Interior Design Portfolio _ YueMin Hu by 胡悅敏 Mint Hu

建築與室內設計

Architecture & Interior Design

Selected Work 2017 - 2021 胡悅敏 YueMin Hu Tel : +86 133 4268 8798 E-mail : itshuyuemin@gmail.com

胡悅敏 Tel : +86 133 4268 8798 E-mail : itshuyuemin@gmail.com

簡介與聯絡資訊

工作經歷

學歷

室內設計助理 | Joyelle Tsai Design 美國紐約 | Oct 2019 - Dec 2021 不同設計項目的平面圖、立面圖及剖面圖繪製，建模和效果圖製作。為客戶挑選材質、軟硬裝及家具。訂單及產品資料整理。

Pratt Institute | 室內設計藝術創作碩士美國紐約 | 2021

設計助理 | Sensite Studio 森屾設計台北台灣 | Jan 2018 - Jul 2019 為住宅項目、幼兒園和公園繪製設計圖、效果圖和施工圖。設計發展裝置藝術，管理作品現場施工。設計過程包括現場測量及基地繪製、將設計草圖轉換為 SketchUp 模型、在 Enscape 和 Lumion 中進行渲染、在 Adobe Suit 中編輯圖像、在 AutoCAD 中繪製設計圖及施工圖。

隨著我對建築的深入研究，我逐漸意識到，建築不僅僅是個空間的容器或結構的藝術，而是能夠改變和塑造人類行為及感受的介面。而燈光與室內設計便成為觸動人們心靈、喚起人們情感的親密之手。

室內設計實習 | K + Spacing 世觀國際設計台灣台北 | Summer 2015 為設計項目建立 SketchUp 模型及製作效果圖。施工過程的工地對圖及施工圖修訂。整理材料樣品。

在我的學習過程與人生體驗中，我追求並探索空間與人的關係、其之間的聯繫與親密性；一個空間中的集體意識和個人體驗；以及各種空間界線的可能性，希望能帶給人們更多對空間的羈絆與新生。

學術與課外經歷

建築並非一項專業，而是一種心靈的習慣。作為一位設計師，我型塑空間，而空間塑造人們的生活。因此，設計師肩負著更重大的責任，因為我們創造出的東西可以對其使用者和周遭產生積極的影響。我要求自己不停地觀察周圍及世界，不斷地體驗不同文化，不逃避意識各種社會議題，不止地追尋更好的解決方案，且不懈地學習新技能。這不僅使我個人成長，更成為我創作與設計的養分。

語言中文 | 母語英文 | 流利

Ming Chuan University 銘傳大學 | 建築學學士台灣桃園 | 2018

國外進修與工作營歐洲建築暑期國外進修挪威奧斯陸、德國法蘭克福 | Summer 2014 實地參訪歐洲古蹟，通過手繪和攝影記錄建築語言。研究歐洲建築的歷史和發展。日本建築暑期國外進修日本本州 | Summer 2015 參觀傳統及現代日本建築，與建築師會面談話。參加越後妻有藝術祭。建築學系交換學生 | 重慶大學中國重慶 | Fall 2015 與重慶大學建築學系學生進行學術交流與學習。課程參與小組設計基地位於重慶的高層住宅社區及住宅公寓內的室內設計。參訪重慶及成都的傳統建築。 Geoffrey Bawa 建築國外工作營斯里蘭卡 | Apr 2016 研究 Geoffrey Bawa 在斯里蘭卡所做的建築項目，並實地參訪作品。印度建築國外工作營印度 | Nov 2016 研究印度建築。參訪印度建築事務所及建築學院。歐洲建築暑期國外進修德國科隆、法蘭克福 | Summer 2018 實地參訪歐洲古蹟，通過手繪和攝影記錄建築語言。研究歐洲建築的歷史和發展。

技能 AutoCAD, SketchUp, Rhino, Revit, Enscape, Lumion, Adobe Suit ( Photoshop, Illustrator, InDesign, Premier ) Office 360, 雷射切割 , CNC 切割 , 基礎木工技能

YUEMIN HU

Bio & Contact

Tel : +86 133 4268 8798 E-mail : itshuyuemin@gmail.com

As I further studied architecture, I came to realized that an architecture is more than a spatial container or an art structure, but something that is able to change and shape human behaviors and people’s feelings. Lighting and interior design become the intimate hands that touch people’s hearts and evoke their emotions. Throughout my education and person experience, I pursued this instinct and try to explore the relationship, connections and intimacy between spaces and human, the collective consciousness and individual experiences in a space and the possibilities of all kinds of spatial boundaries, hoping to offer people spaces where they can get involved and re-derive. Architecture is not a profession, but a habit of the mind. As a designer, I shape spaces, and the spaces shape people’s life. Therefore, designers shoulder greater responsibilities that what we creates can positively affect its users and surroundings. I demand myself to nonstop observe the world around me, experience different culture, identify social issues, seek for better solutions and learn new skill. These not only make me grow but furthermore become the nutrients of my designs.

Experience

Education

Interior Design Assistant | Joyelle Tsai Design New York, NY | Oct 2019 - Dec 2021 Created plans, sections, models and renderings for various projects. Selected materials, fixtures and furniture for clients. Organizing products and order summaries.

Pratt Institute | MFA in Interior Design New York, NY | 2021

Design Assistant | Sensite Studio Taipei, Taiwan | Jan 2018 - Jul 2019 Developed design drawings, renderings and construction documents for residential projects, kindergartens and public parks. Designed and developed installation arts and managed on site construction of these art pieces. The design process included on site measurements, transitioning design sketches to SketchUp models, renderings in Enscape and Lumion, editing images in Adobe Suit, construction drawings and documentation in AutoCAD. Interior Design Intern | K + Spacing Taipei, Taiwan | Summer 2015 Created SketchUp models and renderings for design projects. Measured and verified building sites and revised construction drawing documents in AutoCAD. Organized material samples.

Academic / Extracurricular Work Chinese Modern Architecture Student Research and Design Competition | Second Place Taoyuan, Taiwan | 2016 One week rapid Chinese modern architecture research and design group project. Coordinator of 1st Ming Chuan University and Hunan University Architecutre Academic Exchange Workshop Taoyuan, Taiwan | 2016 Coordinated an one week academic exchange workshop for Mingchuan University and Hunan University architecture professors and students. The workshop includes group researches, group design works, architecture visits, speeches and critiques. Academic Event Coordinator | Department of Architecture Ming Chuan University | 2015 - 2016 Organized speeches, architecture visits and architecture book fairs for the department. Curation Coordinator | Department of Architecture Ming Chuan University | 2017- 2018 Organized and coordinated multiple on and off campus critiques and exhibitions for the graduation projects. The final exhibition was held off campus in Songshan Cultural and Creative Park, Taipei, co-organized with Chinese Culture University Department of Architecutre.

Ming Chuan University | B. Arch Taoyuan, Taiwan | 2018

Study Abroad / Workshop European Architecture Summer Abroad Program Oslo, Norway & Frankfurt, Germany | Summer 2014 Documented architectural languages through hand drawings and photography. Studied European architecture history and development. Japanese Architecture Summer Abroad Program Honshu, Japan | Summer 2015 Visited traditional and modern Japanese architectures and met with architects. Attended Echigo-Tsumari Art-Field. Architecture Exchange Student Program | Chongqing University Chongqing, China | Fall 2015 Academic exchange and studied with the architecture students in Chongqing University. Designed high-rise residential buildings and residentail apartments interiors in Chongching for studio work. Visited traditional architectures in Chongqing and Chengdu. Geoffrey Bawa Architecture Abroad Workshop Sri Lanka | Apr 2016 Researched and studied architecture projects done by Geoffrey Bawa in Sri Lanka and visited the projects on site. Hindu Architecture Abroad Workshop India | Nov 2016 Researched and studied Hindu architectures. Visited and interviewed architecture firms and schools in India. European Architecture Summer Abroad Program Cologne & Frankfurt, Germany | Summer 2018 Documented architectural languages through hand drawings and photography. Studied European architecture history and development.

Skill AutoCAD, SketchUp, Rhino, Revit, Enscape, Lumion, Adobe Suit ( Photoshop, Illustrator, InDesign, Premier ) Office 360, Laser Cutting, CNC Cutting, Basic Woodwork Skill

Language Mandarin | Native English | Fluent

III

VII

觸動 KEEP IN TOUCH

調。色 PALETTE

音浪 WAVE

摺憶 ORIGAMEMORIES

旅程 JOURNEY

煮。食 BURN

其他作品 OTHER WORKS

獨立論文 | Individual Thesis

合作學術作品 | Collaborate Academic Project

獨立學術作品 | Individual Academic Project

合作項目 | Collaborate Project

合作學術作品 | Collaborate Academic Project

Revit 建模與繪圖

旅館設計 | Hospitality

旅遊中心 | Tourist Center

辦公室設計 | Office Design

燈光裝置藝術 | Lighting Installation Art

裝置藝術 | Installation Art

家具設計 | Furniture Design

Revit Modeling and Documentation

Sep 2020 - May 2021

Oct 2019 - Dec 2019

Sep 2020 - Feb 2022

Feb 2017 - Dec 2017

Jan 2020 - Mar 2020 附梯子書櫃木工細部圖 Shelf With Ladder Millwork Detail Draw 餐桌木工細部圖 Dining Table Set Millwork Detail Draw

觸動 KEEP IN TOUCH 在極端隔離狀態中與其狀態往後之發展以空間的多層邊界作為連結介面 Multilayered Boundaries as Connective Interfaces in Extreme States of Isolation and Beyond 項目 | 獨立論文

PROJECT | Individual Thesis

指導老師 | Irina Schneid

INSTRUCTOR | Irina Schneid

類型 | 旅館設計

TYPOLOGY | Hospitality

地點 | 台灣桃園

LOCATION | Taoyuan, Taiwan

時間 | Sep 2020 - May 2021

DATE | Sep 2020 - May 2021

本論文將重新想像空間邊界作為在極端孤立狀態下激活使用者之間聯繫和意識的工具。本論文探討在室內設計中，通過重新想像不同的空間邊界，以達到促進使用者間的親密關係之作用。它挑戰過去邊界作為空間分隔線的傳統理解與定義，實驗空間邊界如何作為隱式與顯式的連接介面，以及如何在建立新連結的同時，保護人們免受疾病傳播。通過激活“氣袋”（兩種材料或介面之間的負空間），從而建立使用者之間的意識與聯繫，創造並增強使用者對於其他使用者們的覺察。

This thesis reimagines boundaries as instruments to activate connection and awareness between occupants within extreme states of isolation. This thesis explores the role of interior design in fostering intimacy among spatial occupants through a reimagination of its boundaries. Challenging the traditional understanding of a boundary as a spatial divider, it examines how boundaries can serve as implicit and explicit connectors, forging newfound connections while simultaneously protecting people from disease spread. Through an “air pocket”, the negative space between two materials is activated to create awareness and connection between occupants. Furthermore, can create and emphasize the awareness of other people.

[ Keep in Touch

[ Individual Thesis Project | Hospitality

觸動 ]

邊界與連結研究

手法研究

Boundary and Connection Research 使用者之間的距離為分隔他們的屏障，此時為繞著使用者的介面不僅成為他們之間的連結，也在他們試圖遠離對方時拉回他們。 The distance between two users is the separation between them, the boundary that connects them also pull-back them when they try to get away from each other.

圖 1 - 在疫情隔離期間，人們因彼此分隔而失去親人之間的親密關係。圖 2 - 人們希望在疫情隔離期間或在日常獨處時與他人建立某種程度的聯繫。圖 3 - 人們在開放的公共空間內與陌生人相處，會希望有某程度的隱私與親密感。

Fig. 1 - People are being seperated from one another and lose the intimate relationship between close ones during pandemic isolation and quarantine. Fig. 2 - People want to get some degree of connection with others during pandemic isolation or when being alone in normal time. Fig. 3 - People want to be alone or get intimacy with close ones when being in a ver y public hospitality with other strangers.

普通桌子通過將使用者分隔在桌子的周圍，但通過在桌子中間開洞，讓使用者進入開口中，以將使用者及桌子連結成一個整體。 Normal tables separate users by keeping them staying on the sides of the table, but by cutting openings on the table allows users to enter the openings and connects them as a unit.

牆面作為使用者之間的分隔，嵌入牆內的連接物在牆的兩邊創造了接口，成為之間的聯繫。 The wall is the separation between users, the embedded connector creates an interface between the two sides and brings the connection between them.

圖 1 | Fig. 1

圖 2 | Fig. 2

圖 3 | Fig. 3

這篇論文不僅討論了隔離期間旅館內人與人之間的親密關係，還批判了現有旅館空間及人們在之中如何聯繫與互動，以及人們在旅館空間內需要何種程度的親密感與聯繫？

This thesis not only discusses the intimacy between people in hospitality during quarantine, but also critiques the existing hospitality and how people connect and interact with each other in it. How much intimacy do people need in hospitality and what scale of connection are people aiming for?

隔離旅館中人與人之間的親密感與聯繫的遺失反映出現有旅館空間的問題。人們在開放的公共空間中需要親密性及隱密性，但在被孤立時需要與他人的互動與聯繫。因此不僅止於疫情期間，且於後疫情及一般時期，都需要在維持親密性和人與人之間的聯繫中找尋平衡。

The loss of intimacy and connection between people in isolation hotels reflected the problem in existing hospitality. People require intimacy in a very public space but need connection when being alone. Therefore, finding a balance between keeping intimacy and connection between one and another in hospitality could be taken not only in the pandemic but also post-pandemic era and normal time.

