Audrey Tseng Fischer Architectural Portfolio by Audrey Tseng Fischer

A udre y T s e n g F i s c h e r Architectural Portfolio 2020

2013 - 2019

Index

Audrey Tseng Fischer e-mail instagram address

audrey.fischer@yale.edu @audreysbreakfast 74 Mechanic St #1L New Haven, CT 06511 United States of America

Audrey Tseng Fischer

PROFESSIONAL 8 10 14 20 24 28

Skidmore Owings & Merrill LLP Shigeru Ban Architects Pelli Clarke Pelli Architects de Architekten Cie. Theis and Khan Philippe Rahm architectes

34 46 58 64 66

Mist Path Slowness Enlightenment A Chair for a Bonsai Master

ACADEMICS

New York City, United States of America Tokyo, Japan New York City, United States of America Amsterdam, The Netherlands England, United Kingdom Paris, France

Curriculum vitae

Academic

YALE UNIVERSITY, USA Masters in Architecture 2022 UNIVERSITY OF WATERLOO, CANADA Bachelor of Architectural Studies 2018 (Graduated with Distinction) Rome Program 2017 PAPRIKA! 2020

Coordinating Editor - Volume 6 Publisher - Elected to write grants,

budget, sort subscriptions, run events and coordinate distribution of weekly newspapers. NORTH GALLERY CATALOG 2020 Editor - Coorindate compile, and design visual and written materials from three exhibitors. Work with faculty members to timeline and prepare files for printing. UNIVERSITY OF WATERLOO ARCHITECTURE STUDENT ASSOCIATION 2013-2018 Vice President -Elected to address internal affairs within the School of Architecture. Sr Treasurer - Elected to prepare and update the budget as well as authorize and receive and disperse funds. Lobbied and received funding to upgrade studio furniture. Jr & Sr Secretary - Elected student council. Responsible for weekly meeting minutes, planning and coordinating events, and served as faculty/student liaison. ON EMPATHY Conversation IV : Seeking Help for a Friend (and Yourself) UNIVERSITY OF WATERLOO ICONOGRAPHY PLAY May - August 2015 Budget Coordinator - Elected to fund-raise and purchase materials for the production of the annual 2nd year play. The play is based on the life of the surrealist play-write Antonin Artaud. Awards & Publications

University of Waterloo International Experience Award - Paris & Tokyo University of Waterloo International Co-op Grant - Amsterdam & Tokyo ARCHDAILY de Architekten Cie. Reveal New Galileo Reference Centre in The Netherlands 2016

BRIDGE WATERLOO ARCHITECTURE Student Work / Blank Canvas / 1A 2015

Audrey Tseng Fischer

Professional

SKIDMORE, OWINGS & MERRILL

DE ARCHITEKTEN CIE.

2019

2016

New York City, USA

- Designed and coordinated a DD set for a tower in Zhuhai, China. Attended and conducted coordination meetings for the Royal Arts Complex Competition in Riyadh, Saudi Arabia. Contributed to final presentation and booklet submission. Interviewed for short documentary process film. Worked closely in teams for the Moynihan Train Station and put together weekly presentations and attended client and coordination meetings with Wayfinding and Industrial Design consultants. Junior Architect

Amsterdam, The Netherlands

- Designed furniture and completed renderings for Galileo Reference Centre. Contributed to feasibility studies for Belle van Zuylen and GZG Den Bosch, including 3D massing studies, parking area studies, structure studies, and presentation booklets.

Intern Architect

THEIS AND KHAN ARCHITECTS Kent, United Kingdom

2015

- Measured and prepared survey drawings for a church in London as well as for Quaker Meeting House, A-Grade II listed landmark in Central London. Measured, surveyed, and prepared drawings for a Grade II listed Historic cottage in the Wadhurst Conservation Area. Submitted full planning set, including a building consent application and a heritage statement. Team member for the Hurlingham Club West Wing Competition winning submission. Constructed scaled presentation model

Intern Architect

SHIGERU BAN ARCHITECTS Tokyo, Japan

2018

- Modeled physical and digital form for competition entry for the New Kagawa Prefectural Sports Arena. Prepared orthographic drawings and programmatic diagrams for George Brown College ‘The Arbour’ competition. Attended design meetings and updated digital model for George Brown proposal per Shigeru Ban’s request.

Intern Architect

PELLI CLARKE PELLI ARCHITECTS

New York City, USA

2017

- Completed presentation for Planned Unit Development (PUD) submission for a commercial-retail Class-A building 2100 Pennsylvania Avenue NW, Washington, DC. Prepared drawings and presentation for Office of Planning (OP), DDOT, SD, and DD submission. In charge of coordinating tasks for model maker as well as constructing models for weekly meetings, which were included in presentations to the client and consultants.

Intern Architect

PHILIPPE RAHM ARCHITECTES

Paris, France

2015

- Designed and detailed a lighting fixture in a team for Artemide’s Corso Monforte Milan Showroom. Team member for Reinventer Paris Urban Competition. Designed, drafted, and diagrammed for competition entry.

Intern Architect

Professional

Audrey Tseng Fischer

PROFESSIONAL 8 10 14 20 24 28

Skidmore, Owings & Merrill LLP Shigeru Ban Architects Pelli Clarke Pelli Architects de Architekten Cie. Theis and Khan Philippe Rahm architectes

New York City, United States of America Tokyo, Japan New York City, United States of America Amsterdam, The Netherlands England, United Kingdom Paris, France

Skidmore Owings & Merrill New York City, USA

2019 Winter - Summer

Designed and coordinated a DD set for a tower in Zhuhai, China. Attended and conducted coordination meetings for the Royal Arts Complex Competition in Riyadh, Saudi Arabia. Contributed to final presentation and booklet submission. Interviewed for short documentary process

film. Worked closely in teams for the Moynihan Train Station and put together weekly presentations and attended client and coordination meetings with Way-finding and Industrial Design consultants.

Aided in the design of zones highlighted in blue.

