Alessandra Clemente - Interior Design Portfolio by Alessandra Clemente

ALESSANDRA L. CLEMENTE P. INTERIOR design portfolio

1 2018-2022

aleluclemente@gmail.com (954) 804-6986

LIBRARY

Clemente Soto VÉLEZ

4 03 INDEX 01 MOBBALLET

A PART OF SOMETHING

p. 44p. 06 p. 24 02

5 DISD OFFICEMIST CAFE p. 64 04 0506 THROUGH THE LOOKING GLASS p. 72 p. 90

Interior Design Thesis Studio - FA21 - SP22

Professor - Alexander Schweder

A Part of Something explores the possibility of equi ty between the built environment and its inhabitants through participatory design. By newly conceptualiz ing people about to exit New York’s foster care system as the makers of their domestic space, this thesis pro poses their agency in a way that reworks physical sys tems of power. The project is designed for ten to fifteen youths involved with the foster care system between the ages of sixteen to twenty-one years old, considered transitional age. The program is a vocational training center that has a residential component and explores the culinary arts as a way of rediscovering a sense of identity, belonging, networking, and academic and so cial development.

A PART OF SOMETHING explorations of agency in the built environment

removal

institutionalized placement

A PART OF SOMETHINGclient

Thesis vellum, pen, digital compo sition varies

The foster care system in New York City re vealed many deficien cies in housing vulner able groups of people. This user group was chosen for the project due to the staggering data and testimonies

that point out the imbalances within the system and how youth were underserved by both space and people in power. The foster care system is a vast and complicated net work, separating the

process step by step and studying it in detail helped clarify which age group needed services and comfort, and how these desires could be addressed through space and design.

aging-out

adoption

WHAT HIDES UNDER THE ROOF?

SOCIAL AND EMOTIONAL DEVELOPMENT

ACADEMIC AND LIFE SKILLS

TRAINING

“Transitioning into adulthood was hard, what was a necessity and what wasn’t? To me nothing was a necessity except the bare minimum.” MP LT AK-01

“We weren’t taught essentials or even smaller things like food nutrition” MP-MT-TX-01

“Most of the programming was around therapy or reunification. No independent living skills or prepara tion.” MP MT CA-01

A PART OF SOMETHINGprogram

Thesis digital composition varies

BUILDING AND MANTAINING CONNECTIONS NURTURING A SENSE OF SELF

BELONGING

“One of (the staff) interviewed me and asked me like 40 questions. Just did the check, check, check, no emotion and none of them wanted to hear why I was there or hear my stories.” GH-ST-CA-01

“Something that really helped me is a strong imagination. I could go really anywhere in my head, and that’s really important.” MP-MT-CA-02

NETWORKING AND RECONNECTING

“The system failed to identify kinship me and lacked enough culturally competent, nity-based services to keep me in chance at success.” Sixto Cancel

“Normal societal privileges are taken the remainder of your stay.” MP MT

“I ended up losing touch with almost once I moved.” MP MT CA-01

The program address es some of the least received services during the stay of youth at foster care facilities. Through testimonials, retellings, and data, the emphasized lackings where in employment

and vocational training as well as independent living skills assessment. The culinary arts voca tional center cultivates skills in both front of house. Beginning with workshops on how to run a small culinary

business and later progress to practice the learned skillset by let ting youths design and work their food stands that can cater to guests.

WHY CULINARY?

RECONNECTING

kinship placements for competent, commua home that had a taken and locked for MT CO-01

almost all my friends

IDENTITY

“We weren’t allowed to use other languages, even though Spanish was my first language. Staff said we could be planning to escape, and they needed to know what was going on at all times.” MP-LT-NJ-01

“They didn’t think of you as an individual, they thought of you as more of a group.” MP LT IL-01

PROGRAM SKILLS USERS SPACES

CULINARY GROWING CYCLE

youths between 16-21 yrs. old

teaching, networking, and managing

culinary workhops

food stands + market stands team transitions

BUILDING 2O

A PART OF SOMETHINGsite

Thesis digital composition varies

The program address es some of the least received services during the stay of youth at foster care facilities. Through testimonials, retellings, and data, the emphasized lackings where in employment

business and later progress to practice the learned skillset by let ting youths design and work their food stands that can cater to guests.

SE SW NE

A PART OF SOMETHINGdesign methodology

Thesis digital composition varies

A Part of Something emerged from the in terest in developing an interior design method ology that fosters agen cy for those who have historically lived their lives with very little. The development of a skele-

ton hat works as a structural system facili tates the flexibility and manipulation of the domestic space. The design approach allows space to grow alongside its occupants by tailor ing it to the occupants’

wants and needs. Re purposing a kit of parts that passes down from youth to youth ensures that the traces of all past owners remain present in the built en vironment.

The project is repre sented in varying stages as training cycles end and new ones begin. Throughout the years, A Part of Something begins to develop its character through the youths that inhabit it.

01

05

1' 5' 10'20' 40' 80' second floor plan bathroom therapy room rooms roomsTV room bathroom laundry caretakers' roomoffice restroom woodshop electrical roommechanical room culinary workshoploading dock computer lab library restroom mechanical roomelectrical room recycle & compostJC fruit greenhouse vegetable greenhouse security office 1' 5' 10'20' 40' 80' first floor plan recycle & compostJC security officevegetable greenhouse therapy room officecaretakers' room bathroom rooms wellness studio work studio bathroom laundry 80'40'20'10'5'1' second floor plan YEAR 01 restroom woodshop electrical roommechanical room culinary workshoploading dock computer library 1' 5' 10'20' 40' 80' first floor plan mechanical room electrical room woodshop culinary workshoploading dock 1' 5' 10'20' 40' 80' theater auditorium restroom paint lab textile lab first floor plan bathroom rooms rooms bathroom laundry 80'40'20'10'5'1' second floor plan rooms rooms bathroom 1' laundry 5' 10'20' 40' 80' second floor plan bathroom YEAR

YEAR

05

computer lab library restroom mechanical roomelectrical room restroom mechanical roomelectrical recycle & compostJC fruit greenhouse security office food stands bar-cafe vegetable greenhouse therapy room officecaretakers' room wellness studio work studio therapy room work studio officecaretakers' room food stand gymwellness studio security officevegetable greenhouse fruit greenhouse JC recycle & compost mechanical room electrical room woodshop culinary workshoploading dock restroom mechanical roomelectrical room 1' 5' 10'20' 40' 80' food stands bar-cafe theater auditorium restroom paint lab textile lab first floor plan rooms therapy room work studio rooms officecaretakers' room bathroom food stand gym 1' laundry 5' 10'20' 40' 80' wellness studio second floor plan bathroom security officevegetable greenhouse fruit greenhouse JC recycle & compost 80'40'20'10'5'1' electrical room mechanical room restroom loading dock culinary workshop mechanical room electrical room woodshop first floor plan food stand bar-cafe textile lab paint lab restroom auditorium theater YEAR

YEAR 10 17

01

05

18 YEAR

YEAR

10

19 YEAR

MOBBALLET LIBRARY

Interior Design Studio - Fall Semester 2020

Professor - Calvert Wright

This project reimagines the Arlington Branch of the Brookly n Public Library to inspire the surrounding com munity and to become home to the arts organization Memoirs of Blacks in Ballet (https://mobballet.org/) led by its founder, the activist/educator/ballet dancer, The resa Ruth Howard. Formally, the MoBB Library takes its inspiration from a series of iconic ballet performances which reveal the precise choreography of ballet while simultaneously tracing the graceful movements of bal let dancers. Fluid interior spaces humanize the exist ing building by destabilizing its traditional symmetrical forms.