牆面作為使用者之間的分隔，嵌入牆內的物件為使用者之間的連結。他們必須將物件從牆內移出才能輪流使用它們。

獨立論文 | 旅館設計 ]

Technique Research 以軟質材料為空間邊界，通過改變邊界的形狀來激活它們之間的氣袋。 Take soft materials as boundaries and activate the air pocket between them by changing the shape of the boundaries.

當使用者進入空間邊界之間的氣袋內時，也激活並連結了空間。 Human as the activator of the air pocket between boundaries or spaces while they enter the air pocket.

嵌入牆面的連接物成為激活空間邊界的橋樑。 The embedded element activates the boundary as a bridge that connects the two sides.

可移動的嵌入式物件用來激活空間邊界之間的氣袋，並通過輪流使用這些物件來聯繫兩側的使用者。

The wall is the separation between users, the embedded elements on the wall are the connection between them. They have to move the elements out from the wall to take turns using them.

The moveable embedded elements activate the air pocket between boundaries and connect the two sides by taking turns using the elements.

使用者被介於他們之間的屏障所隔離開來，在屏障上開洞並設置連接洞口的管道，讓光、聲因或使用者可以穿越管道到達另一端，使兩個空間有所連結。

光、聲音及使用者可以通過管道而聯繫空間，激活空間邊界之間的氣袋。

The barrier between users separates them. Cut openings on the barrier and connects the openings through a tube or a tunnel. Light, sound or the users can enter and go through the tube or tunnel to the other end.

The tube-like installation connectes spaces through the openings of the ends of the tube. The activator of the tube installation could be air, light, sound etc.

[ Keep in Touch

櫃台設計

觸動 ]

[ Individual Thesis Project | Hospitality

獨立論文 | 旅館設計 ]

Reception Desk Scheme

櫃台概念圖 - 藉由櫃台玻璃隔板之間的移動平台遞送資料或物品 Reception Desk Schematic Diagram - Embedded Plate shifts inside the reception desk glass partitions to pass documents.

這些隔離與管雛形在保證人們健康及安全的同時，也將人們與外界分隔開來，卻沒有提供足夠的陽光和空間來讓人們伸展與供養身心靈。由於不同程度的分離與孤立，人們對於身處的空間逐漸失去親密感。

These models, while keeping people physically safe, separate people from the outside world without providing enough sunlight and space for stretching and mental support. Increasingly, there is an implicit loss of intimacy within these spaces because of the degree to which people are separated from one another.

此項目提出了一種新的隔離旅館模式，在對現有旅館空間的研究的基礎上，本文旨在批判當前酒旅館模型中使用者與建築環境之間的關係，並將隔離旅館視為後疫情的一種新型旅館模型。最終目標是在極端孤立及其他狀態下激活使用者之間的聯繫與意識。

The project proposes a new model for an isolation hotel, building upon research of existing hospitality spaces, the thesis intends to critique the relationship between users and the built environment within current hospitality models and consider the isolation hotel as a new model of hospitality, post-pandemic. Ultimately, the objective is to activate connection and awareness between occupants within extreme states of isolation and beyond.

在新的櫃台模型中，員工和旅客之間有一透明邊界。此邊界由兩層玻璃構成，兩層玻璃上都有錯位的開口。為了激活邊界內的氣袋，在邊界內置入可移動面板，供員工和旅客交換文件。前台桌面下方的空間可存放行李。

櫃台剖面圖 | Reception Deck Section

大廳座椅設計

For the new reception desk model, there is a transparent boundary separating the staff and tenants. The transparent boundary is built by two layers of glass. There are dislocated openings on both layers of glass. To activate the air pocket inside the boundary, the shiftable embedded plates are inserted inside the transparent boundary for staff and tenants to exchange documents. The air pocket underneath the reception desktop is a space for luggage storage.

Lobby Furniture Scheme

大廳座椅概念圖 - 人體重量在座椅表面壓出紋路 Lobby Furniture Schematic Diagram - Human weight creates patterns on the surface of the furniture.

新的大廳座椅模型讓使用者能面向不同的方位，以保持他們之間的分隔與距離。表面材料的設計可以讓使用者判斷是否有人剛使用過此座位。表面材料包含兩層織物，內層織物具有黏性，當人們坐在家具上時，有黏性的內層織物會沾在一起，並顯示出紋路，織物彈開並恢復正常狀態之前，該痕跡會保留一小段時間。

大廳座椅剖面圖 | Lobby Furniture Section

The new model of lobby furniture creates seatings that let users to face different directions in order to keep distance and separation between them. The design of the surface material allows people to tell if other people just used the seat within a certain amount of time. The surface material contains two layers of fabric with a sticky sublayer inside. The sticky sublayers will stick together when people sit on the furniture and create a mark on the seating. The mark will remain a while before it turns back to normal condition.

大廳效果圖 | Lobby Rendering

[ Keep in Touch

旋轉樓梯設計

[ Individual Thesis Project | Hospitality

觸動 ]

Spiral Staircase Scheme

雙股螺旋樓梯設計

Double Helix Staircase Scheme

旋轉樓梯概念圖 | Spiral Staircase Schematic Diagram

材質實驗 | Material Test

電梯設計

Elevator Scheme

為了使電梯內外的使用者意識到彼此，電梯門被設計成半透明的。它可以讓站在電梯外的使用者看到電梯內使用者的剪影，以決定是否應該進入電梯。電梯內牆的表面材料採用與大廳座椅相同的手法。表面材料包含兩層織物，內層織物具有黏性，當人們坐在家具上時，有黏性的內層織物會沾在一起，並顯示出紋路，織物彈開並恢復正常狀態之前，該痕跡會保留一小段時間。

旋轉樓梯模型將一普通的旋轉樓梯一分為二，中間環繞一小型圓形電梯，以分流雙向使用者。用兩面可拉伸織物之間的氣袋創造了兩個旋轉樓梯之間的邊界可以通過移動連接兩層織物上的磁鐵來激活中的氣袋，並通過織物的形狀變洞創造對其他使用者使用此樓梯的認知。 Staircase B separates a normal staircase into two spiral staircases with a small round shape elevator in the middle in order to separate the flow of people using the circulation. The air pocket between the two stretchable fabric forms a boundary between the two staircases. It could be activated by moving the magnets on the boundary that connect the two layers of fabric and create the awareness of other people playing the installation by the movement of the fabric.

獨立論文 | 旅館設計 ]

In order to create the awareness of others inside the elevator, the elevator doors were designed to be semi-transparency. It allows people to see the silhouettes of others when standing outside the elevator and be able to decide whether they should go into the elevator or not. The surface material of the wall in the elevator is using the same technique as the lobby furniture. The surface material contains two layers of fabric with a sticky sublayer inside. The sticky sublayers will stick together when people touch the elevator walls and create a mark on it. The mark will remain a while before it turns back to normal condition.

雙股螺旋樓梯概念圖 | Helix Staircase Schematic Diagram

雙股螺旋樓梯將雙向人流分流。樓梯中心的大型氣袋事由嵌入其中的幾根音管來激活。每個音管的兩端位於樓梯的不同位置，當使用這行走於樓梯上時，這些音管可以傳遞他們的聲音以連繫彼此。 Double helix Staircase separates the flow of people using the circulation. The air pocket inside the double helix staircase is activated by several sound tubes embedded in it. The two ends of each sound tube is located in different spots of the staircase. The tubes connect the sound and voice of tenants when they are walking on the staircase. 旋轉梯效果圖 | Spiral Staircase Rendering

雙股螺旋樓梯效果圖 | Double Helix Staircase Rendering

電梯概念圖 | Elevator Schematic Diagram

表面材質示意 Surface Material Diagram

[ Keep in Touch

餐廳設計

Restaurant Scheme

[ Individual Thesis Project | Hospitality

觸動 ]

在新的餐廳模型中每組顧客都有私人包廂，以確保顧客的健康與隱私。每個包廂都面向不同的方位，以避免新冠病毒的直接傳播，並讓在包廂內用餐的顧客保有親密感及隱私。包廂的交錯方向讓各組顧客的動線分開，使人們在走道其包廂的路途中不會直接接觸其他顧客及服務生。 The new restaurant model creates a dining booth for each group of people in order to keep safety and intimacy for the customers. Each dining booth is facing different directions to avoid direct spread of COVID-19 and keep intimacy and privacy for people who dine in the booth. The interlace facing direction of the dining booths also allow the individual circulation to be separated. People will not run into each other when walking to their private dining booth.

餐廳包廂效果圖 | Restaurant Dining Booth Rendering

共享牆設計

獨立論文 | 旅館設計 ]

Shared Wall Scheme

共享牆設置於兩個旅館房間之間。它由兩面帶有開口的牆壁和嵌入的家具元件組成，由移動這些家具元件來激活牆壁之間的氣袋。嵌入的家具元件可以由使用者輪流推拉使用，其一使用者使用家具前，可先藉由牆上的按鈕告知對方其即將使用此家具元件，以連繫兩間房間使用者的生活安排。 The shared wall installation is located in between two hotel rooms. It is formed by two walls on the side with openings and the embedded furniture and elements activating the air pocket between the walls. The embedded furniture and elements could take turns to be pulled out from the openings on the walls by the tenants. They will have to press the button of each embedded element or furniture ahead using the furniture to unlock it. This setting allows the tenants in both rooms to know when the other side needs the furniture and connect their living schedule.

餐廳配置與動線概念圖 | Restaurant Layout and Circulation Schematic Diagram

共享牆剖面圖 | Shared Wall Sections

共享牆剖面圖 | Shared Wall Section

餐廳效果圖 | Restaurant Rendering

共享牆效果圖 | Shared Wall Rendering

共享牆平面圖 | Shared Wall Plan

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半戶外健身區設計

[ Individual Thesis Project | Hospitality

觸動 ]

Semi-outdoor Gym Scheme

頂層遊戲區設計

Penthouse Playground Scheme 頂層遊戲區連結兩樓層的遊戲空間，以樓板做完空間邊界，使用者激活樓板間的氣袋。裝置底部抬升的樓板鑲嵌數個彈簧床，樓板上方有一開洞流線型桌子，洞口位置位於彈簧床上方。使用者可以進入桌子上可開口，在彈簧床上跳躍活動，並藉由桌子的連結與其他使用者互動遊戲。此時桌子既是使用者之間的分隔，也是聯繫他們的平台。裝置的頂部設計為數個懸吊在天花板的網袋，使用者可以由上層樓板的開口進入網袋內休憩，網袋底部高度與站在台高樓板上的使用者事線高度為同一水平。儘管在裝飾上下兩部分的使用者彼此分離且做不同的活動，但此設計能在之間建立是覺的互動與聯繫。

半戶外健身區的設計將步行空間和運動器材帶入中庭，半戶外的開放空間讓自然光和氣流進入健身區，不僅能防止病毒傳播，還可以提供使用者更好的運動健身環境及體驗。步道成為連結各個健身空間的節點，並連接各樓層的運動空間。使用者激活了中庭的氣袋空間，而中庭也成為使用者相互交流與聯繫的管道。 The outdoor gym brings out walking spaces and sport equipments into the courtyard. The semi-outdoor open spaces allow natural sunlight and air ventilation to enter the gym, this not only prevents virus transmission but also gives a better exercise environment and experience in the building. The corridors become the connector of each exercise nude and create an exercise circulation on each floor. In this case, humans become the activators of the air pocket in the courtyard and the atrium spaces in the courtyard allow them to interact with each other on different floors. 半戶外健身區概念圖 Semi-outdoor Gym Schematic Diegram

獨立論文 | 旅館設計 ]

The penthouse playground installation is designed to connect the floors in a two story space. The Floors are the boundaries and users are the activators of the air pocket between them. The bottom part of the installation is a lifted floor and a large curved shape table with openings on them. There are trampolines in the lifted floor under the openings on the table. Users can enter the openings on the table, jump on the trampolines and play games with one another. The table is both the separation and the interface between users. The top part of the installation contains several net wombs hanging on the ceiling. Users are able to enter the wombs from the openings on the upper floor. The bottom of the wombs are at the same sight level as people standing on the lifted floor. This creates a visual interaction and connection between the users in the two parts of the installation although they are physically separated from each other. 頂層遊戲區剖面圖 | Penthouse Playground Section

半戶外健身區效果圖 | Semi-outdoor Gym Rendering

頂層遊戲區剖面圖 | Penthouse Playground Section

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[ Individual Thesis Project | Hospitality

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獨立論文 | 旅館設計 ]

2 樓平面圖 | 2nd Floor Plan

7 樓平面圖 | 7th Floor Plan

21 樓平面圖 | 21st Floor Plan

1 樓平面圖 | 1st Floor Plan

4 樓平面圖 | 4th Floor Plan

16 樓平面圖 | 16th Floor Plan

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[ Individual Thesis Project | Hospitality

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獨立論文 | 旅館設計 ]

21 樓 | 21st Floor

16 樓 | 16th Floor 4 樓燈光配置圖 | 4th Floor Lighting Layout Plan

21 樓燈光配置圖 | 21st Floor Lighting Layout Plan

7 樓 | 7th Floor

2 樓燈光配置圖 | 2nd Floor Lighting Layout Plan

16 樓燈光配置圖 | 16th Floor Lighting Layout Plan

4 樓 | 4th Floor

2 樓 | 2nd Floor

1 樓 | 1st Floor

1 樓燈光配置圖 | 1st Floor Lighting Layout Plan

7 樓燈光配置圖 | 7th Floor Lighting Layout Plan

樓層剖面圖 | Selected Floor Sections

調。色 PALETTE 阿根廷布宜諾斯艾利斯為推廣其文化、藝術、人文而設立的遊客中心設計 Design of a Visitor Center in Buenos Aires, Argentina to Promote Its Culture, Arts and Humanities 項目 | 合作學術作品

