David Ni, Cumulative Portfolio January 2022

DAVID NI Cornell University Bachelor of Architecture 2024

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DAVID NI is a designer, academic, and problem-solver Architecture is a language that infuses people, culture, and context into a singular set of spaces.

As such, my foremost priority in any project is to pinpoint the motif and vocabulary that reflects the essense of these conditions.

Outside of studio, I have been proven to be an individual who sets high goals and demonstrated excellence in fields such as, team management, cultural analysis, and commercial graphic design.

Featured Works: Resume

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Artist in a Floating World

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Gothic Americana

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Cosmic Ocean

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Garden Nursery

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Light / Smoke

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Graphic Design Samples

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AD Paris Exhibition

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EDUCATION CORNELL UNIVERSITY | 2019-2024 | GPA 4.086 Bachelor of Architecture with Minors in Anthropology and Art History

DAVID RONG SHENG NI david-ni.com

RELATED COURSES

dn297(at)cornell.edu

Architecture

+1 917 826 9216 US

architecture history; digital representation; structural systems; enviornmental systems; architectural analysis; building technology.

Anthropology | Art History anti-colonialism (columbia u.); ethnographic film theory; museum history in NYC (columbia u.); designing arkeo exhibits; introduction to anthropological theory; cultural diversity and contemporary issues; genocide today.

AWARDS Freedman Award, Cornell Department of Anthropology First Place, Spring Prize 2021, Cornell AAP Cornell AAP Dean’s List, four semesters Dogwood District Scholarship, 2019, BC MoE

EXPERIENCE

PROFICIENCIES

CREATIVE DESIGN LEAD

SOPHIE DRIES ARCHITECT

SOFTWARE

Architecture Intern, 2021

2021 - Present — Paris, France

Rhinoceros

V-Ray Renderer

Adobe Suites

Microsoft Suites

AutoCad

Twin Motion

Houdini

Grasshopper

led and designed company’s first NFT collection; conceptualize scenography for AD Paris; created and oversaw production of new carpet and candelabra collection; proposed content for collaboration with Atelier Luma.

EUROPEAN & AMERICAN

HERBERT F. JOHNSON MUSEUM OF ART

PREMODERN; PRINT &

2021-Present — Ithaca, NY

DRAWING INTERN

CREATIVE DIRECTOR

SKILLS Graphic Design

Editorial Design

Digital Modeling

Copy Editing

researched artworks and wrote labels for Women Making their Mark exhibition; documented and cataloged preexisting and new collection pieces, handled and cared for prints and art objects; managed online database for over 10,000 artworks.

CNC

Video Production

Timber Fabrication

Painting-Drawing

MEDIUM DESIGN COLLECTIVE

English (Native)

French (Limited)

Mandarin (Professional)

Japanese (Elementary)

Curatorial Director, 20-21

2019-Present — Ithaca, NY

Layout Editor, 19-20

created and led first research group for NFT and digital art; redesigned internal and external brand image and guide; organized and designed art direction for social media marketing campaigns; formulated education opportunities and collaborations with 3 other campus organizations.

PROJECT MANAGER

WISTERIA INVESTMENT CORPORATION

Design Consultant, 19-20

2019-Present — New York City / Vancouver liason for architectural planning, remodelling, and construction projects for real estate redevelopment projects; contact and mediated architecture firms and administrated site management logistics.

LANGUAGE

OTHERS CONTENT EDITOR Cornell Journal of Architecture 2020 - Present — Ithaca, NY

VICE PRESIDENT Cornell Anthropology Exchange

ARCHITECTURE INTERN

GRESHAM, SMITH, AND PARTNER

2021 - Present — Ithaca, NY

Summer 2018 — Shanghai, China TEACHING ASSISTANT ARCHITECTURE INTERN

CRYSTAL McKENZIE, INC

Cornell University, Center for Teaching Innovation

Winter 2021 — Remote

2020-2021 — Ithaca, NY

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ARTIST IN A FLOATING WORLD WORKSHOP FOR A PAPER MAKER Cornell B. Arch, Year I, Semester II Supervisor: Professor Val Warke & Professor Felix Heisel

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Construction Diagram.