Memoirs of Blacks in Ballet

Rather than an ostentatious for eign imposition on the existing neighborhood, the new library provides the framework for a more spontaneous, imperfect, and un constrained experience.

MoBBALLET LIBRARYsite analysis

Ballet Library

digital composition

An ethnographic study of East Brooklyn provided valuable information to help define spaces that would best serve this community. The goal

is for patrons to regard their library as a dynamic space for learning and education as opposed to a static building solely for stored information.

9 in.

MoBBALLET LIBRARYclient analysis

Ballet Library digital, ink, watercolor, paper construct varies

Ms. Howard, a world renowned ballet dancer, educator and activist is the founding curator of Memoirs of Blacks in Ballet, a digital archive that celebrates the careers and contribu tions of lesser-known

talents within the field of ballet. As the primary driver of library pro gramming, Ms. Howard expresses her prefer ence for a library atmo sphere of diversity and inclusion where mem bers of the community

from past, present and future of ballet from different perspectives.

Chroma by Wayne McGregor Giselle by Akram Khan Serenade by George Balanchine

Rite of Spring by Nijinsky

Ballet Library

watercolor and archival ink

16 x 9 in.

By retracing the ballet mappings, the library’s new design is a grace ful counterpoint to the rigidity of the existing library spaces. Elevated walkways inspire move ment exploration

choreographed to insure accessibility and inclusion for all. More fluid paths of circulation are intended to human ize the library and strip it of its neoclassical auster ity and perfection. This

is a deliberate reference to Ms. Howard’s per spective on the history of Blacks in ballet in which a group of artists succeeded despite inap propriate challenges.

MoBBALLET LIBRARYballet mappings

MoBBALLET LIBRARYplans and perspectives

Ballet Library

digital composition

16 x 9 in.

The reimagined library embraces the commu nity with a newly acces sible entry leading to a series of porous spaces designed to encourage exploration and expe rience. As a deliberate counterpoint to the

imposing limestone and brick of the existing façade, the new users’ library experience is lightweight and wel coming. New spaces are designed for the community to nurture interests and abilities

and share experiences with their neigbors.

MoBBALLET LIBRARYperspectives

Ballet Library

digital composition

16 x 9 in.

Fluid interior spaces humanize the existing building by destabilizing its traditional symmet rical forms. Rather than an ostentatious foreign imposition on the exist-

ing neighborhood, the new library provides the framework for a more spontaneous, imperfect, and unconstrained ex perience. Not only does this new library include

studios for ballet, its design evokes the more poetic qualities of ballet with a choreography of spaces that ascend and rotate, expand and contract.

CELLAR - stage view 1st FLOOR - bar lounge view 1st FLOOR - bookshelves view

The Clemente Soto VÉLEZ CULTURAL & EDUCATIONAL CENTER Diseñando entre Lazos Culturales

Interior Design Studio - Fall Semester 2021

Shiqi Seng Wenjing Cheng Alessandra Clemente

The Clemente Soto Vélez is a pilar of Latino culture lo cated in the Lower East Side. The building was built as a Collegiate Gothic public school by C.B.J Snyder circa 1897. The main idea was to keep the bones of the structure but to allow culture to rupture through the historical seams of the building fabric and create new ties between Eurocentric design and Latino, Black, and Chinese culture. The team members possessed these three different backgrounds, which replicated the de mographic composition of the Lower East Side neigh borhood.

Professor - Jack Travis Group Members - Erica Matin

The main idea was to keep the bones of the structure but to allow culture to rupture through historical seams and interpret Latinx vibrancy through the eyes of different backgrounds found in the community.

CLEMENTE SOTO VÉLEZcultural research

Main Floor digital composition varies

This project was empha sized in the rediscovery of one’s culture and how it can infuse design even if it does not pertain to the same roots. Re searching Latino culture

and how it manifests throughout Latin Amer ican countries empha sized the differences and similarities that make up this very intricate and complex community.

Even though there are many qualities that can be replicated from place to place, Latino culture is not a monolith and understanding the diver sities within this group

reveals the traces of the different communities that have influenced Central and South Amer ica.

