Geoffrey Sorrell

RECENT

ECSTATIC

GEOFFREY SORRELL

WORK

BUILDINGS

PORTFOLIO

R EC E N T W O R K

GEOFFREY SORRELL

GEOFFREY SORRELL GEOFFREY@GOODSYMBOLS.COM GOODSYMBOLS.COM

2

PROJECT 1 _ 4 - 19

ONE-TWO PUNCH PROJECT 2 _ 20 -29

INTO THE BLOCK PROJECT 3 _ 30-35

CAMPUS COMMONS ISTANBUL PROJECT 4 _ 36 - 43

MAHATMA GANDHI MUSEUM PROJECT 5 _ 44 - 57

BOUNDS

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“...the architect is someone who philosophizes in and through material. Someone

ONE-TWO PUNCH

who builds a dwelling or erects an institution makes a statement on the relationship between the ecstatic and the enstatic, or, if you will, between the world as apartment and the world as agora.� - Peter Sloterdijk

Project: Thesis

The One-Two Punch is a two part

produces no spatial overlap with the

For: Rice University School of Architecture

strategy for producing an open and

surrounding city remaining perfectly

Advisor: Ron Witte

dynamic spatial relationship between

hermetic. It is therefore considered

Produced by: Geoffrey Sorrell

the interior of an institutional building

inadequate for an institution such as

Project Type: Satellite Community College Building

and the surrounding external space

the community college whose vitality

Location: San Francisco, CA

of the city. The thesis recognizes that

relies on being ingrained in the city.

Size: 63,000 SF

the exterior space of the city and the

And so the degree zero is leveraged to

interior space of architecture, while

render its counter form legible.

inherently separate, are both rich

Fig. 1 (left) Worms Eye View Taken from 15 ft. Out and Perpendicular to the Facade

with public activity, built form, and

Like the most effective yet basic boxing

colorful environments. Their physical

technique, the one-two punch, this

separation, while necessary, often

thesis manipulates the degree zero to

produces closed, enstatic spaces that

produce simultaneous extension and

work counter to a building with a public

withdrawal creating an oscillating

identity. Therefore, the thesis lays claim

relationship between two conditions;

that an institutional building in the

the inward city and the ecstatic

city can and should be ecstatic, it must

building. The combination of the two

reach outwards into the city, and it must

create a dynamic public space along

allow the city to reach inwards in order

both facades and inward across the

to foster an appropriate relationship

section; extending the activity of the

between the institution and the

users into the city, while receiving the

inhabitants of the city at large.

activity of the city into the building.

The resulting building embodies the

The project, a satellite community

mission of the community college as a

college building in the South of Market

vital institution embedded in the life of

district in San Francisco, begins with

the city.

the degree zero condition; i.e. a singular enclosed volume. As a prevalent architectural model, the degree zero 5

THE ONE-TWO PUNCH

THE DEGREE ZERO

THE INWARD CITY

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THE ECSTATIC BUILDING

Fig. 2 (top left) The Degree Zero

The project begins with a singular

extends across the short section of the

enclosed volume that is defined as the

building; opening up the interior of the

Fig. 3(middle left) Inward Footprint

degree zero. Such a volume, as seen on

building to the external city.

Fig. 4 ( bottom left) Inward Punched Holes

with the surrounding space; remaining

The ecstatic building begins with a

perfectly hermetic. The degree zero is

series of programmatic volumes that

Fig. 5 (top right) One-Two Punch

countered by two conceptual moves; the

are extended beyond the primary

inward city and the ecstatic building.

volume and out into the space of the

Fig. 6 (middle right) Ecstatic Volumes Fig. 7 (bottom right) Ecstatic Circulation

page 6, produces no spatial relationship

city. The second ecstatic move deploys The first move of the inward city is

circuit based circulation routes that

the inward footprint. The building

tie the punched holes to the projecting

footprint is decreased on both sides.

volumes along the faรงade; providing

This expands the public thoroughfare

vertical circulation and activating roof

while creating a crucial point of overlap

terraces.

between public and private realm. The second move, a series of punched holes, 7

THE INWARD CITY

In order to define the primary entrance, this punched hole is scaled up to the size of the city. This space serves as a passage through the site, the primary entrance to the building and a public seating area.