A bamboo paper-maker works aboard four floating moduels each tailored to the needs of one step in the crafting process.

Water is an element inseperatable from the creation of paper, from the beginning to the end, water is either being absorbed or expelled. thus proximity to water became paramount to my design. furthermore, bamboo’s bouyant properties became a fascinating condition to include. The given verb “pull” evokes ideas of change through action, a process of metamorphosis.

Integrating the two terms, five mutually tethered models was situated on the banks and waters of an estuary. Each module employs a similar typology, removable thatched roof, bamboo roof supports with paper curtains, rafts, and bamboo bundles for bouyancy. Each a component essential to the comfort and utility of each module, however, each roof condition and bouyancy modules are uniquely designed for the function of the module.

Site axonometric perspective & joint details.

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Details

DRYING

SQUEEZING

STORING

The paper created by the artisan is relatively large. As such, a tall roof needs to be made to hang the papers off of. An opening in the ceiling also assists in the improved circulation of the air.

The machine for squeezing has a relatively large swing radius.

While it does not make contact with the curtains, the person’s movement may be restricted. As such, extra effort was given to the design of the roof to reduce the the columns.

The storing modu main anchor for a and thus has to al to the ground. Fu thatched wall enc the building to pr from accumulate the paper. The ro side porches to c as well.

ule acts as the all the modules lso be connected urthermore, a closure surrounds rotect the paper ed weathering to oof extends to the cover the exterior

Section & Plan

PAPERING

MASHING

The papering of pulp water requires an abundance of water to fill the tank. Thus, the body of the container is below water level to allow for simple filling. In addition, as the papering cradle needs to be attached to the roof, a lower roof allows for improved stability.

The curtain system is also only attached at the two ends to allow for adjustable draping.

The hammering of soaked bamboo requires a significantly higher roof to account for the arced movement of the swing. Paper curtains are also designed to be parallel to the swinging direction to avoid contact.

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Six perspectives.

Perspective

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GOTHIC AMERICANA BOATHOUSE ON A RIVER Cornell B. Arch, Year II, Semester II Supervisor: Professor Luben Dimcheff

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Site research documentation.

The concept of the project stems from an academic fascination with the vernacular structures around the site in Ithaca, NY--particularly the silhouette, decomposition, and recomposition of American barns.

Following elements synthesized from personal visits to and conversations with the local farmers, I felt profoundly drawn to certain typological particularities of this genre of architecture. The first is its ad-lib construction which resulted in a palimpsest of different grains of wood from different time periods pieced together to form its patchwork facades. The second was the decay and shrinkage experienced by the individual pieces of wood. This type of decomposition resulted in slivers opening up between the timber, thus, allowing thousands of rays of light to pierce into the interior like the clerestory of a cathedral. The third, and final, was the typology and that of the same genus fit the programmatic and integration with its context.

My decision to pick this particular site, located in a cove along the Cayuga Inlet, was due to an attraction towards a set of three pre-existing wooden piers that stretched out onto the water. From there, the design of the structure was a series of elevated spaces with

the boats shelved onto the side of the pilotis--like that of the piers. Clad in reclaimed wood from local barns, the facade of the building would act as a rain screen and shading while shaping the experience of the interior.

Anchoring the wood in place, the enclosure layer is punctured with series of skylights, clerestory-esque windows, and full windows that are opened depending on the program inside. In addition, operable sections of the cladding allow for change to the interior according to seasonality, expansion in the spatial perception of the rooms, and access to the rowing shells underneath.

To that, the boathouse is like a cacoon that spreads its wings when invigorated by the hustle and bustle of its occupants.

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Elevation and perspective.

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Section perspective.

The project is imagined as a series of barnesque buildings that were erected at different periods of time, perpetuated by need. When the rowing shells came, the main corridor, parallel to the water, was constructed. Then the gym and lounge over the water, the then ship repair shop, thewn the tower.