Render studies

Still : SOM team and process video

MOYNIHAN TRAIN HALL Client : Empire State Development, Long Island Railroad, & Amtrak

KING SALMAN PARK ROYAL ARTS COMPLEX

Part of the design team addressing RFIs and bulletins. Conducted design studies of the metal paneling for the skylight as well as documented the construction process on site. Coordinated with way-finding and industrial design consultants to design and locate signage, PIDs, tech-tables. 8

Design competition for the arts district of Riyadh, Saudi Arabia. Worked closely with consultants to develop the the mastplan as well as the plan of the â&#x20AC;&#x2DC;diskâ&#x20AC;&#x2122; and theatres within. Interviewed for process documentary.

500

天花顶 TOP OF CLG. EL- 8.65M 天花完成面 FINISH CLG. EL- 8.15M

与地面接缝对齐 ALIGN WITH FLOOR JOINT

150

150 WD22

500

2 A-714

MTL01

WD22

Audrey Tseng Fischer EQ

与地板接缝对齐 ALIGN WITH FLOOR JOINT 2层

对齐 ALIGN

LEVEL 02

5.5m

ST23

MTL21

远处的石板接缝 TONE PANEL JOINT EYOND

MTL24

石材支撑 STONE SUPPORT

连续的角 CONTINUOUS ANGLE

ST23

支撑结构、黑漆 UPPORT STRUCTURE, AINT BLACK

MTL21

完成楼面 FIN. FL

在需要的位置隔断 LOCKING AS NEEDED 垫层 ETTING BED

185

在需要的位置隔断 BLOCKING AS NEEDED

100

连续角 CONTINUOUS ANGLE

10 95

100

ST21

完成楼面 FIN. FL

垫层 SETTING BED 混凝土板 CONCRETE SLAB

混凝土板 ONCRETE SLAB

MTL21

珠海，中国

4 6 05 A-713A A-713A A-713A

Zhuhai, China 业主 OWNER

6 4 05 A-713A A-713A A-713A

中天城投集团贵阳房地产开发有限公司 Zhongtian Urban Investment Group Guiyang Real Estate Development Co. Ltd. 贵州省贵阳市新添大道289号 No. 289 Xintian Road, Guiyang, Guizhou 珠海爱奇湾区发展有限公司

Zhuhai Aiqiwan District Development Co., Ltd

剖面详图-水磨石墙B SECTION DETAIL - TERRAZZO WALL B 200

ARCHITECTURE

SOM 建筑事务所 Skidmore, Owings & Merrill LLP

纽约州纽约市华尔街14号， 10005 14 Wall Street, New York, NY 10005

15 2 A-714

180

200

ST23

500

远处的木贴面金属板接缝 WOOD VENEERED METAL PANEL JOINT BEYOND

1 A-714

MTL21

3 A-714

6 A-714

3 A-721

350

VARIES

SCALE: 1 : 50

建筑

SCALE: 1 : 5

1层办公大堂放大东立面 ENLARGED EAST ELEVATION - LEVEL 01 OFFICE LOBBY

珠海市横琴新区宝华路6号105室 Rm 105, No.6 Baohua Road, Hengqin New District, Zhuhai City

ST21

ED METAL PANEL WALL

1层

LEVEL 01

MTL21

Worked on the interior portion of the DD Set in Revitt. Studied and designed solutions for entrance and elevator lobbies. 345

SCALE: 1 : 50

支撑结构、黑漆 SUPPORT STRUCTURE, PAINT BLACK

MTL21

Zhuhai Hengqin IDG South Region HQ Project

ENLARGED WEST ELEVATION - LEVEL 01 OFFICE LOBBY 2950

MTL01

珠海横琴IDG 南方总部项目

1. 除另有注明，平面图上点标高在建筑装修完成地面标高之上。 SPOT ELEVATIONS ON FLOOR PLANS ARE TOP OF ARCHITECTURAL FINISH FLOOR ELEVATIONS U.N.O. 2. 结构楼板标高请参见结构图纸。 FOR STRUCTURE SLAB ELEVATIONS, REFER TO STRUCTURAL DRAWINGS. 3. 当地设计院根据提供的完成面标高和业主对所有区域具体饰面的要求，协调结构楼板和框架梁标高。 LDI TO COORDINATE STRUCTURAL SLAB ELEVATIONS AND FRAMING ELEVATIONS BASED ON FINISH FLOOR ELEVATIONS PROVIDED AND CLIENT’S DIRECTIONS ON SPECIFIC FINISH ALLOWANCES IN ALL AREAS. 4. 所有建筑完成面标高（单位为米）请参见1层，标高4.5m。 ALL BUILDING FF. ELEVATUIONS (IN METERS) ARE REFERENCED TO LEVEL 01, 4.5m EL 5. 总注释及适用所有规范请参见图纸G-003。 FOR GENERAL NOTES AND APPLICABLE CODES, SEE SHEET G-003. 6. 缩写、符号和材料说明请见图纸 G-002。 ABBREVIATIONS, SYMBOLS & MATERIAL LEGEND, MOUNTING HEIGHTS, REFER TO SHEET G-002. 7. 室内公共空间设计与详图参见图纸A-600系列。 FOR INTERIOR PUBLIC SPACES DESIGN & DETAILS, SEE SHEET SET A-600 SERIES. 8. 材料注释与卫生器具表参见图纸 G-005。 FOR THE MATERIALS KETNOTE LIST AND PLUMBING FIXTURE KEYNOTE LIST SEE SHEET G-00X. 9. 有关材料饰面、技术标准和视觉大样要求的补充技术要求，请参阅项目设计说明。 REFER TO PROJECT DESIGN DESCRIPTION FOR SUPPLEMENTARY SPECIFICATIONS REGARDING MATERIAL FINISHES, TECHNICAL CRITERIA AND MOCKUP REQUIREMENTS. 10.图纸旨在说明系统设计意图。任何产品的替换或系统的偏差都要经过业主和SOM的批准。 DRAWINGS TO ILLUSTRATE SYSTEM DESIGN INTENT ONLY. ANY PRODUCT SUBSTITUTIONS OR SYSTEM DEVIATIONS ARE SUBJECT TO CLIENT AND SOM’S APPROVAL.