PROJECT | Collaborate Academic Project

指導老師 | Monica Kumar & Amanda Arikol

INSTRUCTOR | Monica Kumar & Amanda Arikol

負責項目 | 項目研究與設計

RESPONSIBILITY | Project Research and Design

數位及實體模型製作

Digital and Physical Model Making

各圖面繪製

Drawings, Renderings and Specifications

燈光、材質及家具選擇

Lighting, Material and Furniture Selection

排版與報告

Layout and Presentation

類型 | 旅遊中心

TYPOLOGY | Tourist Center

地點 | 阿根廷布宜諾斯艾利斯

LOCATION | Buenos Aires, Argentina

時間 | Oct 2019 - Dec 2019

DATE | Oct 2019 - Dec 2019

此項目位於阿根廷首都布宜諾斯艾利斯，也是美洲人口第四多的大都會區。該市高度仰賴服務業，且受益於其豐富的自然資源，但近年來 GDP 卻逐年下降，而另一方面，拜訪布宜諾斯艾利斯的國際遊客數量正在增加。因此，市政府計劃在該市建設一個旅遊中心，不僅宣傳布宜諾斯艾利斯的美麗，為遊客介紹當地導遊增加就業機會，並同時聯繫起周圍社區。我們以范斯沃斯住宅為建築模型，重新設計其室內、照明及景觀，以適應當地的氣候條件和項目要求。為了呈現布宜諾斯艾利斯的美麗與文化，我們取用其傳統建築的大膽色彩、傳統繪畫、當地手工材料和原生植物作為室內設計元素，希望在環境中營造一種溫暖、愉悅及款待的氛圍，以促進人們在遊客中心的聯繫和交流。 This project was located in Buenos Aires, the capital city of Argentina and the fourth-most populous metropolitan area in America. The city highly relies on the service industry, and benefits from its rich natural resources, but the GDP value has been decreasing over the years. On the other hand, the number of international tourists visiting Buenos Aires is increasing. Therefore, the city government planned to build a tourist center in the city to not only promote the beauty of Buenos Aires and introduce local tour guides to the visitors in order to increase employment opportunities but also connect the surrounding local communities. We took the Farnsworth House as a building model to renew its interior, lighting and landscape design to adapt to the local climate condition and the program. To present the beauty and culture of Buenos Aires, we used the bold colors on their traditional architectures, traditional paintings, local handmade materials and native plants as the interior design elements. We wanted to create a warm, joyful and welcoming feeling in the environment, to enhance people’s connection and communication in the tourist center.

[ Palette

[ Collaborate Academic Project | Tourist Center

調。色 ]

獨立學術作品 | 旅遊中心 ]

地鐵路線 Subway Line

手工草編材質 | Straw Plaited Article

觀光巴士路線 Tourist Bus Line

布宜諾斯艾利斯位置圖 | Location of Buenos Aires

由於布宜諾斯艾利斯的 GDP 總值下降，市政府希望吸引到訪該市的國際遊客，決定建造一個旅遊中心，以范斯沃斯住宅為建築模型，藉由重新設計其室內裝潢與景觀，以推廣布宜諾斯艾利斯的美麗和文化。此遊客中心提供有關布宜諾斯艾利斯的書籍和資訊、當地藝術家的展覽、出售藝術家手工藝術品的禮品店以及讓遊客有機會與當地導遊會面的咖啡館。

布宜諾斯艾利斯大眾運輸路線圖 Buenos Aires Public Transportation Map

布宜諾斯艾利斯沿海景點地圖 Buenos Aires Coastal Attractions Map

菲勒特彩繪 | Fileteado

彩色玻璃 | Colored Glass

旅遊中心建在布宜諾斯艾利斯東海岸的羅馬廣場南側，周圍有咖啡館和餐館。它位於一系列旅遊景點的中心，公共交通便利，並有觀光巴士行經。公園東邊是富人社區，西邊是貧民社區，政府也希望藉此建設加強雙方的聯繫及縮小其差距。

建築物與公園位置模擬圖 | Building Location Simulated Drawing

Due to the GDP falling in Buenos Aires, the city government wanted to attract international tourists visiting the city. The government decided to build a tourist center, using the Farnsworth House as the architecture model, and to renew its interior and landscape design to promote the beauty and culture of Buenos Aires. The tourist center provides books and information about the city, exhibitions of the local artists, a gift store selling handmade art pieces by the artists and a cafe that gives the tourists an opportunity to meet the local guides.

布宜諾斯艾利斯的傳統建築外觀採用的色彩非常大膽，他們用紅、黃、綠、藍等鮮豔的顏色，表現出明亮、快樂、激情和活力的感覺。傳統手工材料，如草編、彩色玻璃和特殊的彩色裝飾畫菲勒特彩繪，可以作為遊客中心的室內元素，向遊客展示當地傳統藝術。將原生植物引入室內外，不僅可以回應公園綠化景觀，還可以調節微氣候。

The tourist center was built in the south side of Plaza Rome on the east coast of Buenos Aires, with cafe and restaurants around it. It was located in the center of a series of tourist attractions, with convenient public transportation and sightseeing buses. The east side of the park are the rich communities, and the west are the poor ones. The government also hoped to enhance the connection of the two sides and reduce the gap between them.

The traditional color used on the architecture exterior in Buenos Aires is very bold. They used bright colors such as red, yellow, green and blue, showing the feeling of brightness, joyfulness, passion and energy. The traditional handmade materials such as straw plaited article, colored glass and Fileteado, a particular type of colorful embellished painting, could be used as interior elements in the tourist center, presenting the traditional arts to the tourists. Native plants could be brought into the exterior and the interior, not only responding to the surrounding greening in the park, but also regulating the microclimate.

布宜諾斯艾利斯傳統建築大膽用色 | Bold Colors On the Traditional Architectures in Buenos Aires

基地位置圖 | Site Map

[ Palette

[ Collaborate Academic Project | Tourist Center

調。色 ]

獨立學術作品 | 旅遊中心 ]

平面圖拼貼 ( 燈光與色彩 ) | Plan Collage (Light & Color) 室內效果圖 A | Interior Rendering A

室內效果圖 B | Interior Rendering B

室內效果圖 C | Interior Rendering C

室內效果圖 D | Interior Rendering D

根據空間的開放性設計其亮度和色彩密度。室外較明亮，顏色更淺，以呼應周圍的景觀和陽光。室內的照明和顏色都較暗，由中心向外逐漸變亮變淺。立面圖拼貼 ( 燈光與色彩 ) | Section Collage (Light & Color)

傳統的大膽色彩運用於室內空間的書架和家具上，材質紋理及燈光照明讓我們能創造更多色彩層次。手工草編材質作為地板鋪面使用，帶給使用者溫暖舒適的感覺。彩色玻璃被設計成展區的可移動隔板，當陽光穿過它時，會產生彩色的光影變化。我們在壁畫上使用了菲勒特彩繪並以洗牆燈照明，壁畫上的彩繪植物和花卉可以回應周圍景觀環境。

The brightness and color density was designed based on the openness of the space. The exterior was designed to be brighter with lighter color, to respond to the surrounding landscape and sunlight. The interior was designed to be darker both lighting and color at the center and gradually went lighter to the edges.

概念拼貼圖 | Collage Concept Board

The traditional bold colors were used in the interior spaces, applying on the shelvings and furniture. The material textures and lighting allowed us to create different layers of the colors. The handmade straw plaited articles were used to be the flooring carpet, creating a warm and comfortable feeling for the users. The colored glass was designed to be the moveable partitions in the exhibition area. It creates colored shadows when the sunlight goes through it. We used Fileteado art on wall painting with wall wash lights, drawing plants and flowers on the wall to respond to the surrounding environment.

藏書與閱讀空間 Book Collections & Reading Area 倉庫與服務空間 Survice Area & Storage

當地導遊會面空間 Local Guide Meeting Area

展覽空間 Exhibition Area 咖啡廳與禮品區 Cafe & Gift Shop

室外咖啡廳 Outdoor Cafe

平面圖 | Plan

[ Palette

[ Collaborate Academic Project | Tourist Center

調。色 ]

獨立學術作品 | 旅遊中心 ]

剖面圖 A | Section A

入口效果圖 | Entrance Rendering

剖面圖 B | Section B

室外效果圖 | Exterior Rendering

剖面圖 C | Section C

剖面圖 D | Section D

室外效果圖 | Exterior Rendering

[ Palette

[ Collaborate Academic Project | Tourist Center

調。色 ]

獨立學術作品 | 旅遊中心 ]

室外空間白天時比室內更加明亮，晚上較室內暗。在這種情況下，建築物在白天時看起來像一個彩色盒子，天黑後變成了一個燈箱。天黑後在室外動線處設置燈光，以保證遊客的安全。外部咖啡館的燈具由彩色玻璃製成，點亮時為空間創造不同顏色的燈光。室內空間的照明色溫白天偏冷，晚上偏暖。為了更好地渲染空間中的色彩、紋理和藝術品，我們選擇了高顯色指數的燈光，並做了一些實驗來測試燈光對材料的影響。

The exterior spaces were brighter in the daytime and darker in the night than the interior. In this case, the building looked like a colored box during the day and transformed into a light box after dark. We lighted up the circulation after dark in the exterior to keep the visitors safe. The lighting fixtures in the exterior cafe were made of colored glass. It creates lights in different colors for the space. The lighting color temperature in the interior space was cooler in the daytime and warmer at night. In order to render the colors, textures and the art pieces in the space better, we selected high CRI lighting and did muck up experiments to test the lighting effects on the materials.

B C F E A

H G 照明方式 A | Lighting Technique A

照明方式 B | Lighting Technique B

照明方式 C | Lighting Technique C

照明方式 D | Lighting Technique D

照明方式 E | Lighting Technique E

照明方式 F | Lighting Technique F

照明方式 G | Lighting Technique G

照明方式 H | Lighting Technique H

裝置藝術平面圖 | Installation Art Plan

剖面圖 E | Section E

剖面圖 F | Section F

室外夜間效果圖 | Exterior Nighttime Rendering

[ Palette

[ Collaborate Academic Project | Tourist Center

調。色 ]

獨立學術作品 | 旅遊中心 ]

T6 T6 T2

T8 T1

T8 T9

T8 T9 Z2 T8

T8 T9

Z5 T2 T1

T10 T10

SHELF LTS. ON CORD

T2 T2

Coffee table - Hay

T2 T2

Wooven meeting table chair - Cane Line

T2 T2

Bean bag chair Dahl Bookcases Lounge sofa - Gabriolat

T5 T5

SYMBOL

Z10

STYLE OUTDOOR FLOOR LIGHTING UNDER STAIR LED GLASS BOTTLE LED TRACK LED INDOOR FLOOR LAMP

T4 T2

PENDANT LIGHTING CEILING MOUNTED DOWNLIGHT

T3 T3 T3 T3

WALL WASHER UNDER SHELF LED

家具平面圖 | Furniture Plan

細部設計圖

T1 T2

Lounge chair - Vitra Lounge chair - Vitra

T1 T2

Wooven coffee table chair - Cane Line

OUTDOOR FLOOR LAMP

Display table - Karkula

- LEGEND -

T3 T3 T3 T3

Outdoor Coffee Tables - Portica

(x4) (x4)

T10 T10

(x4) (x4)

燈具平面圖 | Lighting Plan

Detail Drawings

Lighting Specification Detail 2x4 Wood Framing Plywood Backing MT - Metal Sheet ( F-1, F-2, F-3 )

LED Strip MT - Metal Sheet ( F-1, F-2, F-3 )

MTG Cup Extension

Mitered Corner

櫃台透視圖及材質說明 | Reception Counter Perspective & Material Specification

櫃台細部圖 | Reception Counter Detail Drawings

Lens

書櫃燈具細部圖 | Bookshelf Lighting Detail Drawings

[ Palette

[ Collaborate Academic Project | Tourist Center

調。色 ]

獨立學術作品 | 旅遊中心 ]

P-2

FT-2

GL-1

GL-2

GL-3

GL-4

GL-5

GL-6

MTL-1

P-3

P-1

WD-1 MTL-2

P-4

MTL-3

FT-1

LEGEND Floor Finishes

Wall Finishes

European Oak, Floor Tile

Paint Steel, Furniture

Sandstone, Floor Tile

Paint Steel, Furniture

Limestone, Floor Tile

Paint Steel, Furniture

Carpet

Wall Painting, Wall Finish

Coated Steel, Floor Transition

Wall Painting, Wall Finish

FW-2

ST-1 MTL-4

FT-7

FW-1

C-1

FF-2

FT-8

FT-3 FF-1

Wall Painting, Wall Finish

FT-4

Wall Painting, Wall Finish Art Glass, Furniture, Panel

FT-5

ST-2

Art Glass, Furniture, Panel Art Glass, Furniture, Panel Art Glass, Furniture, Panel