8

Fig. 8 (left) Inward City 1: Entrance Punch Fig. 9 (right) Ecstatic Building 2: Library and Computer Lab

THE

This projecting volume places interior

ECSTATIC

seating out into the city space. The

BUILDING

transparency on the sides of the volume create views along the faรงade that connect multiple circulation routes and classrooms with the city as a background.

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THE INWARD CITY

This punch offers views of the city across the building while connecting interior classrooms in section and providing natural light to the auditorium and classrooms.

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Fig. 10 (left) Inward City 3: Classrooms Fig. 11 (right) Ecstatic Building 4: Terrace

THE

This circulation route connects two

ECSTATIC

projecting volumes, activating a lower

BUILDING

terrace with outdoor seating. Views from the terrace pass through multiple layers of projecting classrooms then back out into the city.

11

THE INWARD CITY

This punch moves partially into the building, creating a terrace space while reflecting the city in the background and framing the city in the foreground.

Periodically the interior space will be filled as students exit the lecture hall.

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Fig. 12 (left) Inward City 5: Terrace and Seating Spaces Between Classrooms Fig. 13 (right) Ecstatic Building 6: Typical Classroom

THE

This view is taken from within the

ECSTATIC

classroom looking at the teaching

BUILDING

surface. As the projecting volume extends beyond the building, the city is revealed in the background.

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5

3

1

Fig. 14 (top left) Section A: The Inward City Punctuates the Interior Fig. 15,16,17 (right) Plans: From Bottom to Top Level 1,2 & 3 Fig. 18, 19 (middle) South Elevation (left) East Elevation (right)

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A

A

B

B Level 3

3

Level 2

1

Level 1

15

6

Level 8

2

2 Level 5

4 Level 4

16

5

Plan Level 4

6

4

Fig. 20 (top right) Section B: The Ecstatic Building; Beyond the Facade.

Fig. 21,22, 23 (left) Plans: From Bottom to Top Levels 4,5 and 8 Fig. 24 & 25 (bottom middle) North Elevation (left) West Elevation (right)

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1’L x 1’ W x 1/4” H

1’ 6” L Rod ~ 1/2” diameter

weld joint

Jo Rotating int Grade 6/6 Flat Washer

35.5” L Pipe ~ 1/2” diameter .294” thick wall

weld joint

1’L x 2’ W x 1/2” H

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Fig. 26 , 27 (top left and right) Model Perspectives; Constructed of Machine Cut Perforated Steel Fig. 28, 29, 30, 31 ( Middle) 1 - Exterior walkway (top left) 2 - Punched hole (top right) 3 - Auditorium (bottom left) 4 - Review with City Image as a Backdrop (bottom right) Fig. 32 (far left) Shop Drawing of Rotating Steel Model Stand

The One-Two Punch is a simple yet

relationships are crucial for their own

effective strategy for defeating the degree

vitality. This is particularly true for

zero. The combination of the inward

community colleges whose status is

city and the ecstatic building produce a

becoming ever more important yet whose

dynamic interface through which the

presence has always been overshadowed

punctual exchange between being in the

by Universities.

city beyond the building and being in the city within the building can play out. The

The One-Two Punch is a response to

resulting building has a strong formal

Sloterdijk’s provocation ( p. 5) between

language that is derivative of and in

the ecstatic and the enstatic. It is the

service to an even stronger social agenda.

internal that allows for an ecstatic building and it is the external that allows

Architecture needs holes and volumes

for the inward city. Capturing each of

that exceed the limits of the interior in

these through architecture embodies the

order to produce meaningful spatial

mission of the community college as a

relationships with its surroundings.

vital institution embedded in the life of

For an institution, such meaningful

the city.

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Both 6+ and 6- engage the city on equal terms at the ground plane. Therefore, the ground level has the potential to affect both types equally. Into the Block works

Into the block

synthetically with the layers inherent to the 6- block creating a ground plane that mixes program, community, recreation and city into a continuous open space for public enjoyment.

