Chung, Deok Kyu Application 2021 by Deok Kyu Chung

Deok Kyu Chung deokchung92@gmail.com +1 214 385 5931

Thickness; Column, Wall, Space Studio Work, Spring 2018 Professor. Jesús Vassallo

450 Warren Street Professional Work, 2019, SO-IL Project Lead. Teb Baab

Architecture of Books; Image Seminar Work, Spring 2017 Professor. Reto Geiser

Human(s) Work Professional Work, 2019, SO-IL Project Lead. Florian Idenburg

Riverwalk Theatre; Threshold Studio Work, Spring 2014 Professor. Gordon Wittenberg

Community Synagogue of Rye Professional Work, 2017, Rogers Partners Architects Project Lead. Alissa Bucher

Community Bank; Projecting Perspectives Studio Work, Spring 2016 Professor. Michelle Chang

Pratt Institute New School of Art Professional Work, 2019, Allied Works Architecture Project Lead. Brad Cloepfil

Pliable; Flat and Spatial Seminar Work, Fall 2015 Professor. Dawn Finley

Center for Trans-Andean Tourism; Barranco Studio Work, Spring 2015 Professor. Carlos Jiménez

219 Jay Street Professional Work, 2020, SO-IL Project Lead. Ted Baab

Four Hudson Boulevard; Mixed-use Tower Studio Work, Fall 2017 Professor. William Cannady and Doug Oliver

Thickness; Column, Wall, Space

Studio Work, Spring 2018 Professor. Jesús Vassallo

Awarded Margaret Everson-Fossi Travelling Fellowship

The project investigates on possibilities of constructing a strategy to develop sites that are currently vacant, some due to their nonrectilinear shape with which the current mode of housing development is not so effectively implemented. The existing housing typology of the site is marked by single-family houses, townhouses, and perimeter block apartments. In such, there exists a strong figure-ground condition with a clear definition of front-back or inside-outside where the outdoor space is either an undefined zone surrounding the figure or a very defined void at the center of a volume. The design utilizes a series of mini-blocks that could be deployed on sites of varying shapes. First, blocks are shuffled around the site orthogonally, maintaining its indifferentness to the site with the movement only in a relationship among the blocks. Then, the blocks are rotated along the site geometry, creating a dialogue between inside-outside, where there is no clear distinction but instead space is perceived as an open field articulated by a series of earth columns. To further the blurred distinction between front-back and inside-outside, corridors are placed on either side of volume - one at first floor and the other at fourth - with a sense of movement being able to be perceived from the ground.

Top Left. Drawing - Site Plan, Bottom. Diagram - Site Strategy

The Form of Mud

Houston, Texas

Top Right. Diagram - Ceiling Oblique, Bottom. Model Photo

Thickness; Column, Wall, Space

Top. Drawing - Ground Floor Plan

The Form of Mud

Houston, Texas

Such strategy results in a few spatial conditions that connect the project to the surrounding site. As approaching the site, one sees narrow openings that start to give a sense of space beyond, furthered by a few moments of clear vista that extend to the other end of the site. The experience creates a flattened image or collage of the old the and the new - the existing city fabric is framed by newly implemented earth columns. The experience of transitions from inside-outside or vice versa allows a more direct experience of the materiality with openings filtering natural lights that reflect off of earth walls.

Top. Rendering - Staircase, Bottom. Rendering - Courtyard

Thickness; Column, Wall, Space

The materiality of architecture plays an interesting role in the way that it is the medium through which the experience changes. First, entering the corridor either from an elevator or the staircase, one experiences an ambient light coming from above, an open corridor extending to exterior space, and a more direct aperture at the end of the corridor that frames a surface with light.

The Form of Mud

Houston, Texas

Left. Drawing - First Floor Plan, Top Right. Model Photo, Bottom Left. Drawing - Sections

Thickness; Column, Wall, Space

Second, each unit is marked by space that starts with a lowered ceiling. In case of a twostory unit, there is a staircase leading either up or down, with a sense of space beyond with light reflected off of the earth surface. Third, the living room is an open space with a large window that cannot be directly experienced but allows natural light into the double height space. Fifth, transitions from a space to another is always an experience of a thick earth wall rather than through a partition wall with the door that is merely a puncture through a surface.

Top. Rendering - Courtyard, Bottom. Rendering - Public Staircase

The Form of Mud

Houston, Texas

Top. Diagram - Typical Block

Thickness; Column, Wall, Space

Top. Drawing - Plans

The Form of Mud

Houston, Texas

In such, the thick earth construction that was once perceived as a point or a column, especially at the ground floor, becomes a surface or a wall through which a transition from space to another occurs. Here, the material of the earth is experienced at a more intimate level. Finally, the material experience changes from a surface to space or volume as it can be physically occupied. The registration of the materiality that was initially perceived as columns or points, first, changes to walls or lines - it is through such thickness that one transition from one space to another - then to occupiable spaces or volumes.

Top. Rendering - Living room, Bottom Left. Rendering - Kitchen, Bottom Right. Rendering - Bathroom

Thickness; Column, Wall, Space

Top Left. Rendering - Stair, Top Right. Diagram - Stair, Bottom. Model Photo

The project hopes to emphasize the experience of architecture, both interior and exterior, and especially at moments of transition from one space to another. It is such experience through which the project is tied together as a whole, furthered by the materiality that is experienced at multiple scales.

The Form of Mud

Houston, Texas

Top. Rendering - Bedroom

Professional Work, 2019 Project Lead. Ted Baab SO-IL

450 Warren Street

Housing, Construction Documentation

From row house brownstones to towers surrounded by green, the formerly industrial area of Gowanus is richly diverse in historic models of housing. A newly revitalized greenway adds to a specific context from which we question: What is a new model of living together? Our design frees urban multi-unit dwelling from traditional protocols. We engage with what makes the city more livable: conversations with the outdoors and conversations with others. After joining the team soon after the end of the design development phase, I focused on designing spaces and elements of a more intimate scale. I carefully chose materials and finalized dimensions to make space feel more comfortable while continuously being aware of its relationship to the exterior and light. Other design elements include but not limited to a complex geometry of the walkway, mesh guardrail system, and street wall that utilizes galvanized metal structure,

Top. Photo - Mock-up and Construction, Bottom. Drawing - Typical Plan 1

16'-8"

11'-4"

3C-02.4 WF1

8'-8"

WT6

TFF 22'-4"

A-300 WT6

3C-03 Bedroom

A1 2C-02-B

3C-02.2 WD2

13'-4"

3D-03.2 WO1

WT6

WT1

10'-0"