材質平面圖 | Finish Plan

燈光材質實驗

Lighting Experiments On Materials

FT-6

材質樣板 | Material Board

Material Legend : FT-1. Textile, Furniture

WD-1. European Oak, Floor Tile

P-3. Wall Painting, Wall Finish

FT-7. Textile, Furniture

FT-2. Textile, Furniture

MTL-1. Paint Steel, Furniture

P-4. Wall Painting, Wall Finish

FT-8. Textile, Furniture

FF-1. CielonTile, GrigionTitano, Furniture

MTL-2. Paint Steel, Furniture

FW-1. Dark Cape Elm, Furniture

FF-2. Marble, Washstand

GL-1. Art Glass, Furniture, Panal

MTL-3. Paint Steel, Furniture

FW-2. Elm, Friniture

GL-2. Art Glass, Furniture, Panal

ST-1. Sandstone, Floor Tile

FT-3. Textile, Furniture

GL-3. Art Glass, Furniture, Panal

MTL-4. Coated Steel, Floor Transition

FT-4. Textile, Furniture

GL-4. Art Glass, Furniture, Panal

ST-2. Limestone, Floor Tile

FT-5. Textile, Furniture

GL-5. Art Glass, Furniture, Panal

P-1. Wall Painting, Wall Finish

FT-6. Textile, Furniture

GL-6. Art Glass, Furniture, Panal

P-2. Wall Painting, Wall Finish

C-1. Textile, Carpet

P-4

GL-4 GL-6 GL-5

GL-3 GL-2 GL-1

MTL-1 MTL-2 MTL-3

FT-3 FT-4 FT-5 FT-6

FT-7 FT-8

C-1

FT-2

FW-1

ST-2

ST-1

FF-1

音浪 WAVE 為提升藝術家的團隊思維、溝通和協作的音樂管理公司辦公室設計 Office Design for a Music Management Firm That Enhance The Team Thinking, Communication and Collaboration of The Artists 項目 | 獨立學術作品

PROJECT | Individual Academic Project

指導老師 | David Lin

INSTRUCTOR | David Lin

類型 | 辦公室設計

TYPOLOGY | Office Design

地點 | 紐約布魯克林

LOCATION | Brooklyn, New York

時間 | Oct 2019 - Dec 2019

DATE | Oct 2019 - Dec 2019

現今工作場正所面臨著巨大的壓力——房地產價格昂貴；員工希望他們的工作安排及環境具有彈性；科技使工作和生活之間的界限變得模糊；室內環境的健康及永續性。該辦公室是為 The Be Side 設計的，這是一家新成立的音樂出版和音樂版權管理公司，由兩個合作夥伴共同領導，他們決心利用其對未來音樂的全新思維來連接布魯克林和世界各地的客戶與創作者。團隊思考、溝通以及與客戶和同事的協作參與對公司及其客戶來說都至關重要。因此，考慮到工作空間的靈活性與流動性、社區需求，以及反映公司理念與精神的私密及公共空間是辦公室設計的主要目標。 The contemporary workplace faces extraordinary pressures – real estate is expensive; workers want flexibility in their schedules and environments; current technology allows the boundaries between work and life to blur; and indoor environments need to be healthy and sustainable. The office was designed for The Be Side, a newly formed music publishing and music rights management firm led by two partners determined to leverage the latest thinking about the future of global business to connect customers and creators in Brooklyn and around the world. Team thinking, communication, and collaborative participation with clients and colleagues is critical to the company and to their clients. Therefore, considering the flexibility and mobility of workspaces, the need for community as well as privacy, public spaces that reflect the identity and work ethos of the company is the main goal for the office design.

[ Wave

[ Individual Academic Project | Office Design

音浪 ]

獨立學術作品 | 辦公室設計 ] Tish Hospital

Institution

Baruch College Manhattan Fertility and Gynecology

School of Visual Arts School of Sign Language

Department of Health and Mental Hygiene

Bellevue Hospital

Site

Childrenʼs Hospital

Veterans Hospital Royal Orthodontics School for Autistic Children Baruch High School

Pediatric Dentistry

極客小隊 - 資訊工程部門 ( 2000 sf) The Geek Squad - IT Service ( 2000 sf)

United Nations International School

Salk Middle School of Science

Mount Sinai Hospital

高階管理部門 ( 1300 sf ) Senior Management ( 1300 sf )

攝影棚及錄音室 (250 sf) Photography and Voice Over Room (250 sf)

Topography

財務部門 (280 sf) Finance (280 sf)

Topographic map

人資部門 (450 sf) Human Resources (450 sf)

討論空間與用餐空間 (1000 sf) Discussion and Dining Space (1000 sf)

Friends Seminary High School Mount Sinai Hospital Mount Sinai ENT Hospital

Urban Structure

基地位置 | Site Location

獨立空間 (200 sf) Enclave Space (200 sf)

炒作猛獸 - 行銷與創意部門 ( 1350 sf) The Hype Beasts - Marketing and Creative Service ( 1350 sf) 公共空間 ( 3500 sf) Shared Facilities ( 3500 sf) 極客小隊 - 資訊工程部門 ( 2000 sf) The Geek Squad - IT Service ( 2000 sf) 各部門所需空間比例圖 Proportion of Space Required by Each Department

高階管理部門 ( 1300 sf ) Senior Management ( 1300 sf ) 廁所 Restroom 財務部門 (280 sf) Finance (280 sf)

極客小隊 - 資訊工程部門 ( 2000 sf) The Geek Squad - IT Service ( 2000 sf)

此公司的業務大致以 50/50 的比例分為兩個主要的部門，稱之為＂極客小隊＂與＂炒作猛獸＂部門：前一部門設計製作、銷售及維護應用程式，讓藝術家、藝術代理人、出版商及其他版權持有者管理其擁有或代理的音樂版稅收入。後一部門為一系列已成名和尚未成名的音樂家執行其創作、音樂出版、營銷及創意服務的實際管理。前一部門以技術為中心，後一部門是在利用該技術的同時，已人為中心，也包括辦公室的面對面討論及著名客戶的演出。此項目的空間需容納該公司的綜合業務管理，包括上述的極客小隊與炒作猛獸兩個部門，有時包括慶祝活動（專輯發行派對等）和其他帶有現場表演的娛樂活動，已及為客戶及其他訪客提共的公共空間與設施。 Split roughly 50/50 the business has two primary sectors loosely defined in-house as "the geek squad" and "the hype beasts": the first engineers, sells, and maintains apps to allow artists, agents, publishers and other content rights owners to manage the revenue generated by their music or the music they own or represent. The second sector is the actual management of talent, music publishing, marketing and creative services for a client list of famous and not-yet-famous musicians. The first is technology centric, the second - while leveraging that technology - is people centric and includes visits to the offices and performances by their celebrity clientele. The program is a mix of spaces needed to accommodate the management of the business, the work of the aforementioned geeks and hype beasts which on occasion includes celebrations (album release parties etc.) and other entertainment with live performances, and facilities for clients and other visitors.

人資部門 (450 sf) Human Resources (450 sf)

董事會議事與表演觀賞空間 ( 500 sf) Boardroom and Performance Watching Space ( 500 sf) 表演空間 ( 1000 sf) Performance Space ( 1000 sf)

炒作猛獸 - 行銷與創意部門 ( 1350 sf) The Hype Beasts - Marketing and Creative Service ( 1350 sf)

1 & 2 Family Residential Multi-family Residential Mix Use Open space & outdoor recreation Commercial Institutions Industrial Parking Transportation / Utilities

城市結構 | Urban Structure

該公司已在布魯克林工業城簽署了辦公室租約。在過去的幾年裡，位於日落公園的工業區已成為藝術工作室及眾多食品共應商及製造商的據點，以及像＂時代＂這樣的大公司的前哨站。該區域的人流量也越來越多，夏季舉辦流行舞會，冬季則有布魯克林跳蚤和瑞典式冷菜宴會等活動。

廁所與服務空間 Restroom and Service Space 會議室 Conference Room

接待區與咖啡吧 (700 sf) Reception and Coffer Bar (700 sf) 各部門空間關係圖 Spatial Relationship Diagram of Each Department

The company has signed a lease for office space in Industry City in Brooklyn. In the last few years, Sunset Park’s Industry City has become a hub for artist studios and manufacturing bases for local food purveyors and makers of all kinds, as well as outposts of large companies like Time Inc. The complex has seen increasingly more foot traffic, too, with popular dance parties in the summer and now the Brooklyn Flea and Smorgasburg through the winter.

[ Wave

[ Individual Academic Project | Office Design

音浪 ]

曲面牆與感官體驗概念圖 | Curved Wall and Sensory Experience Diagram

獨立學術作品 | 辦公室設計 ]

曲片墻燈光及投影示意圖 Diagram of Lighting and Projection on the Curved Wall

接待區效果圖 | Reception Area Rendering

公共 Public 半公共 Semi-Public 私密 Private 一樓平面圖 | 1st Floor Plan

二樓平面圖 | 2nd Floor Plan

隨著音樂產業的發展，音樂不再是其唯一的元素。因此，不同領域藝術家的合作越來越重要，音樂和表演創造空間亦是如此。用曲面來創造可以輕鬆聚集藝術家進行合作的空間。 As the music industry develops, music is no longer the only element. Therefore, the cooperation of artists in different fields is getting more and more important, so do the music and performance creating space. Curves are used to create spaces that can easily gather artists to cooperate.

表演區效果圖 | Performance Space Rendering

[ Wave

[ Individual Academic Project | Office Design

音浪 ]

獨立學術作品 | 辦公室設計 ]

剖面圖 A | Section A

合作討論區效果圖 | Communication and Cooperation Area Rendering

剖面圖 B | Section B

以曲面做為交流與合作空間的主要設計元素，來促進並增強各領域藝術家及專業者的腦力激盪與思想碰撞。在此設計中，我在主要的公共空間中設計了一個橫跨兩層樓的曲面牆，並利用曲面牆的多角度特性，在其周圍配置不同的機能與合作討論空間，讓位於曲面牆周圍的不同空間的創作者們，能夠以不同的感官去感受音樂作品帶來的效果，增加其感官的體驗，促進創意的討論與交流。

走道區效果圖 | Circulation Rendering

The curved surface is used as the main design element of the communication and cooperation space to promote and enhance the brainstorming and collision of ideas of artists and professionals in various fields. In this project, I designed a curved wall spanning a two story space in the main public space, and used the multi-angle characteristics of the curved wall to layout different functions and collaborative discussion spaces around it. It gave way to the creators in the spaces that surrounded the curved wall to enjoy the effects of musical works with different senses, increase their sensory experience and enhance creative discussions and communication.

[ Wave

[ Individual Academic Project | Office Design

音浪 ]

獨立學術作品 | 辦公室設計 ]

曲面牆燈光配置圖 | Curved Wall Lighting Design Diagram

接待區與表演區效果圖 | Reception Area and Performance Space Rendering

一樓燈光配置圖 | 1st Floor Lighting Plan

二樓燈光配置圖 | 2nd Floor Lighting Plan

此燈光設計強調曲面牆本身及圍繞曲面牆的藝術家合作空間。曲面牆採用光雕投影和基本的舞台照明。辦公室、走廊和討論空間中的照明設備被設計成線性幾何的，與曲線的表演空間形成對比。接待區的線性照明燈具與弧形牆面設計形成對比，弧形裝飾燈具強調曲面牆的主視覺。表演空間的燈光設計涉及光雕投影和各種表演燈光效果。於表演觀賞空間設置多層次的小型掛燈，並根據空間用途和表演設計進行調整。辦公室的線性照明燈具與合作空間的弧形設計形成對比。燈光亮度和色溫根據時間和陽光進行調整。 The lighting design emphasizes the curved wall and the artist cooperating and creative spaces that surround the wall. The curved wall engaged projection and basic performance lighting strategies. The lighting fixtures in the offices, corridors and discussion spaces were designed linear and dimensional as a contrast of the curved performance space. The linear lighting fixtures in the reception area create contrast of the curved wall design, and curved decorating fixtures emphasizing the curved wall as the main vision. The lighting design in the performance space engages projection mapping and various performing lighting effects. Creating multiple layers of small pendants that can be adjusted depending on the use and the performance in the performance watching space. The linear lighting fixtures in the office create a contrast of the curved design of the cooperation space. The brightness and color temperature are adjusted based on the time and sunlight.

合作討論區效果圖 | Communication and Cooperation Area Rendering

摺憶 ORIGAMEMORIES 2022 月津港燈節徵件燈光裝置藝術作品 2022 Yuejin Lantern Festival Selected Lighting Installation Art Project 項目 | 合作項目

PROJECT | Collaborate Project

負責項目 | 燈光裝置設計

RESPONSIBILITY | Lighting Installation Design

模型及各圖面繪製

Model, Drawings and Renderings

燈光裝置製作及施工

Lighting Installation Construction

展覽及施工協調

Exhibition and Construction Coordinating

類型 | 燈光裝置藝術

TYPOLOGY | Lighting Installation Art

地點 | 台灣台南

LOCATION | Tainan, Taiwan

時間 | Sep 2020 - Feb 2022

DATE | Sep 2020 - Feb 2022

＂船說＂為燈節年度主題：鹽水月津港，早期因位於倒風內海，曾為南台灣重要的貿易商港，港邊停泊一艘艘的商船，載著各式各樣的貨物，流通著來自世界各地的文化。雖後來因河道淤積，月津港現已不是貿易興盛繁華的商港，在幽靜的水岸邊，徐徐的微風吹來，彷彿早期傳說的商船仍在海的一邊承載著來自世界各地的故事。記得小時候總喜歡隨手拿起一張紙，折成紙船，放在水上任它隨意漂流，但隨著年紀增長，這樣的童趣也逐漸消失在忙碌的生活當中。此燈光裝置以兒時摺紙船遊戲作為概念發想，連結孩提時的歡樂記憶與月津港的歷史興衰，從一張白紙發展成紙船航行在水面上，再逐漸凋零，沉入港口的水中。船的形體幻化成魚群，伴隨著人們的記憶，永存在月津港中。 "The Legend of the Ships" is the annual theme of the Lantern Festival. Yanshui Yuejin Harbor, located in the inland sea in the early days, was an important trading harbor in southern Taiwan. In that era, there were thousands of ships entering the harbor carrying not only cargo from all over the world, but culture and history. Although due to river silting, the harbor is no longer prosperous, we can still see the legend of the ships bringing stories from their trip to us in our mind when we sit next to the water side enjoying the gentle breeze. When I was little, I liked to grab a piece of paper, make it into an origami boat and let it drift on the water. But as I grew older, the childlike innocence gradually faded away in the busy life. The lighting installation art is conceived based on the origami boat game I played, connecting the happy memories of childhood and the rise and fall of the Yuejin Harbor. It started from a blank piece of paper, folding into an origami boat sailing in the harbor, and eventually withered and sank into the water. The boat transformed into fish, long lived in the harbor with our memories.