Día de la Mujer//Women’s Day According to Mayan beliefs, women are the representation of wisdom, beauty, loy alty and vital energy. Every 260 days of the Mayan calendar Guatemalans celebrate the creation of woman known as B’ele jeb B’atz. However, the country has a high number of feminicides and rape cases. Marimba - instrumento nacional//national instrument Wooden bars struck with rubber mallets which produce musical tones. Escultura Maya de Jade//Mayan jade sculpture Jade stone was seen as a sacred material, its green colour lent it to associations with water and vegetation, and it was symbolically as sociated with life and death in the eyes of the Mayans. Muñecas quitapenas//worrykeeper doll Guatemalan people believe that if somebody is worried or preocuppied about something you should put a muñecas quitapenas below your pillow so that she can take your worries away. Gran Plaza, Templo II, Tikal Tikal grew into an important Mayan ceremo nial, cultural, and commercial centre over the centuries. The Temple of the Grand Jaguar and the Temple of the Masks (Temple II) flank the Gran Plaza, a vast expanse ringed by terraces, palaces and ball courts. Banco de Guatemala // Guatemalan Bank One of the icons of brutalist architecture in Central America. Designed by architects José Montes Córdova and Raúl Minondo, it was de clared as National Patrimony. Designers Ro berto González Goyri and Dagoberto Vásquez created the murals which feature the Mayan codices. Iglesia San Andrés Xecul One of the most colorful churches in Guatema la, its yellow hue represents food and prosper ity due the admiration Mayans held for maize. Red is also used as the representation of the rising sun and the indigenous sacrifices at the hands of colonizers. Danza del Palo Volador // Dance of the Flying Pole This dance is a representation of the Popol Vuh, a sacred book that recounts Mayan religion and beliefs. La Zamacueca o Cueca Chile’s unique geography provides differ ent types of music fro north, to central, and south. However, the national dance is the which has Spanish and Indigenous roots. Valparaiso The city received large numbers of immi grants, primarily from Europe from 18481914. The immigrant communities left a unique imprint on the city’s noteworthy architecture. There are mainly German, Itlaian and British neighborhoods called Zonas Típicas. Plaza Neptuno, Santa Lucía Small hill in the center of Santiago, the hill is formed by remnants of a volcano from 15 million years ago. It has 2 Spanish forts and has many statues featuring Spaniards. Lago Tagua Tagua// Lake Tagua Tagua Located in Los Lagos Region, attracts many tourists with its turquoise wa ters and beautiful hills. Casa de adoración Bahá’ í Chile has a Bahá’ religious community and houses the Bahá’ temple which serves as a house of worship for all religions in Latin Amer ica. It’s structure is from cast glass and translu cent marble. Comunidades Mapuche The Mapuche communities were and are the predominant Indigenous ha bitants in Chile before the arriva of Spaniards. Despite having decimated their numbers, the Mapuche people are a significant influence in tradi tions, customs and culture. Iglesias de Chiloé//Chiloé Churhes Unlike classical Spanish colo nial architecture, the churches of Chiloé are made entirely in native timber with extensive use of wood shingles. The churches were built from materials to re sist the Chiloé Archipelago’s hu mid and rainy oceanic climate. Desierto de Atacama//Atacama Desert It is the driest nonpolar desert in the world located in the west of the Andes Mountains. Among its inhabitants the Chinchorro culture used to be sedentary fishermen that built the town of Pucara. Now it serves as a national park where people can do all-terrain sports// deportes todo-terreno. Parque Nacional Rapa Nui// Rapa Nui national park Also known as Easter Island. The Island is under Chilean territory but it forms part of the Polynesian islands. The Mau Henua indigenoues community. The large stone statues, or moai, for which Easter Island is famous, were carved in the period 1100–1680 CE, mostly made with compressed volcanic ash or tuff. Puerto Varas//Port Varas Sits on the banks of the expansive Lake Llanquihue, which offers com manding views of snow-capped Os orno Volcano and Calbuco Volcano, both still active. There is a heavy presence of Bavarian architecture. Huracán Maria 2017 // Hurricane Maria 2017 Due to Puerto Rico’s location, the country suf fers many natural disasters such as hurricanes and earthquakes that cause gigantic blows to the community as well as their economy. Hurricanes and the declining economy have caused many Puerto Ricans to move to mainland USA, leaving the island with less citizens and a higher number of them in North America. Unincorporated territory of the United States Puerto Ricans became US citizens in 1917 but they do not hold the same status as a US-born resident, making this Free Associated State a complex territory with rising po litical, social, and economic turmoil. Castillo San Felipe del Morro Spanish fort in San Juan Bomba y Plena, danza folklórica Traditional dance with African origins that retells the history of mestizaje. The danc er challenges the musician to match the rythym and pace of their steps with the beat of the drums.Casa de España Andalusian-style courtyard in San Juan. Puerto Rican architecture has many dif ferent influences. This particular courtyard has ibero-islamic characteristics. Flor de Maga - flor nacional // national flower Andalusian-style courtyard in San Juan. Puerto Rican architecture has many different influ ences. This particular courtyard has ibero-muslim characteristics. Flor de Maga - flor nacional // national flower Andalusian-style courtyard in San Juan. Puerto Rican architecture has many different influ ences. This particular courtyard has ibero-muslim characteristics. Choza Taino // Taino hut Pre-dating the Spanish colonists, these huts were edifications found around the Puerto Rican island belonging to the Taino indigenous community. Arquitectura Ponce Creole Architecture style that emerges in Ponce char acterized by classical revival ornamentation and planning.Fuente de la Juventud // Fountain of Youth Juan Ponce de León, Spanish explorer heard Boricuan natives talking about the Fountain of Youth, not finding it in the island he set out to sea and found Florida. Orquidea Cattleya- flor nacional // national flower Also refered to as Flor de Mayo see Flor de Mayo song by Simón Díaz Canaima - parque nacional // national park This National Park located in Bolivar is in the rich savanna that houses the Salto Angel, the tallest un interrupted waterfall in the world. Featured in Up, the Disney movie. Casa tradicional colonial // traditional colonial house Colonial houses are a mix between pre-existent houses and Spanish influence once Venezuela was colonized in 1498. Waraira Repano - parque nacional // national park Features El Ávila mountainous formation that sits atop a valley known as Caracas. Cestas // baskets Indigenous craft Carlos Cruz Diez, artist Diablos de Yare Religious festivity, African-Vene zuelan tradition started by slaves. Pabellón - comida tradicional // traditional food Shredded beef, fried plantains, rice, and beans Araguaney - árbol nacional // national tree Victor Millan, painter Turpial - pájaro nacional // national bird Mar Caribe - Caribbean Sea Grupos indígenas venezolanos // indigenous venezuelan communities There are more than 40 Indegenous communities located in Amazonas, Bolivar, Delta Amacuro, and Sucre. 47

LES GALLERY & LOBBY

FLAMBOYÁN

CLEMENTE SOTO VÉLEZconcept

Main Floor digital composition varies

The conceptual plan separates the three different atmospheres in the space that serve di verse programs. Each of these inspired by South and Central American

spaces and communities. The outdor scene rep resents nature and cre ative human-scapes that bring out the youthful colors of tropical cities and islands. It takes after

48 takes after the Orinoco river that meanders through the South American Amazons. The LES Gallery is inspired by artisanal Cuban Caffes and Historical Districts lo cated in almost every major

artisanal, classic, and flavorful LA PLAZA & LA ESQUINA dark, rich, and vibrant, playful, and youthful

ESQUINA

FLAMBOYÁN

and myste-

Latin American City. The Flamboyán takes after the rich civilizations that extisted in Pre-Columbian eras.

OUTDOOR SPACE

Caribbean & Indigenous Parchita - Passion fruit Acidic, sweet, and salty

LES GALLERY Artisanal and Post-Columbian Ron - Rom Strong, candied, and warm

OUTDOOR SPACE

Pre-Hispanic Civilizations

Cacao - Cocoa

Rich, silky, and bitter

youthful

CLEMENTE SOTO VÉLEZoutdoor space

Main Floor digital composition

14 x 46 in.

One of the main con cepts behind the main floor was to reinvigorate the programs of the Clemente and the spaces that made the most con tact with the community.

The new proposal intro duces a new canopy that extends from La Esquina to Norfolk St. to invite passerbys into the cul tural center. La Plaza will continue to function as

a theater and La Esqui na, as a public outdoor lounge for the residents of The Clemente and the neighboring community. The outdoor space will serve as a lounge,

theater and pop-up market, and furthermore work as a compelling entrance which allows The Clemente more ex posure to its neighbors and guests. Each space

is charged with energy, the principles of Feng Shui are immersed in the design by creating certain focal points that retain energy to redirect its force throughout all

the spaces of the exteri or and interior.