3C-03

15'-4"

3C-02 Living / Dining / Kitchen

3D-08 Balcony

WT6

Property Line

3C-01-2

3C-04

WT1B

W/D

3D-06 Master Bedroom

10'-0"

3C-05-1

3C-05.1 WD3

WT6

3C-04.1 WO2

3C-06

WT1B

12'-0"

3D-01 Foyer

3D-02.1 WO1

W/D

3D-09.2 WO1

WT1

15'-4"

3B-02.3 WD2

Stair 2

8'-8"

301 Refuse Room

3B-03.1 WO1

3E-09 Balcony

3A-01

A1 3A-02-2

3A-04 Bedroom

2A-02-C

5'-4"

3A-02-3

WT1

2A-02-A 2A-02-B

WT1

3A-05.2 WF1

10'-8"

3A-05.1 WO1

3A-05-1

3A-09 Balcony

1 3A-02.2 WD1

WT1B

3A-05

WT6 3A-08

WT1

3A-06

TFF 22'-4"

3A-08.3 WD2

3A-02-4

DWELLING UNIT 3A 3 Bedroom 1350 SF TYPE A

3A-08-1

13'-10"

A-303

3A-08.2 WO1

3A-08 Master Bedroom

3A-10 Balcony

A3 3A-07

3A-08.1 WIC

3A-07 Master Bathroom

3A-02.3 WD2

13'-11"

TFF 22'-4"

F4 WT6

10 2" Sealed Seismic Gap as per BC 1613.7

WT5

3A-08.1 WF1

WT1 A1

3A-05 Bedroom

WT1B

3A-02.1 WO1

3A-06 Bathroom

WT3

Open to Below

TFF 22'-4"

3A-07.1 WF1

A-200

WT1B

TFF 22'-4"

W/D

3A-04-1 3A-04.1 WO1 F1

3E-07 Master Bedroom

WT1

3B-03.2 WO1

3E-07.2 WD2

WT1

3B-02.1 WF1

Third Floor Plan 3/16" = 1'-0"

WT1B WT1B

WT1B

3A-01 Foyer

3A-03 D2

WT5

3E-07.1 WIC

3A-02.4 WF1

A1 3E-07-1

3E-06.1 WO1

A-355

WT1B

3A-01-1 A1

3A-02.5 WO1 A3

3A-03 Bathroom

D1 D3

3E-06 Bedroom

Open to Below

2 WT1

WT1

3E-06.2 WF1

WT1

A3 3E-06

3A-03.1 WO2

A-551

3B-03 Bedroom

3B-03-1

A-554

3E-05 Master Bathroom

3E-07 300

3E-06-1

D1 WT3

3E-07

WT1B WT1B

WT1 WT1

WT6

3D-05.1 WO2

A-552

WT1B

3B-01-1

2B-02-C

2B-02-A

3E-02-2

2B-02-B

3B-02.2 WD1

3D-09.1 WF1

A-550

3 A-704

WT2

3B-01

3B-01 Foyer

3B-03

TFF 22'-4"

3B-07 Balcony

W/D

WT1B

WT2

3B-02 Living / Dining / Kitchen

DWELLING UNIT 3B 2 Bedroom 1050 SF TYPE B+NYC

3E-04 Bathroom

WT1B

3D-05 Master Bathroom

3B-04 Bathroom

WT6

Stair 1

Open to Below

3B-02-1

TFF 22'-4"

3D-05-1

2D-09-A

3E-03 3E-04

Trench Drain

A-203

3E-03-1

3 A-701

WT1B

A-551

Elevator A

3B-04

A-302

3E-08 Powder Room

3E-01-1

3B-05 A1

3B-02.4 WF1

3E-08

3E-02-1

3D-09 Kitchenette

2D-09-C

3D-01-1

A1 3B-05-1

WT6

3E-01-2

3E-01

WT1

D1 WT1B

WT2

3B-05 Master Bedroom

A-301

2D-09-B

3E-01 Foyer

3D-05

3D-01

2D-09-D A1

3B-06.1 WO2

3B-06 Master Bathroom

3B-06

2E-02-A

3D-06-2 A1

TFF 22'-4"

3B-05-2

2" Sealed Seismic Gap as per BC 1613.7

3E-03 Bedroom

2E-02-C D1

3B-05.1 WIC 3B-05.1 WD3

3D-06

3D-02-2

3D-02-1

3D-02 Living / Dining

3D-02.2 WF1

W/D

Open to Below

WT6

3E-03.2 WF1

Open to Below

A-553

3C-06.1 WO2

3C-05-2

3C-05.1 WIC

A-552

3C-06 Master Bathroom

WT3

3B-08 Balcony

WT1

3E-03.1 WO1 2E-02-B

3D-06-1

3C-05

3C-05 Master Bedroom

WT6

WT1

WT6

3C-08 Balcony

TFF 22'-4"

3D-03

3D-04 Bathroom

3C-04 Bathroom

3E-02 Living / Dining / Kitchen

G1 DWELLING UNIT 3D 2 Bedroom 1060 SF TYPE B+NYC

3D-04

WT3

3E-10 Balcony TFF 22'-4"

3D-02.3 WO1

1 A-350

3E-02.3 WD2

DWELLING UNIT 3E 3 Bedroom 1400 SF TYPE A

WT1B

3C-01

WT6

3D-02.4 WD2

3C-01-1

3C-01 Foyer

TFF 22'-4"

WT3

3E-02.1 WO1

3D-03-1

DWELLING UNIT 3C 2 Bedroom 1050 SF TYPE B+NYC

10'-10"

3D-06.1 WD3

3C-02.1 WF1

14'-8"

WT1 3E-02.2 WF1

3D-03.1 WF1

WT6

A-307

WT3

3D-03 Bedroom

2C-02-C

10'-0"

3D-07 Balcony TFF 22'-4"

3C-02.3 WD1

WT1

3C-03.2 WO1

2 WT1

14'-0"

3C-03-1

WT3

3C-08 Balcony

8'-8"

3C-03.1 WO1

WT1

2C-02-A

A-306

A-202

A-305

15'-4"

WT3

A-304

WT3

A-556

3E-07.1 WO1

A-201

450 Warren Street

Brooklyn, New York

Top Left. Rendering - Courtyard, Top Right. Drawing - Section. Bottom. Model Photo

Architecture of Books; Image

Seminar Work, Spring 2017 Professor. Reto Geiser

Studio Introduction: When El Lissitzky credited himself as “book engineer” in Vladimir Myakovsky’s 1923 Dlia Gólosa [For the Voice], the Russian artist not only suggested the strong ties between books and building, but also expressed his hope that the disciplines of art, architecture, typography, and engineering would eventually merge into an inseparable yet distinctive field. Over the past few decades, visual literacy has turned out to be a vital skill and an integral part of any ambitious architectural practice, and the well-edited and designed book is probably its most obvious manifestation.

