My ARchiTecture I am crazy about this line: the line between Art and Architecture. I make art, through which my architecture is nourished. I am an architect, but always approach my architecture in the way of artist.
Darian Lu
PG.1
PG.2
PG.3
6 26 34 38 56 58 66 68 70
Layering City Fredrick Levrat Studio:Knowledge City Fall 2012
Body-ish Fashion Gallery Mark Rakatansky Studio: Inventive Curatorial in MET Summer 2012
“VooDoo” Bear Mitchell Squire Studio: Toys! Spring 2011
Encountering Jazz Mitchell Squire Studio: Boston symphony Center Spring 2012
You Got Caked! Mitchell Squire Studio: Toys! Spring 2011
Re-Contexturalize Samantha Krukwoski Studio Spring 2010
Woven Field Entrepreneur Project: Outdoor Amphitheater Spring 2012
Hy-Bird Hotel Visual Study Spring 2013
Darian Lu | Architecture Portfolio | 2008-2013 PG.4
Retorno | Desvio Keith Kaseman Studio: Rio Remix Spring 2013
PG.5
Layering City KNOWLEDGE EXCHANGE INBETWEEN NYU & NYC CAN WE BETRAY THE VERTICALITY OF NYC, CREATING AN URBAN CONDITION THAT ENCOURAGES EXCHANGES.
PG.6
PG.7
Layering City KNOWLEDGE EXCHANGE INBETWEEN NYU & NYC CAN WE BETRAY THE VERTICALITY OF NYC, CREATING AN URBAN CONDITION THAT ENCOURAGES EXCHANGES.
Project Advisor: Fredrick Levrat Individual Project The project is a result of critical observation of NYC. It can be categorized into the following: Vivid street activities Vs. Cold and mysterious skyscrapers; People are indifferent with each other, which is contradictory to the density of NYC; The strict boundaries within existing urban design and public infrastructures. The goal of the porject is to create a unique condition that urban activities happen on all layers of the building. Different people are brought together through interactions of these layers, which eventually stimulate knowledge exchange.
PG.8
PG.9
VS.
NYC Street Activities
PG.10
NYC Skyscrapers
Density and Verticality
PG.11
Interactive Layers To Achieve the project goal, my strategy is to apply several layers on the site. The interactions of these layers (eg. folding, peeling, lifting, twisting etc.) creates knowledge exchange. The exchange happens from physical to virtual.
Speific applications extracted from concept model
(Continuity of floorplates)
Multiple Layers of programs The programs of these layers are driven by what are already around the site. By stacking these programs vertically, a new urban condition is created. Meanwhile, new programs can possibly be created. Divide space with horizotal layers, instead of strict vertical divisions
Physical
Virtual 1. Residence 2. Open Space 3. Industry 4. Commercial 5. Campus 6. Transportation
1. Cooper Union 2. The New School 3. NYU 4. City College of New York 5. Columbia University 6. School of Visual Arts
RESIDENCE
living in small households
A learning Community that provides affordable housing to designers in needs
Creative Making
Exposing the making process of products/ open studio
PRODUCTION cOMPANY
COMMERCIAL Selling/Buying
A Learning Community that encourages emerging entrepreneur designers/students
CAMPUS Learning
GREEN SPACE
Outdoor learning/events, Sports
Gathering/ “ not doing� Undefined Programs
TRANSPORTATION
Commuting
(Present in Section)
(Present in Section)
PG.12
PG.13
HONG KONG
NEW YORK
TOKYO
DUBAI
SHANG HAI
CHICAGO
GUANGZHOU
SEOUL
KUALA LUM- TORONTO PUR
5th Level
4th Level
3rd Level
104 FT
2nd Level
Street Level
Basement -1
Basement -2
Form Strategy PG.14
Circulation in Section
PG.15
N
Transverse Section
Gallery
S Entry Gym
PG.16
Open Studio +Artist Residence
Semi-Outdoor Performance Area
Gym + Commercial Gym
Secondary Entry Entry Semi Outdoor Social Space
Gym + Commercial Gym
PG.17
PG.18
PG.19
PG.20
PG.21
PG.22
PG.23
Facade Design
PG.24
PG.25
Body-ish Gallery FASHION GALLERY CURATORIAL INVENTION CAN WE EXTEND THE COLLECTION TO EVEN INVOLVE THE AUDIENCE OF THE GALLERY, CREATING A COMPLETE DIALOG WITHIN TIMELESS FASHION?
PG.26
PG.27
Body-ish Gallery FASHION GALLERY CURATORIAL INVENTION Traditional
CAN WE EXTEND THE COLLECTION TO EVEN INVOLVE THE AUDIENCE OF THE GALLERY, CREATING A COMPLETE DIALOG WITHIN TIMELESS FASHION?
Traditional
Project Advisor: Mark Rakatansky Individual Project
Conventional
Conventional
Inventive
Marking Status, signaling nobless and leisure by wearing clothes that restrict movements. eg. corset, hopple skirts in 1910 Conforming or adhering to accepted standards Time-related disruptions to a consistent type, style, or look
Inventive
Fashion is a time-based disruption of culture. The project goal is to create a series of space disruptions in the galleries of Metropolitan Musuem of Art. The fashion gallery draws attention to historical costume, display high-end fashion designs, and more importantly: putting people’s everyday wear onto display through visitors themselves. This paticular space disruption in MET was created with material that resembles modern leggings. With underneath structural support, it is able to be manipulated to create different forms and controlled perspectives that are used to display garments.