Project: 6+ 6- Studio

The 6+ 6- studio was created in order to

of synthetic layering. These studies

For: Rice University School of Architecture

explore the relationship between urban

as seen on p. 22 became the primary

Professor: Ron Witte

development types that preference high

driver for the urban strategy as well as

Produced by: Geoffrey Sorrell

rise construction i.e. Manhattan versus

the architectural intervention. From the

Project Type: Mixed-use development

lower restricted height developments

scale of the city to that of a bench.

Location: Berlin, Germany

i.e. Paris. The aim of the studio was to

Size: 1, 3356,579 SF

explore architecture as the primary

Following the initial study, the urban

FAR Existing Site = 2.0

tool for constructing either type and

strategy attempts to redefine the

FAR New Construction = 4.0

to pursue architecture as the spark for

typical city block by synthesizing its

Total Site FAR = 3.0

urban intervention.

layers to create porosity and openness rather than perimeters and closure.

The studio was given a site in the

At the urban scale, the project works

Friedrichshain-Kreuzberg quarter of

synthetically by aligning with the

Berlin. With the Landwehr Canal and

existing edges of the site and buildings

the U MĂśckernbrĂźcke transit stop on

present within the block. At the

the southern edge of the site . The

architectural scale, the project works

studio was asked to develop the site

aggressively with geometry to create

as the individual saw fit with the only

a rich spatial environment ; this is

restriction being to raise the FAR from

furthered by the strategic layering of

2 to 3.

program types.

Fig. 1 (left) Synthetic Geometry Collage

The proposal here has a two part

The resulting development emphasizes

strategy for creating architecture and

alignment at the macro scale and

Fig. 2 (above) Pre-existing Site Conditions

developing the site. The architectural

commingling at the micro. The layering

ambition was to create geometry that

and geometric techniques create an

could synthetically engage the site

activated ground plane inviting the

and inform the buildings to come. This

public to move in, out and back in

required a initial study of various kinds

again.

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CITY HARD

COURTYARD COMMUNAL & RESIDENTIAL

CITY HARD

CITY HARD

CITY HARD COMMERCIAL TRANSIENT LEVEL 1 COMMERCIAL IN AND OUT CIRCULATION

COURTYARD COMMUNAL & PUBLIC COMMERCIAL CONSTANT CITY SOFT

CITY HARD TYPICAL MIXED-USE PERIMETER BLOCK (LEVEL 1 COMMERCIAL & LEVEL 2 RESIDENTIAL)

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PROPOSAL: CURATED LAYERS AND POROUS BLOCK

MIXED-USE RESIDENTIAL

HARD CITY STREET COMMERCIAL TRANSIENT COURTYARD COMMUNAL

NEW OFFICE

COMMERCIAL CONSTANT SOFT CITY PARK

EXISTING OFFICE TOWER

Fig. 3 (top left) Synthetic Layering Studies Fig. 4 (top right) Site Plan Fig. 5 (bottom left) Circulation of a Typical City Block. Commercial Ground Floor & Residential Upper Levels

PROPOSAL: STRONG GEOMETRIC ARTICULATION

Fig. 7 (bottom middle right) Proposal for Two Layered, Open-ended Blocks with Cross Circulation Fig. 8 (bottom right) Applied Synthetic Layering Technique to Ground Floor Circulation

Fig. 6 (bottom middle left) Commercial Ground Level Interior/Exterior Circulation

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1

2

10

4

11

PROGRAM

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3

5

12

12

1. Gallery

5. Night Club

9. Cafe

13. Day-care

TRANSIENT

2. Restaurant

6. Retail

10. Pharmacy

14. Mechanical

CONSTANT

3. Retail

7. Restaurant

11. Grocery

15. Conference

4. Market

8. Retail

12. Public Library

16. Lobby

7

8

6

9

13

14 16 15

Fig. 9 (above) Ground Level Plan

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METRO CONNECTION EXISTING METRO STOP

MIXED-USE RESIDENTIAL BLOCKS

EXISTING OFFICE TOWER

TERRACE COMMUNAL

NEW OFFICE TOWER

COMMERCIAL SPACE TRANSIENT SOFT CITY PARK COMMERCIAL CONSTANT COURTYARD COMMUNAL

1

2

3

5

4

8

9

6

10

11

12

Level 2

PROGRAM

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1. Office

7. Office

2. Office

8. Office

3. Retail

9. Gym

4. Cafe

10. Public Library

5. Night Club

11. Office

6. Retail

12. Lobby

Fig. 10 (top left) North West ISO of Site Fig. 11 (bottom left) Second Level Plans Including Office and Commercial Spaces

7

1

2

3

4 5

6

6 Level 3

PROGRAM

1. Studio Apartment 2. One Bed Apartment 3 Laundry 4. Common Space

Fig. 12 (top right) Zoom: Ground Level Plan Fig. 13 (bottom middle left) Level 3 plan. Typical to Level 4 & 5 with Residential Units.