Despite the repeated claim that printed matter will disappear in the age of electronic media, the book, with its material presence, its durability, and its spatial and temporal qualities, still seems to be an ideal medium for architects to broadcast their ideas and to critically address a larger audience. Based on the assumption that it is our responsibility as architects to convey our ideas and concerns to a greater public, this seminar introduces students to the book as a means to think about the production of space, and as a critical vessel to discuss and disseminate architectural ideas. Top. Photo - Folded, Bottom. Photo - Expanded

Architecture of Books

Houston, Texas

The project uses scans of the existing publication, “S,M,L,XL” by OMA, Rem Koolhaas, and Bruce Mau. During an analysis part of the project, several questions arose in defining an image. As used in “S,M,L,XL,” there exists a blurred boundary between what we commonly regard as a text, drawing, and image. Through a juxtaposition of once separately categorized elements, a whole spread becomes an image. There are moments where texts blend into highly contrasting areas of the background image and the text becomes illegible. In the final project of reorganizing existing images, the goal was to expand the boundary from a spread to a whole book.

Top Left. Photo - Strangled, Bottom Right. Photo - Exploded

Professional Work, 2019 Project Lead. Florian Idenburg SO-IL

Human(s) Work

Publication, Taschen

No future, no past, only unlived experiences. These are other realities. No humans, only traces.

SCENARIO 1 - WE ARE ALL A PART

During a 4-week period, I coordinated with architects, designers, and writers for an upcoming publication with Taschen. The process was an exciting conundrum where the task was to craft images that are not only aesthetically intriguing but also clearly indicative of an overarching idea of the work. The initial process started with intensive research of precedents that are not limited to architectural space. After a series of discussions, I designed the space in 3D, carefully synchronized views to best represent the idea, and designed/arranged elements and lightning in space to create a proper atmosphere. After such an iterative process, I produced and edited views using V-ray and Photoshop. Top. Rendering -Scenario 1, Bottom. Diagram - Process, Right. Rendering - Scenario 3 and 5

SCENARIO 3 - OBJECTS INFRASTRUCTURE

SCENARIO 3 - SPACE DOCK

Structure in the background, maybe lighthouse-ish thing?

Shallower dock? almost submerged Boat ﬁlled w/ stuff

SCENARIO 4 - SCENE LIVE, ON DEMAND

Darker ceiling, focus more on lights and activities inside pods Green light

SCENARIO 4 - SPACE CEILING

More structure hanging from ceiling such as lighting, glass screen, etc Roller track system

Roller track system w/ pod’s base structure attached

SCENARIO 4 - WAREHOUSE OF THE INCUBATING INFLUENCER Human(s) Work Taschen

Riverwalk Theatre; Threshold

Studio Work, Spring 2014 Professor. Gordon Wittenberg

San Antonio River Walk is a city park and network of walkways along the banks of the San Antonio River. It is part of the urban fabric with an interesting yet unclear relationship with the rest of the city. In most cases, transitions spaces or thresholds between the two fabrics occur abruptly, where visitors first see flat walls without much expectation and suddenly face the river through the thresholds that are only realized by street signs. As a way of offering a new way to experience such transitional spaces, the design hopes to use the threshold as an opportunity to create not only a smooth connection between the river and the city but also architecture that can give back to the larger public. Top. Model Photo, Bottom. Drawing - First Floor Plan

Riverwalk Theatre

San Antonio, Texas

Top. Drawing - Sections, Bottom. Model Photo

Riverwalk Theatre

Top. Rendering - Exterior, Bottom. Drawing - Ground Floor Plan

Unlike in most cases where buildings further supplement the boundary between interior and exterior, the design proposes to create threshold by and within architecture, blurring the boundary. The main threshold is situated at the center of the site, bounded by the two buildings on either side. Visitors instantly engage with the site as the site slowly slopes down towards the river, starting from the very edge of the boundary. As walking through space, more and more of the river is exposed with the view framed by the two buildings, each serving a specific program. Surrounded by reflective walls, visitors will experience the river directly and also through reflections both visually and audibly.

Riverwalk Theatre

San Antonio, Texas

Top. Drawing - Section, Bottom. Diagram - Form and Section

Riverwalk Theatre

Top. Diagram - Circulation, Bottom. Drawing - Second Floor Plan

Riverwalk Theatre

San Antonio, Texas

Top. Rendering - Lobby, Bottom. Model Photo

Lastly, the building itself functions as a threshold that connects once separated conditions that exist in the site, for example, interior and exterior, San Antonio and the River Walk that exist at different elevations.

Community Synagogue of Rye

Professional Work, 2017 Project Lead. Alissa Bucher Rogers Partners Architects

Institution, Design Development to Construction Documentation

GB WD01 SLOPE

EA N

FB01 9'-0" AFF

O SP

V SP W

OP E SL

Z Z

SLOPE

DN CL05

SP W

0 CL

W Z

USP

124 STORAGE

USP

Cerami Associates

Acoustical Design

6 Neil Lane PO Box 549 Riverside, CT 06878 203.637.1770 www.rvdi.com

Houghton Associates LLC

315 Church Street Suite 4C New York, New York 10013 212.219.1250 www.houghtonassociatesllc.com

NO CLG

W SP

07 A231 TYP

05 CL

SP Z

E OP SL DN

RVDI

404 Fifth Avenue, 8th Floor New York, New York 10018 212.370.1776 www.ceramiassociates.com

X W

W cs

Throughout the construction documentation phase of the renovation project in Rye, New York, I designed and developed the worship space while being mindful of not only the aesthetic values of architecture but also other practical matters including but not limited to budget, construction, and client’s desire. The design first tested various ways light can illuminate the space while maintaining visual consistency from openings to the ceiling to create a comprehensive yet ambient atmosphere. Civil Engineer

Jim Conti Lighting Design

450 West 31st Street 5th Floor, Suite 4 New York, New York 10001 917.232.2672

AV & IT

PE O DN

WS01

SP Z

Lighting Consultant

AA W

Thomas Polise

Consulting Engineer PC 133 West 19th Street New York, New York 10011 212.645.1002 www.tpolisece.com

TYP

U U

CL01 16'-0" AFF

SP 125 T SANCTUARY

Building Systems Engineer

U U

DN CL05

07 A231

SPW

Severud Associates

469 Seventh Avenue New York, NY 10018 212.986.3700 www.severud.com

1.3

About the Work

195 Montague Street 14th Floor Brooklyn, New York 11201 347.423.6664 www.atworkllc.com

Structural Engineer

USP

SLOPE

126 SOCIAL HALL

NO CLG

123 STORAGE

DN CL 05

Owners Representative

2.1

CL01 15'-0" AFF

120 SANCTUARY VEST. D

The Sanctuary reconstruction reoriented the space to improve flexibility and create a more dynamic format. The theme of light, especially reflected light, inspired the design. In the Sanctuary, new window openings illuminate a formerly dark, interior space. Daylight and carefully crafted artificial light combine to give the space a lighter, more contemporary feel.