[ Origamemories

[ Collaborate Project | Lighting Installation Art

摺憶 ]

合作項目 | 燈光裝置藝術 ]

基地位置圖 | Site Location Map

摺紙船概念圖說 | Origami Boat Concept Diagram

月津港燈節以水上燈節為特色，將月津港水域特性結合鹽水地景、在地歷史與人文作為策展的核心理念。此燈光裝置設置於月津港水域彎曲位置，配合水域曲度配置燈光元件，觀賞者可由濱水步道觀看水上作品。紙船元件懸浮於水面上，夜晚點燈後燈光元件會映照在水面上，根據水面的波動變化產生不同的燈光效果。燈光裝置的前段將摺紙船的各個步驟紀錄並轉化成立體構造，後段將紙船結構分解並轉化為魚的意象。 The Yuejin Lantern Festival features water lanterns and lighting installations in the water, which combine the characteristics of Yuejin Harbor hydrology and surrounding landscapes with local history and culture, as the core curation concept. Located in the curved area of the harbor, the lighting installation was arranged along the curve. Viewers can see the installation when walking on the riverside-trail. The origami boat elements were suspended on the water. The reflection of the installation produced different lighting effects according to the fluctuation of the water. The front part of the installation transformed the steps of making an origami boat into threedimensional structures. The latter part decomposed the paper boat into fish images.

基地配置圖 | Site Layout

[ Origamemories

[ Collaborate Project | Lighting Installation Art

摺憶 ]

合作項目 | 燈光裝置藝術 ]

B C

摺紙船元件 Origami Boat

D 壓克力摺紙船 Acrylic Origami Boat

發光盤 Glowing Disk 依各元件調整 20 - 120 cm Adjust Based on element hight 20 - 120 cm

G 伸縮金屬管 Adjustable Metal Struture H

連接構件 Connection

燈光裝置以打樁工法固定於水下土壤內，穩固上方結構，水面下的鐵件可依照水體深度進行調整，使上方發光元件位於水面之上。由一彎曲鐵件連結並固定多個打樁結構，使上方元件不會水平晃動，並確保各燈光元件的相對位置。電線由鐵件結構的中空管道牽線，連接各燈光元件及岸上發電裝置。

H 橫向連接桿件 Horizontal Connection 打樁結構 Pilling Structure

H 依水深調整長度 Adjust the lenghth based on water hight

伸縮金屬管 Adjustable Metal Struture

裝置結構透視圖 | Installation Structure Perspective

300 cm 依土壤狀況調整長度 Adjust the lenghth based on ground condition

150 cm

300 cm

打樁結構 Piling Structure

The lighting installation is fixed into the ground underwater by piling to stabilize the upper structure. The metal structure can be adjusted its length according to the depth of the water in order to let the lighting elements on the to locate above the water surface. The piling structures are connected and fixed together by a bent metal piece, so that the upper elements will not shift horizontally and will ensure the relative position of the elements. The wires that connect the lighting elements and the power generator go through the hollow pipes of the metal structure.

300 cm

D E

C B

裝置結構 | Installation Structure

H 發光盤結構 | Glowing Disk Structure

裝置結構 | Installation Structure

裝置尺寸 | Installation Size

[ Origamemories

[ Collaborate Project | Lighting Installation Art

摺憶 ]

壓克力摺紙船 Acrylic Origami Boat

合作項目 | 燈光裝置藝術 ]

A 120 * 84 * 60 cm

B 85 * 60 * 55 cm 發光基座 Glowing Pedestal C 85 * 35 * 45 cm

半透明壓克力圓板 Semi-transparent Acrylic Disk

發光盤內設置了四條 LED 燈條，讓其光源穿透過半透明壓克力圓板。摺紙船下的發光基座內亦鑲嵌了 LED 燈條，提供上方壓克力船體光源。為了強調摺紙船的形狀，船體構件的各個邊都做磨砂處理以折射光線。 Four LED strips are fixed inside the glowing disk, and the lights come t h ro u g h t h e s e m i - t r a n s pa re n t acrylic plates. The embedded LED strip inside the glowing pedestal under the origami boat gives lights to the acrylic boat. All the edges of the origami boat were being sanded to better reflect lights in order to emphasize the shape of the boat.

D 40 * 25 * 40 cm

E 65 * 65 * 45 cm

金屬圓盤 Metal Disk

F 100 * 25 * 25 cm

G 130 * 40 * 40 cm

發光元件爆炸圖 | Glowing Elements Exploded View

摺紙船概念圖說 | Origami Boat Concept Diagram

摺紙船元件四向立面圖 | Origami Boat Elements Four Sides Elevation

摺紙船概念圖說 | Origami Boat Concept Diagram

[ Origamemories

摺紙船概念圖說 | Origami Boat Concept Diagram

摺憶 ]

[ Collaborate Project | Lighting Installation Art

合作項目 | 燈光裝置藝術 ]

摺紙船概念圖說 | Origami Boat Concept Diagram

旅程 JOURNEY 桃園機場捷運裝置藝術展 Taiwan Taiyuan International Airport Access MRT System Installation Art Exhibion 項目 | 合作項目

PROJECT | Collaborate Project

設計者 | 共感地景創作

DESIGNER | ArchiBlur Lab

負責項目 | 現場尺寸丈量

RESPONSIBILITY | On-site Size Measurement

模型及各圖面繪製

Model, Drawings and Renderings

裝置製作及施工

Lighting Installation Construction

類型 | 裝置藝術

TYPOLOGY | Installation Art

地點 | 台灣桃園國際機場

LOCATION | Taiwan Taoyuan International Airport, Taiwan

時間 | Feb 2017 - Dec 2017

DATE | Feb 2017 - Dec 2017

桃園國際機場為台灣與國際間往來最主要的交通樞紐之一，桃園機場捷運的興建除了舒緩地面交通的流量也提高了旅客的便利性，並且大幅縮短了前往機場的通行時間。希望能藉由裝置藝術的設置，讓入境的國外旅客與國內民眾能夠暸解機場捷運的相關資訊，包含捷運車體的外貌、捷運站體中旅客與車站的關係以及捷運為桃園重要地景與人文歷史所帶來的相關連結。本裝置藝術企圖利用民眾搭乘捷運時，在時間感與速度感的加成變化之下，由自身的空間感開始相對呈現一種模糊的視覺經驗作為設計理念，藉此創造一個空間感穿透卻又模糊的藝術裝置，透過透明效果所呈現純粹來突顯整個場域中捷運裝置本體的存在感。並利用裝置本身的空間架構，建構出數個桃園地景模擬意象，示意機場捷運不只連結台北與機場之間的關係，未來更是連結桃園各大景點的重要交通動線。 Taoyuan International Airport is major and the most important international transportation hub in Taiwan. Taoyuan International Airport Access MRT System not only eases the flow of vehicular traffic, but also shortens the travel time to the airport and brings convenience to the passengers. We hoped to publicize the MRT system to inbound passengers and domestic citizens through the installation art at the airport. The installation art showed the appearance of the MRT carriages, the passengers in the MRT station and the link between the MRT system and the important landscapes and history tourist spots in Taoyuan. We used the change of sense of time and speed and the vague visual experience when people are taking the MRT as a design concept. Thereby create an open and blurred spatial experience, using pure structure and images of Taoyuan landscapes, to highlight the mini MRT system in the installation art. It indicates that Taoyuan International Airport Access MRT System not connects the city and the airport, but could also be the main transportation in Taoyuan in the future.

[ Journey

[ Collaborate Project | Installation Art

旅程 ]

地景切片 Landscape slices

裝置藝術平面圖 ( 第一航廈 2 號行李轉盤 ) Installation Art Plan (Baggage Carousel No. 2 in Terminal 1)

捷運站體模型 MRT Station Model 裝置藝術平面圖 ( 第一航廈 3 號行李轉盤 ) Installation Art Plan (Baggage Carousel No. 3 in Terminal 1)

捷運軌道 MRT Track

合作項目 | 裝置藝術 ]

裝置主體利用較為纖細尺寸的鐵件作為框架材料，作為模型列車行進動線與站體之結構，並透過燈具與捷運站體模型結合，提升站體模型的辨識度。當旅客在等待行李的同時，框架中的模型列車持續行進，時而經過捷運站體，時而經過桃園地貌之間，讓觀看的旅客能更深切的體驗裝置中各個主角之間的連結關係。

We used thin metal tubes as the frame material for the structure of the installation to support the mini MRT system and the MRT station models. We also installed lights into the MRT station models to enhance the recognition of the models. The mini MRT system went through the station models and the landscape slices while people were waiting for their luggages. It allowed the views to experience the connection between the elements in the installation art.

作品共分四處擺放，分別位於第一航廈 2 號、3 號行李轉盤與第二航廈 7 號、8 號行李轉盤之上方平台處。作品擺放時，以不影響旅客接收相關資訊、不影響海關人員之視線與清潔維修之動線為。

The works were divided into four places, which were located on the upper platform of the baggage carousel No. 2 and 3 in Terminal 1 and the baggage carousel No. 7 and 8 in Terminal 2. The art pieces were placed so as not to affect the passengers receiving information, the eyesight of customs officers and the flow of cleaning and maintenance.

裝置藝術平面圖 ( 第二航廈 7 號行李轉盤 ) | Installation Art Plan (Baggage Carousel No. 7 in Terminal 2)

摺紙船概念圖說 | Origami Boat Concept Diagram

裝置藝術平面圖 ( 第二航廈 8 號行李轉盤 ) | Installation Art Plan (Baggage Carousel No. 8 in Terminal 2)

摺紙船概念圖說 | Origami Boat Concept Diagram

[ Journey

[ Collaborate Project | Installation Art

旅程 ]

合作項目 | 裝置藝術 ]

以 20mm 鍍鋅方鐵管作為框架結構的主要材料，框架完成後皆做防鏽處理與白色烤漆確保作品之品質，並於框架底部安裝調整基腳用以對應不平整之地面。將桃園的地貌景觀轉化置入作品中，選取四種桃園知名地景：桃園埤塘、桃園東眼山、桃園石門水庫與桃園拉拉山，擷取其等高線圖，分層繪製成向量圖面。將原本水平向的等高線圖，逐層抽離並分開排列，形成一個立體的地景切片。每一層切片以染布的方式處理，利用漸層渲染的技術重現山巒層疊的交錯景象，並將其倒掛於框架之中，透過地面上的金屬板反射出相互對映的空間景象。 We used 20 mm galvanized square pipes as the main material of the frame structure with anti-rust surface treatment and white paint to ensure its color and quality. We installed adjustable footings at the bottom of the frames to adapt to uneven ground. Transformed recognizable landscapes in Taoyuan, The Taoyuan farm pond, Taoyuan Dongyan Mountain, Taoyuan Shimen Reservoir and Taoyuan Lala Mountain into the installation. To transform them, we extracted their contour maps and drew them into vector maps in layers, arranged them separately to form three-dimensional landscape slices. Each slice was cutted from cloth and dyed into gradient color, emerging the interlaced scene of the mountains and water. Hanged the landscape slides upside down in the frame and let the metal surface reflect the contrasting spatial scene on the baggage carousel.

500 mm

地景切片製作圖 | Landscape Slices Drawing Process Diagram 250 mm

992 mm 500 mm

框架結構單元尺寸圖 | Frame Structure Module Size

地景切片框架結構尺寸圖 | Landscape Slice Frame Structure Size

框架結構模型 | Frame Structure Model

地景切片照 | Landscape Slices Photograph

[ Journey

[ Collaborate Project | Installation Art

旅程 ]

合作項目 | 裝置藝術 ]

機場捷運站體模型照 | MRT Station Model Photograph

機場捷運車體模型照 | MRT Carriages Model Photograph

機場捷運車體模型照 MRT Carriages Model Photograph

在機場捷運沿途停靠的車站中取其中九站建築體較為特殊之站點製作模型。站體以建築剖面的方式呈現，希望能讓觀看者可以清楚的瞭解平時搭捷運時，在捷運月台中旅客與捷運之間的關係。

機場捷運站體模型照 | MRT Station Model Photograph

迷你捷運列車以日本鐵道模型列車之底盤與軌道進行改造。捷運車廂外殼以 3D 列印呈現其外貌。軌道的支撐構件為透明壓克力層板，在其內部坎入強力磁鐵，置於金屬框架之中，確保軌道在車輛運行時不會脫離既定之位置。將列車軌道設置於壓克力層板上方，創造列車在行進時的漂浮感。 We selected nine stations that stop by the MRT for model making. The station models were presented in architectural sections, in order to let the viewers to clearly understand the relationship between passengers and the MRT carriages at the platform.

機場捷運站體模型照 | MRT Station Model Photograph

機場捷運車體模型照 | MRT Carriages Model Photograph

The mini MRT train was remodeled with the chassis and tracks of the Japanese railway train model. The exterior of the MRT carriage was 3D printed. We used transparent acrylic with embedded magnets to support the system and ensure the track would not deviate from its position when the mini MRT trains were running. The train track was set above the acrylic structure as the train was floating when it traveled.