Fasion Cycle
Traditional
Conventional Fashion Cycle
Inventive
New Circulation
Concept Diagram: Space Disruptions
Exisiting Circulation
Circulation
Displa Arriving
PG.28
Coat Check
Display
Visiting Studio
Library
Runway
Runway
Fashion Photography
Runway
PG.29
Mix and Match +Controlled Perspective Creating this “Mix and Match” display allows visitors to have a fresh view on different artifacts. A “Controlled Perspective” draws attention from outside of fashion to particular Curatorial Strategygallery in Architecture Space objects. 15’-0”
4’-0”
Fabric
Fabric
Hat Hanger
6’-0”
5’-0” Glass
3’-0”
+
Glass
Hat Hanger
2’-0”
Seating
Seating
2’-0”
Hat Hanger Hat Hanger
3’-0”
2’-0” 3’-0”
2’-0”
3’-0”
1’-6”
1’-6”
Seating
Seating
Shoe DisplayShoe Display
3’-0”
PG.30
3’-0”
3’-0”
3’-0”
3’-0”
Shoe
Clothes
Hat
Hat Hanger
Hat Hanger
PG.31
I am concerned that you don’t know me. I am more concerned that I don’t know myself, or what I am passionate about.
I am concerned that you can’t see ME through my work. I am concerned that I am not in my work; what I am passionate about is not present.
I am concerned that you won’t like me. I am concerned that what I am passionate about is considered odd, and who I am is not what I am expected to be.
Before joining an architecture academia, we were forming our identities through our choices. Architectural decisions, though most of the time subconsciously, come from this identity. The choreography of diagonals, boxes, curves, color, material, lighting, are design choices made by individuals. To be able to identify oneself in architecture, however, does not mean an identity can be formed through architecture alone, and it shouldn’t be. Architecture is just one part of your life. The studio can be dangerous as a place where culture is created within a very confined environment. Do whatever interests you, and do it well. Your designs are informed by your passions, and this is when the design becomes true and expressive. Once, I was told to find some objects that I am interested in working with. I went, without anything in mind. I was so fascinated with a teddy bear lying on a shelf, and immediately knew what I wanted to make. It was a bear with a penetrable skin so that its own could attach and detach itself to at. Traces would be left and this teddy could morph in new ways to reflect its owner. This was not an “architecture” project, but I believe it is the same. What you like will inform you.
Looking back, I don’t know if my identity is evident in my work, but a consistency is been present across the variety of work. More importantly, I found myself struggling less about my decisions. I evaluate them by simply comparing the idea and the product verses me wondering what do the professors think, what do my colleagues think, or if the product looks cool. Though as I develop a project I struggle with communicating feeling through my designs; evoking a specific response from the audience. Once, I used a series of images to tell of my experience of a site. I used an image of SpongeBob to communicate the compression and sense of release I felt when walking among these trees and shrubs. These images were made fun of. Upon reflection, I realized that I should not have used Spongebob as parts of the presentation. Audiences tend to relate it to other things, as it is created within a certain culture. What it represents is hard to surpass. It would be much more successful, if it was just a sponge. Yet I would rather have done it than not. Between not doing and over-doing I would rather over-do and then be able to evaluate what I have done. This way I can come to a better conclusion of how well I can express my design intentions. On another project, my professor dragged me through the design process. I came to a point where I was too concerned about my professor’s opinion, and did not know how to make decisions for the project on my own anymore. I realized that this project was no longer about me. That semester I wrote on my sketchbook: It’s okay to fail, but if I fail, I want to fail as myself.
I found myself associating some studio projects with their designers: their personalities and their passions for certain things are involved and apparent in their work. However, many other works stay anonymous to the viewer and possibly even the owner. How do you make your project “known” to you?
Over the past few years, I have been asking myself what is it that defines MY architecture. I am able to present everything that is on the requirement list that professors provide for every single review I have had. The presentation is technically complete. However, deep down, I know it is not enough. For once, I wish I could put something on that wall that is more about me and not just the list. I am searching and experimenting, and I cannot conclude that all here. But I discovered that my works tend to create several layers so that people can explore, discover, and relate to their own experience. The layers that I create had been physical partitions, spaces of a certain sequence, and human perceptions. Searching for an answer helps me focus on what I value in the design process and eventually will lead to a self-satisfying project. “We are in design school; we are thinkers, dreamers, and creative personalities. Make our work show that and be that, instead of trying to prove that we are ‘architects’.” Before you start cranking stuff out for the review, reflect. Think about how can you tell the story of your approach and explain the current status of your work. I am talking to you as much as I am talking to myself.
From Anonymous to Known PG.32
PG.33
“VooDoo” Bear “TOYS ARE NOT AS INNONCENT AS THEY LOOK.” Project Advisor: Mitchell Squire Independent Project “The outlines of the form of life and beauty drawn on the paper are pricked through with the needle so that they show on both sides of the paper”Pricking, as one of the kindergarten gifts identified by Froebel, is capable of leading from LINE to SURFACE. In this excercise, I further exlplored its capability of leading from SURFACE to DEPTH, and to an OBJECT. A bear with a penetrable skin so that its own could attach and detach itself to at. Traces would be left. This project has cultural reference to Voodoo doll, but with a different perspective that this teddy could morph in new ways to relfect its owner.
PG.34
PG.35
PG.36
PG.37
Encounter Jazz BOSTON JAZZ SYMPHONY CENTER CAN WE CREATE AN IMPROVISED ARCHITECTURE THAT AMPLIFES THE EXPEREINCE OF A JAZZ PERFORMANCE?
PG.38
PG.39
Encounter Jazz BOSTON JAZZ SYMPHONY CENTER CAN WE CREATE AN IMPROVISED ARCHITECTURE THAT AMPLIFES THE EXPEREINCE OF A JAZZ PERFORMANCE?
