who was wandering around in amazement that a space full of mass would be seemingly fl oating above all. Or below depending on the orientation the model.

Draft Model Space of Exploration Draft Model of Final Project5

INTR

O 1

Joseph Cornell: Untitled 1956-58

Final Project for Intro 1 Transitions of SpaceProfessor Alexander Bothos

6

Drawing of Space of Exploration, Draft Model Drawing of Secure Space, Draft Model

Final Model

Final Model Space of Exploration

7

INTR

O 1

8

Drawing of Space of Exploration, Final Model Drawing of Secure Space, Final Model

The fi rst project in Introduction to Design and Graphics 2 gave me the opportunity to examine one of each of Steven Holl and Gary Chang’s works. Through the process of this project I was able to fi nd the relationship between plan and section. With the Stretto House, I wanted to emphasis the connection that the house had with the site. With the use of a blue colored pencil I highlighted the dams that were in place and the way that Steven Holl made the main sections of the building line up with the dams. My hatching represents the way you would move in the house. Steven Holl placed the stairs in certain locations with the intention of directing you through the house while still keeping you in touch with site outside. With the Suitcase House, I made my hatching show the connection that the plans had with each other, and with two of the plans I showed how one set of stairs connected with another. With the colored pencil I showed the changes in elevation on one chosen plan.

The Stretto House by Steven Holl My Interpretation of The Stretto House by Steven Holl

9

INTR

O 2

Analysis of a Bound Space Relation Between Plan and SectionProfessor Nancy Sanders

The Suitcase House by Gary Chang

My Interpretation of The Suitcase House by Gary Chang

10

To start this project off I examined: Leca Swimming pools by Alvaro Siza, The Thereme Vals by Peter Zumthor, and Les Bains des Docks by Jean Nouvel. Of the three pools I found the Leca swimming pools to be my favorite pool. Mainly because of the way that Alvaro Siza blended together the natural terrain and the building that was constructed. That was a large part of my design process, the idea of having something that is natural and adding onto what already exists. From there I was given the task of elevating my model and making it stand with the help of museum board and plexi glass, both with the intention of being water. In one area of my fi nal model I have two thin curving pieces of basswood, which represents man’s attempt to control nature, with the vertical piece of museum board being nature. We try to do one of three things: control it, work with it, or over compensate. I feel that Alvaro Siza was able to fi nd the median between nature and architecture and intertwine them.

Leca Swimming Pools by Alvaro Siza

Beginning Water Wall Parti Beginning Model based on The Therme Vals by Peter Zumthor

11

INTR

O 2

Extensions toward the Horizon Water WallProfessor Nancy Sanders

Water Wall Draft Model

Water Wall Draft Model Water Wall Final Model Water Wall Final Model12

Water Wall Final Model Plan View

Water Wall Final Model Section View

13

INTR

O 2

Water Wall Final Model Axonometric

Water Wall Final Model14

Water Wall Final Model Water Wall Final Model

Plenum Beginning Sketch Plenum Beginning Sketch

15

INTR

O 2

Cieling, Summit, Canopy The Habitable Light WellProfessor Nancy Sanders

With spaces from our previous project, we were instructed in the way of light. Specifi cally in the way in which it aff ects planes below it. Through pictures of three spaces from our Water Wall we embedded the edited pictures into rough ideas for our overhead plenum. A plenum to me is a large space with diff erent conditions shaping it, and through those conditions a void of space which is smaller than the plenum, and a ground plane that is aff ected not only by what is happening overhead but also how the plenum touches the base. The main idea that I wanted to keep returning to was the concept of a cantilever, and having multiple overhangs happening throughout the model. Within the model I have a museum board and spatial circuit navigating you through not only the three light wells but also all of the spaces within the model. With the subtle green light that is in the model I wanted the plenum to not only aff ect the ground plane but also to aff ect it and create diff erent spaces to explore that may have been previously overlooked.

Light Well Parti

Plenum Final Model

16

Light Well Parti

Light Well

Light WellLight Well17

INTR

O 2

Plenum 7x7 Section

Plenum 7x21 Section

Plenum Section Perspective

18

Using pictures and drawings of our plenum project we found real world representations of spaces from our model. From there we overlaid these “real” spaces over our spaces. The idea being to help us to see how our spaces can be inhabited. Once we overlaid our pictures on top of each other the next step was to connect them, but not just with a line but also with a story. The story of my spaces is one of diff erent lighting conditions: direct light, diff use light, and artifi cial light. I did not just leave it there, all three of my pictures are distorted, so as to give them a unique quality but also to blend them together into one fl owing picture. Returning back to where our plenum came from, our water walls.

Marshall Center Breeze Way Moffi t Cancer Center Raised Walkway

Raymond James Stadium Ramp

19

Looking Through a Plenum Space

Plenum Section Perspective Plenum Final Model

INTR

O 2

The Urban Wall Plenum in the Real WorldProfessor Nancy Sanders

3 spaces Overlaid on Plenum Drawings and Pictures

20