1’5’10’20’ 40’ 80’ DN DN UP ramp DN UP FOYER LES GALLERY/LOBBY BOX OFFICE MAILBOX LA ESQUINA LA PLAZA STAGE FLAMBOYAN THEATER RESTROOM RESTROOM MAILBOX 52

CLEMENTE SOTO VÉLEZplan Main Floor digital composition varies

The proposed concept layout is reminiscent of the geomet ric forms captured in Latino, Black, and Chinese patterns, transforming the boundaries and dynamics of the space. Elements from other ethnicities in the neighborhood will be incorporated in the design so The Clemente carries a piece of the predominant cultures in the area. The use of Feng Shui will improve the flow and inte gration of energy in the space. Chinese painting techniques will influence the circulation and support Feng Shui princi ples.

CLEMENTE SOTO VÉLEZprecedents - outdoors

Main Floor digital composition varies

In many Latin American communities outdoor space is vital. The con nection to nature is pres ent in multiple countries across Central and South America. The outdoor

space at the Clemente presented a wonderful opportunity to reconnect and introduce members of the community to traditional craftmanship, architecture and design

CLEMENTE SOTO VÉLEZperspectives

Main Floor digital composition varies

that are often in contact with natural elements. The structural compo nents are inspired by historic pre-hispanic and post-colonial dwellings. Furniture, materials

and lighting are meant to evoke the essential elements of a Latin American house and its organic relationship with the natural environment.

Parking Lot Fence

Material: Brick - Local mateiral

Could be recycled

Multi pattern

Material: Brick - Local mateiral

Could be recycled

Multi pattern

Precedent

75.71 114.00 80.44 22.92 90.25 80.44 70.98 40.50 27.00 27.51 drawing by Shiqi Zeng

CLEMENTE SOTO VÉLEZoutdoor space

Main Floor digital composition and model varies

The layering of Chinese painting technique is translated from 2D painting to 3D existing space to embed cul ture-welcoming ideas. The hollow fence from

Norfolk Street, the out door seating area, The Clemente’s facade, the bar-cafe, and the front door art exhibition space indicate five layers within the first floor. The layer-

ing offers gaps to peak different programs of the space and aim to trigger people to explore the cultural center.

CAR SUVBUS Parking Fence

Precedent 1 75.71 114.00 80.44 22.92 90.25 80.44 70.98 40.50 27.00 42.00 43.59 67.50 27.51 72.00

Lot

1 Precedent 2 58

MIST CAFE

191 Smith St., Brooklyn, NY. 11201

Working Set Studio - Fall Semester 2022

Professors - Eric Ansel & Jimmy Counts

Group Members - Haier Yang

Monica Feng Halim Kim Alessandra Clemente

Mist Cafe is centered on pause and the understanding of the vitality of such moments in life. Seekig to disen gage its patrons from the stressful quotidian, the cafe provides meditative activities such as artisanal tea and coffee brewing, zen gardening, and pottery making. Its voyeuristic quality summons guests to discover new spaces which serve different purposes. Eastern design practices such as Feng Shui are employed in aiding the environment to create an overall calming quality that offers a restorative hiatus.

66 UP A-300 02 A-300 01 FIRST FLOOR PLAN 3/16" = 1'-0" 01 A-000 CELLAR PLAN 3/16" = 1'-0" 02 A-000 OPEN ABOVE A-301 02 A-301 03 A-300 02 A-300 01 A-301 03 A-302 01 A-301 02 A-302 01 C 4 3 2 1 BA 4 3 2 1 CBA 200 Willoughby tel: www.maheinteriors.com DATE: CAFE MIST Brooklyn,NewYork11201 PROJECT NUMBER: 320000000 © MAHE Interior Design BUILDING SECTION (LOOKING NORTH) 3/16" = 1'-0" 01 A-001 BUILDING SECTION (LOOKING SOUTH) 3/16" = 1'-0" 02 A-001 A - 001.00 FURNITURE CBA C B A + 0'-0" 1ST FLR. FIN. FLR. -10'-8 1/2" + 15'-3 1/4" ROOF 16'-6 1 4 15'-3 4 10'-8 + 0'-0" -10'-8 1/2" + 15'-3 1/4" 16'-6 1 4 15'-3 10'-8

68 C 6 7 8 6 10 16'-6 10'-8 C12ZEN GDN.4 10 17 A STORAGE 6 76 7 8 10 16 15'-3 1'-3" 10 7 12 3 4 BUILDING SECTION (LOOKING SOUTH) 3/16" = 1'-0" 02 A-300 BUILDING SECTION (LOOKING NORTH)01 2 1 2 3 55'-4 4'-2 13'-5" 112 1 1 1 14 2 6 1 1 5 2 1 2 4 10 11 11 1 2 14 1 2 2 1 2 14 2 1 4 2 2 CELLAR REMOVALS PLAN 3/16" = 1'-0" 2 A-050 FIRST FLOOR REMOVALS PLAN 3/16" = 1'-0" 1 A-050 E.8 E.13 E.13 E.10 (EM) E.13 E.13 E.12 E.7 3' E.7 3' E.4 E.3 E.8 S E.10 (EM) E.10 (EM) E.10 (EM) E.10 (EM) E.9 E.2 E.7 3' E.7 3' S E.2E.2 6'E.2E.2 6'E.2 6'E.2 6'E.2 6' S S E.6 E.6 E.10 (EM) E.10 (EM) E.10 (EM) E.10 (EM) E.6 E.10 (EM) CRAWLSPACE (N.I.C.) 6 6 FIRST FLOOR REFLECTED CEILING PLAN 3/16" = 1'-0" 01 A-150 CELLAR REFLECTED CEILING PLAN02 A-150 A-200 A-200 C08WASH RM.C11COLD PNTY. C10JAN. CL. A-300 A-700 C02BAR A B C 02 01 S1STAIR A-700 A-500 98 8 7 7 7 77 7 7 7 7 7 1 444 5 6 11 3 11 A-150.00 CELLAR AND FIRST FLOOR INTERIOR DESIGN 200 Willoughby Ave Brooklyn, NY 11205 tel: (347) 410-5130 MAHE05.06. 2022 2201 320000000 LIGHTING SYMBOL LEGENDLIGHTING FIXTURE SCHEDULE E.2 FOCAL POINT WALL WASH LED (9.01"L 6.20"H) (2 W) 8"H) E.10 LITON EMERGENCY DOWNLIGHT 1200LM (12 "H) E.12 BOSE 251 ENVIRONMENT SPEAKERS WHITE (13.5" 5.75" THERMOSTAT 1 2 GENERAL NOTES ACCESS COMPONENTS SHALL BE ILLUMINATED BY NOT BE LESS THAN FOOT-CANDLE (11 LUX) AT THE 5 6 7 8 10 11 ENLARGED STAIR SECTION (LOOKING EAST)2 ENLARGED STAIR SECTION (LOOKING NORTH)1 A-701 16'-6 1/4" 3'-1" 7'-0" CLR. HEADROOM CERAMICSC06 RECESSED LIGHT NEW GYP. BD. WALL, PTD,; NEW GYP. BD. WALL, PTD,; EXISTING ROOF WITH PARTIALLY INSULATION BETWEEN EX'G JOISTS ALUMINUM GLAZED WINDOW PLYWOOD SUBFLOOR SHEATING NEW ENGINEERED WOOD WALL T.B.D. CONTINUOUS STEEL CONTINUOUS STEEL PLATE STAIR FOLDING GLASS WALL PARTITION PERF. METAL SCREEN PERF. METAL SCREEN A-701.00 ENLARGED STAIR SECTIONS INTERIOR DESIGN 200 Willoughby Ave Brooklyn, NY 11205 tel: (347) 410-5130 Cafe Mist 320000000