ZHUHAI HENGQIN TOWER Client : Zhongtian IDG 1层办公大堂放大西立面 ST23

远处的石板接缝 TONE PANEL JOINT EYOND

室内说明 NOTES

30VARIES

对齐 ALIGN

3050

VARIES

180

100 500

200

01 A-713A

3050

500

100

350

200

8 A-714 天花完成面 FINISH EL-

ST23

TRUE NORTH

KEYPLAN

WD21

ST23

SEAL

连续角 CONTINUOUS ANGLE

对齐 ALIGN

WD22

2950

WD22

3050

支撑结构、黑漆 SUPPORT STRUCTURE, PAINT BLACK

NO. 编号

不锈钢基底 SSTL BASE 在需要的位置隔断 BLOCKING AS NEEDED 垫层 SETTING BED

混凝土板 CONCRETE SLAB

最终初步设计 Design Development

DESCRIPTION 说明

MTL21

2 A-713B

完成楼面 FIN. FL

3 A-760

标准室内剖面详图 586

100

55 5

100

垫层 SETTING BED

02.22.19

DATE 日期

DRAWING TITLE

100

完成楼面 FIN. FL

100

连续角 CONTINUOUS ANGLE

TYPICAL INTERIOR SECTION EQ EQ 587 DETAILS

EQB

600

568

DRAWING NUMBER

ST21

DING

水磨石墙A剖面详图 SECTION DETAIL - TERRAZZO WALL A

A-713A

3 A-713A

01 A-713A

02 A-713A

4 A-701

SCALE: 1 : 5

MTL21

混凝土核心筒墙 CONCRETE CORE WALL

3050

ST23

MTL21

混凝土板 CONCRETE SLAB

对齐 ALIGN

WD21

8150

2950

石材支撑 STONE SUPPORT

支撑柱 SUPPORT POST

对齐 ALIGN

ALIGN

NOT FOR CONSTRUCTION

5.5m

远处的木贴面金属板接缝 WOOD VENEERED METAL PANEL JOINT BEYOND

LEV

不作为施工图使用对齐

ST23

2层

LEVEL 02

MTL21

1层北大堂放南立面 ENLARGED SOUTH ELEVATION - LEVEL 01 NORTH LOBBY SCALE: 1 : 50

LEV

Shigeru Ban Architects Tokyo, Japan

2018 Winter

Modeled physical and digital form for competition entry for the New Kagawa Prefectural Sports Arena. Prepared orthographic drawings and programmatic diagrams for George Brown College ‘The Arbour’

THE ARBOUR Client - George Brown College A competition proposal for a 12-storey timber-mass lowcarbon education building in Toronto. The Arbour uses many passive and active strategies to drive Net-Positive Design, such as PV panels, “Breathable Wall” for natural ventilation, integrated Solar Chimney, and Geothermal Wells to tap into natural energy sources. The building uses structurally and environmentally efficient timber structural system. “Learning Landscapes”, found along the main atrium/circulation artery, promote information exchange between students. (Above) “Learning landscape” diagram. (Right) System diagram. 10

competition. Attended design meetings and updated digital model for George Brown proposal per Shigeru Ban’s request.

Audrey Tseng Fischer

The Arbour elevation

Renderings courtesy of Shigeru Ban Architects. 11

Shigeru Ban Architects

Renderings courtesy of Shigeru Ban Architects.

NEW KAQAWA PREFECTURE SPORTS ARENA Client - Kaqawa Prefecture

Renderings courtesy of Shigeru Ban Architects.

Team member for the competition proposal for a lightstructure arena and pavilion constructed of carbon fiber. Contributions included digital and physical model extensively utilizing carbon fiber technology to form the shape. Worked on presentation plans and axonometric.

Audrey Tseng Fischer

Axonometric of Arena

Foam model of Arena.

Pelli Clarke Pelli Architects New York City, USA

2017 Winter - Spring

Completed presentation for Planned Unit Development (PUD) submission for a commercialretail building on 2100 Pennsylvania Avenue NW in Washington, DC. Prepared drawings and presentation for Office of Planning (OP), DDOT, SD, and DD submission. In charge of

coordinating tasks for model maker as well as constructing models for weekly meetings, some of which included a presentation to the client and consultants.

Audrey Tseng Fischer

Renderings courtesy of Pelli Clarke Pelli Architects.

PROPERTY LINE

Pelli Clarke Pelli Architects

PROPERTY LINE

LEVEL 2 88.12' 6'-0"

96'-6"

LARGE BIORETENTION TREE, BEYOND

LEVEL 1 74.12'

BAY PROJECTION (21st St.)

Depth: 6'-0" Height: 26'-11" Increased Area of floor from 4’ to 6' projection: 30 sf

Width: 19'-0" Depth: 6'-0" Height: 96'-6" Increased Area of floor from 4’ to 6' projection: 30 sf

(DCMR 12A - 3202)

Width Calculation (DCMR 12A - 3202)

Total Building Width: 132'-0" Bay Width Allowable: 67'-0" Bay Width Provided: 37'-2"

Width: 18'-2" STD. DDOT SINGLE GLOBE LIGHT

2'-0"

PROJECTION HEIGHT

26'-11"

PROJECTION HEIGHT

6'-0"

BIORETENTION TREE BOX WITH STD. DDOT TREE PIT FENCE, BEYOND Code Calculation

SAND AS REQUIRED

Total Street Width: 90'-0" Bay Depth Allowable: 4'-0" Bay Depth Provided: 6'-0"

2'-0" 35'-4"

Bay Clearance Minimum: 20'-0" Bay Clearance Provided: 85'-4"

I STREET N.W.

