Design Studio 05 - Fall 2020
The design concept for "The Porch" was inspired by the idea of critical regionalism, where through the hypothetical forms, geometries, and material composition, the whole compound advances the modern porch structure in Cedar Key while reflecting the natural contours and climatic identity of Shell Mound. The project also includes 5 programmatic spaces designed to cater to the needs of 5 particular artists from the "Stormkings" collective. For example, in both the plan and sections, the edges and ground conditions react subtlety to the topographical elevations and contours created by Shell Mound. In the plan oblique there is a transitional aspect in terms of materiality, where there is a synthesis of reclaimed Cedar wood (pertaining to the region and existing fishing pier structure) with modern concrete forms. In section, the compound's ground condition fluctuates according to land elevations, but it is entirely raised in a “stilted” manner to uphold the Cedar Key architectural tradition. All these concepts are tied with the concept of critical regionalism, where we advance architecture in a modern manner while rooting itself in the past sources specific to the region.
"Jogged" Longitudinal Section - Process
"Jogged" Longitudinal Section - Process
Plan - Progress
The porch compound addresses and records the natural phenomena and climatic qualities of the region through architectural elements such as screen and envelope, tapering in thickness of walls and edges, and sloped roofs. In plan, the western exposure of the sun during the months of April through August (most intense sun exposure in FL) is diagrammed in order to demonstrate how the envelope conditions occurring in these particular three spaces (Rebecca Smith, Mike Nelson, and David Brooks ) dissolve intense light rays. In section, the western and south western sun exposure is diagrammed to reflect on these ideas of light and shadow as well, but more specifically its effect on materiality. In all three drawings, the low and medium tides are displayed to show how the edges in the plan and the ground conditions in section fluctuate in respect to the topography. The sloped roofs defined in the section are meant to address the effects of rainfall in the region, but also the light and shadow conditions it creates as an overhead.
Transversal and Longitudinal Sections - Rough Edit
Longitudinal Section - Western Sun Exposure
Transversal Section - South Western Sun Exposure
The landscape, specifically the oyster beds and salt marsh (notated by the stippling in the drawings), acts as a field research ground for the artists of the "Stormkings" collective and their individual programs. There are stairs shown in the plan and section that connect visitors and the artists with the natural proving ground.
Plan - Western Sun Exposure
All the interventions programs root themselves into the natural characteristics of the oyster beds, the changes in tide and ground elevation, and the effects of western and southern sun exposure -- all while reflecting on a narrative based on climate change. For example, demonstrated in the vignettes (collaged perspectives), the artist Tavares Strachan has a lower camera obscura space to set up their film equipment and record the gradual change the tide has on the oyster beds and the space itself through flooding. Their program and work narratives are influenced by the impermanence of the oyster beds integrity as they witnesses the salt intrusion break down its structural integrity due to rising seas. Another example, shown in plan, is Jenny Kendler’s space and program, which is influenced by the conditions of light on screened elements. Similar to her previous work “Birds Watching” narrative, the overhead screens she will be working on frame the human interaction and movement occurring below -- symbolizing a birds eye view of an endangered species relative to climate change.
Collaged Vignette - artist Tavares Strachan's camera obscura space
Collaged Vignette - Tavares Strachan's space
Collaged Vignette - Tavares Strachan's space
Throughout the spatial itinerary of the compound, there are multiple “in between” spaces, as well as more defined “mise en abyme” spaces, where there are porches within the larger porch context. For example, the in-between space of Jenny Kendler and Mike Nelson’s interventions (shown in plan) allows one to see both artists at work with their varying mediums and programs, but also witness the tides weave through the oyster beds and the compound architecture -- as well as seeing the circulation and movement occurring in the background. The "mise en abyme" spaces are more defined in Mike Nelson and David Brooks spaces, where there are porch-like spaces that break away from the interior program and allow one to look out towards the horizon and experience the exterior conditions with a degree of comfort. These moments in between the spaces serve as points of reflection for the inhabitant, where they can look beyond the artist’s specific program and witness the composition of programmatic and natural phenomena as a whole.
Plan Oblique - Materiality