121 PASSAGE

WS01 TYP

4'-9 1/2"

11'-9 3/4"

CL02 9'-0" AFF

WS02 TYP

SP N

24'-3"

111 SEATING AREA - B

SP N

S LO

1.1

11'-10"

DN CL0 5

M USP

ALL FLAT CEILING PANELS IN THE SOCIAL HALL ARE

WS01 AT TRANSOM

USP

WS01

USP

ALL FLAT CEILING PANELS IN THE SANCTUARY ARE

CL05 14'-0" AFF U.O.N.

CL01 14'-0" AFF U.O.N. 128 STORAGE NO CLG

USP

USP M

129 CORR.

002 001

06/16/17 02/10/17

ISSUED FOR 80% CD / BID ISSUED FOR DESIGN DEVELOPMENT

No.

Date

Description

Key Plan

0 20'-0"

20'-0"

02 A501

20'-0"

19'-8 1/2"

01 A501

GENERAL NOTES EXTERIOR ARC UPLIGHT

LINEAR INDIRECT

TYPE

LOCATION

DESCRIPTION

ARC DISPLAY

LINEAR DIRECT

1ST FLOOR FAÇADE

LINEAR - MOUNTED ON SCREEN

2ND FLOOR FAÇADE

LINEAR - MOUNTED ON SCREEN

CANOPY

LINEAR

EGRESS

WALL MOUNTED DIRECT

YARD

BUILDING MOUNTED FLOODLIGHT

YARD

SITE POLE

SANCTUARY PATHWAY

BOLLARD

ARC ACCENT LIGHT

RECESSED ACCENT LIGHT

SANCTUARY - YAHRZEIT

LINEAR WALLGRAZER

BIMAH ACCENT LIGHT

RECESSED ACCENT LIGHT

BIMAH FLOODLIGHT

MONOPOINT ACCENT LIGHT

SANCTUARY COVE

LINEAR

SANCTUARY DOWNLIGHT

RECESSED LINEAR DIRECT

SANCTUARY/ SOCIAL HALL RECESSED LINEAR VERTICAL WALLWASHER DIRECT SOCIAL HALL/ W RM COVE LINEAR

SOCIAL HALL/ W RM DOWNLIGHT MENORAH

SEE PLGB DWGS FOR SPRINKLER LAYOUT. COORDINATE WITH LIGHT FIXTURES TO ALIGN, TYP.

SPRINKLER HEADS TO BE CONCEALED, TYP.

LAYOUT OF LIGHTING, FIRE SUPPRESSION, VENTS, SPEAKERS, ETC. TO ALIGN.

RECESSED ACCENT LIGHT INDIRECT LED WALL MOUNTED DIRECT LIGHT

CAFÉ

ALL LIGHT FIXTURES, SPRINKLERS, SMOKE DETECTORS AND OTHER SIMILAR CEILING MOUNTED DEVICES ARE TO BE CENTERED IN CEILING TILES U.O.N. ALL EXIT SIGNS ARE TO BE CENTERED WITH ADJACENT DOORS U.O.N.

3'-9"

USP S

MECH SUPPLY AIR

WALL MTD EXIT SIGN

MECH SUPPLY AIR SQUARE DIFFUSER

CLG MTD SMOKE DETECTOR

CL01

GYPSUM BOARD, PTD

LIGHT FIXTURE

CL02

SUSPENDED ACOUSTICAL CEILING SYSTEM

CL03

SUSPENDED ACOUSTICAL LAY IN CEILING

CL04

SUSPENDED ACOUSTICAL LAY IN CEILING; HEALTH FOOD GRADE

CL05

ACOUSTIC PLASTER

SECURITY CAMERA CLG MTD WIRELESS ACCESS POINT CS GB

MECH EXHAUST

UPRIGHT SPRINKLER HEAD

CLG MTD SPEAKER GLASS BREAK DETECTOR

200 Forest Avenue Rye, New York, 10580

CLG MTD EXIT SIGN

RECESSED CLG MTD SPRINKLER

COMMUNITY SYNAGOGUE OF RYE

LEGEND

Graphic Scale

ENLARGED REFLECTED CEILING PLAN - SANCTUARY Scale: Date: Proj: Dwg:

1/4"=1'-0" 12.19.14 1210 01

A-222 © ROGERS ARCHITECTS, PLLC 2017

Top. Drawing - Sanctuary RCP, Bottom. Photo - Sanctuary

Community Synagogue of Rye

Rye, New York

Top Left. Model Photo - Window, Bottom Left. Diagram - Window Axonometric, Top Right. Photo - Screen, Bottom Right. Model Photo - Window

Community Bank; Projecting Perspectives

Studio Work, Spring 2016 Professor. Michelle Chang

Awarded M.N. Davidson Fellowship

Top. Diagram - Perspectival Projection, Bottom. Digram - Site

The site is situated where it not only demarcates the end of a larger linear Nicolett Mall Project, wanting to become an iconic gathering place with a public park planned to occupy most of the site but also projects to function as a grand connection between the mall and the rest of Minneapolis. The project hopes to function as both an end and a new beginning. The project exploits a perspectival projection where there exist points of projection, regular cubes, and a series of planar plates, resulting in a few spatial conditions.

Community Bank

Minneapolis, Minnesota

Top. Rendering - Exterior, Bottom. Drawing - Sections

First is an eccentric pyramidal core that embodies both public and private circulations and transitional spaces such as the teller. Second is a series of ruptures working centrifugally from the core to create interstitial spaces that allow spatial separation while allowing visual porosity both vertically and horizontally. Visitors first approach the project through a gentle slope down into the main public staircase, exposed to the gridded ground and neutral field of façade that blends into the surrounding site - the line of ruptures is not much exposed until at night. As approaching the staircase, they experience geometry of the ruptured plates, again gridded, and in a gap between the plates and the exterior façade.