Bay Clearance Minimum: 20'-0" Bay Clearance Provided: 35'-4"

CLEARANCE

85'-4"

CLEARANCE

STRUCTURAL SOIL

10' CLEAR

19' - 10"

5' - 0"

BRICK SIDEWALK

GRANITE COBBLE PAVERS

Diagrams for Office of Planning Zoning: Projections & street conditions. 2100 PENN AVE, NW DESIGN PROGRESS 07.20.2017

N -S BUILDING SECTION 3

with WDG Architecture 10'

-3

3/4

BOSTON PROPERTIES

2 7/8

3' -

20'

-0

5/8

1 A0324

- 0"

27'

- 0"

30'

13 GG

30'

- 0"

WDG ARCHITECTURE, PLLC 1025 CONNECTICUT AVENUE NW SUITE 300 WASHINGTON DC 20036 TEL 202 857 8300 FAX 202 463 2198 E-MAIL wdg@wdgarch.com

14 30'

- 0"

2100 PENN AVE, NW

EXHIBIT D (EAST SIDE)

20'

DESIGN PROGRESS 07.20.2017

OFFICE

2 A0 303 431

- 0"

EL 88.12'

with WDG Arch

1 A0 300 434

30'

. DESIGN ARCHITECT

BOSTON PRO

- 0"

322 8TH AVENUE 11TH FLOOR NEW YORK, NY 10001 TEL 212.417.9496 212.417.9497 FAX E-MAIL INFONYC@PCPARCH.COM

27'

- 0"

16 30'

- 0"

MPE ENGINEER DEWBERRY ENGINEERS INC.

STAIR A 18

OPEN BELOW

E S1

30'

8401 ARLINGTON BOULEVARD FAIRFAX, VIRGINIA 22031-4666

- 0"

TEL FAX

703.208.6870 703.876.4881 @DEWBERRY.COM

1/8

E-MAIL

48'

-0

CIVIL/LANDSCAPE ARCHITECT WILES MENSCH 11860 SUNRISE VALLEY DRIVE SUITE 200 RESTON, VA 20191 703.391.7600 TEL @WILESMENSCH.COM FAX

E-MAIL

STAIR B

1 A0 304

20' - 10 7/8"

A0 305

ATRIUM

OPEN BELOW

1 2

A0933

A0304

EL 88.12'

A0321

4' - 0"

3 A0 933

EL 80.62' EL 86.62'

2100 PENN

EL 88.12'

A0932 EL 75.62'

30' - 0"

A0323 EL 84.62'

1 A0305

1 A0303 A0431

ELEVATOR OVERRUN

2100 PENNSYLVANIA AVE NW WASHINGTON, DC 20037

MULTIPURPOSE ROOM

4' - 0 1/4"

1 A0301 A0433

OFFICE

STAIR D

BOSTON PROPERTIES

37' - 0"

1 A0236

2200 PENNSYLVANIA AVE, NW SUITE 200W WASHINGTON, DC 20037

EL 88.12'

SCHEMATIC DESIGN 3' - 0"

STAIR C

# 06/29/17

A0234

A0238

A0235

37' - 0"

A0322

1 A0237

PROFESSIONAL SEAL

2' - 7 7/8"

3' - 0 3/8"

A0321 12' - 1 1/8"

A0320

30' - 0"

LEVEL 2 SCALE: 1/8" = 1'-0"

Entrance model. (Right to left) Exterior; Interior; Detail of Assembly 16

12505 PARK POTOMAC AVE SUITE 200 POTOMAC, MD 20854 TEL 301.881.1441 FAX E-MAIL @SKAENGINEERS.COM

17 30'

2100 PENNSYLVANIA AVE NW Client - George Washington University 2100 Pennsylvania Avenue NW is situated at a prominent intersection and four blocks from the White House in Washington, DC. The design for the entrance, lobby, stairs, atrium, and pavilion Were inspired by Alvar Aalto’s vase. The program includes retail (19,450 SF), and office (428,113 SF) with a total Gross Floor Area of 447,564 SF.

STRUCTURAL ENGINEER SK&A MARYLAND

- 0"

OPEN BELOW

30' - 0"

1 A0302 A0435

30' - 0"

29' - 11 3/4"

3' - 2"

2nd level floor plan for Schematic Design

WDG PROJECT NO: WA16038

FLOOR PLAN LEVEL 2

SCALE: 1/8" = 1'-0"

16'

32'

A0216

Audrey Tseng Fischer

Submitted Packages: Conceptual Design (CD), Schematic Design (SD), Design Development (DD), Planned Unit Development (PUD), DC Office of Planning (OP), and District Department of Transportation (DDOT). (Top) Massing model with context. (Left) Schematic Design Elevation. (Bottom) Schematic Design interior elevations.

Pelli Clarke Pelli Architects

Audrey Tseng Fischer

Pelli Clarke Pelli Ar chite cts

September 28, 2017

Cesar Pelli

FAIA

Fred W Clarke Rafael Pelli

To Whom It May Concern,

FAIA

Craig Copeland

I am writing on behalf of Audrey Tseng Fischer who worked at Pelli Clarke Pelli Architects from January to August 2017, as part of her internship for Waterloo University.