Project Advisor: Mitchell Squire Project Partner: Dream Potter John Graham
Jazz as a unique music has improvisations in an organized form. Our design is to embrace the distinct characteristic of Jazz music. Jazz is social music that encourages interactions between audience and musicians. The interatction results in musicians’ spontaneous performance. One can never hear the same jazz played again. The best setting for a classic jazz performance to take place accompanies wine, laughter and light chat. The building’s purpose is to perform in a similar manner to that of Boston, and amplify the very specific experience of a jazz performance. This improvised architecture is achieved through circulation, structure, and materiality of the architecture.
SPONTANEOUS INTERACTIVE SOCIAL PG.40
PG.41
Encounter Jazz
in
BOSTON
Nicknamed “The Walking City” The Unique Boston
Boston is a city to be experienced on foot. There are two major factors which shape the experience of Boston: Web of circulation created by the amorphous composition of the city. Commutors constantly encounter areas of activities that were purposefully designed were purposefully designed or spontaneously derived. We call these areas hotspots.
OBSERVED POINTS OF SPONTANEOUS ACTIVITIES. COLOR REPRESENTING DIFFERENT TYPES.
1.City Map 2.City Blocks 3.Downtown Zoning 4.Web of Circulation PG.42
PG.43
To achieve a improvised architecture. We approached from 3 aspects: circulation, structure, and material. Visitors travel along this organized web of circulation and encounter spontaneously derived activities. The structure of the building is composed of trusses and steel frame.Additional truss supports allow building shell to split to create a different lighting condition along the circulation spine. The skin is composed of translucent stone panel and translucent skin. The same material is used on both the building facade and plaza. By getting closer to the building, one is able to tell the difference between two materials.
PG.44
PG.45
The unique form creates different visual impact from multiple approaches to the site
Auditorium
Circulation Spine Public Area 3456 SF
Leased Office
Auditorium
Auditorium
Experimental Hall
Experimental Hall
Experimental Hall 3,000 SF
Public Area
Auditorium 13,000 SF
Storage, Rehearsal, Dressing Room
Public Area
Mechanical
Street Level
Leased Office 25,000 SF
Experimental Hall
Leased Offices
Public Area
REGROUPING PROGRAM
Plaza Level
Auditorium
Circulation Spine Leased Office
Auditorium
Auditorium
Experimental Hall
Experimental Hall
,000 SF
Public Area
SF
Storage, Rehearsal, Dressing Room
Public Area
Mechanical
Street Level
00 SF
Experimental Hall
Plaza Level
Leased Offices
Public Area
ORGANIZING FORM Auditorium
Circulation Spine
Auditorium
Experimental Hall
Auditorium
Experimental Hall
Public Area
Plaza Level
Storage, Rehearsal, Dressing Room
Public Area
Mechanical
Street Level
Leased Offices
RECONNECTING SPACES
Auditorium Experimental Hall Plaza Level Public Area Street Level
DIVIDING PLANE
Exploded Axon of building components:
PG.46
PG.47
Movement As people entering the jazz symphony center through multiple entrances, they are filtering through the builiding and end up on different levels, in the final spine that connects three shell spaces into one. In the final Spine, people can move on to different destinations as they wish. Lighting Impact In the sketch model studies (Far Right), we experimented with different cuts on facade to achieve unique visual impact. And let light come through the sides with structure component casted.
PG.48
PG.49
PG.50
PG.51
Exterior Shell Egress Stairs
Major Structure Interior Shell
Tilted Plaza
Staff Street Entrance
Shared Facilities
PG.52
PG.53
PG.54
PG.55
You Got Caked! SOCIAL EXPERIMENT HOW WOULD PEOPLE REACT TO 1,500 FREE CUPCAKES, CAME OUT OF SUPRISE, THAT TAKE UP THEIR COMMON SPACES?
Project Advisor: Mitchell Squire Studio Project A social experiment project where 15 tables are appeared to be covered with a total of 1500 cupcakes. The entire process is secretly recorded from different locations in College of Design. We are able to observe different reactions when students’ daily-used spaces are taken by free cupcakes.
PG.56
PG.57
ALL OBJECTS LOSE BY TOO FAMILIAR OF A VIEW PG.58
PG.59
ALL OBJECTS LOSE BY TOO FAMILIAR OF A VIEW PG.60
PG.61
ALL OBJECTS LOSE BY TOO FAMILIAR OF A VIEW PG.62
PG.63
ALL OBJECTS LOSE BY TOO FAMILIAR OF A VIEW PG.64
PG.65
Woven Field ENTREPRENEUR AMPHITHEATER DESIGN Project Advisor: Mark Engelbrecht Project Partner: Ann Cashman
“The MOVEMENT of LAND to create a gathering SPACE”
We recognized a need to have an amphitheater in Waverly, IA to support the municipal band performance. We used the formation of land to address the motion of people coming in, and also create seatiing areas, stage and entrances.
300 20:44
Imperfect Wine Glasses (R) As time goes by, sun shines through glass in different directions. Reflections of colored glass move around the space, with shadows of leaves and tree branches casted in the meantime.
W
6’-0”
4’-0” Street Level 0’-0”
E
70
07:20
40
20’-6”
20’-6”
Section looking East
18:19
60 05:32
Section looking West
4’-6”
Street Level 0’-0”
COURTSEY AHTS ARCHITECTS
COURTSEY AHTS ARCHITECTS
PG.66
PG.67
Main Structure
Hy-Bird Hotel
Minor Structure
Parametric Prototype Birdnest
CREATING HYBRID DWELLINGS FOR MIGRATING BIRDS WITHIN CITY FABRIC Teammate: Yu Zheng
Transformation Through Time
Numerous types of birds migrate through NYC during Spring and Fall. This project is to create multiple structure within the existing city fabric that provides temporary housing for these birds (like a hotel for birds!) The components change thoughout the year to simulate different natural birdnests,and allow birds to add natural material onto it.
We obtained our data by comparing different birdnests side by side, quantifying their traits. Based on the scale that we created, the bird nests can change its amount, material density, and form. The density of the structure grows or declines based on the migration pattern in NYC.