Projecting Perspectives

Left. Diagram - Circulation, Right. Drawing - Plans

Community Bank

Minneapolis, Minnesota

A vault is probably the most exceptional space in the building to meet the programmatic requirement and maintain a level of security. The vault is bounded by two ruptures coming from two opposite directions; however, the ruptures, rather than simply creating a bounded space, also affect both spaces above and below. They affect the experience coming in and out of the building where one entering into the waiting area experiences a constant opening up and widening of space while seeing a slope of the ceiling that extends in perspective. In such experience, there exists a depth of space toward the central core, reinforcing the centrifugal movement from the center.

Top. Model Photo, Bottom. Rendering - Entrance

Projecting Perspectives

As a way of reinforcing the method, lines of perspectival projections were solidified as a series of beams piercing through the layers of plates, physically breaking the boundary. At the same time, orthogonal projections result in vertical columns. Such juxtaposition of the two projections starts to synthesize and produce a total system that guides an interior organization of the design. Once episodic yet coherent, the totality of space is achieved through projections resulting in both ruptures and experiences that connect physically separated spaces through visual porosity. And, the wholeness of an object that allows such experience is never fully realized, however, allows different perceptual possibilities with an emphasis on perception and experience.

Top. Rendering - Lobby, Bottom. Drawing - Sections

Community Bank

Minneapolis, Minnesota

Top. Diagram - Interstitial

Pratt Institute New School of Art

Professional Work, 2019 Project Lead. Brad Cloepfil Allied Works Architecture

Institution, Schematic Design to Design Development

willoughby avenue

The new building, which will provide a distinct School of Art destination and identity on campus for the first time, will include flexible space for classrooms, studios, tech labs, galleries, and programs that engage the public. f.

After joining the team during the schematic design phase, I generated iterative conceptual studies and worked closely with senior architects in designing the new studio building for Pratt Institute. I produced abstract yet inspiring images to push the design and create the right feeling while continuously researching for materials and construction methods to make the idea more concrete. I produced images not only to develop the design internally but also to share the process with the client.

c. d.

ryerson walk

hall street

y ery k box auditorium r cafe n suite ces

Top. Drawing - Ground Floor Plan, Bottom. Rendering - Exterior

Pratt Institute New School of Art

Brooklyn, New York

Top Left. Rendering - Interior, Top Right. Diagram - Facade, Bottom Left. Diagram - Facade. Bottom Right. Rendering - Interior

Pliable; Flat and Shape

Seminar Work, Fall 2015 Professor. Dawn Finley

Pliable advocates for the immediacy of material investigations and fabrication in architecture — working directly with fabric (natural and synthetic) as a primary material type using an array of seaming techniques (manual and machine sewing, heat and pressure welding). Sewing is a specific fabrication technique that offers connection, transition, structure, and ornament between and upon material surfaces. Stitches and seams have the capacity to both organize and express the relationship between material components. The first bag explores between an object and a spatial condition that it takes in designing a bag. With an object being a shoe, the design tries to utilize a continuous surface that both wraps the object and through such process, gives the bag a structural reinforcement. Top. Photo - In Motion, Bottom. Photo - Relaxed

Pliable

Houston, Texas

Left. Diagram - Flat, Right. Photo - Held

Flat and Shape

Top. Diagram - Axonometric, Bottom. Photo - Worn

Sewing is a specific fabrication technique that offers connection, transition, structure, and ornament between and upon material surfaces. Stitches and seams have the capacity to both organize and express the relationship between material components. The second bag design foregrounds and investigates the potential of a “flat” graphic surface as an active and independent agent superimposed upon a three-dimensional form. Starting with a flat graphic surface of orthogonal grid constructed through multiple methods, including varying stitching techniques, the bag tries to incorporate both methods in creating a pattern through the depth of space with a certain level of flexibility. Each volume taking its own form and identity, and yet tied to each other due to formal repetition, the bag as a whole creates a coherent image.

Pliable

Houston, Texas

Top Right. Photo - Fun, Bottom. Photo - Exploded

Center for Trans-Andean Tourism; Barranco

Studio Work, Spring 2015 Professor. Carlos Jiménez

Designing in Peru was a challenge, where there has been a long history of historic and civic conflicts, conflicting with a desire to create architecture that is embedded within the site and could represent Peru itself. And, after visiting the site, I saw nature, dramatic topography of the Barranco and continuous interaction of the ocean and rocks as the most powerful representation of both time and space. With an analysis and manipulation of the existing topography, the design hopes to achieve an architecture that not only blurs a boundary between figure and ground but also does not directly represent a predefined form in the context of Peru’s history. Furthermore, through re-framing views and offering conditions that are not usual along the coast of the city, moments of tension and release are created, and thus the experience of the space is heightened. Through such, the preexisting horizontal relationship between the sky and the ocean becomes vertical and rather memorable. Top. Photo - Site, Bottom. Drawing - Elevation

Center for Trans-Andean Tourism

Lima, Peru

Top. Diagram - Site Analysis, Bottom. Drawing - Site Plan

Barranco

Top. Rendering - Interior, Bottom. Drawing - Short Section

The first floor highlights the outdoor balcony, allowing a clear vista to the ocean. Load-bearing walls extend from first to the fourth floor yet the spatial conditions change throughout; first floor and second floor is marked by opened space for galleries and public events whereas the fourth floor is occupied with individual studio spaces.

Center for Trans-Andean Tourism

Lima, Peru

Top. Drawing - Plans, Bottom. Rendering - Exterior

Barranco

Top. Diagram - Opening, Bottom. Rendering - Interior

Center for Trans-Andean Tourism

Lima, Peru

Contextual indexes result in a series of solids and voids, and through interaction among those parts to frame the nature, allow natural light and foster movement throughout the building. The crucified form not only demarcates its presence in the site but also connects the design to the surrounding condition.

Top. Drawing - Plans, Bottom. Photo - Site

219 Jay Street

Professional Work, 2020 Project Lead. Ted Baab SO-IL

Housing, Concept Design to Construction Documentation

The building conceives of outdoor spaces as extensions of living areas. Different types and scales of outdoor space wrap the plan. Balconies, terraces, front porches, and window gardens each complement and extend living areas, offering more space in warmer months, and experience of seasons and weather in cooler ones. Each scale suggests a different use: dining as a group, reading a book, hosting a garden, lending high rise living the familiarity of a brownstone. After 450 Warren Street, I continued participating in a housing project with the same client. The site was comparatively small, and the zoning restrictions allowed the building to be a tower. The design was a conversation between parts and the whole where the intent was to create spaces of different scales while dealing with design constraints resulting from setback rules of the site. I focused on designing the facade with the goal of not only utilizing the facade as an asset to create a homogeneous image at a building scale but also carefully considering its effect on both exterior and interior spaces.