5. Terrace 6. Office

Fig. 14 (p. 28-29) Level 1 ISO

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VELIEFENDI RACE COURSE

NEW METRO LINE CONNECTING CAMPUS TO THE CITY

CAMPUS PARKING

PUBLIC ART INSTALLATIONS

SEA OF MARMARA

Campus Commons Istanbul

This proposal works with an expansive and divided site to create a unified campus for the school of design. It also provides a distinct architectural identity for the college within the framework of the Campus Commons . This is accomplished by introducing multiples of a singular building type that territorialize the site and align with existing conditions.

Project Type: Graduate Studio

The Campus Commons studio was

the city. At the same time, the legibility of

For: Rice University School of Architecture

given the task of developing a master

the forms define a single campus.

Professor: Neyran Turan

framework in which a new type of

Produced by: Geoffrey Sorrell

educational system could be realized.

The second move enhances the interior

Project Type: Satellite Campus

This required the development of a

organization of the site through

Location: Istanbul, Turkey

large area located in the Zeytinburnu

excavation. While the multiple buildings

Size: ~400,000 SF

district of Istanbul. As a group, the studio

emphasize directionality, movement and

developed a strategy that would cover

outward projection in plan, a series of

approximately 1,000 acres in a gridded

circles are introduced that focus inward.

forest. Within the forest, the studio

They become intermediate spaces that

strategically retained 9 sites that were

have a relationship with both the interior

to be developed for the campus. What is

and exterior. In other cases, they become

unique about the Campus Commons is

shafts functioning as circulation for

each individual site will host a specific

auditoriums and classrooms.

college within the university and will operate as a self-sufficient campus.

Housing units are placed on the outer edge and dispersed around the site.

The architectural strategy for the campus

The units are pushed up against the

occurs through several formal moves

forest with views toward the city. This

that align, project and excavate. The first

orientation denies the living units the

move utilizes an oblique grid that aligns

interior experience of the campus and

with the existing road and with the long

promotes the exterior conditions of

Fig. 1 (left) Site ISO

edge of the site to create the footprint of

the forest and the surrounding city.

the buildings. The oblique orientation of

Communal spaces such as the library

Fig. 2 (above) Master Framework Showing All Proposed Sites Within the Campus Plan

the buildings defines the edge of the site

and dining facilities are located at the

without creating a border. The projection

center of the campus for ease of access.

back and forth as one moves through the

Large studio spaces are organized on

site promotes views within the campus

the ground level and within adjacent

and carries those views outward toward

buildings.

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Large outdoor spaces are placed at

As time progresses, elevations will

the end of the site for gatherings and

become less visible from within the

activities. Formally, they emphasize the

framework and the edge of the site will

edge of the campus; however, they are

become more defined by the growing

sloped in opposite directions creating

trees. However, the porosity of the

inverted relationships to the site and city.

campus at the ground level will retain an

The west clearing is an extension of the

open relationship with the city.

site into the city and the east clearing is an extension of the city into the site.

Mirrored surfaces are used on the interior facing facades to reflect the surrounding city, trees and campus activities that are around the corner. The reflective surfaces add depth to the experience of walking between buildings by reflecting views that would otherwise be hidden. Exterior facing surfaces are non-reflective to maintain legibility of form.

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ALIGN & PROJECT

EXCAVATE

UNIFIED & LEGIBLE CAMPUS

Fig. 3 (top) Physical Model Photo Collage Fig. 4 (left) Physical Model Photo Fig. 5,6,7 (above) Formal strategies; Align & Project Unifies Site.

Excavation Organizes Interior Program Unifying in Section.