JAMB DETAIL1 WOOD POCKET DOOR HEAD DETAIL2 WOOD POCKET DOOR HEAD DETAIL 3" = 1'-0" 4 A-910 WOOD SWING DOOR JAMB DETAIL 3" = 1'-0" 5 A-910 WOOD SWING DOOR HEAD DETAIL 3" = 1'-0" 6 A-910 GLASS SWING DOOR HEAD DETAIL 3" = 1'-0" 8 A-910 WOOD PIVOT DOOR JAMB DETAIL 3" = 1'-0" 9 A-910 WOOD PIVOT DOOR HEAD DETAIL3 WOOD SLIDING DOOR JAMB DETAIL7 GLASS SWING DOOR 2" 2" PTD. GWB (TYP.) (TYP.) PTD. WD. DOOR TRIM (TYP.) PROVIDE CLEAR SILICONE SHEATHING (TYP.) CONTINUOUS DOUBLE STUDS AT JAMB (TYP.) SOLID CORE WOOD DOOR, PTD. (TYP.) PTD. WD. DOOR TRIM (TYP.) JAMB ANCHOR AS REQ. PTD. WD. DOOR TRIM (TYP.) STUDS AT JAMB (TYP.) PTD. (TYP.) GYPSUM BOARD PARTITION: FIXING LOCATION A-910.00 DOOR DETAILS INTERIOR DESIGN Cafe Mist 320000000 69 A C01MECH. 7 8 2 16 10 C02BAR 12 3 4 CB 10 6 A-300.00 01 INTERIOR DESIGN 200 Willoughby Ave Brooklyn, NY 11205 tel: (347) 410-5130 05.06. 2022 320000000 MAHE Interior Design LLC, 2022 EXISTING SWING DOOR TO REMAIN GENERAL NOTES EQUIPMENT AND FIXTURES AT KITCHEN AREA TO BE NEW PLUMBING FIXTURES 11 12 NEW SKYLIGHT WITH INSULATED GLAZING 13 14 16 17 (N.I.C.) 2 2 14 3 1 914 A-050.00 CELLAR AND FIRST FLOOR REMOVALS PLANS INTERIOR DESIGN tel: (347) 410-5130 www.maheinteriors.com Cafe Mist 320000000 REMOVALS SHEET NOTES 2 REMOVALS LEGEND TO REMAIN 3 4 GENERAL NOTES 5 7 8 REMOVE EXISTING PAVERS AND SETTING MATERIAL9 10 11 14 B C 02 01 A-300 C02BAR GFI GFIGFI GFI WPWP 1 3 3 3 B C 9'-3 7'-0 01 03 A-110.00 CELLAR AND FIRST FLOOR POWER AND SIGNAL PLANS CELLAR POWER AND SIGNAL 3/16" = 1'-0" 2 A-110 FIRST FLOOR POWER AND SIGNAL PLAN1 INTERIOR DESIGN 200 Willoughby Ave Brooklyn, NY 11205 tel: (347) 410-5130 320000000 SHEET NOTES 2 ELECTRICAL SYMBOL LEGEND 3 FURRED PARTITION 3" = 1'-0"D NON-LOAD-BEARING PARTITION 3" 1'-0"A PARTITION TYPES WET WALL PARTITION (TILE) 3" = 1'-0"E BASE BASE 2-HR RATED PARTITION 3" = 1'-0"C BASE NON-LOADBEARING PARTITION 3" = 1'-0"B BASE ALUM AND GLASS STOREFRONT 3" = 1'-0"H 1-HR WHERE INDICATED CLG.CLG.CLG.CLG.CLG.CLG. BASEBASE METAL STUD 16 O.C. MAX.METAL STUD @ 16 O.C. MAX. 1-HOUR GA-600-97 FILE No. 1200 (U.L. ASSEBLY No. 419)2-HOUR GA-600-97 FILE No. 1200 (U.L. ASSEBLY No. 419) METAL STUD @ 16 O.C. MAX.METAL STUD @ 16 O.C. MAX. BOARD CEILING OR SOFFIT (TYP.) METAL STUD @ 16 O.C. MAX. BOARD CEILING OR SOFFIT (TYP.) METAL STUD 16 O.C. MAX. BOARD CEILING OR SOFFIT (TYP.) BOARD CEILING OR SOFFIT (TYP.) BOARD CEILING OR SOFFIT (TYP.) BOARD CEILING OR SOFFIT (TYP.) BD AS SCHEDULED JOINT SEALANT TAPE (TYP.) A-900.00 INTERIOR DESIGN 200 Willoughby Ave Brooklyn, NY 11205 tel: (347) 410-5130 02. 01. 2022 320000000 MAHE Interior Design LLC, 2022