Top. Model Photo - Massing, Bottom Left. Photo - Facade, Bottom Right. Drawing - Facade Detail 1.4 Veil - Rainscreen

Folded perforated metal panel

3" Semi-Rigid Mineral Wool w/ Black Mat Facer

Folded perforated metal panel

Folded perfora metal pa

End cap @ window openings

Vapor Permeable Air Barrier (Perm-a-Barrier VPO, Intermittent UV exposure acceptable) Exterior Sheathing 5-1/2" stud wall w/ batt insulation and gyp interior

Vapor Barrier

Frame aligned with insulation (PSL framing)

End ca window open

219 Jay Street

Brooklyn, New York

219 Jay St, Brooklyn New Residential Building

1 _______ _______

Owner: Tankhouse 55 Washington St. Suite 551 Brooklyn, NY 11201, T: 718-222-1028

A-201

2 _______ _______

A-301

3 _______ _______

A-301

Architect of Record: Kane AUD Architecture and Urban Design 41 Union Square West #825 New York, NY 10003, T: 212-627-6940

1300 WF1

1.2 1.1 STAIR 1

13-2.2 WF1

Design Consultant: SO – IL 320 Livingston St, 2nd Floor Brooklyn, NY 11217, T: 718-624-6666

119' - 10"

1302

13-10.1 WO1

119' - 10" 13-2.1 WD1

Expediter: William Vitacco Associates, LTD 299 Broadway, 5th Floor New York, NY 10007, T: 212-791-4578

1304

13-1.1 WD1

STAIR 2

1301 Refuse

13-9.1 WD2

13-10.2 WO1

119' - 10"

Structural Engineer: Silman Associates, DPC 32 Old Slip, 10th Floor New York, NY 10005, T: 212-620-7970

1305

1301

119' - 10"

1 _______ _______

13-10 MBath

13-9.2 WD3

MEP Engineer: CES, Consulting Engineering Services 216 East 45th Street, 16th Floor New York, NY 10017, T: 646-961-3999

13-1.1

A-300

13-2.3 WO2

13-1.2 13-4.1

13-9 MBdrm

13-10.1

WIC

13-4 WIC

3' - 0"

DWELLING UNIT 13 THREE BEDROOM

13-2 Dining

13-3 Pwdr

13-9.1

PE1

13-1 Living

13-3.1

A-200

Envelope Engineer: Laufs Engineering Design, LLC 46-01 5th St Long Island City, NY 11101, T: 212-529-3905

119' - 10"

A-201 -

13-9.3 WO1

13-2.4 WO2

13-7 Office

119' - 10"

2_______ _______

Geotechnical Engineer: GES, Geotechnical Engineering Services, P.C. 6 Bayberry Road Elmsford, NY 10523, T: 914-592-4616

DOB Stamps & Signatures:

13-8 Bdrm

--A-300

119' - 10" 13-8.1

13-1.2 WD2

13-8.1 WF1

13-1.3 WD2 13-5.1

4 13-2.5 WO2

13-2.6 WF1

13-7.2 WD2

119' - 10"

13-8.2 WD1

13-6.1

13-5.1 WD2

119' - 10"

13-5 Bdrm

13-6.1 WF1

DOB Bscan:

13-6 Bath

Seal & Signature: NOT FOR CONSTRUCTION

13-5.2 WO2

Date 219 Jay St, Brooklyn 11/6/2020 New Residential Building

No. Description .00 100% DD

1 A-200

Floor 13 1 1/4" = 1'-0"

1. FOR DIMENSIONS, SEE A-112.

D A-301

1000 W01

Balcony Screening

Spot Elevation (Finished Floor)

Owner:

Interior Masonry Partition

WT1 - Exterior Wall - Metal Cladding 3 _______ _______ A-301 WT2 - Exterior Wall - Masonry Veneer

Window Reference & Type Tag (see A-050)

0'-0"

Interior Partition

Door Reference Tag (see A-040)

101

A-201

2 _______ _______

A-301

Partition Type Tag (see A-001 and A-002)

C 1 _______ _______

November 6, 2020

SYMBOLS

GENERAL NOTES

Tankhouse Construction Plan - Floor 13

Concrete Shear Wall Concrete Column (see Structural Drawings for size)

55 Washington St. Suite 551 Brooklyn, NY 11201, T: 718-222-1028 Architect of Record:

Kane AUD A-113.00

Architecture and Urban Design 41 Union Square West #825 New York, NY 10003, T: 212-627-6940

900 WF1

1.2 1.1 STAIR 1

9A-3.2 WF1

Design Consultant: SO – IL 320 Livingston St, 2nd Floor Brooklyn, NY 11217, T: 718-624-6666

78' - 6" 902

904

9A-3.1 WD1

Expediter: William Vitacco Associates, LTD 299 Broadway, 5th Floor New York, NY 10007, T: 212-791-4578

9B-1.1

STAIR 2

9B-1.1 WD1

901 Refuse

78' - 6"

Structural Engineer: Silman Associates, DPC 32 Old Slip, 10th Floor New York, NY 10005, T: 212-620-7970

905

901

2 1 _______ _______

78' - 6"

A-300

9A-3 Kitchen

9A-3.3 WD2

78' - 6"

903

9A-5.1 WF1

MEP Engineer: CES, Consulting Engineering Services 216 East 45th Street, 16th Floor New York, NY 10017, T: 646-961-3999

9A-1.1

9B-1.2 WF1 9A-1.2

9A-1 Foyer

PE2 9A-4.1

A-200

9A-8 Bath

PE1

9A-5.1

9A-2.1

9A-9.1

9A-6 Bdrm

9A-6.1 WO2

9A-6.1

78' - 6"

9A-2 Living

9B-3.1

9B-3 MBath

DOB Stamps & Signatures:

9B-5 Bath

9B-4.1

9A-4 MBdrm

DWELLING UNIT 9A TWO BEDROOM

9A-7 Bdrm

9A-7.1 WO1

Geotechnical Engineer: GES, Geotechnical Engineering Services, P.C. 6 Bayberry Road Elmsford, NY 10523, T: 914-592-4616

9B-5.1

9B-2.1

9A-7.1

A-201 -

9B-5.1 WF1

78' - 6"

9A-8.1

--A-300

9B-1 Living

9A-9 Pwdr

2_______ _______

Envelope Engineer: Laufs Engineering Design, LLC 46-01 5th St Long Island City, NY 11101, T: 212-529-3905