Fig. 8 (bottom right) Exploded ISO

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Fig. 9 & 10 (top right & top left) Perspectives

PROGRAM

1. Studio 2. Student Housing

Fig. 11 & 12 (left) Model Photos

3. Auditorium

Fig. 13 & 14 (right) Ground Level Plan (top): Studio Spaces, Library, Gallery and Administration. Student Housing Located on the Perimeter Facing the Forest.

5. Offices

Level -1 Plan (bottom) Classrooms, Fabrication Lab, Auditorium Stages and Parking Located at Lower Level.

4. Library

6. Cafe 7. Office

8. Lecture Room 9. Fabrication Lab 10. Parking

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2

2

5

1

3 6

1

7

2

4

3

2

2

Level 1

8

8

9

3

10

10

3

Level 0

35

The Gahndi Museum began as an invited competition between three local firms in

Mahatma Gandhi Museum

the Houston area for a private entity. MC2's proposal was selected by the committee.

The project was primarily designed by firm principal Chung Nguyen, however it is shown here as my role in developing the project was significant from the conceptual design phase through the final presentation drawings.

Project Type: Professional For: MC2 Architects

The Mahatma Gandhi Museum, an

the municipal storm water system.

Team: Chung Nguyen, FAIA

institution aimed at increasing public

The east and west sun exposures are

Van-Tuong Nguyen, AIA

awareness of Gandhian philosophy and

minimized and southern exposures are

Geoffrey Sorrell

teachings consists of a series of linear

protected by louvers to reduce heat

Project Type: Cultural

galleries staggered across a long and

gain. Photovoltaic panels are placed

Location: Houston, TX

narrow site.

on the south-facing roofs to maximize solar energy collection. The Mahatma

Size: 15, 815 SF Award: 2016 AIA Houston Design Award

The museum buildings stretch along

Gandhi Museum uses vernacular

an elevated walkway interwoven with

sustainable architecture to engage the

green spaces. Visitors meander through

community and to promote Gandhi’s

the museum, circulating between

simple way of life.

galleries and verandas. The breezy water gardens serve as breaks between exhibitions where one can rest, reflect,

Text written by Chung Nguyen Edited by Van - Tuong Nguyen and Geoffrey Sorrell

and reconnect with the wetland ecology that was once prevalent on the site.

The museum employs the vernacular “dogtrot” typology as a key design Fig. 1 (left) Site Plan Rendering Image by: Geoffrey Sorrell Fig. 2 (above) Site Plan

and sustainability strategy. The breezeways catch prevailing winds to cool outdoor spaces and ventilate the galleries. The shed roofs collect rainwater into retention ponds for reuse in the building and for irrigation. The interconnected ponds employ gravity filtration to reduce pollution in the water before gradually releasing it into 37

In order to preserve the natural feature of the site, several landscape strategies are deployed. The museum floor is raised above ground to minimize the impact of the foundation to the site.

This allows the building to hover over the ground plane and enables the landscape to remain natural with selections of native trees and aquatic plants in the ponds to promote biodiversity.

The elevated walkways allow visitors to enjoy the gardens with minimal impact on the natural plant life.

38

Fig. 3 (right) Perspective Rendering Located at the entrance.

Image by: Geoffrey Sorrell Fig. 4 (bottom left) Site Strategy: Winding Path Across Landscape and Along Linear Galleries Fig. 5 (bottom right) Program Diagram Diagrams by: Van-Tuong Nguyen & Geoffrey Sorrell

COMMUNITY GARDEN RETENTION POND GALLERY SPACE MULTIPURPOSE COURTYARD RECEPTION GALLERY SPACE

OFFICE 2,000 SF

COURTYARD WITH NATIVE VEGETATION GALLERY SPACE RETENTION POND OFFICE 3,000 SF

39

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The “dogtrot” is a texas vernacular

Fig. 6 (left) Perspective Rendering Image by: Geoffrey Sorrell

structure that has been used to capture the prevailing winds by placing porches

Fig. 7 (bottom left) Wind Strategy: “dogtrot” Strategy Implemented Allowing Open Courtyards to Circulate Air Through “chimney effect.”

Texas Dogtrot (below)

in between interior volumes. This strategy is multiplied within the museum creating multiple entry points for wind to move between the buildings and cool the interstitial spaces.