AIA

Ann Marie Baranowski John A Brewer Danielle H Cerone En-Ming Chang Tobias T Hahne Kristin Hopkins-Clegg Magdalena Kowalska

322 Eighth Avenue New York NY 10001 T 212 417 9496 F 212 417 9497 pcparch.com

AIA

Audrey’s exceptional creative skills and dedicated work ethic together critically contributed to the overall positive environment in our office and in the particular success of our 2100 Pennsylvania Avenue project, a 450,000SF Class-A Office Building, for which she worked full time throughout the entire Schematic Design phase and into the first months of Design Development. As the NYC studio’s Associate Partner, and as the 2100 Pennsylvania Avenue Design Team Leader, I can attest firsthand to how Audrey’s diligent and attentive work was consistently essential to our design team’s temperament and the work we needed to complete. Audrey was selflessly supportive of every effort over months of intense design and production. Working closely with our team, Audrey was responsible for helping prepare Schematic Design drawings, as well as Public Approvals documents and early Design Development progress documents. In particular, Audrey was also responsible for the coordination of physical models for weekly presentations. Furthermore, she impresively managed to achieve great proficiency in BIM, during this busy time. Audrey Tseng Fischer has been an exceptional designer and a great colleague to me. She is extremely passionate and thorough with everything she does, and I know that she is primed and ready to enrich any studio for which she is a part, and will continue to deepen her architectural knowledge in the best working and/or learning environment available. I therefore recommend Audrey unequivocally. Please do not hesitate to call me to comment further if it is of help

Craig Copeland, Associate Partner

de Architekten Cie. Amsterdam, The Netherlands

2016 Summer

Designed furniture and completed communication renders for Galileo Reference Centre. Worked on feasibility studies for Belle van Zuylen and GZG Den Bosch, including 3D massing studies, parking area studies, structure studies, and presentation booklets.

(Below) Plan of entrance (Right) Coffee-corner furniture

Renderings courtesy of de Architekten Cie.

GALILEO REFERENCE CENTRE Client - European Global Navigation Satellite Systems Agency (GSA) Opened 16 May 2018

Featured on ArchDaily 19 August 2016

A design for a new data collection center in Noordwijk, The Netherlands. The facade is made of interchangeable panels - one of the many adaptive feature of the building. The lobby acts as a social space, allowing users to grab a coffee, have informal meetings, and lounge. My contribution focused on this lobby area, designing and delineating the fixed furniture.

Audrey Tseng Fischer

Photograph courtesy of de Architekten Cie.

de Architekten Cie.

Audrey Tseng Fischer

Theis and Khan Architects Kent, United Kingdom

2015 Fall

Measured and prepared survey drawings for a church in London and Historic listed Grade II Quaker Meeting House in central London. Measured, surveyed, and prepared drawings for a Grade II listed Historic cottage in the Wadhurst Conservation Area. Submitted full

planning application including a building consent application and a heritage statement. Constructed scaled model for the Hurlingham Club West Wing design competition, which the office won.

Model photos

The Hurlingham Club Competition Client - The Hurlingham Club 24

Winner: Theis and Khan Architects Modeled entry throughout design process. Composed out of museum board, mill-board, trace, and card stock. Entire model built and cut by hand.

Audrey Tseng Fischer

Survey section

Director’s sketch

+20.13

h=2408 s=1063

h=3513 s=1348

rise=200 run=210

h=2183

h=3513 s=1348

fc=2690

h=2040

VESTRY

h=3513 s=1348

STORAGE

REAR LOBBY

h=2183

h=3506 s=1309

s=1000

h=2040

fc=2820

fc=2850

h=2070

h=2200

h=2130

h=2300

rise=180 run=220

h=3513 s=1348

h=2594 s=915

h=2130

h=2594 s=915

h=3513 s=1348

SMALL HALL

ORGAN ROOM

CHURCH SANCTUARY

h=2130

h=3468 s=303

h=3513 s=1348

MAIN HALL

h=2594 s=915

h=2300

rise=180 run=220

fc=2030

LOBBY

h=2130

h=3470 s=1460

+20.10

KITCHEN

h=2200

h=2410 s=1220

h=2430 s=1450

h=2332

h=3513 s=1348

h=2335 s=922

h=2200

h=2430 s=1450

h=2140

rise=725

h=3513 s=1348

rise=181 run=163

h=2594 s=915

h=2140

h=3513 s=1348

h=1675

rise=180 run=230

STAGE

KITCHEN

STORAGE

h=3283 s=930

h=2022

+18.08

h=1814

LOBBY

h=3695 s=285

boiler

h=3695 s=285

fc=2240

STORAGE

rise=230

+20.08

storage

fc=2715

SMALL HALL

h=3470 s=1305

My responsibility was surveying and documenting the church to produce base drawings. These drawings were used to design the church’s renovation.

Christ Church New Southgate & Friern Barnet Client - Christ Church

h=2430 s=1450

h=3470 s=1460

h=2990 s=1440

Survey plan

Theis and Khan Architects

Audrey Tseng Fischer

To Whom It May Concern

5 January 2016 Audrey Tseng Fischer Dear Sir/Madam Audrey joined us at the beginning of September 2015 as an intern and during that time she worked on several different kinds of projects all of which she grasped quickly with an intelligent understanding. Amongst others Audreyâ&#x20AC;&#x2122;s tasks included measuring and preparing survey drawings for a large, Grade II listed headquarters building in central London; constructing a scale model of the Hurlingham Club West wing and producing 3D images for a design competition that our practice subsequently won; working on the production drawings for a listed barn conversion. Her final task at Theis + Khan was to survey a Grade II listed cottage, prepare existing and proposed drawings, write the Design and Access statement and submit all of the documents through the Planning Portal in order to make a full planning and listed building consent application. Audrey is diligent and hardworking and is capable of working on a variety of different tasks. She is very easy to work with and makes valuable contributions. We have no hesitation in recommending her for a position within your company. Yours sincerely

Soraya Khan

Philippe Rahm architectes Paris, France

2015 Winter

Designed and detailed a lighting fixture in a team for Artemideâ&#x20AC;&#x2122;s Corso Monforte Milan Showroom. Designed, drafted, and

diagrammed for Reinventer Paris urban competition.