9A-5 MBath

9B-4.1 WF1

DWELLING UNIT 9A THREE BEDROOM

9B-4 Bdrm

9B-2 MBdrm

9B-4.2

9A-2.3 WD2

DOB Bscan:

9A-2.2 WD1 9A-7.2 WO2

9A-4.1 WO2

9B-1.3 WD2

Seal & Signature:

78' - 6"

9A-2.1 WO2

78' - 6"

9B-2.1 WO2

NOT FOR CONSTRUCTION

9B-4.2 WO2

Date 219 Jay St, Brooklyn 11/6/2020 New Residential Building

No. Description .00 100% DD

1 A-200

Floor 9 1 1/4" = 1'-0"

1. FOR DIMENSIONS, SEE A-108.

D A-301

1000 W01

Balcony Screening

Spot Elevation (Finished Floor)

Owner:

Interior Masonry Partition

WT1 - Exterior Wall - Metal Cladding 3 _______ _______ A-301 WT2 - Exterior Wall - Masonry Veneer

Window Reference & Type Tag (see A-050)

0'-0"

Interior Partition

Door Reference Tag (see A-040)

101

A-201 2 _______ _______

--A-301

Partition Type Tag (see A-001 and A-002)

C 1_______ _______

November 6, 2020

SYMBOLS

GENERAL NOTES

Tankhouse Construction Plan - Floor 9

Concrete Shear Wall Concrete Column (see Structural Drawings for size)

55 Washington St. Suite 551 Brooklyn, NY 11201, T: 718-222-1028 Architect of Record:

Kane AUD A-109.00

Architecture and Urban Design 41 Union Square West #825 New York, NY 10003, T: 212-627-6940

500 WF1

1.2 5A-4.2 WF1

1.1

5A-5.1 WO1

5A-5 Bath 5A-4.1 WO2

STAIR 1

502

504

5A-1.1 WD1

5C-1.1 WD1

501 Refuse

37' - 6"

5A-1.1

5A-5.1

Expediter: William Vitacco Associates, LTD 299 Broadway, 5th Floor New York, NY 10007, T: 212-791-4578

5C-1.1

STAIR 2

5A-4 Bdrom

Design Consultant: SO – IL 320 Livingston St, 2nd Floor Brooklyn, NY 11217, T: 718-624-6666

37' - 6"

Structural Engineer: Silman Associates, DPC 32 Old Slip, 10th Floor New York, NY 10005, T: 212-620-7970

505

501

2 5A-4.1

1 _______ _______ 5A-4.2

37' - 6"

503

5B-1.1 WF1

A-300

MEP Engineer: CES, Consulting Engineering Services 216 East 45th Street, 16th Floor New York, NY 10017, T: 646-961-3999

5B-1.1

5A-1.2 WO1

5C-1.2 WF1

5B-1.2

PE2

Envelope Engineer: Laufs Engineering Design, LLC 46-01 5th St Long Island City, NY 11101, T: 212-529-3905

PE1

5A-1.3 5A-1.2

5A-1.3 WO1

5A-1 Living

37' - 6"

A-200

5A-3.1

5C-1 Living

5A-3 MBath

2_______ _______ --A-300

37' - 6"

DWELLING UNIT 5A TWO BEDROOM

Geotechnical Engineer: GES, Geotechnical Engineering Services, P.C. 6 Bayberry Road Elmsford, NY 10523, T: 914-592-4616

DOB Stamps & Signatures:

5C-5 Bath

37' - 6"

5B-2.2

5B-1 Living

5B-3 Bath

5B-3.1

5C-2.1

5C-3 MBath

5C-5.1

5C-3.1

5C-4.1

5A-1.4 WO2

A-201 -

5C-5.1 WF1

5A-2.2 5A-2.1

DWELLING UNIT 5C TWO BEDROOM

5B-2.1

5C-4.1 WF1

DWELLING UNIT 5B ONE BEDROOM

5A-2 MBdrm

5C-4.2

5C-4 Bdrm 5B-2 Bdrm

5A-1.5 WD2

DOB Bscan: 5C-2 MBdrm

5B-1.2 WD2

5C-1.3 WD2

Seal & Signature:

37' - 6"

5A-2.1 WD2

37' - 6"

37' - 6" 5B-2.1 WO2

NOT FOR CONSTRUCTION

5C-4.2 WO2

5C-2.1 WO2

Date 219 Jay St, Brooklyn 11/6/2020 New Residential Building

No. Description .00 100% DD

1 A-200

Floor 5 1 1/4" = 1'-0"

1. FOR DIMENSIONS, SEE A-106.

D --A-301

1000 W01

Balcony Screening

Door Reference Tag (see A-040)

101

A-201 2_______ _______

--A-301

Partition Type Tag (see A-001 and A-002)

C 1_______ _______

November 6, 2020

SYMBOLS

GENERAL NOTES

Interior Partition

Owner:

Interior Masonry Partition

WT1 - Exterior Wall - Metal Cladding 3 _______ _______ A-301 WT2 - Exterior Wall - Masonry Veneer

Window Reference & Type Tag (see A-050) Spot Elevation (Finished Floor)

0'-0"

Tankhouse Construction Plan - Floor 5

Concrete Shear Wall Concrete Column (see Structural Drawings for size)

55 Washington St. Suite 551 Brooklyn, NY 11201, T: 718-222-1028 Architect of Record:

Kane AUD A-105.00

Architecture and Urban Design 41 Union Square West #825 New York, NY 10003, T: 212-627-6940

1.2 1.1

100.2

Mail Boxes 109

12' - 2"

Design Consultant: SO – IL 320 Livingston St, 2nd Floor Brooklyn, NY 11217, T: 718-624-6666

107 Trash Compactor Room

6' - 7"

108 Bicycle Storage -4' - 6"

-6' - 0"

Expediter: William Vitacco Associates, LTD 299 Broadway, 5th Floor New York, NY 10007, T: 212-791-4578

11' - 5"

-6' - 0"

110

Packages

109 Security/IT/AV

12' - 2"

10' - 0"

STAIR 1

9' - 0"

7' - 0" Planter

12' - 0"

12' - 3"

3' - 11"

6' - 5"

-4' - 6"

104 Mail Room

Structural Engineer: Silman Associates, DPC 32 Old Slip, 10th Floor New York, NY 10005, T: 212-620-7970

107.1

2 110 Elevator Ctrl Rm

MECHANICAL CELLAR

Planter

-6' - 0"

106 Restroom

105 Pantry

108.1

100 Lobby -6' - 0"

WT3

MEP Engineer: CES, Consulting Engineering Services 216 East 45th Street, 16th Floor New York, NY 10017, T: 646-961-3999