Analysis Z
Y X
X Y Z
tart
X Y Z
X Y Z
X Y Z
Migration Pattern New York Spring Migration Bronx
March 31
November 23
May 4
American Bittern American Redstart
April 13
June 23
Double-crested Cormorant
March 24
June 9
Great Blue Heron
April 5
October 12
Green Heron
April 4
Henslow’s Sparrow
April 28
September 26
Least Bittern
June 24
September 15
Little Blue Heron
April 15
Oven Bird
New York Fall Migration City
Approx. Arrival Date
Approx. Departure Date
Common Name
Bronx
November 4
April. 17
Brant
October 1
May 21
Canada Goose
July 12
November 17
Double-crested Cormorant
September 30
Fox Sparrow
July 3
December 30
Great Blue Heron
July 6
October 9
Great Egret
October 6
May 23
Horned Grebe
August 5
Mourning Warbler
October 16
January 18
Northern Gannet
August 18
November 28
Pied-billed Grebe
October 15
May 15
Red-necked Grebe
Evalutate length on a 1 ot 10 Scale 1
2
3
4
5
6
7
8
9
10
7.7
X 10
7.8 10
Y 5.7 7.8 10
Z
7.8 7.3 3.4
Z
3 Y
PG.68 X
PG.69
Retorno| Desvio MIXED-USE BUILDING ON AVE. BRAZIL CAN WERECONFIGURE THE RELATIONSHIP BETWEEN PEDESTRIAN AND VIECHLES THROUGH AVE.BRAZIL?
PG.70
PG.71
Retorno| Desvio MIXED-USE BUILDING ON AVE. BRAZIL CAN WERECONFIGURE THE RELATIONSHIP BETWEEN PEDESTRIAN AND VIECHLES THROUGH AVE.BRAZIL?
PG.72
PG.73
Retorno| Desvio MIXED-USE BUILDING ON AVE. BRAZIL
?
CAN WERECONFIGURE THE RELATIONSHIP BETWEEN PEDESTRIAN AND VIECHLES THROUGH AVE.BRAZIL?
Project Advisor: Keith Kaseman Independent Project The project creates multiple opportunities to detour on Ave. Brazil. It reconfigures the relationship of vehicle and pedestrian in the north zone of Rio de janeiro. The space operates similar spacial movements in Rio, and contains spontaneous activities that can be enjoyed by both pedestrians and vehicle. Inbetween Spaces What happens in SPACES INBETWEEN favela houses?What happens in the URBAN FABRIC of Rio De Janeiro?What happens during traffics on Ave. Brazil, INBETWEEN Vehicles?
Activity I
Activity II
E(a)
Activity III
PG.74
A(b) B(b)
C(a)
E(b)
Activity IV A(d) D(b)B(d)
Can we reconfigure the relationship between vehicles and Pedestrians by reconfiguring the spontaneous activities to designated spaces that perform similarly to the existing fabric of Rio De Janeiro?
Existing relationship between Pedestrian and Motorized Viehcles
A(a) B(a)
C(e)
Spacial Movement Diagram
A(c) C(b)
B(c)
C(c)
C(d) D(a)
A. Layers of Interaction B. Soft Edge C. Vertical Movement D. Diverge Movement E. Centralized
New relation between Pedestrian and Motorized Viehcles. The spontaenous activites become a network that creates a new expereince of driving through Ave. Brazil.?
PG.75
Assign Activities to Movements
0FT
Spacial Movement Design
300FT
Apply Actions to Designed Movement
PG.76
PG.77
Movement Design
PG.78
PG.79
Five Star Resort BOSHAN TAIHE, CHINA A 5 star Resort planning project in North China. The main building is directly surrounded by montains and lake, sitting within the site’s natural landscape. My contribution includes producing Autocad drawings for plans and sections; preparing presentation documents. I worked side by side with supervising architect, testing back and forth between 2D drawings and sketchup models.
“He”(harmony) Resort Gucheng Island, China (120,000 sq m) My contribution includes producing section renderings and drawings with photoshop and illustrator; making minor changes to autocad drawings; Researching on sustainability guide in China. All images courtsey WoodsBagot,
All images courtsey WoodsBagot,
PG.80
PG.81
Lake Resort (interior)
Felt Light
KUBUQI DESERT, CHINA
WOOD FELT
In this project, I assisted in rendering interior perspective and floorplans with photoshop and illustrator; researching on interior materials and furniture, preparing material boards for photograph and presentation.
VARIABLE DIMENSIONS
Felt Light is a series of light fixtures recall familiar pendants or lamps, translated into the unexpectedly soft and rich material of wool. From one side, the fixtures appear whole, while from the opposite side moments of excavation are cut into the interior, hinting at a contoured landscape and light within.
All images courtsey WoodsBagot. Executive Platinum
Executive Platinum
Presidential Suite
SLICE RICHLITE,STEEL,RUBBER 30”x 108” x 60” An all black table tennis table, Slice appears as a deceptively opaque landscape when viewed from its shorter ends and impossibly thin from its longer sides. The top is made from a single thin sheet of Richlite, an incredibly dense and durable eco friendly material. An undulating topography below this surface is described by a series of flat, solid layers made from flexible EPDM rubber and Richlite. While designed for indoor and outdoor table tennis, Slice can also be used as a conference or dining table.
Presidential Suite
Lobby Bar
Lobby Bar
All images courtsey Snarkitecture. PG.82
PG.83
11/2" X 3/8" CS STEEL FRAME FOR WIRE MESH
Drafting sample from Williamsburg the EDGE A - SIDE ELEVATION B - FRONT ELEVATION
All images courtseyW Architecture and Landscape Architecture LLC. 07
06
TYPICAL STEEL RAILING AT PIERS - TYPE R1 SCALE 1"=1'-0"
5'-9"
6'
6'
EL +8.0
VARIES
4X6 SLEEPER
SYNTHETIC LAWN
1 2"
J-BOLTS 12"
WOOD SLAT
CONCRETE STEPS VARIES
VARIES
VARIES
CONCRETE STEPS
721"
RIP RAP
PRECAST CONCRETE STEPS
WOOD FASCIA,TYP.