Detail of ring supported by ceiling and wall

Detail of ring supported by floor and wall

Detail of ring and LED rod connection

Showroom 14 April 2015

Showroom

BEARING WALL

STEEL STRUCTURE LED TUBE STEEL RING HOLDING THE TUBES

INTERIOR PLATERBOARD/ DRY WALL

Audrey Tseng Fischer

SPECTRAL LIGHT Client - Artemide

(Above) Light Fixture

A design for a lighting fixture for Artemideâ&#x20AC;&#x2122;s Milan Corso Monforte Showroom. Emits a healthy light with only the wavelengths necessary for human, hamster, dog, bird, and plant. Each rod produces one wavelength to create an

economical light ie. does not lose energy producing wavelengths unnecessary to the above species. The showroom instillation allows the viewer to experience the light as the different species. 29

Philippe Rahm architectes

Audrey Tseng Fischer

Academic

Audrey Tseng Fischer

ACADEMICS 34 46 58 64 66

Mist Path Slowness Enlightenment A Chair for a Bonsai Master

Mist

OYUNUMA MIST ONSEN Professor Andrew Levitt Spring 2018

“Emptiness which is conceptually liable to be mistaken for sheer nothingness is in fact the reservior of infinite possibilities.” - Daisetsu Teiaro Suzuki

When Professor Andrew Levitt flipped through images of our studio’s selected site, one image in particular fascinated me, a photograph of the Oyunuma Pond during the winter. Steam, rising from hot springs, created a veil over the mountainside. This blurred image brought to mind my mother’s watercolor paintings. Her paintings intentionally leave moments of her subject empty (void of color) which invites the painting to be completed by the viewer. Similarly, the practice of Zen echoes this perception of ‘incomplete’ as whole. The awareness of various interpretations can be depicted in art as an ambiguous, yet personally rich, reality. Zen thought acknowledges limitations of one’s ability to conceptualize a reality that is universally defined, a reality composed of expressions and experiences. The Oyunuma Mist Onsen expresses the experience of mist. One can have many interpretations of mist, as conveyed in Henry David Thoreau’s poem. As such, the Mist can be experienced as dryness, collection, condensation, evaporation, suspension and reflection. The expressions of Mist are ephemeral, and grounded in one’s experiences.

Mist By Henry David Thoreau Low-anchored cloud, Newfoundland air, Fountain-head and source of rivers, Dew-cloth, dream-drapery, And napkin spread by fays; Drifting meadow of the air, Where bloom the daisied banks and violets, And in whose fenny labyrinth The bittern booms and heron wades; Spirit of lakes and seas and rivers,— Bear only perfumes and the scent Of healing herbs to just men’s fields.

“ Mist and twilight awaken the imagination by making visual images unclear and ambiguous; a Chinese painting of a foggy mountain landscape, or the raked sand gardens of Ryan-ji Zen garden, give rise to an unfocused way of looking, evoking a trance-like, meditative state. The absentminded gaze penetrates the surface of the physical image and focuses in infinity.” - Juhiani Pallasmaa, The Eyes of the Skin: Architecture and the Senses

Audrey Tseng Fischer

Mist

EXPRESSIONS OF MIST

Ephemeral and Grounded

This ephemerality embodies phenomenology - a space to see, smell, taste, and listen. One can play with light, breathe in flowers, prepare a meal, or anticipate falling water. Here, there is a lightness to being. The ground gives warmth, water and a place to find balance - a space to experience touch. Here, the earth is expounded, presenting a stage for phenomenology.

EXPERIENCES OF MIST

Dry

Collection

Condensation

Program

Accommodation

Showers

Greenhouse

Structure

Double wall

Parti 36

Audrey Tseng Fischer Parti elements

Evaporation

Suspension

Reflection

Mist

Tea house /

Kitchen /

Entrance

Spa

Archive

Lounge

MIST : Spa

SUSPENSION : Kitchen

REFLECTION : Entrance

Audrey Tseng Fischer

Dry Collection Condensatoin Evaporation Suspension Reflection Mist

Accommodation Showers Greenhouse Tea House / Archive Kitchen / Lounge Entrance Spa

EVAPORATION : Tea House

CONDENSATION : Greenhouse

COLLECTION : Showers

Dry : Accommodation

Mist

Rendering of Greenhouse showing interior condensation.

GREENHOUSE / CONDENSATION

The sun heated interior and the cold exterior create condensation on the window panes. The cold outside air falls through the double wall - water collects on a larger surface area. The water droplets fall down the glass into 40

a gutter. The gutter then directs the water, irrigating the plant bed. Excess heat is ventilated through the top of the greenhouse.

Audrey Tseng Fischer

Vignette of Greenhouse in Summer.

Vignette of Greenhouse in Winter.

Section of Greenhouse showing circulation of hot and cold air. As exterior cold air (blue) falls between glass and interior hot air (pink) rises, water condenses on the interior window pane. 41

Mist

Section of Teahouse. Plan of Teahouse.

TEAHOUSE / EVAPORATION Jasmine scented air is ventilated through operable windows. The surface visitors sit is heated from a thermally fed pool below. This hot water creates steam, giving the illusion of a floating platform. The double wall is composed of glass and a screen. The glass keeps the wind out of the enclosure and allows for views into the tea house. The interior wooden screens are made of cypress, which turn dark when exposed to moisture. The dark wood acts as a display for the tea vapor.

Audrey Tseng Fischer

Section rendered.

Section of Teahouse. 43

Mist

Vignettes

Plan of â&#x20AC;&#x153;Suspensionâ&#x20AC;? Kitchen.

(Top) A vignette of onsen tamago - a Japanese egg which is slow cooked in the onsen hot spring water. (Bottom) A vignette of the suspended eating platform. The tabletop, which is the only component grounded, provides heat and water for the diners. 44

Audrey Tseng Fischer

KITCHEN / SUSPENSION After a night of restful sleep, or a day spent walking through the forest - when one is ready to sit down with other guests for a communal meal - one finds themselve suspended in an atmosphere just like mist.

Unacquainted visitors will dine on a floating platform, suspended in an enclosure. Sharing this experience will break the social tension. Just as Zhao Haipeng expressed a calmness to the tension of suspension, so will this dining experience.

â&#x20AC;&#x153;Suspensionâ&#x20AC;? Kitchen exterior render.