[ Journey

[ Collaborate Project | Installation Art

旅程 ]

合作項目 | 裝置藝術 ]

裝置藝術展覽照 | Installation Art Exhibition Photograph

煮。食 BURN 以尊重食物及煮食和人類文明發展為發想的餐桌佈置設計 A Dining Table Set Design Showing The Concept of Respects for Food And The Development of Cooking And Human Civilization 項目 | 合作學術作品

PROJECT | Collaborate Academic Project

指導老師 | Jon Otis

INSTRUCTOR | Jon Otis

負責項目 | 項目負責人

RESPONSIBILITY | Project Coordinator

項目研究與設計

Project Research and Design

材質選擇

Material Selection

施工計畫與管理

Construction Plan and Management

家具製作

Furniture Making

成品攝影紀錄

Photograph Recording

類型 | 家具設計

TYPOLOGY | Furniture Design

時間 | Jan 2020 - Mar 2020

DATE | Jan 2020 - Mar 2020

用火烹飪是有史以來最偉大、最強大的創新之一。不只是因為烹飪改變了食物本身，而是改變了人類社會，一旦生食煮熟，文化就從有此開始。人們圍著營火吃飯，營火成了人們交流和聚集的地方，社會是圍繞膳食和固定的用餐時間來組織的。烹飪帶來了新的特殊功能、共享的樂趣和責任，它比純粹聚在一起吃飯更有創意，更能促進社會聯繫。日本人用＂御飯＂來命名大米，不僅表達了米飯在飲食中的重要性，也表達了對食物的尊重。中國人站起來夾取食物，將碗捧在手裡。再許多文化當中人們在吃飯前祈禱，並一起共享食物，以表達尊重、感激和團圓。在這些案例中，人們用餐的方式和餐桌本身成為了表達這些概念和想法的媒介，因此我們設計了一套餐桌，以呈現對食物的尊重以及烹飪和人類文明的發展關係。 Cooking with fire is one of the greatest and most powerful innovations of all time. Not because cooking changes food, but changes society. Once raw food is cooked, culture begins here. People gathered around the campfire to eat, and the campfire became a place for people to communicate and gather. Society is organized around meals and fixed meal time. Cooking brings new special features, shared pleasures, and responsibilities. It's more creative and fosters social connection than just getting together to eat. Japanese named rice with the adjective imperial, expressing not only the importance of rice in their meals, but also the respect for food. As well as the Chinese stand up to get food and hold their bowls in their hands. People pray before eating and share plates together showing respects, gratitude and gathering in many cultures. In these cases, the way people dine and the dining table became the medium to express the concepts and ideas. Therefore, we designed a dining table set to present the respect for food and the development of cooking and human civilization.

[ Burn

煮。食 ]

[ Collaborate Academic Project | Furniture Design

合作學術作品 | 家具設計 ]

社交行為與儀式感的注入，改寫了人類與自然、雨他人和自身的關係，並由＂群居＂的生活型態轉變為＂共同生活＂。對於儀式感的共識便是共同生活的精神基礎，一群人遵守、維護並傳承著共同的經驗、價值觀與信念，造就了文化與文明。

將人類文化與文明轉化成為桌面布置。漆黑的鐵器代表著以火為起始的人類文化及文明，將其排成城市的天際線，玻璃及陶瓷器皿表現出人類文明發展出的以燒製為基礎的煮食用具，以表現火之於人類發展的重要性。

The dining habit brought in social behavior and ritual sense that changed the relationship between human beings and nature, others and themselves. It changed from “a group of people” to a lifestyle of “living together.” The consensus of ritual is the spiritual foundation of living together. When a group of people observes, maintains and inherits common experience, values and beliefs, it becomes culture and civilization.

Transform the idea of human culture and civilization into tabletop arrangements. The dark iron utensils represent the human culture and civilization that started with fire by lining it up the city skyline. The glass and ceramic utensils represent the importance of firing-based cooking utensils in human civilization development.

以木頭為原料，以最簡單的方式，不使用任何金屬固定件組裝而成的餐桌，代表人類因最原始的＂食＂的慾望聚集。桌子的模組設計，賦予此餐桌無限變化的可能性，也意指煮食帶給人們更多的想像與可能性，可以由簡單的吃，發展為更為複雜的文明行為。

進食以獨特的方式成為一種社交行為，人們圍在營火旁吃東西，營火遂成為人們交流及聚會的地方。烹調賦予食物更高的價值，讓其不只是填飽肚子的東西，更開啟了更多可能性：餐食可以變成祭品、筵席、儀式等。

Using wood as raw material, the dining table assembled in the simplest way without using any hardwares represents the gathering of human beings due to the most primitive desire for "food." The modular design gives the dining table the possibility of infinite changes. It also means that cooking brings people more imagination and possibilities, which can be developed from simple eating to more complex civilized behaviors.

Eating became a social act in a unique way. People gather to eat by the campfire, the campfire becomes a place for people to communicate and meet. Cooking adds value to food, making it not just simply fill up our stomach, but open up more possibilities and imaginations: meals can be turned into sacrifices, feasts, rituals, etc.

人類開始利用＂火＂來加熱、烹調食物，成為地球上唯一以熟食為生的族群。在某種意義下，人類對食物的需求以不僅僅是填飽肚子的生理需求，當人類開始擁有＂烹飪＂的特權，也開始了對文明狀態的追求。火不只造就了人類＂熟食＂的種族特性，更塑造出人類＂合食＂的文明型態，將果腹的餐食注入更多儀式性的內涵。

概念分析圖 | Concept Diagram

Humans started to use “fire” to heat and cook food. We became the only group that lived on cooked food on earth. In a sense, when humans began to have the privilege of “cooking”, their need for food was no longer a physiological need to fill their stomachs, but pursuing a state civilization. Fire not only created the human racial characteristics of having “cooked food,” but also shaped the habit of “shared food” and “dine together,” injecting more ceremonial connotations into the meal.

火紅的玻璃球與鮮花代表熊熊燃燒的烈火，肩負煮熟、轉化食物的重任，成為聚集人們的核心，乘載的人類文明的起源。餐桌效果圖 | Dining Table Rendering

The red glass balls and flowers represent the raging fire which cooks and transforms food, and becomes the core of gathering people and the origin of human civilization.

[ Burn

餐桌設計

[ Collaborate Academic Project | Furniture Design

煮。食 ]

合作學術作品 | 家具設計 ]

Dining Table Design

餐桌椅腳設計 Table & Bench Leg Design

桌面布置 Table Top Arrangement

1/2" 打磨膠合木板模矩塊 1/2" Sanded Plywood Module Cut

1/2" 打磨膠合木板模矩塊 1/2" Sanded Plywood Module Cut 1/2" 打磨膠合木板 1/2" Sanded Plywood

一層 1/2" 打磨膠合木板與兩層 1/2" 打磨膠合木板模矩塊 One Layer of 1/2" Sanded Plywood And Two Layers of 1/2" Sanded Plywood Module Cut

餐椅設計

Dining Bench Design 黑色皮革 Black Color Leather

3/4" 打磨膠合木板桌腳 3/4" Sanded Plywood Table Leg

3' 7"

餐桌椅腳卡接圖 Dining Table and Bench Leg Joint

1/2" 樺木膠合木板 1/2" Birch Plywood

11-1/4 "

4-1/4 "

8-1/2"

3' 7" 17 "

3/4" 打磨膠合木板模矩塊 3/4" Sanded Plywood Module Cut

16-3/4"

8-1/2"

8" 8" 8" 打樁結構 Piling Structure

4-1/4 "

一層 1/2" 打磨膠合木板與兩層 1/2" 打磨膠合木板模矩塊 One Layer of 1/2" Sanded Plywood And Two Layers of 1/2" Sanded Plywood Module Cut

16-1/4 "

3/4" 打磨膠合木板桌腳 3/4" Sanded Plywood Table Leg

5-3/4 "

4-3/4 "

8-1/2" 17 "

8-1/2" 7" 4'

9-1/4 "

7" 7"

餐桌爆炸圖 | Dining Table Explosion View

餐椅爆炸圖 | Dining Bench Explosion View

11-1/4 " 餐桌椅腳尺寸圖 Dining Table and Bench Leg Dimention

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製作過程

[ Collaborate Academic Project | Furniture Design

煮。食 ]

合作學術作品 | 家具設計 ]

Production Documentation

等比例模型用相同厚度的紙板製作等比例模型，以調整餐桌椅設計的比例和結構。 Muck up Model Making muck up models with the same thickness paper board to adjust the proportion and the structure of the dining table set.

膠合木板元件將各元件膠合組合在一起，並以木工夾具固定，以確保各元件黏合的緊密度及位置的精確性。 Glue the Wood Components Glue the components together and fix them with woodworking jigs to ensure the tightness of the components and the accuracy of their positions.

膠合木板切割以 CNC 切割桌椅腳模組元件 , 確保各元件的準確性。以圓盤桌鋸切割桌面、椅面及桌椅的模組方塊。 Plywood Cutting The table and bench leg module components were cut by CNC to ensure the accuracy of each component. Use a table saw to cut table tops, bench tops and modular blocks for the dining tables set.

打磨元件以磨砂機及不同係數的砂紙手工打磨桌面、椅面、桌椅的模組方塊及桌椅腳至每個平面都細緻光滑。 Sanding Elements Sanded the table top and bench surface, the module blocks and leg components with a sanding machine and sandpapers until every plane is fine and smooth.

組裝各元件將餐桌椅的模組方塊組合至桌面及椅面上，並以 3/4" 的膠合木板對齊，確保各方塊的間隙能夠讓相同厚度的桌椅腳通過並完美卡接其中。

最後加固及測試將餐桌椅的各個元件加固，並測試每個卡接是否能夠作用，最終在餐桌椅表面上多層保護油，以降低餐桌椅受到潮濕變形的影響，並且更容易清潔保養。

Assemble the Elements Connect the modular blocks of the dining table and benches on the tabletop and bench surface, and align them with 3/4" plywood to ensure that the gaps between the blocks can allow the same thickness of the table and chair legs to pass through and perfectly joint into them.

Final Reinforcement and Testing Reinforce each element of the dining table and chair, and test whether each joint can work well. Finally, apply multiple layers of oil on the surfaces of the dining table and bench to reduce the impact of moisture deformation on the dining table set and make it easier to clean and maintain.

[ Burn

[ Collaborate Academic Project | Furniture Design

煮。食 ]

合作學術作品 | 家具設計 ]

桌底設計 | Table Bottom Design

餐桌設計 | Table Set Design

桌底設計 | Table Bottom Design

[ Burn

[ Collaborate Academic Project | Furniture Design

煮。食 ]

合作學術作品 | 家具設計 ]

桌面設計 | Table Top Design

其他作品 OTHER WORKS Revit 建模與繪圖 Revit Modeling and Documentation

附梯子書櫃木工細部圖 Shelf With Ladder Millwork Detail Draw

餐桌木工細部圖 Dining Table Set Millwork Detail Draw

[ Other Works

[ Revit Modeling and Documentation

其他作品 ]

Revit 建模與繪圖 ]

PR OJ EC T TE AM :

TENANT PROTECTION PLAN: RESIDENTIAL RENOVATION

SMOKE/CARBON MONOXIDE DETECTOR NOTES

§28-104.8.4 Tenant protection plan. Construction documents for alterations of buildings in which any dwelling unit will be occupied during construction shall include a tenant protection plan. Such plan shall contain a statement that the building contains dwelling units that will be occupied during construction and shall indicate in sufficient detail the specific units that are or may be occupied during construction, the means and methods to be employed to safeguard the safety and health of the occupants, including, where applicable, details such as temporary fire-rated assemblies, opening protective, or dust containment procedures. The elements of the tenant protection plan may vary depending on the nature and scope of the work but at a minimum shall make detailed and specific provisions for: 1. Egress. At all times in the course of construction provision shall be made for adequate egress as required by this code and the tenant protection plan shall identify the egress that will be provided. Required egress shall not be obstructed at any time except where approved by the commissioner. 2. Fire Safety. All necessary laws and controls, including those with respect to occupied dwellings, as well as additional safety measures necessitated by the construction shall be strictly observed. 3. Health requirements. Specification of methods to be used for control of dust, disposal of construction debris, pest control and maintenance of sanitary facilities, and limitation of noise to acceptable levels shall be included. 3.1 There shall be included a statement of compliance with applicable provisions of law relating to lead and asbestos. 4. Compliance with housing standards. The requirements of the New York City housing maintenance code, and, where applicable, the New York state multiple dwelling law shall be strictly observed. 5. Structural safety. No structural work shall be done that may endanger the occupants. 6. Noise restrictions. Where hours of the day or the days of the week in which construction work may be undertaken are limited to the New York City noise control code, such limitations shall be stated.

3. 4.

5. 6. 7. 8. 9.

10. 11. 12. 13. 14.