In order to capture rainwater, the roof slopes inward utilizing gravity powered filtration systems for irrigation and building use. Excess rainwater collects

Fig. 8 (bottom right) Rainwater System

into the retention pond that lies beneath the museum platform; this helps prevent

Diagrams by: Van-Tuong Nguyen & Geoffrey Sorrell

the municipal storm water systems from overflowing.

N

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OL NC

I RA

IR

ON

I AT IG

I

IR

ON

I AT

G RI

RR

ON

I AT

G RI

ON

I AT IG

ON

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TI MA

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In order to mitigate solar exposure the building is orientated along the eastwest axis. Horizontal louvers on the south-facing clerestories deflect harsh sunlight during the summer and allow low-angle winter sun.

Roof overhangs protect the doorways and windows from direct sunlight

Fig. 9 (right) Perspective Rendering Located in the gallery Image by: Geoffrey Sorrell Fig. 10 (bottom left) Solar Strategy Diagrams by: Van-Tuong Nguyen & Geoffrey Sorrell Fig. 11 (bottom middle) ISO Structural Drawing

within the courtyards and northern clerestory windows allow softer light to diffuse into the gallery spaces. The south facing roof is designed to support

Fig. 12 (bottom right) Site Plan Rendering Image by: Geoffrey Sorrell

solar energy harvesting.

JUNE 21 SUN SOUTH FACING SOLAR PANELS CLERESTORY WINDOWS NORTH ELEVATION HORIZONTAL LOUVERS DECEMBER 21 SUN

CLERESTORY WINDOWS NORTH ELEVATION HORIZONTAL LOUVERS SOUTH ELEVATION HORIZONTAL LOUVERS SOUTH ELEVATION

42

43

Parapet 190’-4”

Level 13 f.f.

174’

Level 12 f.f.

156’

Level 11 f.f.

144’

Level 10 f.f.

132’

Level 9 f.f.

120’

Level 8 f.f.

105’

Level 7 f.f.

87’

Level 6 f.f.

75’

Level 5 f.f.

63’

Level 4 f.f.

51’

Level 3 f.f.

36’

Level 2 f.f.

18’

Level 1 f.f.

0’

This proposal takes advantage of a strong vertical form and the structural capacity of the belt truss in order to exploit internal negative spaces as part of the negative

BOUNDS

space of the city. By doing so, the public realm is interlocked with building in section promoting the extension of the public into the building and once inside promoting the individual's view back out into the city.

Project Type: Graduate Studio (Totalization)

The objective of this studio was to

selection (experimental and temporary

For: Rice University School of Architecture

explore an innovative structural

lines). The structural and programmatic

Professor: Mark Wamble

diagram as the starting point for an

relationship establishes a building

Produced by: Geoffrey Sorrell & Ariel Mucasey

architectural proposal that would

whose formal quality within the city is

Award: Margaret Everson Fossi Award

accommodate the business headquarters

much like an alphabet building with

Project Type: Uniqlo Headquarters & Retail

and retail shopping of the brand,

courtyard spaces connected to the public

Location: New York, NY

Uniqlo. The studio began as a single

space of the streets.

Size: 71,550 SF

person investigation that was explored in conjunction with the concept for a

The proposal located in high traffic

new building. Partnerships were then

pedestrian area acts within the city as

formed around a single proposal. For

an alphabet building in elevation (see

this proposal, the original building was

diagram on p. 47) in which the negative

designed by myself followed by a joint

space becomes a beacon of public

effort in the design development and

activity that can be seen from far away

representation phases.

with in the city. These spaces are given the highest degree of transparency

This proposal begins with a belt truss

through tension cable glass enclosures

diagram similar to that of the Wyly

allowing for maximum visibility to the

theater in Dallas by OMA. After an

surrounding city.

investigation into the architectural

Fig. 1 (left) Elevation Rendering Image by: Geoffrey Sorrell Fig. 2 (above) Site Perspective Image by: Geoffrey Sorrell

implications of the program, the belt

The resulting building is one that

truss was stacked to create a series of

takes advantage of its vertical form to

bound or contained spaces with three

announce its publicness to the city. And

open universal spaces in between.

while the building produces a strong

These spaces were taken advantage of

form, it speaks volumes through its

architecturally by programming each

negative space in which the activity of

with public activities. The first space

the brand and its customers are exposed

becomes the lobby on the ground level,

to the wandering eyes of the busy streets

the next two spaces house the Uniqlo-X

below.