-4' - 6"

4' - 2"

120

5' - 2"

A-300

4' - 10"

4' - 4"

1 _______ _______

1' - 6" 3' - 9"

Envelope Engineer: Laufs Engineering Design, LLC 46-01 5th St Long Island City, NY 11101, T: 212-529-3905

Storage

PE2 5' - 8"

PE1

WT3

21' - 3"

Interior Glass Partition

6' - 11"

4' - 10"

3' - 8"

WT3 M1

9' - 10"

6' - 11"

7' - 8"

5' - 5"

4' - 9"

105

4' - 3"

106

6' - 8"

4' - 8"

103.1

A-200

102.1

101.1

A-201 -

DOB Stamps & Signatures:

WT3

-6' - 0"

14' - 0"

102 Indoor Recreation Space

103.3

103 Indoor Recreation Space

Planter

10' - 5"

101 Indoor Recreation Space

101.3

25' - 7"

-6' - 0"

101.2

Planter 12' - 2"

4' - 0" 100.1

-6' - 0" Operable Partition

16' - 11"

--A-300

17' - 6"

2_______ _______

Geotechnical Engineer: GES, Geotechnical Engineering Services, P.C. 6 Bayberry Road Elmsford, NY 10523, T: 914-592-4616

Operable Partition

16' - 3"

Storefront Glazing System

24' - 11" 102.2

103.2

8' - 7"

4' - 6"

24' - 10"

6' - 9"

11' - 9"

-6' - 0"

5' - 11"

Planter

6' - 10"

5' - 7"

DN 6' - 9"

Planter

DOB Bscan:

Garden

Terrace

Planter

Seal & Signature:

-2' - 6"

NOT FOR CONSTRUCTION

No. Description .00 100% DD

Date 11/6/2020

A-200

Floor 1 1/4" = 1'-0"

Left. Drawing - Plans, Right. Rendering - Exterior

November 6, 2020

SYMBOLS A 101 1000 W01 0'-0"

Partition Type Tag (see A-001 and A-002) Door Reference Tag (see A-040) Window Reference & Type Tag (see A-050) Spot Elevation (Finished Floor)

Balcony Screening WT1 - Exterior Wall - Metal Cladding WT2 - Exterior Wall - Masonry Veneer

Interior Partition Interior Masonry Partition Concrete Shear Wall

Construction Plan - Floor 1

Concrete Column (see Structural Drawings for size)

A-101.00

Four Hudson Boulevard; Mixed-use Tower

Studio Work, Fall 2017 Collaborator. Michael Awalt Professor. William T. Cannady and Doug Oliver

Awarded Texas Society of Architects Studio Award

A tower is an urbanistic object. It is privileged with autonomy and burdened with dependence upon its content. By considering the tower as an urbanistic object, the tower can be viewed as a porous object, continually engaged by its surrounding to spur participatory public through the process of discovery and fun. In its current and continued state, the New York tower is a distinct trifle of pedestal, middle, and top, none of which are perceived in the same location at once: the pedestrian at street level is confronted with a partially accessible and usually glass enclosed, plinth from the sidewalk to sidewalk, the middle exterior of a tower by onlookers in neighboring buildings, and the top only from far distances. Top. Rendering - Ground Floor Plaza, Bottom. Drawing - Ground Floor Plan

Totalization

New York, New York

Top. Model Photo

Four Hudson Boulevard; Mixed-use Tower

Top. Rendering - Exterior, Bottom. Model Photo

The tower itself is upon its site as an autonomous sculpture, competing for a presence among the Manhattan skyline, like ground level rainforest plants fighting for access to sunlight. As a response to this condition presented by the towers type, the project challenges the layered trifle condition. The first investigation was programmatic – the primary reason for the tower’s experiential separation. Rather than having the offices, hotels, and residential units stacked on top of another, the three programs sit above and beside one another. By having such an arrangement, the spatial and programmatic relationships arise.

Totalization

New York, New York

Condo Hotel Multi-Purpose Office

Top. Diagram - Form. 1 - Program Division, 2 - Spatial Separation, 3 - Site Geometry, 4 - Formal Expression, 5 - Lobby, 6 - Connective Voids, 7 - Formal Refinement, 8 - Public Space

Four Hudson Boulevard; Mixed-use Tower

Left. Diagram - Ventilation. Right. Drawing - Section

Totalization

New York, New York

The section is articulated by two main interstitial zones, bounded by two different program types - one between office and hotel and the other between office and residential. These spaces not only allow architecture to be read simultaneously as a coherent whole and clusters of disparate individuals at multiple scales, but also offer new possibilities for social, visual, and programmatic interactions. These interstitial spaces, which initially can be seen as a break between programs with a different level of privacy, are rather opportunities for social and visual interaction. Although varying outdoor spaces serve specific programs and are separated by lightwells, perform as connective tissue.

Top. Rendering - Exterior, Bottom. Rendering - Exterior

Four Hudson Boulevard; Mixed-use Tower

Top. Diagram - Structure and Framing Plan

Totalization

New York, New York

The tower’s privilege and responsibility lie in its scale – structure and form have power and agency with the tower, unlike any other architectural typology. It is lost an opportunity, to say the least, to not explore the depths and extremities of form and structure that the tower has the ability to provide.

Top. Drawing - Plans

Four Hudson Boulevard; Mixed-use Tower

Top. Diagram - Facade Elevation, Bottom. Sketch - Facade Detail

There exist two unitized facade systems. The first system, implemented on surfaces that bound the interstitial spaces, is a singlelayered double glazed system with some being operable for natural ventilation. Using a rigid orthogonal grid, the facade creates a clean expression of the interstitial. The second, which exists on outer surfaces of the volume, is a double skin facade with the outer face being supported by fins extending out from the inner structural mullions. The organization of the inner skin uses the geometry that is inherent to each volume and are not orthogonal, emphasizing the subtle yet autonomous qualities of each. Furthermore, the geometry of the outer layer follows a rather strict perpendicular grid.

Totalization

New York, New York

Top. Diagram - Structure Detail Axonometric

Four Hudson Boulevard; Mixed-use Tower

The superimposition of the two grids not only gives a cohesive look from distance but also creates subtle textures that change as the building is experienced at different scales. In such experience, the architecture can be read simultaneously as a singular whole and three distinct individuals with specific programs.

Totalization

New York, New York

Left. Model Photo - Elevation, Right. Model Photo - Bulkhead

Thank you

Deok Kyu Chung deokchung92@gmail.com +1 214 385 5931

End