A rendering of the steam from the thermally heated pool falling down the topography, covering the ground and giving the illusion the building is suspended. 45

Mist

Plan of Onsen

ONSEN / MIST Mist drapes over the mountains, as if to claim itâ&#x20AC;&#x2122;s own dream-scape. It falls to the lowest crevice the ground has to offer. It drifts across the underbrush creating a shroud of mystery. The bathhouse is a haven for mist. The warmth brings life to water - releasing it from the ground. The vapor rises out of the shadow to dance in the sunlight. The mist indulges in the spacious enclosure, covering all surfaces with ambiguity. It plays while human figures feel their way around the spa, touching all surfaces, gathering the condensation, and turning faucets to enable

the water droplets to rise again. The onsen is a place of both sensory deprivation, and intensification. The guest may not be able to rely on their vision, but their tactile knowledge allows them to sense their way around the bath to gather their bearing. The space is dark and saturated with mist, inviting one to reach out and hold on their built-in handrail to navigate their way. The floor dips just before the stairs down into the bathwater, making the visitorâ&#x20AC;&#x2122;s feet aware of the upcoming water before they submerge themselves.

Audrey Tseng Fischer

Section through Onsen

Vignettes of Onsen 47

Reimagining

REIMAGINING Professor Peter Sealy Fall 2016

Rock from collection. Diagrams by Eugène Viollet-le-Duc.

THE PERSISTENT INDEX A studio dedicated to the study of the persistent index, surfaces and voids.

Eugène Viollet-le-Duc, in his book Architecture and the Historical Imagination, recorded his pursuit to create the history of a mountain and ‘restore’ it to such - essentially designing the future based on an imagined past with disregard for the present.

Audrey Tseng Fischer

(top to bottom) 123D Catch scan of rock, sketch, 3D model

(top to bottom) 100 polygon mesh surface, 1000 polygon mesh surface, and 10000 olygon mesh surface.

Inspired by Viollet-le-Duc’s design strategy, I scanned a rock using 123D Catch and imagined/sketched it’s past structure as if it had eroded. I modeled the peaks using 3D software (Rhino) to ‘restore’ the imagined mountain.

The 3D model of the scanned rock allowed me to map different materials using rendering software (V-Ray). While manipulating the mesh density, I found certain polygon counts were ideal for specific materials maps. The scale-less and site-less rock gave the impression of a mountain’s scale and site.

Path

PATH

Professor Peter Sealy Fall 2016

THE PERSISTENT INDEX A studio dedicated to the study of the persistent index, surfaces and voids. STUDIO BRIEF The studio called for a proposal to replace the AMC Forum, in Montreal’s Cabot Square neighborhood, with a new building for a University.

PROPOSAL

My proposal is a path contained educational spaces connecting two neighborhoods: the university area (Cabot Square) and the residential neighborhood which houses students (Little Burgundy). These neighborhoods are divided by topography and an elevated highway. The design approach was heavily influence by Eugène Viollet-le-Duc and Carlo Scarpa. Casting was integral to the design. Concrete, plaster, and metal were used in a Scarpa-esque style. Just as Scarpa designed through the perspective of water, Stria is designed through the lens of Earth, light, and material properties.

Topography: Similarly to Viollet-le-Duc’s approach to restoring mountains, the proposal imagines a ‘natural’ ravine / footpath through the extreme topography. As Earth will be excavated in the process of construction, the project will take advantage of index of history by exposing the geological strata. Elevated highway: The underpass on the site was stunning. The light seeping through the reveal between the two main elevated highways preimagined how one would navigate the path-system. People would follow the overhead light to make their way up or down the hill.

Audrey Tseng Fischer

(above) Aerial of site. (below) Key plan of site.

Path

“Water as circulation.” In 1949, Carlo Scarpa was commissioned to reorganize and restore Fondazione Querini Stampalia which has been damaged due to frequent flooding. Rather than building a dam to separate the building from the canals of Venice, Scarpa designed through the lens of water. The organization of the building directed people to flow through the building silimarily to how water flows through Scarpa’s fountain detail.

Photos of Fondazione Querini

Sketches of Fondazione Querini Stampalia. 2017

Stampalia. 2017

“Light as wayfinding.” The phrase is emblematic of our inherent attraction to light. When one walks into an enclosure, their attention is immediately drawn towards the sunlit window. Our eyes are interested in the contrast of light, which appears, disappears, or moves. This psychological trait allows for a simple design solution for way-finding. As the project is ultimately a path, one is able to navigate

their way through the site by following the overhead slit of light (inspired by the reveal between elevated highways) or walking towards the illuminated threshold. The light will appear, disappear, and move with the pedestrian.

(opposite page) Key plan of vignette view: Entrance / Exit at 52

lowest elevation, under elevated highways

Audrey Tseng Fischer

Photo of underpass reveal. 53

Path

Cast of site. Materials: Plaster and concrete.

After the initial descent, one can either enter the enclosures or continue on their way. The path proceeds beneath the underpass, crossing the dividing lines (topography + transit) between neighborhoods. 54

Audrey Tseng Fischer

Key plan of vignette view : path in-between neighborhoods

Path

Cast of entrance. Material: concrete & plaster

One descends into the Earth, arriving at the adjacent neighborhood by following a line - a line manifested through form, material, and light. The pathway shapes an impression on the landscape, making a physical connection between the neighborhoods. 56

Audrey Tseng Fischer

Key plan of vignette view: Entrance / Exit at highest elevation

Slowness

SLOWNESS

Professor Lola Sheppard Fall 2014

Proposed flora for site.

A series of details that will act as a catalyst for wetlands as well as create recreational space. A recreational centre in Toronto along the Don River that will slow down and filter runoff, erosion, and rain water via a constructed wetland. The method

of slowing runoff in limited space is inspired by the adjacent golf course, zig zagging the game instead of having one long fairway. The sequence of movement for water follows the natural processes of a wetland: sedimentation, aeration, and biofiltration.

Audrey Tseng Fischer

C C

(Above) Details of user and

water relationship along the

A: Plan of Bird Watching Bridge

walk to the Bird Watching

B: Elevation of Bird Watching Bridge

Bridge

C: Section of Bird Watching Bridge

Audrey Tseng Fischer

Bird Watching Bridge

Kayak Recreation Center

Site plan.