45

Fig. 3 (above) Context Panorama Rendering Image by: Geoffrey Sorrell Fig. 4 (right top) Formal Diagram Diagram by: Geoffrey Sorrell & Ariel Mucasey Fig. 5 (right bottom) Stacked Belt Trusses Diagram by: Geoffrey Sorrell Fig. 6 (far right) Expanded Public Realm Diagram: The Negative Space of the City Connects with that of the Building.

Diagram by: Geoffrey Sorrell

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47

The site is located opposite the Flatiron building at the intersection between 5th avenue and Broadway and has to negotiate a diagonal edge on Broadway.

This side of the building is designed as a solid mass in order to be filled with the back of house spaces such as bathrooms, fitting rooms and points of sale. The solid volume (left in plan) helps keep the negative spaces (right in plan) clear of partition walls and creates a threshold between the back of house and retail spaces. This wall is emphasized with the Uniqlo red color symbolizing an interior pivot from inside in to inside out.

48

Fig. 7 (above) Interior Rendering Image by: Geoffrey Sorrell Fig. 8 (right middle) Retail Circulation Diagram: Customers Take the Elevator to the Top and Wind Back Down the Building Using Escalators that Offer Expansive views.

Drawing by: Ariel Mucasey Fig. 9,10,11 (far right) Plans 2-4 Drawings by: Ariel Mucasey & Geoffrey Sorrell

LEVEL 4 Uniqlo X 1. Point of Sale 2. Fitting Rooms 3. Electrical Closet 4. MEP Chase

4 3

1

2

Alternate plan: Runway Level 4 - Uniqlo X Scale: 3/32" = 1'0"

LEVEL 3 Executive Offices 1. Reception 2. Break Room 3. Copy Room 4. Electrical Closet 5. MEP Chase 2

1

3

5 4 4

6

5

7

100' 36' 19'3

64' 9'3"

7'5"

9'6"

19'3"

16'9"

18'7"

2'6

A

2

A

15'7

8'0"

B

1

B 7'6"

C

2'6"

C

10'0"

8'3"

D 53'1"

1'9"

D E

E

10'0"

45'0"

F 1'9"

32'8"

F G

G

8'3"

H

H

3

12'8" 2'1"

2'1"

7'6"

I J

15'6"

9'8"

13'8"

21'6"

23'4"

1

2

3

4

5

I J

Level 3 - Office

2'6"

24'

6

7

Level 3 - Office

Framing Plan

Framing Plan - Office Scale: 1/16" = 1'0"

LEVEL 2 Uniqlo Classic 1. Point of Sale 2. Fitting Rooms 3. Electrical Closet 4. MEP Chase

4 3

1 A

A

2

Reflected Ceiling Plan Level 2 - Generic Retail Scale: 3/32" = 1'0"

49 Level 2 - Generic Retail

Parapet 190’-4”

Financial Office Level 13 f.f.

174’

Uniqlo Classic

Level 12 f.f.

156’ Auditorium Level 11 f.f.

144’ Auditorium Level 10 f.f.

132’ Uniqlo X Level 9 f.f.

120’

Design Office Level 8 f.f.

105’

Uniqlo Classic

Level 7 f.f.

87’ Cafe Level 6 f.f.

75’ Cafe Level 5 f.f.

63’ Uniqlo X Level 4 f.f.

51’ Executive Offices

Level 3 f.f.

36’

Uniqlo Classic

Level 2 f.f.

18’

Entry

Level 1 f.f.

0’

LEVEL 1 Entry 1. Fire 2. Storage 3. Office Entry 4. Retail Entry 5. Electrical Closet 6. MEP Chase

6 3

1

A

5 4

ay adw

Bro

Fig. 12 (left) Section A Drawing by; Ariel Mucasey & Geoffrey Sorrell

A

2

Fig. 8 (top right) Elevation Perspective Image by: Geoffrey Sorrell Fig. 14 (right) Ground Level Plan Drawing by: Ariel Mucasey & Geoffrey Sorrell

W. 25th St.

51

Programs located within the solid space of the belt truss are those that are require permanent arrangements; this includes offices, meeting spaces and the permanent Uniqlo collections.