INVERT ELEV. -1.63'
4X4 SLEEPER
METAL ANGLE 3'
FINISH GRADE
SYNTHETIC LAWN
CONCRETE STEPS
SLEEVE GROUT SOLID 8'-421"
6" 6"
EL +6.0
STEEL SUPPORT
CONCRETE CURB BEYOND SYNTHETIC LAWN
CONCRETE STEPS
EL +7.0
1'-5"
1'-2"
10 7.6 0°
GROUT
4"
3'-7"
4" EL +5.0
3'
EL +4.0
SYNTHETIC LAWN
2'-3"
CONCRETE PAVING
6'-4"
METAL RAILING
5'-4"
1'-11"
6" 6"
METAL RAILING
STAINLESS STEEL BRACKET
1'-021"
6" TYP.
2" TYP.
3'-6"
EL +0.0
3'-10"
6'-1"
1 1/2" STAINLESS STEEL TUBE RAIL
CAST IN PLACE CONC. WALL
2'-3" TYP.
5'-9"
6'-1"
METAL RAILING
4"
5'-9"
5'-9"
6'-2" 1'-2"
1'-6"
STEEL RAILING TYPE R2
5'-9"
SCALE 1"=1'-0"
6" 6"
4'-3"
5'-9" 3'-9"
2'
5'-9" 2
1" R6 2
5'-9"
B - FRONT ELEVATION
STEEL RAILING AT GET-DOWN PIER RAMP - TYPE R2
6" 6"
6"
4'-6"
10"
5'-9"
721"
1" 8
TYPICAL STEEL RAILING AT PIERS BEYOND - TYPE R1
4'-6" 6"
5'-3"
10"
4'
1'
1'-621"
1 1/2" STAINLESS STEEL TUBE RAIL
A - SIDE ELEVATION
CONCRETE STAIRS
CONCRETE
121"
1'-6"
PRECAST PILE CAP TYP.
DECOMPOSED GRANITE W BINDER
5"
16" X 16" PRECAST CONCRETE PILE TYP.
MLW EL. -3.85'
MATERIAL VARIES
CONCRETE BASE
MARINE SUB-STRUCTURE
APPROX. MUDLINE ELEV. -8.0'
Fleming-Lee Shue, Inc.
Architecture and Landscape Architecture, LLC 3' MAX
42-09 235th Street Douglaston, NY 11363
24 Commerce Street Newark, NJ 07102
226 W 26th Street 9th Floor New York, NY 10001
315 Park Avenue South 17th Floor PAVEMENT New York, NYSCHEDULED 10010
225 West 34th Street 2nd Floor New York, NY 10122
6 East 32nd Street New York, NY 10016
127 W 25th Street 12th Floor New York, NY 10001
P 212-929-5656 F 212-929-5605
P 212-330-6226 P 845-353-6400 TYPICAL STEEL RAILING AT PIERS - TYPE R1 F 212-695-1898 ANCHOR BOLTS SCALE 1"=1'-0"F 845-353-6509
P 917-339-9300 F 917-339-9400
P 212-675-3225 F 212-675-3224
7/16" DIA HOLES FOR ANCHORING
5'-9"
20'-1"
BOLTS
"T
YP
.
1 1 2"TYP. 12" TYP.
EL +0.0
WOOD SLAT
NORTH 5th STREET
TENSION ROD AND NYLON SPACER, TYP. STEEL SUPPORT STRUCTURE, TYP.
2'-3" TYP.
0
VARIES
EAST RIVER
6" TYP. 3'
VARIES
721"
WYTHE AVENUE
3' 3'-6"
KENT AVENUE
EAST RIVER
2"
721"
DATE:
CONCRETE BASE
SYNTHETIC LAWN
STAINLESS STEEL FASTENER, TYP.
02008
PROJECT NAME:
SHORELINE PLANTING
SCALE:
WILLIAMSBURG THE EDGE
6'-1"
6'-1"
DRAWN BY: METAL RAILING
5'-4"
DZ, SY NOTE:
6'-4"
6'
EL +6.0
6'
EL +7.0
SITE FURNISHINGS & RAILING DETAILS SYNTHETIC LAWN
PARC CENTRE TABLE - TYPE F4 BEYOND
PARC CENTRE CONCRETE STEPS
CONCRETE STEPS
CHAIR - TYPE F3
EL. 8.00'
DECOMPOSED GRANITE
CONCRETE WALKWAY
4"
AS NOTED
Oct. 17 2013 W. A. P. RE
GLASS RAILING
PRECAST CONCRETE PARAPET
EL +8.0
ORNAMENTAL GRASS
SYNTHETIC LAWN
4"x12" ASPHALT PAVERS
3'-7"
DATE & ISSUE:
DRAWING TITLE:
Full sheet size is 24" X 36"
STAINLESS STEEL FASTENER, TYP.
SHEET NO:
R O F ION T T UC R O PRIVATE T N NSTERRACE EL.14.00 CO
BW EL. 11.50'
L-
RIP RAP
DECOMPOSED GRANITE
INVERT ELEV. -1.63'
STEEL SUPPORT STRUCTURE
CONCERETE BASE FINISHED GRADE PAVERS
FINISHED GRADE PAVERS
CONCRETE STAIRS
MARINE SUB-STRUCTURE
RIP RAP
PILE CAP TYP. NOTESPRECAST & LEGENDS:
STEEL SUPPORT STRUCTURE
6'-2"
CONCRETE STEPS
WOOD FASCIA, TYP.