70 A B C 2 3 1 4 A 1 4 B C 2 3 FIRST FLOOR 3/16" = 1'-0" 01 A-100 CELLAR 3/16" = 1'-0" 02 A-100 A-200 02 A-200 01 100'-0" 55'-44 44'-8" 26'-6 25'-0" 9'-3 7'-0 A-200 02 A-200 01 90'-51 55'-4 35'-1" 12'-43 4 25'-0" 9'-3 7'-0 UP OPEN ABOVE DN OPEN BELOW A-301 01 A-301 01 102SEATING 1 116SEATING 2 100PICKUP 101ZEN GDN.1 110ZEN GDN.2103WTR. PRAT. 105BAR 107PRV. BTH 1 108PRV. BTH 2 109PRV. BTH 3 104STORAGE 1 112STORAGE 2 106KITCHEN 113WC 1115WC 2 S1STAIR C01MECH. 114WASH RM. 1 111PATIO C03STORAGE C05STORAGE 4C04STORAGE 3 S1STAIR C07CERAMICS C06WASH RM. 2 C08WASH RM. 3C11COLD PNTY. C09PANTRY C10JAN. CL. A-300 03 A-300 03 A-700 02 A-700 02 C02BAR 2 C C H B C A E E E 2 3 6 6 E 6 6 6 10 10 10 16 15 8 7 7 77 8 8 8 1 2 1 6 7 7 117ZEN GDN 3. 7 6'-31 4 6'-43 4 6'-31 4 19'-111 4 24'-10 7'-111 2 7'-91 2 7'-91 2 7'-5 7'-2 A-500 01 CRAWLSPACE (N.I.C.) C12ZEN GDN. 4 10 4 11 4 17 SHEET NOTES 1 2 NEW COMMUNICATING METAL STAIR REMOVALS LEGEND BE REMOVED EXISTING SWING DOOR TO BE REMOVED EXISTING PARTITION TO REMAIN NOT IN PROJECT SCOPE EXISTING SWING DOOR TO REMAIN EXISTING FIRE ALARM PULL STATION EXISTING FIRE ALARM HORN/STROBE EXISTING RATED SEPARATION 3 NEW TAKE OUT WINDOW 4 NEW STOREFRONT DISPLAY WINDOW GENERAL NOTES PRIMER AND THREE (3) COATS OF ACRYLIC LATEX PAINT (SEMI-GLOSS); TYPICAL UNLESS OTHERWISE NOTED. 2.ROUTING OF ALL EXPOSED CONDUIT, JUNCTION BOXES, INCLUDES METHODS OF ATTACHMENT. 5 EQUIPMENT AND FIXTURES AT KITCHEN CONFIRMED BY KITCHEN CONSULTANT NEW STEEL GUARDRAIL 6 7 NEW BUILT-IN MILLWORK 8 NEW BUILT-IN COUNTERTOP 9 NEW FINISH FLOOR OVER NEW SUB-FLOOR 10 11 NEW CAFE SIGNAGE 12 NEW SKYLIGHT WITH INSULATED GLAZING 13 NEW GREEN WALL T.B.D NEW ZEN GARDEN 14 15 NEW PANTRY AREA 16 NEW WATER PARTITION 17 NEW FEATURE WALL T.B.D NEW GYPSUM BOARD SOFFIT, PAINTED

71 C07CERAMICS 116SEATING 2 C11COLD PNTY. 117ZEN GDN.3 110ZEN GDN.2 103WTR. PRAT. 112STORAGE 2 100PICKUP 113WC 114WASH RM. 1 115WC 2 + 0'-0" -10'-8 1/2" + 15'-3 1/4" ROOF 16'-615'-3 10'-8 1 2 1'-3" 2 10 16 2 1 10 8 6 B 7 5 15 7 10 4 12 11 17 B S1STAIR 6 6 C12ZEN GDN. 4 C09PANTRY 106KITCHEN HVAC UNIT CRAWLSPACE (N.I.C.) 111PATIO 9'-19'-1 12'-8" + 0'-0" 1ST FLR. FIN. FLR. -10'-8 1/2" CELLAR + 15'-3 1/4" ROOF 16'-6 1 4 15'-3 1 4 10'-8 2 1'-3" 107PRV. BTH 1 106KITCHEN 105BAR C07CERAMICS C03STORAGE 2 104STORAGE 1 EXISTING HVAC UNIT A-701 1 12 2 1 8 10 7 7 17 B S1STAIR + 0'-0" -10'-8 1/2" + 15'-3 1/4" 16'-6 1 4 15'-3 4 10'-8 1 2 1'-3" 100PICKUP H 11 44 3 8 S1STAIR BUILDING SECTION (LOOKING SOUTH) 3/16" = 1'-0" 01 A-301 BUILDING SECTION (LOOKING EAST) 3/16" = 1'-0" 03 A-301 EAST BUILDING ELEVATION 3/16" = 1'-0" 02 A-301 SHEET NOTES 1 2 NEW COMMUNICATING METAL STAIR REMOVALS LEGEND EXISTING PARTITION TO BE REMOVED EXISTING SWING DOOR TO BE REMOVED EXISTING PARTITION TO REMAIN NOT IN PROJECT SCOPE EXISTING SWING DOOR TO REMAIN EXISTING FIRE ALARM PULL STATION EXISTING FIRE ALARM HORN/STROBE EXISTING RATED SEPARATION 3 NEW TAKE OUT WINDOW 4 NEW STOREFRONT DISPLAY WINDOW GENERAL NOTES PRIMER AND THREE (3) COATS OF ACRYLIC LATEX PAINT (SEMI-GLOSS); TYPICAL UNLESS OTHERWISE NOTED. 2.ROUTING OF ALL EXPOSED CONDUIT, JUNCTION BOXES, ETC., BE COORDINATED TO ENSURE CLEAN INSTALLATION. THIS 5 EQUIPMENT AND FIXTURES AT KITCHEN AREA CONFIRMED BY KITCHEN CONSULTANT NEW STEEL GUARDRAIL 6 7 NEW BUILT-IN MILLWORK 8 NEW BUILT-IN COUNTERTOP 9 NEW FINISH FLOOR OVER NEW SUB-FLOOR SHEATHING NEW PLUMBING FIXTURES 10 11 NEW CAFE SIGNAGE 12 NEW SKYLIGHT WITH INSULATED GLAZING 13 NEW GREEN WALL T.B.D NEW ZEN GARDEN 14 15 NEW PANTRY AREA 16 NEW WATER PARTITION 17 NEW FEATURE WALL T.B.D NEW GYPSUM BOARD SOFFIT, PAINTED 18 NEW INSULATED DUCTWORK AT ROOF; REFERENCE MECHANICAL DRAWINGS 19 NEW CONDENSING UNIT; REFERENCE MECHANICAL DRAWINGS 19 NEW HVAC UNIT

72 PARTIAL FLOOR PLAN AT FIRST FLOOR BOOTH SEATING 1" 1'-0" 1 A-800 PARTIAL ELEVATION AT FIRST FLOOR BOOTH SEATING (LOOKING SOUTH) 1" = 1'-0"A-800 PARTIAL SECTION AT FIRST FLOOR BOOTH SEATING (LOOKING EAST) 1" = 1'-0"A-800 1'-0 1'-1 2'-8 1'-3 1'-5" A-800.00 INTERIOR DESIGN 200 Willoughby Ave Brooklyn, NY 11205 MAHE02. 11. 2022 2201 320000000 PARTIAL FLOOR PLAN AT FIRST FLOOR PRIVATE BOOTH SEATING1 A-801 PARTIAL SECTION AT FIRST FLOOR PRIVATE BOOTH SEATING (LOOKING NORTH)2 A-801 PARTIAL SECTION AT FIRST FLOOR PRIVATE BOOTH SEATING (LOOKING EAST) 1" 1'-0" 3 A-801 CONTINUOUS 2X4 FRAMING (TYP.) CONTINUOUS 2X4 FRAMING (TYP.) 2'-0" 2'-9" 1'-5 2'-0" 3'-0" SUSP. PENDANT LIGHT; A-801.00 SEATING INTERIOR DESIGN tel: (347) 410-5130 320000000 HOOK 3/4" PLYWOOD CONTINUOUS 4X4 FRAMING WALNUT WOOD COUNTER BRASS PLATE COUNTER PARTIAL ELEVATION PLAN AT FIRST FLOOR BAR (LOOKING NORTH) 1" = 1'-0" 3 A-805 BAR105 3'-0 6X2 TERRACOTA TILE WALNUT WOOD COUNTER BRASS PLATE COUNTER PARTIAL ELEVATION PLAN AT FIRST FLOOR BAR (LOOKING SOUTH) 1" = 1'-0" 2 A-805 8" 3'-2 2'-8 2'-10 + 0'-0" 3'-2 1'-7 1'-0 A-803.00 INTERIOR DESIGN 200 Willoughby Ave Brooklyn, NY 11205 tel: (347) 410-5130 Cafe Mist MAHE05.06. 2022 2201 320000000 MILLWORKWALNUT WOOD COUNTER