Sedimentation over time.

Aeration piles over time.

Slowness

Plan of Kayak Recreation Center

Axo of Kayak Recreation Center 62

Audrey Tseng Fischer

Vignette of Kayak Recreation Center.

(left) Sketch of kayak pulley. (right) Sketch of approach to Kayak Recreation Center. 63

Enlightened

Model studies

Plan

Interior model images

ENLIGHTENMENT In company of others or yourself. Professor Rick Andrighetti Fall 2013

A design for an elemental building with a threshold, passage, change of level, and place of repose. Significant factors include architectonic elements, the relationship between them, materials used, and the way in which the spaces they create impact the user of that space.

Audrey Tseng Fischer

East proportional study

North proportional study

East Section: showing places of

North Section: showing places of

enlightenment c

East Elevation

enlightenment f

North Elevation 65

Grandpa Tseng

Audrey Tseng Fischer

A CHAIR FOR A BONSAI MASTER Fall 2016

The chair and turntable set are designed for Grandpa Tseng. The set is inspired by a bonsai technique Grandpa taught me: Jin and Shari. The ensamble is composed of a chair and a bonsai turn-table. The turn-table is lifted up, or ‘uprooted,’ through a hole in the center of the chair when the master is ready to work. The two parts of the chair, the chair and the turn-table, represent Jin or Shari and live-wood, respectively. The walnut, a wood which keeps it’s brilliant colour longer, represents the bonsai turn-table, or live-wood, of the set. The teak, a wood which changes colour as it ages, represents the chair, or Jin or Shari. The diagram illustrates the “uprooting” of the turntable from the chair.

Diagram of the chair assembled and separated.

A Chair for a Bonsai Master

BONSAI

JIN OR SHARI

The practice of bonsai, or tending of a tree miniaturized in a pot, was first depicted in Chinese handscroll paintings and songs during the Kamakura period (1185 – 1333). The practice was introduced to Japan during the 14th century by Zen Buddhist monks in China. The priests of Zen Buddhism in Kyoto and Kamakura conceived of a spiritual framework to understand the art of bonsai. This framework cultivated a perception of bonsai as a symbol illustrating the unity between the beholder and the beheld, of humans and nature and the memory of all matter. As one looks at the bonsai their eyes see the embodied memory of the bonsai master, the tree, and all of humanity and nature. The bonsai master’s hands, through the act of making, accesses this embodied memory to create an empathetic form of the ever-changing tree. The master prunes, grafts, and preforms other rituals of care to form the beautiful bonsai.

The bonsai care technique of Jin or Shari was popularized by Masahiku Kimura. Masahiku Kimura, also known as “Magical Technician of Kindai Shuppan,” is a bonsai master from Japan born in 1940. During his time as an apprentice deadwood bonsai techniques were unheard of. Under much controversy, Kimurasan carved and shaped deadwood into his bonsai. He broke the traditional practice and philosophy: instead of representing a tree, Kimura-san symbolized it. The balance between deadwood and live-wood gives the expression of being exposed to natural processes : windswept, time, elements. The roughness of “wild” is aesthetic. This technique is known as jin or shari.

Audrey Tseng Fischer

A Chair for a Bonsai Master

Leg detail Detail of a technique used in bonsai when the master wants to manipulate branch or graft two trees together.Â The action involves wrapping a wire around the branches to support the grafting process; an action mimicked in the detailing of the legs of the bonsai turntable

A study of grafting techniques commonly used in bonsai stylizing.

Audrey Tseng Fischer

Tenon detail The live-wood of the ensemble is represented in the detailing of a “sprouting” tenon in the mortise and tenon joint. The turntable is placed on top of the sprouting tenons and pivots around a center joint. As the bonsai master rotates his bonsai on the table, the sprouting tenons will scrape the underside of the turntable, creating rings of time, or growth rings created in the trunks of trees ( tree image : Ash, 80 years old, Bryan Nash Gill )

A Chair for a Bonsai Master

I recalled the Jin and Shari my grandfather taught me. The intertwining of live and dead wood give the bonsai an expression of being exposed to natural processes : elements eroding the tree’s form over time creating beauty. Simple beauty is revealed in the wind-swept turn of tree trunks or exposed roots on a cliff-side. I designed the chair and turntable set for my grandfather inspired by this concept, utilizing the physical properties and nature of a chair and the wood from which it is constructed. The ensamble is composed of a chair and a bonsai turntable. The turntable is lifted up, or ‘uprooted,’ through a hole in the center of the chair when the master is ready to work. The two parts of the chair, the seat and the turntable, represent Jin or Shari and live-wood, respectively. 72

The Jin or Shari is made from teak, a wood that turns grey as it ages giving the expression of death. The live-wood is composed of walnut, a dark wood which keeps its luster and shine as it ages giving the expression of life. Flush tenons on the chair are unnoticeable if one runs their fingers along the joint, but present themselves as on views the grain of the wood. The live-wood is detailed as protruding tenons, representing sprouting tree branches. Just as trees show their age through growth rings, the master will be able to see time pass as he turns the table. The sprouting tenons will scratch the underside of the turntable creating rings.

Audrey Tseng Fischer

Personal

NEAGARI ISHITSUKI BONSAI (clinging to a rock style) 2018

This style, the middle distance landscape composition, expresses a balance between the rock and tree. They sit in harmony composed to appear as extensions of each other. The roots cling to the rock which, in turn,

becomes the trunk. The rockâ&#x20AC;&#x2122;s stillness is balanced by blooming foliage. The tree will grow; the rock will never change. Thus, the pairâ&#x20AC;&#x2122;s composition must continuously readjust over time.

Audrey Tseng Fischer

MOSS + ROCK 2018 Gathered a set of sedimentary rocks to plant moss. Photographed the rock and documented the textures.

Audrey Tseng Fischer e-mail instagram

audrey.fischer@yale.edu @audreysbreakfast