CONCRETE STEPS
2'-3"
CONCRETE PAVING
PROJECT NO:
DATE: 10.17.13
03
ANCHOR BOLTS
WOOD FASCIA, TYP.
NO: DESCRIPTION:
WAP SUBMISSION - PHASE 2 WAP SUBMISSION 1 02.22.06 10 5'-9" 5'-9" 5'-9" 5'-9" 5'-9" WAP SUBMISSION 2 5'-9" 04.14.06 3'-10" 1'-11" WAP SUBMISSION 2'2 06.05.06 3'-9" METAL RAILING WAP SUBMISSION 3 WOOD SEATING08.11.06 PLATFORM - TYPE F9 SCALE 1" = 1'-0" WAP SUBMISSION 4 09.15.06 WAP20'-0" CERTIFICATION - FINAL DRAWING SUBMISSION 11.01.06 EL +5.0 WAP CERTIFICATION - FINAL DRAWING REVISION 11.17.06 4'-0" EL +4.0 WAP CERTIFICATION - FINAL DRAWING REVISION 06.15.09 R1" T CONCRETE BEYOND 1" TYP. YP CURB . 2 1" LAWN TYP. SYNTHETIC WAP RE-CERTIFICATION 12.28.09
NORTH 4th STREET
100
DECOMPOSED GRANITE W BINDER
MARINE SUB-STRUCTURE
4"
5'-9"
4'-3" NORTH 6th STREET
1
4X4 SLEEPER
6" 6"
5"
STEEL RAILING TYPE R2
MLW EL. -3.85'
11'-4"
16" X 16" PRECAST CONCRETE PILE TYP.
SCHEDULED PAVEMENT
S
4'-6"
3'-1"
R1
STAINLESS STEEL FASTENER, TYP.
STEEL SUPPORT STRUCTURE
212-981-3933 4'-1021" 5'-9" F 212-981-3979
4'-6"
SCALE 1/4"=1'-0"
3'-6"
TYPICAL STEEL RAILING AT PIERS BEYOND - TYPE R1 P
STEEL SUPPORT STRUCTURE, TYP.
34'-1121"
6x6 - W8.5xW8.5 MATERIAL VARIES
04
NORTH-SOUTH SECTION AT 6TH STREET GET-DOWN PIER
5'
2'-721"
STAINLESS STEEL BOLTS
5'-3" 127 W 25th Street RAILING AT STEPS - TYPE R4 12th Floor STEEL SCALE 1" = 1'-0" New York, NY 10001
P 212-675-3225 F 212-675-3224
CAST ALUMINUMWOOD SLAT STRAP & SUPPORT
NORTH 7th STREET
01 02 03 041'-6" 05 06 07 08 09
02
VARIES
6" 6"
6 East 32nd Street New York, NY 10016
VARIES
1'-5"
0° 7.6
SECTION
VARIES
721"
P 212-330-6226 F 212-695-1898
6TH STREET GET-DOWN PIER SECTIONS
CONCERETE BASE
1'-5"
P 212-929-5656 F 212-929-5605
DRAWING TITLE:
Full sheet size is 24" X 36"
APPROX. MUDLINE ELEV.BOLTS -8.0' ANCHOR
6'
MATERIAL VARIES
NO: DESCRIPTION:
NORTH 8th STREET
EAST RIVER
P 973-286-6100 F 973-286-6101
ELEVATION
1'-5"
P 718-281-0550 F 718-224-1397
100 Snake Hill Road 225 West 34th Street CONCRETE WALL WITH STEEL RAILING - TYPE R3 West Nyack, NY 10994 2nd Floor SCALE 1" = 1'-0" New York, NY 10122 "LOOP" STYLE 48' P 845-353-6400 P 917-339-9300 F 845-353-6509 F 917-339-9400 ARMS
6" TYP.
315 Park Avenue South 17th Floor New York, NY 10010
2'-721"
226 W 26th Street 9th Floor New York, NY 10001
CONCRETE
Architecture and Landscape Architecture, LLC
Fleming-Lee Shue, Inc.
5.0 0°
24 Commerce Street Newark, NJ 07102
DZ, SY NOTE:
WOOD FASCIA,TYP. METAL ANGLE
SIGNATURE & STAMP:
13
42-09 235th Street Douglaston, NY 11363
05
Mueser Rutledge Consulting Engineers
PRECAST CONCRETE STEPS
121"
LANDSCAPE ARCHITECT:
1'-2"
M.G. McLaren, P.C., Consulting Engineers
1'-2"
Edwards & Zuck Consulting Engineers
NORTH 10th STREET
SCALE 1" = 1'-0"
" 72
Philip Habib & Assocociates, Engineers & Planners, PE, PC
1 2"
10
ENVIRONMENTAL ENGINEER:
Thornton Tomasetti Engineers
9"
01
NORTH 9th STREET
121"
GEOTECHNICAL/SOILS ENGINEER:
2" TYP.
MARINE ENGINEER:
WILLIAMSBURG THE EDGE
WOOD SLAT
1 2"
4' WIDE WOOD BENCH WITHOUT BACK - TYPE F7 KEY PLAN:
721"
MEP ENGINEER:
PROJECT NAME: 18'
16" X 16" PRECAST 02008 CONCRETE PILE TYP.