OFFICE-HOME BASE

DISD office

Interior Design Studio - Spring Semester 2021

Professor - Annie Coggan

The workspace project is located at the heart of Park Avenue, the Pepsico Building which will house the of fice of the United Nation’s Division for Inclusive Social Development (DISD) in one of its 11 floors. The design keeps in mind the global changes to working spaces due to the 2020 pandemic. It derives from studies and research on the changing environment and how the preference of employees whether to stay at home or work in an office. The design incorporates spaces that can provide neurodiverse environments that feature programs found at home and in the workplace.

NURSERY

STUDIO BEDROOM

LIVING

LIBRARY

FOYER

ROOM DINING ROOM OFFICE

SITTING ROOMS KITCHEN CLOSET 75

DISD OFFICEprecedentCentraal Beheer

U.N. Office digital composition varies

CIRCUL ATION

GEOMETRIES WITHIN THE SPACE

PRIVACY AND COMMUNITY

1 person

SOCIAL

COMPONENT PROGRAMS

The Centraal Beheer by Herman Hertzberger was described by the architect as a workers’ village. The building was designed in a way that would make the occupants feel part of a community without

being lost in the crowd. The structure was de signed as a matrix built by components, each design element was supposed to be flexible and subject to the individual expression of its inhabitants. The spa-

tial arrangement allowed for workers to have as much interaction as they wanted while at the same time providing personal spaces.

77 ANTI-SOCIAL

structural grid repeated spatial unit primary building components office space meeting space restrooms office space relaxing area restaurant area persons 3 persons 4 persons

grid with modular alterations

OCKERS MECHANICALPOWDER OO ADIEMEAN PRTE OFFICE ONLINE IND ONFERENC NURSING OO CHILDRENS OO ONFERENC OO ANY CATERI PRINT AB & RECLIN ASOO PRTE RESTING CE MECHANICALPOWDER OO ADIEMEAN OMMUNI ABLE PRINT & RECL ASOO INFORMAL ONFERENCE AR OB OCKERS PRTE OFFICE NURSING & CHILDRENS OO ONFERENC OO ANY CATERI SEMI-PRITE OFFICE OPEN OFFICE INDIVIALONFERENC CUBICLES UDORIUM/ OFFICEOUNGE/ ADING OO

square grid within site

DISD OFFICEmatrix development

U.N. Office digital composition varies

The difference between scales within the matrix familiarized the site with the idea of a modular distribution and created two different approach es in grid patterns. While one explores the idea of

a static, orgnized grid, the second proposal focuses on the rupturing of com ponents to allow more circulation flow between areas.

MECHANICALPOWDER OO ADIEMEAN OCKERS OPEN OFFIC OMMUNIY ABLE ONLINE IND ONFERENC ONFERENC OO ANY CATERI OSED OFFIC SOCIAL NUCLEUS UDORIU OMMUNI ABLE ASOOMS INFORMALONFERENCE OUNGOB OCKERS MECHANICALPOWDER OO ADIEMEAN PRTE OFFICE SMALL OU DICUSSIO NURSING OO ONFERENC OO ANY CATERI SEMI-PRITE OFFICE OPEN OFFICE OMMUNAL CE UDORIUM/ ADING OO

1’5’ 20’10’ 40’ MECHANICALPOWDER ROOM LADIESMENJAN. PRINT & RECYCLING AREA LOUNGE WORKING AREA LOBBY LOCKERS PRIVATE OFFICESCONFERENCE ROOM PLAN PRIVATE CONFERENCE CUBICLES AUDITORIUM/ OFFICE LOUNGE/ READING ROOM 80

EAST 59th STREET

SEMI-PRIVATE OFFICES

TABLE

PANTRY CAFETERIA

RESTING PODS

CLASSROOM

SEMI-PRIVATE OFFICES

NURSING LOUNGE PARK AVENUE

DISD OFFICEplan U.N. Office digital composition varies

The final plan was based on the juxtaposition of a ma trix, a repeated component grid and the breaking of this modular arrangement. Tension between these two geometries encompasses the work environment the office produces between a more relaxed and warm in terior with a rigid and strict space. The different areas provide spaces for working, resting, eating, socializing and lounging so that occu pants could have different environments and com partmentalize their work and rest time like they do at home.

80’ N MECHANICAL COMMUNITY

GATHER SCATTER

DISD OFFICEscatter/gather table

U.N. Office digital composition varies

The Scattet/Gather table is extracted from the curtain geometry but connects to the clients by letting them unite, work in small groups or work individually. The curtain ethos is having

a flexible structure that can be adjusted accord ing to what the user needs, the table allows the office to use it as they see fit, as a community or as an individual. Having this piece of furniture as

a centrepiece of the space reinforces the need to be together but allows ev erybody to keep distance as desired.

DISD OFFICEcurtain project

U.N. Office

burlap, polyurethane, vel cro, thread

3 x 6 ft.

The curtain takes inspi ration from the Centraal Beheer by Herman Hertzberger. Like the company building, the curtain is based on a matrix formed by mod ules. The adaptability

and flexibility of the Centraal Beheer provided the occupants to take an active role in the experi ence of their environment rathen than be subject to whatever was provided. The curtain allows the user to eperiment and

play with the compo nents so it can best fit their needs and break the mononotony that often characterizes work environments. The beehive shape relates to the architect’s worker’s village.

DISD OFFICEperspectives

U.N. Office digital composition varies

The material scheme was based in local resources found in the Northeast area of the United States. Both color palette and furniture program are meant to be familiar and cozy so employees

can feel warmth when inhabiting a corporate environment that is usu ally dominated by cold and dull furniture. Even though the materials are consistent throughout the space, each area intro

duces a new one so that the enviromnet can be less monotonous. The scheme ranges from repurposed glass, wood, and coffee bean bags made out of burlap to more delicate materials

plywood cotton maple birdseye PRIVATE CONFERENCE ROOMS_3 LOUNGE WORKING AREA_2 LOBBY FOYER_1 88 wood veneer bleached beech wood cotton + wool

THROUGH THE LOOKING GLASS

92 urban dwelling

Interior Design Studio - Fall Semester 2020

Professor - Calvert Wright

The urban dwelling will serve the Oliveira family from Brazil. Timoteo, the child, is within the autism spec trum and deals with challenges that can be addressed through spatial qualities that alleviate some of his symptoms.Taking into account the family’s special needs plus the contrast between their new surround ings and their home country, the urban dwelling strives to create an environment where the family can slowly ease into Brooklyn’s dynamics while at the same time incorporating moments in space that remind them of their roots through memory pockets.