Tenant Protection Plan: Residential 1/4" = 1'-0"

Smoke/Carbon Monoxide detectors or devices shall be installed in ordinance with the Housing Maintenance Code, Multiple Dwelling Law, the New York City Building Code, the New York City Electrical Code and NFPA 72. Smoke Detectors and Carbon Monoxide Detectors may be combined providing the devices comply with the provisions of title 28 of the administrative code of the city of New York and any applicable rules promulgated thereunder. Each Smoke/Carbon Monoxide Detector shall be installed in accordance with Reference Standard UL 2034 and UL 2075 of the New York City Building Code. Each Smoke/Carbon Monoxide Detector shall be installed outside of each sleeping room in the immediate vicinity or within 15’-0” of the entrance to a sleeping room; inside each sleeping room; and on each story within a dwelling unit, including below grade stories and penthouses per 908.7.1.1.1 Each Smoke/Carbon Monoxide Detector shall be of a type that allows for readily testing of such device. Duplex units shall have a device located on each level if only one means of egress is provided from each level. Ceiling mounted devices shall be a minimum distance of 4” from any wall. Wall mounted devices shall be a minimum of 4” to a maximum of 12” from the ceiling. Each dwelling unit shall be equipped with an approved type smoke/carbon monoxide detector device receiving primary power from the building wiring with no switches in the circuit other than the over current device protecting the branch circuit as per New York City Building Code Sec. 907.2.10.2 through 907.2.10.4. Existing buildings that are not equipped with hardwired connections shall be supplied with battery operated devices. Such smoke/carbon monoxide detector must be either the ionization chamber type or the photoelectric detector type as per New York City Building Code Sec. 907 and 908. A “Certificate of Satisfactory Installation for Smoke/Carbon Monoxide Detectors” must be filed with the division of code enforcement H.P.D., 10 days after installation. Written information of testing and maintenance of the devices shall be provided to the dwelling unit owner. In multiple dwellings (R-2), smoke alarms shall be able to support visible alarm per ANSI A117.1.

Smoke/ Carbon Monoxide Notes 1/4" = 1'-0"

ENERGY CODE NOTES

BUILDING DEPARTMENT & GENERAL NOTES

To the best of my knowledge, belief and professional judgment, this application is in compliance with the ECCNYS 2010

1. Scope of Work: Demolition and interior renovation work of existing apartment 10A. No change of use, occupancy or egress. 2. Occupancy designation is "residential".

Energy Code Notes 1/4" = 1'-0"

3. Before commencing work, the contractor shall file all required insurance certificates with the Departement of Building , obtain all required permits, and pay all fees required by the governing New York City agencies. 4. All work shall conform to the requirements of the New York City Building Code, Fire Department rules and regulations, utility company requirements, and the best trade practices. 5. Before commencing work, the contractor shall file all required insurance certificates, Workmen's Compensation, etc. with the Department of Buildings. The contractor shall obtain all required permits, and pay all fees required by the governing New York City agencies and shall submit to owner all necessary certificates before commencement of work. 6. Minor details not usually shown or specified, but required for proper construction of any part of the work shall be included as if they were indicated in the drawings. 7. The contractor shall coordinate all work procedures with the stipulations of local authorities, building management, or board of directors. 8. The contractor shall be responsible for the protection of all conditions and materials within the proposed construction area.The contractor shall design and install adequate shoring and bracing for all structural or removal tasks. The contractor shall have sole responsibility for any damage or injuries caused by or during the execution of the work.

ENERGY CODE PROGRESS INSPECTION PROGRESS INSPECTIONS

TABLE REFERENCE IN 1RCNY §5000-01(H) (1) AND (2)

9. The contractor shall lay out his own work, and shall provide all dimensions required for all other trades such as: plumbing electrical, etc.

Y N PROTECTION OF FOUNDATION INSULATION INSULATION PLACEMENT AND R VALUES FENESTRATION THERMAL VALUES AND RATINGS FENESTRATION RATINGS FOR AIR LEAKAGE FENESTRATION AREAS AIR SEALING AND INSULATION - VISUAL PROJECTION FACTORS LOADING DOCK WEATHER SEALS VESTIBULES

(IIA1) (IIA2) (IIA3) (IIA4) (IIA5) (IIA6) (IIA7) (IIA8) (IIA9)

FIREPLACES DAMPERS INTEGRAL TO BUILDING ENVELOPE HVAC AND SERVICE WATER HEATING EQUIPMENT HVAC AND SERVICE WATER HEATING SYSTEMS CONTROLS DUCT PLENUM AND PIPING INSULATION AND SEALING DUCT LEAKAGE TESTING

(IIB1) (IIB2) (IIB3) (IIB4) (IIB5) (IIB6)

ELECTRICAL METERING LIGHTING IN DWELLING UNITS INTERIOR LIGHTING POWER EXTERIOR LIGHTING POWER LIGHTING CONTROLS EXIT SIGNS TANDEM WIRING ELECTRICAL MOTORS

(IIC1) (IIC2) (IIC3) (IIC4) (IIC5) (IIC6) (IIC7) (IIC8)

MAINTENANCE INFORMATION

(IID1)

10. The contractor shall do all cutting, patching, repairing, etc. As required to perform all of the work indicated on the drawings, and all other work that may be required to complete the job. 11. All piping and wiring shall be removed to a point of concealment and shall be properly capped or plugged. 12. The Architect is responsible for Controlled Inspection for Final Inspection and Firestopping. The Architect is not responsible for any damages arising out of the Contractor's failure to execute the work exactly as shown on the Approved drawings. 13. Plumbing work shall be performed by persons licensed in their trades, who shall arrange for and obtain through the Department of Building all required permits, inspections and required sign offs 14. Electrical work shall be performed by persons licensed in their trades, who shall arrange for and obtain through the Bureau of Electrical Control all required permits, inspections and required sign offs

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

ABBREVIATIONS

ABV. A.F.F ACC. A.D. A.C.T. ADD. ADJ. A/C ALT. ALUM. ANOD. APPROX. ARCH. ASPH. @ AUTO. BEL. BET. BITUM. BLKG. BD. BOT. BRS. BRZ. BLDG. CAB. CPT. C.B. CLG. CEM. CTR. CL CER. C.T. COL. CO. COMB. COMP. CONC. C.M.U. CONN. CONST. CONT. C.L.L. C.J. CFL. DEP. DEG. D.O.B. D.F. DTL. DIAG. DIAM. DIFF. DIM. DISP. DO. DIV. DR. DWL. DN. DRN. DWG. EA. ELEC. EL. ELEV. EMER. ENCL. EQ. EQUIP. EXH. EXP. E.J. EXPO. EXIST. EXT. F.O.C. F.O.F. F.O.M. F.O.S. FBD. F.G. FGL. FIN. F.E. F.E.C. F.H.C. FPSC. FIXT. FLG. F.D. FLR. FLUOR. FTG. FDN. F.B.O. F.O. FUR. GA. GALV. GEN. G.C. GL. GRD. GRAV. GRND. GYP. GYP. BO. HDCP. HDRL. HDW. HTR. HTG. H.V.A.C. HT. H.M. HORIZ. HR. IN. INCLUDE. INC. INFO. I.D. INSUL. INT. I.G. J.C. JT. LAM. LTG. LIN. LL.

ABOVE ABOVE FINISH FLOOR ACCESS ACCESS DOOR ACOUSTICAL TILE ADDENDUM ADJUSTABLE AIR CONDITIONING ALTERNATE ALUMINUM ANODIZED APPROXIMATE ARCHITECT(URAL) ASPHALT AT AUTOMATIC BELOW BETWEEN BITUMINOUS BLOCKING BOARD BOTTOM BRASS BRONZE BUILDING CABINET CARPET CATCH BASIN CEILING CEMENT CENTER CENTER LINE CERAMIC CERAMIC TILE COLUMN COMPANY COMBINE, COMBINATION COMPRESS(ED), (IBLE) CONCRETE CONC. MASONRY UNIT CONNECT CONSTRUCTION CONTINUOUS, CONTINUE CONTRACT LIMIT LINE CONTROL JOINT COUNTERFLASHING DEPRESSED DEGREE DEPARTMENT OF BUILDINGS DRINKING FOUNTAIN DETAIL DIAGONAL DIAMETER DIFFERENT DIMENSION DISPENSER DITTO DIVISION, DIVIDER DOOR DOWEL DOWN DRAWN DRAWING EACH ELECTRIC(AL) ELEVATION ELEVATOR EMERGENCY ENCLOSED EQUAL EQUIPMENT EXHAUST EXPANSION EXPANDED EXPANSION JOINT EXPOSED EXISTING EXTERIOR FACE OF CONCRETE FACE OF FINISH FACE OF MASONRY FACE OF STUDS FIBERBOARD FIXED GLASS FIBERGLASS FINISH(ED) FIRE EXTINGUISHER FIRE EXTING. CABINET FIRE HOSE CABINET FIREPROOF SELF-CLOSING FIXTURE FLASHING FLOOR DRAIN FLOORING, FLOOR FLUORESCENT FOOTING FOUNDATION FURNISHED BY OTHERS FRAMED OPENING FURRING, FURRED GAUGE GALVANIZED GENERAL GENERAL CONTRACTOR GLASS, GLAZING GRADE, GRADING GRAVEL GROUND GYPSUM GYPSUM BOARD HANDICAPPED HANDRAIL HARDWARE HEATER HEATING HEAT, VENT., AIR COND. HEIGHT HOLLOW METAL HORIZONTAL HOUR INCH INCLUDE(D), (ING) INCORPORATE INFORMATION INSIDE DIAMETER INSULATION INTERIOR ISOLATED GROUND JANITOR CLOSET JOINT LAMINATE(D), LAMINANT LIGHTING LINTEL LOCAL LAW

MFR. MRB. MAS. MAT'L. M.O. MAX. MECH. MEMB. MTL. MEZZ. MIN. MISC. MOD. M.R. MTD. MVBL. MULL. NAT. NOM. N/S N/A N.I.C. N.T.S. NO. O.C. OPG. OPP. O.D. OVHD. PNT. PR. PNL. PART. PED. PERF. P.LAM. PLAS. PL. PLUMB PLWD. PT. LBS. P.C.C. PFB. PROJ. PTD. REC. RE: REIN. REQ'D. RES. REV. R. RF. R.D. RFG. RM. R.O. RND. R.B. SCHED. SCRN. SLNT. SECT. SHT. SDG. SIM. SK. SCW. SPEC. SPR. S.S. STA. STL. STOR. STR. SURF. SUSP. SYM. T.C. TEL. TERR. TH. T.B.D. T.O.S. T.O.W. TR. TYP. U.O.N. V.B. V.C.T. VENT. V.I.F. VERT. VEST. VIN. V.T. W.P. WSTR. WIN. W/ W/O WD.

MANUFACTURER MARBLE MASONRY MATERIAL MASONRY OPENING MAXIMUM MECHANICAL MEMBRANE METAL, METALLIC MEZZANINE MINIMUM MISCELLANEOUS MODULAR MOISTURE RESIST MOUNT(ED), (ING) MOVABLE MULLION NATURAL NOMINAL NON-SLIP NON APPLICABLE NOT IN CONTACT NOT TO SCALE NUMBER ON CENTER OPENING OPPOSITE OUTSIDE DIAMETER OVERHEAD PAINT PAIR PANEL PARTITION PEDESTAL PERFORATE(D) PLASTIC LAMINANT PLASTER PLATE PLUMBING PLYWOOD POINT POUND PRECAST CONCRETE PREFABRICATE(D) PROJECTED PAINTED RECESS(ED) REFERENCE REINFORCE(ED), (ING) REQUIRED RESILIANT, RESISTANT REVISION(S), REVISED RISER, RADIUS ROOF ROOF DRAIN ROOFING ROOM ROUGH OPENING ROUND RUBBER BASE SCHEDULE SCREEN SEALANT SECTION SHEET SIDING SIMILAR SKETCH SOLID CORE WOOD SPECIFICATION(S) SPRINKLER STAINLESS STEEL STATION STEEL STORAGE STRUCTURAL SURFACE SUSPENDED SYMMETRY, (ICAL) TERRA COTTA TELEPHONE TERRACOTTA THICK TO BE DETERMINED TOP OF STEEL, SLAB TOP OF WALL THREAD TYPICAL UNLESS OTHERWISE NOTED VAPOR BARRIER VINYL COMPOSITION TILE VENTILATION, VENTILATOR VERIFY IN FIELD VERTICAL VESTIBULE VINYL VINYL TILE WATER PROOF WEATHER STRIPPING WINDOW WITH WITHOUT WOOD

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

FINAL SUBMISSION

REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

PR OJ EC T:

ATLANTIC AVE CAFE

525 ATLANTIC AVE

DR AW IN G TI TL E:

SE AL & SI GN AT UR E

General Notes 1

D AT E:

DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

Energy Code Progress Inspections 3 1/4" = 1'-0"

General Notes 4 1/4" = 1'-0"

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

5/ 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05

C he ck er

DR AW IN G NO .

T-001.00

[ Other Works

[ Revit Modeling and Documentation

其他作品 ]

Revit 建模與繪圖 ]

PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

GENERAL NOTE REQUIRED MINIMUM DIMENSIONS AS PER ANSI 117.1

DEMOLITION NOTES 4.13

1. Existing conditions, materials and dimensions indicated are for general information only. Remove existing construction completely to extent indicated or required, whether or not indicated material, configurations and dimensions are correct. Verify existing conditions.

DOORS

4' - 0" MIN 5' - 0" MIN

4' - 0" MIN

2. Notify architect of discrepancies between drawings and existing conditons prior to proceeding with work. 3. The General Contractor or Sub Contracors (hereby to be referred to as the General Contractor) shall furnish all labor and materials as required to complete demolition and removal of all items as indicated in the drawings or as otherwise directed by the Architects.

1' - 6" MIN

4. Remove all fixtures, appliances, equipment and hardware in all areas within the limits indicated as extent of work.

PULL SIDE - FRONT APPROACH

DOORS IN SERIES

54" MIN

5. The general contractor shall cap and flush off behind floor and wall surfaces to remain all projecting plumbing, floor and wall electrical/ telephone outlets, and all other projecting items which are being abandoned.

4' - 0" MIN

1' - 0" MIN

SLIDING DOOR - FRONT APPROACH

7. At juncture of work to remain and work to be demolished, make neat, straight, plumb even cuts. 8. The General Contractor shall prevent damage to building interior stairs and exterior fire escapes, elevators and shafts, facade elements, steel, fireproofing, building main utilities, electric service, domestic water, etc., as required.