DRAWN BY:
VARIES
4X6 SLEEPER J-BOLTS 12"
1'-6"
1'-521"
Douglaston Development
CIVIL ENGINEER:
FINISH GRADE
3'-6"
STRUCTURAL ENGINEER:
1/8" x 1-1/2" METAL CENTER STRAP
SLEEVE GROUT SOLID
2'-121"
8'-421"
WOOD
NER:
1'-2"
3'
8'
STEEL SUPPORT
A LONG SECTION
METAL RAILING
GROUT
SCALE 1" = 1'-0"
10.17.13
WAP SUBMISSION - PHASE 2
PROJECT NO:
6'
DATE:
10
1 1/2" STAINLESS STEEL TUBE RAIL
STAINLESS STEEL BRACKET CAST IN PLACE CONC. WALL
4' WIDE WOOD LOUNGE CHAIR - TYPE F8
EL +4.0
NOTES & LEGENDS:
6" 6"
R
1'-021"
02
2
1" 8
1'
721"
1 6 2"
06
MHW EL. +0.37'
NO: DESCRIPTION:
FINISHED GRADE PAVERS
6" 6"
1 1/2" STAINLESS STEEL TUBE RAIL
4'
6"
CONCRETE BASE
P 212-981-3933 F 212-981-3979
1'-621"
10"
07
6"
P 973-286-6100 F 973-286-6101
10"
P 718-281-0550 F 718-224-1397
PRECAST PILE CAP TYP.
STEEL SUPPORT STRUCTURE
DATE:
WAP SUBMISSION 1 02.22.06 04.14.06 WAP SUBMISSION 2 WAP SUBMISSION 2 06.05.06 08.11.06 WAP SUBMISSION 3 WAP SUBMISSION 4 09.15.06 WAP CERTIFICATION - FINAL DRAWING SUBMISSION 11.01.06 WAP CERTIFICATION - FINAL DRAWING REVISION 11.17.06 06.15.09 WAP CERTIFICATION - FINAL DRAWING REVISION WAP RE-CERTIFICATION 12.28.09
FINISH GRADE
REVISIONS
Mueser Rutledge Consulting Engineers
1'-5"
STEEL FASTENER, TYP. McLaren, P.C., Edwards &STAINLESS Zuck M.G. 6" 3" Consulting Engineers Consulting Engineers
B - FRONT ELEVATION
NO: DESCRIPTION:
01 02 6' 11/2" X 3/8" CS STEEL 03 FRAME FOR WIRE MESH 04 05 A - SIDE ELEVATION B - FRONT ELEVATION 06 STEEL RAILING AT GET-DOWN PIER RAMP - TYPE R2 07 SCALE 1"=1'-0" 08 1'-2" 09
Philip Habib & Assocociates, Engineers & Planners, PE, PC
A - SIDE ELEVATION
6"
HEX HEAD BOLT AND WASHER
4"
NOTES & LEG
STAINLESS STEEL FASTENER, TYP.
SIGNATURE & STAMP: 1/2" TH. BASE PLATE
CONCERETE BASE ° .58 94 FINISHED GRADE PAVERS
CONCRETE CURB
NORTH 4th STREET
100
0
STEEL RAILING - TYPE R2
EL +6.0
1'-5"
ANCHOR BOLTS
LANDSCAPE ARCHITECT:
4'-11"
EL. +8.0'
METAL RAILING METAL RAILING
4" SYNTHETIC LAWN
EL +4.0
3"
3'
2"
ENVIRONMENTAL ENGINEER:
EL +6.0
NORTH 5th STREET
36'
GEOTECHNICAL/SOILS ENGINEER:
NORTH 6th STREET
WOOD FASCIA, TYP.
2" X 2" WIRE MESH PANEL
Thornton Tomasetti Engineers
100 Snake Hill Road West Nyack, NY 10994
321"
SEAWARD SIDE
Douglaston Development
STEEL SUPPORT STRUCTURE
321"
2"
3'-6"
1'-9"
4"
6"
FINISH GRADE
NORTH 8th STREET
NORTH 7th STREET
WYTHE AVENUE
1/2" TH. BASE PLATE
MARINE ENGINEER:
4 WOOD 9FASCIA, TYP.
"STEEL EL. +8.0' TY RAILING1 - TYPE R2 P. 2" TYP. 1" TYP.
HANDRAIL WITH 1"RADIUS
3'
°
.58
721"
MEP ENGINEER:
STEEL SUPPORT STRUCTURE
321"
4'-0"
NORTH 9th STREET
R1
STEEL SUPPORT STRUCTURE, TYP. CIRCULAR CROSS SECTION 321"
NORTH 10th STREET
HANDRAIL WITH 1"RADIUS CIRCULAR CROSS SECTION
CONTINUOUS STEEL
5.0
HEX HEAD BOLT AND WASHER
1 2"
20'-1"
CIVIL ENGINEER:
2"
KEY PLAN:
SLEEVE, 1/8" THK. STAINLESS STEEL
3" PIPE TOP RAIL TENSION ROD AND NYLON SPACER, 2" STEEL FRAME FOR TYP. WIRE MESH
13
3'-121"
34'-1121"
SEAWARD SIDE
" T2" X 2" WIRE MESH PANEL YP . 1"TYP. 11" TYP. 2 2
KEY PLAN:
SCALE 1" = 1'-0"
VARIES
KENT AVENUE
R1
STAINLESS STEEL FASTENER, TYP. STRUCTURAL ENGINEER:
3'-1"
1
REVISIONS
4"
STEEL FRAME FOR WIRE MESH
STEEL SUPPORT STRUCTURE, TYP.