The main corridor consists of two sets of changing rooms on either wing of the building. This elevated space allowed for boats to be stored underneath and accessed by operating the bay doors. The upper space is accessed via the tower in the back, which includes a staircase and an elevator.

Perpendicular and over the water, the gym is connected to the main corridor by a covered bridge.

The double-height gym allows for light to be filtered by the cladding from various angles while still, with the help of the operable windows, emulate the sensation of being on water via its proximity to the water. The space underneath allows for the boats to be carried onto a floating dock that permits the rowers to have accessibility to the water for launching.

The boat repair shop is comprised of a gantry for the boats, a fabrication space, and a library and design space on the second floor. The walls are capable of being opened as to allow for more operational spaces in the Summer.

The tower is the final piece of the program. With a slanted elevator that emulates the design of a grain elevator, it allows visitors to view the race from above.

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Section perspective.

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Reclaimed wood model.

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COSMIC OCEAN HOUSE FOR TWO SCHOLARS Cornell B. Arch, Year II, Semester I Supervisor: Professor Dasha Khapalova

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Wax concept model.

The project is sited beside the Sagan House atop the gorges in Ithaca, NY. Taking inspiration from the complex structure of the waterfall plunge pools that slowly carve into the earth, the house is based on a tripartite system: the airy foam ontop of the water, the reflective surface, and the abyssal currents below.

As the Water falls, The Cosmos rises.

Superterrestrial

Terrestrial

Subterrestrial

The model utilizes an altered form of Polish ceromancy ritual to reenact and freezes the impact of below a waterfall. The pieces were then harvested and molded together to form a garden of alient forms.

Taking the three stages, the house applies it to a macroscopic scale connecting the water to the cosmos. The foam became the cosmos, the surface became the face of the earth, the abyss became subterreanian pods. Thus, the concept of the house is “as the water falls, the cosmos rises.” To create volumes that connect the residence to the terrestrial and extraterrestiral elements.

On the surface, a public space is created for students and staff; meanwhile, underneath, two offices are located on the first terrace and two bedrooms with a living room is located on the second. The three stratas are connected by the inclusion of lightwells that echo the silhouette of the model. The main axis is oriented to indentations that are the “path of least resistence” for water on the site The subterreanian spaces are created using interacting pods that recall the geometry of a seaside grotto or time worn cliff.

Concept diagram.

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Perspective rendering.

Above/below diagram.

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Subterranean floor plans.

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Ground floor plans.

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3 2

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Bedroom Lightwell

A series of lightwells are integrated throughout the design. They function not only to allow light to come in during the day, but also for the inhabitants to look up and gaze at the stars at night. On the surface, they also surface as forms that the public can interact with, 1

Bedroom Furnishing

All furnishings, inlcuding drawers, couches, chairs, and beds were designed with the language of the pods in mind. The bed is ovular while the shelves are unitized into circular pods that are embedded into the already curved walls.

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Living Room Bedroom

Floor Conditions

The formation of the interior space is almost completely curved, connecting the floor, walls, and ceiling into one bubble-esque pod.

Due to the necessity for a flat surface for furning, a platform is installed on the floor.

However, the edges are offset from the wall as to give the illusion of a floating platform 3 Sections.

ontop of a completely spherical room.

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West Office

East Office

Living Room

Clay interior model & Interior rendering with furnishing.

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Hallway Clay Model and Interior Renderings The model, on the left side, are constructed by using plywood form work and smoothening the edges with modelling clay. Each corner is rounded as to create the pod-like geometry of the interior.

Openings were created on the roof of the model to accurately reflect the spatial and light qualities inside each space.

The renderings, on the right, depict how one would inhabit the space. Through integrated furniture and the floating wood floors, the series captures the rooms as spaces for both work and rest.

East Bedroom

West Bedroom

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THE GARDEN NURSERY HOUSING IN ITHACA, NY Cornell B. Arch, Year III, Semester I Supervisor: Professor Lily Chi

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Diagrammatic illustration and isometric urban map.