The space incorporates moments within the structure that remind them of their roots through mem ory pockets.

Timoteo is within the autism spec trum and deals with challenges that can be addressed through spatial qualities that alleviate his symptoms.

THROUGH THE LOOKING GLASS - plans and model

Urban Dwelling

digital and analog com position varies

1st Floor Plan N 1 5 10 20 40 80’-0” 1/4”=1’-0” 2nd Floor Plan N parent’s bedroom parent’s bathroomcloset Timo’s safe space Timo’s bedroom bathroom 3rd Floor Plan TV room powder room grandpa’s bedroom bathroom kitchen dining room living room corridor library N B greenhouse lab Alvaro’s office 4rth Floor Plan N AC BB AC harvest garden 94

THROUGH THE LOOKING GLASS - sec tions and model

Urban Dwelling digital and analog com position varies

B-B SECTION C-C SECTION

A-A SECTION 97

SPATIAL SEQUENCE

Patterns help people on the spectrum map out the different spaces and level of stimulus they might need.

SPATIAL SEQUENCE

-Circulation path

-Changes of level to separate spaces

Patterns help people on the spectrum map out the different spaces and level of stimulus they might need.

-Circulation path

-Nature as a directional tool

-Changes of level to separate spaces

-Nature as a directional tool

SENSORY ZONING

Space should be organized depending on the level of stimulus or concentration each area requires.

Passive spaces - low level of stimulus

Semipassive spaces

Semiactive spaces

Active spaces - high level of stimulus

TRANSITION

Transition zones help the user calibrate the senses when they go from level of stimulus to the next

Space 1 Space 2

Transition spaces/elements

COMPARTMENTALIZATION

Limit sensory environment of each activity. Each area should have a designed function. The separation of spaces can be subtle but clear (change of material, color, level,etc)

Foyer

Foyer Library

Safe space & memory pockets

Kitchen Rooms & bathrooms Dining Living room

Safe space & memory pockets

Library

TV room

Dining Living room

Kitchen Rooms & bathrooms

Harvest garden Roof garden

THROUGH THE LOOKING GLASSASPECCTS diagrams and memory pockets

Urban Dwelling digital composition varies

Memory pockets are moments in space which feature natural elements. This allows the interaction between organic surroundings while weaving it with a more urban environment

that relates to the Brook lyn city-scape. Through these, the house imple ments a communicat ing threshold between past and present. The safe-spaces are merged with the memory pockets

to integrate Timoteo into the dynamics of the family so he doesn’t retreat and isolate himself from social ac tivities that might help in his growth development.

100

THROUGH THE LOOKING GLASS - material scheme sections

Urban Dwelling digital composition

16 x 9 in.

The material scheme combines natural elements that connect Rio’s environment and Brooklyn’s industrial character.

The color scheme is comprised with neutral colors due to Timo teo’s condition. Neutral colors are associated with cleanliness by people with ADS which makes them more comfortable in their surroundings.

The use of distinct materials in each area are meant to separate functions so that Timoteo knows when to recalibrate his senses depending on which zone needs more or less engagement on his part.

2nd Floor Plan N 3rd Floor Plan Alvaro’s office N 4rth Floor Plan N A A harvest garden greenhouse lab parent’s bedroom closet Timo’s safe space TV room powder room grandpa’s bedroom bathroom kitchen dining room living room corridor library Timo’s bedroom bathroom bathroom PLANS 101

102

THROUGH THE LOOKING GLASS - material scheme sections

Dwelling

The lighting plan is subtle and flexible as to not overwhelm Timoteo’s senses. Based on studies for children within the spectrum dim spotlight lighting is soothing and does not disrupt the child’s behaviour or routine.

Hierarchy within the lighting plan also allows Timoteo to under stand which focal areas require more engagement.

1 5 10 20 40 80’-0” 1/4”=1’-0” 2nd Floor Plan N 3rd Floor Plan parent’s bedroom closet Timo’s safe space TV room powder room grandpa’s bedroom bathroom kitchen dining room greenhouse lab Alvaro’s office living room corridor library Timo’s bedroom bathroom bathroom N 4rth Floor Plan N A C BB A C harvest garden PLANS 103

Urban

digital composition 16 x

in.

104

105

Formally inspired by the natural erosion and sunken holes of ceno tes which were considered sacred wells by many Mexican Indigenous communities like the Mayans.

The project introduces a structure that offers some respite from the density of the histori cal area and gives the guests at the hostel a form of natural sanctu ary that counterpoints the city’s restlessnes.

107

AGUA SANTAmaterial experimentation

plaster, lava rock, alumini um, soil varies

The geometric mutation of the original interior fabric is based on ero sive typologies that take inspiration from sacred Mexican Cenotes. The material experimentation researches methods of

biomimicry. Eroded rock is a finish employed throughout the project. Creating a sustainable version was important to prevent exploiting the natural resource within the cenotes. Through

embedding, imprinting, folding and sculpting ing, the 4 sketch models helped envision a mate rial that would evoke na ture without destroying it.

LAVA ROCK + PLASTER ALUMINUM FOIL + PLASTER ALUMINUM FOIL + PLASTER STONE + SOIL + PLASTER Roma Norte Hostel drawings by Haier Yang

108

drawings by Marlo Graham

109

AGUA SANTAplans

Roma Norte Hostel digital composition varies

The courtyard present ed many opportunities to translate the Cenote organic opennings and bridge a communion between these and the urban grid of the city. Juxstaposing these two

landscapes, the project aims to provide a rich space full of Mexican materials and colorful pal ettes that would relate to the heart of the city and the local natural environ ment of Mexico.

110

112

The material scheme was derived of earthly re sources that would ref erence natural cenotes like limestone, volcanic rock and wood. Weav ing a connection to the site which is very color ful and full of traditional

patterns present through out this particular neigh borhood. The atmosphere is enhanced by flashes of pigment that make the space young and lively. Overall, the ma teriality aims to merge these different environ

ments through the use of natural tones with bursts of color cre ating a space that is both fun and calming.

AGUA SANTAmaterial scheme Roma Norte Hostel digital composition varies

113

114

115

116

117

August 2020 - --

CHINA

A family of four requested a series of visualizations for the main floor of their house in Caracas, Venezu ela. From August 2020 and forward this project has been coming together piece by piece through renders, moodboards, and attentive assistance. The different ar eas of the house consisted of a backyard, dining room, children’s playroom and TV room.

Freelance

132

QUINTA LA

Work LC

133

QUINTA LA CHINAresidential project

Freelance work digital composition varies

134

135

136

137