Terracotta louvers are used in conjunction with the belt truss to create the positive form of the building. The louvers are designed in a pattern that works with the geometry of the truss and adds visual dynamics to the facade.

The tubes also work as a sun shade and rain screen, diffusing direct light within the offices.

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Fig. 15 (above) Perspective Rendering Image by: Geoffrey Sorrell Fig. 16 (right) Structural Skeleton Drawing By: Ariel Mucasey Fig. 17 (far left) Envelope Strategy ISO Details Produced by: Ariel Mucasey & Geoffrey Sorrell Fig. 18 (far right) Detailed Section Produced by: Ariel Mucasey & Geoffrey Sorrell

Flashing Spandrel Head Concrete Parapet Waterproofing Rigid Insulation

Terracotta Rain Screen + Unitized Glazing

4-1/4” Unitized Glass Spandrel Wall Panel

Unitized Glazing Terracotta Louvers

W 30x116 Steel Girder 6” HSS Steel Tube Spandrel to Vision Mullion 6-1/4” Unitized Glass Vision Wall Panel

Terracotta Mullion Connection 4-1/4” Spandrel Mullion Firestop 6-1/4” Vision Mullion 2” Terracotta Tubes

16” HSS Steel Tube Outrigger Support Outrigger Support to Cable Tension Glass Tension Cable Glass

Terracotta Rain Screen + Concrete Panels

Cable Glass Fitting Standoff

Pre-Cast Panels Sill of Cable Tension Glass Wall

Terracotta Louvers

Cable Spring Box

6” HSS Steel Tube 5/8” Gypsum Board

Tension Cable Glass

5-1/4” Metal Deck Concrete Slab

Standoff

Storefront Glass

High Transparency Glass Tension Cable 6” Steel Pile Waterproofing 1’ Concrete Basement Wall

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Top of Parapet 190’-4”

Level 13 f.f.

174’

Level 12 f.f.

156’

Level 11 f.f.

144’

Level 10 f.f.

132’

Level 9 f.f.

120’

Level 8 f.f.

105’

Level 7 f.f.

87’

Level 6 f.f.

75’

Level 5 f.f.

63’

Level 4 f.f.

51’

Level 3 f.f.

36’

Level 2 f.f.

18’

Level 1 f.f.

0’

OFFICE RETAIL EVENT RETAIL Uniqlo X OFFICE RETAIL CAFE RETAIL Uniqlo X OFFICE RETAIL LOBBY MECHANICAL

Once inside the building’s negative space/ Uniqlo X the individual is surrounded by the city. Within these spaces the building is no longer a barrier between the interior and exterior, rather it facilities a re-framing of the city as a part of the interior and the interior as part of the city.

As such, the interior maximizes the bandwidth in which it operates as it is stretched to its thinnest possible existence by the tension cable glass

Fig. 19 (far left) West Elevation Image by: Geoffrey Sorrell Fig. 20 (left middle) East Elevation Image by: Geoffrey Sorrell Fig. 21 (above) Perspective Within the Open Uniqlo X Level looking Towards the Flatiron building Image by: Geoffrey Sorrell Fig. 22 (left) Program Diagram Drawing by: Geoffrey Sorrell

facade. This experience is amplified once one exits the solid back of house.

MECHANICAL

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MADISON SQUARE PARK GENERAL WORTH SQUARE 5TH AVE. THE FLATIRON BUILDING

BROADWAY

The Uniqlo Headquarters takes advantage of its two part program (office and retail) and its frontal position on the edge of the block facing the park by interlocking with the negative space of the city, promoting the visibility of those spaces through materiality and providing access to those spaces through glass elevators and strategic escalators.

The resulting architecture is a synthesis of formal, technological and programmatic means that empower the individual to conquer the city from above through expansive views and effortless mobility.

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Fig. 23 (above) Aerial View Image by: Geoffrey Sorrell Fig. 24 (left middle) Worms Eye Image by: Geoffrey Sorrell & Ariel Mucasey Fig. 25 (far right) Physical Model Photo

RECENT

ECSTATIC

GOOD SYMBOLS

WORK

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PORTFOLIO