THE GARDEN NURSERY The Garden Nursery is designed to be a cooperative garden and housing units that nurtured selective breeds of plants that will be used in the phytoremediation process on the post-industrial Ithacan soil. The apartment is designed to not only cater to the basic needs of humans--plumbing, heating, and electricity--but to also synthesize them with the needs of the plants--room for roots, irrigation, and sunlight. For example, the beams on each floor are designed in excess to allow them to either give extra ceiling space to the residents or accommodate the root depth of the plants. As the overall structure of the building is rallied around a calibrated laminated timber structure, residents of the building are permitted the opportunity to seek expansions to their apartments by purchasing the lots neighbouring. The units are lifted from

the ground and replaced with large ramps to create a theatre-esque public space in between the wings of the building. The building is also fitted with a steel back frame that exists as a structure for the vines to grow upon and where the stairs are hung from.

Ultimately, this project is also based upon the notion of polyvalency not only for the changing needs of the residents but also for grander changes in the city as a whole. I imagined that as the city becomes far more developed, the rigid structure would permit the building to become a community centre with internal and external auditoriums and a food court. While, as turbulent weather patterns start to severely damage local sources of food, the building would become the site for an indoor farming complex that would feed the city.

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Variations on the structure: in plan and in isometric perspective.

Skewed elevation-plan.

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Elevation and construction diagram

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Exploded axonometric perspective and detail diagram

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a. year one

a. communal garden and apartments b. community center and food court c. indoor aero- and hydroponic facility

b. year x

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c. year x’

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LIGHT / SMOKE ISLAND RITUAL SPACE Cornell B. Arch, Year I, Semester I Supervisor: Professor Val Warke & Professor Gesa Buttner Dias

Section & Plan

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Folding screen model.

LIGHT \ SMOKE The primary conditions of this project revolve around the properties of the elements, smoke, light, and water-especially how they are affected by gravity. The two inhabitants, a tea maker (top structure) and a relic keeper (bottom structure) are the initators of the element’s movements.

The smoke, indicated with the darkened texture in the section, is generated by the incense burned by the Relic keeper and guided by a series of slanted roofs meandering up to smoke the tea leaves hanging from the ceiling of the top tower.

The light shafts illuminate the bottom,

but can be blocked by the tea trees and thus must be groomed by the tea maker.

The water collected from rain is used to wash the tea leaves and trickle down to the bottom tower to clean the relic keeper.

Isolation rooms are designed as break rooms.

It is important to the project that the humans maintain the flow of elements, but they do not interrupt it. As such, the axonometric drawing of the tower focuses on the movement of the people with the goal of utilizing the already existing exterior structural forms (slanted roofs and flushed surfaces) of the tower.

Site Study

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Axonometric perspective & detail section.

Sectional model.

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Midterm Study Model

Midterm study model.

Utilizing steel sheets and printer tubes, the midterm project was used as a design stepping stone to explore initial ideas of space and light. The concept of tunnels as a means of focusing an element or directing an element became a paramount idea that directed the final design.

Hand drawings were used to further analyze the objectrelationship created in the model.

Analytical drawings.

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Book covers & marketing posters.

GRAPHIC DESIGN SAMPLES COLLECTION FROM 2019-2021

3D modelling samples.

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Rendering & Package

AD Paris Exhibition Summer 2021, Paris

While working at Sophie Dries Architect over the Summer of 2021, I was tasked with designing, rendering, and constructing the studio’s Architectural Digest exhibition for Paris Design Week. As part of the concept, I designed a scenography for the exhibition room, a carpet, and a candle holder. The theme of the exhibition was centered on the notion of cosmic bodies and principles of alchemy.

Final Exhibition, Plan, & Rendering

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SHOP REBRAND Rebranding project for clinic and club associated with University of Pennsylvania

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MEDIUM COLLECTIVE REBRANDING Rebranding project for design club associated with Cornell University