OWNER:
2"
WOOD SEATING PLATFORM - TYPE F9
20'-0" WOOD SLAT
SLEEVE, 1/8" THK. STAINLESS STEEL
06 Feb 2007 - 12:43 AM | dragana.zoric | F:\20424 - Williamsburg II\02 Drawings\02.1 CAD\WAP rev\L-6.0_FURNISH_LIGHT_PLAN.dwg
CONTINUOUS STEEL PIPE TOP RAIL
3" 2"
2"
WOOD SLAT
3"
6'
2"
SCALE 1/4"=1'-0"
06 Feb 2007 - 12:43 AM | dragana.zoric | F:\20424 - Williamsburg II\02 Drawings\02.1 CAD\WAP rev\L-6.0_FURNISH_LIGHT_PLAN.dwg
EAST-WEST SECTION AT 6TH STREET GET DOWN PIER
4'-1021"
" 72
01
SCALE 1" = 1'-0"
4"
48'
03
STEEL RAILING AT STEPS - TYPE R4
1'-9"
SCALE 1" = 1'-0"
42'
04
CONCRETE WALL WITH STEEL RAILING - TYPE R3
0°
05
SECTION
06 Feb 2007 - 12:43 AM | dragana.zoric | F:\20424 - Williamsburg II\02 Drawings\02.1 CAD\WAP rev\L-6.0_FURNISH_LIGHT_PLAN.dwg
ELEVATION
ANCHOR BOLTS
MHW EL. +0.54'
ANCHOR BOLTS
℄ PILE & GRADE BEAM
APPROX. MUDLINE ELEV. -8.0'
℄ PILE & GRADE BEAM 30"Ø STORM DRAIN
CONCERETE BASE
CONCRETE BASE
STEEL SHEET PILE WALL
MlW EL. -4.01'
A LONG SECTION
A FRONT ELEVATION
05
PG.84
GRETCHEN BENCH WITH BACK (RELOCATED FROM PHASE 1) - TYPE F5 SCALE 1"=1'-0"
01
SCALE 1" = 1'-0"
SUBSTRUCTURE VARIES OWNER:
Douglaston Development
STRUCTURAL ENGINEER:
CIVIL ENGINEER:
MEP ENGINEER:
MARINE ENGINEER:
01 SUBSTRUCTURE VARIES
EAST-WEST SECTION AT 6TH STREET GET DOWN PIER GEOTECHNICAL/SOILS ENGINEER:
ENVIRONMENTAL ENGINEER:
LANDSCAPE ARCHITECT:
Thornton Tomasetti Engineers
Philip Habib & Assocociates, Engineers & Planners, PE, PC
Edwards & Zuck Consulting Engineers
M.G. McLaren, P.C., SCALE 1/4"=1'-0" Mueser Rutledge Consulting Engineers Consulting Engineers
Fleming-Lee Shue, Inc.
42-09 235th Street Douglaston, NY 11363
24 Commerce Street Newark, NJ 07102
226 W 26th Street 9th Floor New York, NY 10001
315 Park Avenue South 17th Floor New York, NY 10010
100 Snake Hill Road West Nyack, NY 10994
225 West 34th Street 2nd Floor New York, NY 10122
6 East 32nd Street New York, NY 10016
P 718-281-0550 F 718-224-1397
P 973-286-6100 F 973-286-6101
P 212-929-5656 F 212-929-5605
P 212-330-6226 F 212-695-1898
P 845-353-6400 F 845-353-6509
P 917-339-9300 F 917-339-9400
P 212-675-3225 F 212-675-3224
B SIDE ELEVATION
OWNER:
Douglaston Development
STRUCTURAL ENGINEER:
Thornton Tomasetti
4' WIDE WOOD BENCH WITHOUT BACK - TYPE F7 SCALE 1" = 1'-0"
SIGNATURE & STAMP:
Architecture and Landscape Architecture, LLC
127 W 25th Street 12th Floor New York, NY 10001 P 212-981-3933 F 212-981-3979
01
CIVIL ENGINEER:
Philip Habib & Assocociates,
EAST-WEST SECTION AT SCALE 1/4"=1'-0" MEP ENGINEER:
Edwards & Zuck
NO: DESCRIPTION:
DATE:
01 WAP SUBMISSION 1 02.22.06 02 WAP SUBMISSION 2 04.14.06 03 WAP SUBMISSION 2 06.05.06 04 WAP SUBMISSION 3 08.11.06 05 WAP SUBMISSION 4 09.15.06 PHASE 206PARK WAP CERTIFICATION - FINAL DRAWING SUBMISSION 11.01.06 07 WAP CERTIFICATION - FINAL DRAWING REVISION 11.17.06 08 WAP CERTIFICATION - FINAL DRAWING REVISION 06.15.09 MARINE ENGINEER: GEOTECHNICAL/SOILS ENGINEER: 09 WAP RE-CERTIFICATION 12.28.09
M.G. McLaren, P.C.,
Mueser Rutledge
PROJECT NO:
NO: DESCRIPTION:
DATE:
10
10.17.13
WAP SUBMISSION - PHASE 2
02008 DRAWN BY:
REVISIONS
02 CONCRETE FOOTING
4' WIDE WOOD LOUNGE CHAIR - TYPE F8
DZ, SY NOTE:
Full sheet size is 24" X 36"
ENVIRONMENTAL ENGINEER:
Fleming-Lee Shue, Inc.
LANDSCAPE ARCHITECT:
Architecture and
PROJECT NAME:
SCALE:
WILLIAMSBURG THE EDGE
AS NOTED
DEP OUTFALL
DATE & ISSUE:
Oct. 17 2013 W. A. P. RE-CERTIFICATION
DRAWING TITLE:
SHEET NO:
R O F ION T T UC O TR N NS O C
SITE FURNISHINGS & RAILING DETAILS NO: DESCRIPTION: SIGNATURE & STAMP:
01
WAP SUBMISSION 1
L-6.3
DATE:
NO: DESCRIPTION:
DATE:
02.22.06
10
10.17.13
WAP SUBMISSION - PHASE 2
PROJECT NO:
02008 DRAWN BY:
PROJECT NAME:
WILLIAMSBURG
PG.85
SCALE:
1/4"
DATE & ISSU
PG.86
PG.87
Cherry On Top
written in 2012
PG.88
PG.89
PG.90
PG.91
PG.92
PG.93