SLIDING DOOR - SIDE APPROACH

WATER CLOSETS

9. The General Contractor shall drain all plumbing and mechanical water supply lines and cap them at their source before proceeding to demolish them.

36" MAX.

10. The General Contractor shall use only licensed and certified sub-contractors for the removal of refrigerant in existing mechanical lines. Refrigerant to be removed using only EPA, state DEP and locally approved collection methods and equipment.

7"-9" 15"-48"

17"-19"

CLEAR FLOOR SPACE

33"-36"

4'-0" MIN

3'-0" MIN. 6" MAX.

TOILET PAPER 1'-6" 1'-6"

12" MAX

42" MIN.

5'-6" MIN

3'-0"

6. Protect all existing work from damage by impact, soiling, water.

2' - 0" MIN

PUSH SIDE - FRONT APPROACH 4.16

3'-6" MIN

32" MIN

11. Demolished materials should be removed from the site and passageways and exterior spaces should be kept clean continuously.

1'-0" MAX 3'-6" MIN FLOOR MTD TOILET (COMMERCIAL)

27" MIN 29" MIN 34"

38" MAX

9" MIN

19" MAX

48" MIN

REINFORCED AREAS FOR INSTALLATION OF GRAB BARS

18. The general contractor shall at all times protect that property of the building owner which is to remain.

38" MIN 32" MAX

4'-0" MIN

1'-0" MAX

19. The general contractor shall furnish a system of temporary power and lights throughout the space under construction as required. 20. The general contractor shall furnish temporary heat if ambient temperatures drop below freezing.

FLOOR MTD TOILET (RESIDENTIAL)

1'-0" MAX

2'-0" MIN

3'-2" MIN

SEAT

3'-2" MIN 2'-8" MAX

SEAT

1. All work and materials furnished shall comply with the state of New York Building Code, and the Building Management Street Rules and Regulations for Construction, The state of New York fire code, the State of New York regulations, the regulations of the board of fire underwriters, national fire protective association requirements and all federal, state and municipal authorities having jurisdiction over the work.

1'-3" MAX

2. The building permit shall be secured by the Construction Manager or General Contractor (hereby known as the General Contractor) and he shall obtain all other permits and approval as required by law for the completion of the project.

5'-0" 30"X60" STALL

LOCATION OF GRAB BAR REINFORCEMENTS FOR ADAPTABLE SHOWERS

3. The submission of a proposal by the General Contractor will be constructed as evidence that a careful and thorough examination of the premises has been made and later claims for labor, materials, or equipment or for difficulties encountered which could have been foreseen had such an examination been made, will not be recognized. It shall also constitute a representation that the General Contractor has checked and verified all quantities, work and materials involved and that he shall take responsibility for any deficiencies therein.

5'-0" BATHTUB WITH SEAT IN TUB 4.32.5.5

ADAPTABLE BATHTUB WITH SEAT IN TUB

KITCHEN SINK

2'-3" MAX

28"-36"

2'-8"MAX 6"

4'-0" MAX

CONTROL PANEL

2'-8"MAX 6"

ADJUSTABLE COUNTER SEGMENT

30" MIN. SIDE

BACK

SUGGESTED FLEXIBLE SUPPLY LINES

4. Before ordering any material or commencing with any of the work described in the enclosed documents, each trade shall verify all measurements at the premises and shall be responsible for the correctness of same. No extra charge or compensation will be allowed on account of differences between actual dimensions and measurements indicated on the drawings; any discrepancies between the drawings and the field conditions which may be found shall be submitted to the Architect for consideration and clarification before proceeding with the work.

SUGGESTED SLIP JOINT IN TAIL PIECE

SIDE

NOTE: SHOWER HEAD & CONTROL AREA MAY BE ON BACK WALL (AS SHOWN) OR 30"X60" STALL ON EITHER SIDE WALL

6. The work to be performed consists of all furnishing labor, equipment, tools, transportation, supplies, fees, materials and services in accordance with these notes and drawings and performing all operations necessary to construct and install complete and satisfactory condition the various materials and equipment at the locations shown, and in conformity with the dimensions, design and details shown. It is intended that the drawings include everything requisite and necessary to finish the entire project properly not withstanding the fact that every item necessarily involved may not be specifically mentioned or shown. Any item which may be reasonably constructed as incidental to the proper and satisfactory completion of the work in accordance with the intent of these notes and drawings is hereby included. 7. The General Contractor shall abide by and comply with the true intent and meaning of the drawings and notes taken as a whole and shall not avail himself of any obvious errors and omissions, should any exist. Should any error or discrepancy appear or any doubt arise as to the true meaning of the drawings or notes, the contractor shall bring such items to the attention of the Architects before submission of his proposal for an explanation, clarification or correction of same. After the submission of proposal the contractor will be held responsible for all such items. 8. The character and scope of the work are illustrated by the drawings and notes. To interpret and explain the drawings other information deemed necessary by the Architect will be furnished to the contractor when and as required by the work, and it is to be understood that said additional information or drawings are to be of equal force with these drawings. 9. Full size or large scale details or drawings shall govern small scale drawings which they are intended to amplify. Details or conditions indicated for a portion of the work but not carried out fully for other portions shall apply throughout to all similar portions except as otherwise specifically noted. In every case a more expensive item or method shall be assumed over a less expensive one and dimensions shall be figured rather than determined by rule or scale. 10. The project has been designated and detailed for the specific materials and equipment specified. No substitutions shall be made without the express written consent of the Architect. If the specified material is not available, the Contractor shall propose an alternate material and shall provide drawings, samples, specifications, manufacturer's literature, performance date, etc. in order that the Architect can evaluate the proposed substitution. If the substitution affects a correlated function, adjacent construction, or the work of any other contractor or trade, the necessary changes and modifications to the affected work shall be accomplished by the General Contractor at no additional expense to the owner. No requests for substitutes will be entertained by the Architect due to Contractor's failure to order materials in a timely manner. 11. The standard specifications of the Manufacturer's approved for use in the project are hereby made as of these notes with the same force and effect as though herin written out in full, except that wherever the drawings require heavier members, better quality material materials or are otherwise more stringent, these more stringent requirements shall govern. 12. The General Contrator shall notify the Architect immediately if he cannot for any reason comply with all the requirements of these notes and drawings.

17. Any materials delivered or work perfomed, contrary to the drawings and specifications and approved shop drawings, shall be removed by the Genereal Contractor at his own expense, and the same shall be replaced with other materials or work satisfactory to the Architect. The General Contractor shall also assume the cost of replacing the work which may be disturbed. 18. The General Contractor shall be responsible for properly and accurately laying out the work and for the lines and measurements herein. He shall establish necessary reference lines and permanent bench marks from which building lines and elevations shall be taken. Heights of all work called "A.F.F." including to but not limited to soffits, ceilings, and doors shasll be true and level within a maximum tolerance of 1/8" overall throughout the entire project regardless of variations in the actual floor or slab. The slab or floor shall be leveled as required so as not to vary more than 1/8" in any 10'-0". General Contractor to inform Architet before proceeding with any work if the above stated minimums are not achievable. 19. The premises and the job site shall be maintained in a reasonably neat, orderly and safe condition and kept free from accumulations of waste materials and rubbish during the entire construction period. Remove crates, cartons, and other flammable waste material or trash from the work areas at the end of each working day and remove from the site at the end of each working week. Said material shall bea stored in an exterior location that presents no risk of damage to any portioin of the Owner's property in sealed fire-proof and animal proof containers while awaiting removal from the site. Removal of construction materials and debris shall be subject to the rules and regulations of the state, federal and municipal authorities and agencies having jurisdiction. Any fines or citations issued form failure to comply with waste removal regulations shall be understood to be the responsibility of the Contractor. 20. The Contractor shall be responsible for protecting all external portions of the site including but not limited to; all structures on the property, sidewalks, landscape elements. driveways. walkways. and fences. The Contractor shall be responsible for the repair and/or replacement of any of above said items damaged or destroyed during the course of executing the project. Electrical closets. pipe and duct shafts, chases, furred spaces

22. Clean up immediately upon completion of each trade's work. 23. Clean areas of the building in which painting and finishing work is to be performed just prior to the star of this work, and maintain these areas in satisfactory condition for painting and finishing. 24. This cleaning includes the removal of trash and rubbish form these areas, broom cleaning of floors, the removal of any plaster, mortar, dust, and other extraneous materials from finish surfaces, including but not limited to miscellaneous metal, woodwork, plaster, gypsum, drywall, masonry, concrete, mechanical and electrical equipment, piping ductwork, conduit, surfaces visible after permanent fixture induction, unit covers, grilles and registers and other such fixtures or devices are in place. 25. In addition to cleaning the specified above and more specific cleaning which may be required in various sections of the specifications. the premises shall be prepared for occupancy by the following: a) A thorough cleaning throughout including washing or cleaning by other approved methods of all floors and surfaces on which or dust has collected and by washing, removing all paint, putty, stains, etc. therefrom.

13. The General Contractor shall coordinate and supervise the work of all contractors and sub-contractors. He shall be responsible for giving all trades such information, plans or details as may be required for the proper execution, installation and completion of their work. All materials shall be ordered sufficiently ahead of time so that work can proceed on schedule. No substitutions will be accepted because of failure to do so.

b) Providing and maintaining adequate runner strips of nonstaining reinforced Kraft building paper on finished floors as required for protection.

14. The contractor shall submit all fabrication shop drawings, samples and fixture cuts for the Architect's review as required and/or indicated on the drawings. The Architects's review shall not be taken as an indication that submittal is correct or suitable, nor that work represented by submittal complies with the drawings except as to matters of finish, color, textures and other aesthetic matters. Action noted above does not relieve the contractor from the responsibility to coordinate all trades and to check quantities and dimensions against conditions in the field. Contractors and engineers shall assume responsiblity for all errors and omissions on their drawings. (Submit four copies of each shop drawing or fixture cuts or samples.)

e) Maintain exterior of building and property in a neat, clean. safe and orderly manner. Store all refuse trash and rubbish in secure animal proof containers. Contractor shall at his own expense arrange to have construction trash, waste and debris removed from the premises on a weekly basis.

ADAPTABLE KITCHEN SINK W/ BASE CABINET REMOVED

15. All materials required for the performance of this contract shall be new and of the best quality of kinds specified, all subject to the approval of the Architect. The use of old or second-hand materials is strictly forbidden. The General Contractor shall, if required, furnish satisfactory evidence as to the kind and quality of materials and workmanship. Materials shall be used in accordance with manufacturer's printed instructions. Upon request, the manufacturer's representative shall go to the site and instruct the mechanics in the use of the materials and supervise their use. 16. For the execution of the work to be performed under this contract and for the manufacture or transportation of any of the materials or appliances to be used or installed. The contractor shall employ only such labor throughout as will not interfere with the speedy and uninterrupted completion of the project. All work shall be performed by mechanics skilled in their trade and shall be installed in a neat and workmanlike manner in accordance with the best trade practices.

FINAL SUBMISSION

21. Care shall be taken by workers not to mark, soil or otherwise deface finished surfaces. In the event that finished surfaces become defaced, clean and restore such surfaces to their original condition.

c) Leaving all surfaces, fixtures and equipment in an undamaged, bright. clean. polished condition. d) Clean and polish all hardware, and other metal work.

GENERAL CONSTRUCTION NOTES:

CONTROL PANEL

6" MAX. 6" MAX. 4'-0" MIN.

2'-8" MAX

LOCATION OF GRAB BAR REINFORCEMENTS OF ADAPTABLE BATHTUBS 6" MAX

CLEAR FLOOR SPACE

2'-0" MIN

5'-0"

3'-2" MIN

2'-0" MIN

SEAT

LAV 4'-0"

42" MIN.

17. The general contractor shall erect all necessary temporary protective structures such as scaffolding, fencing, barricades or bridges, and plastic drop cloth partitions to protect adjacent areas outside of scope of work while demolition and construction are in progress, where applicable.

21. Upon completion of the demoltion work, the general contractor shall provide that all areas are left broom clean.

BATHTUBS 2'-0" 2'-0" MAX MIN

1'-0" MIN

2'-6" MIN LAV.

CLEAR FLOOR SPACE

1'-0" 3'-6" MIN MAX FLOOR MTD TOILET (RESIDENTIAL)

3'-0"

CLEAR FLOOR SPACE

2'-0"MIN

1'-6" 1'-6"

LAV

5'-0"

16. In all areas where demolition (removal of finish floor, partitions, etc.) causes an unevenness in slab, the contractor shall patch to level the slab to receive new finished flooring.

WATER CLOSETS

5'-6" MIN

4.32.4.4

15. All work will be removed from the premises except items to be reused ro returned to Owner or as otherwise directed.

17" MIN LAVATORY AND MIRROR

LAVATORY

4.21 SHOWER STALLS

14. The general contractor shall execute all work within the regulations of all Regulatory Agencies having jurisdiction over this project for demoltion and removal of debris, including after hours work required.

8" MIN

6" MAX 30" MIN 4.32.4.2

13. The general contractor shall furnish all labor and materials as required to complete demolition and removal of all items as indicated in the drawings or as otherwise directed by the Architects.

MIRROR

CLEAR FLOOR SPACE

REQUIRED MINIMUM DIMENSIONS AS PER ANSI 117.1

12. Any damage incurred outside of the scope of work must be repaired.

LAVATORIES

17" MIN

4.19

FLOOR MTD TOILET (COMMERCIAL)

5. All of the architects' drawings and construction notes are complimentary and what is called for by either will be binding as if called for by all. Any work shown or referred to on any one drawing shall be provided as though shown on all drawings. Whenever an item is specified and/or shown on the drawings by detail of reference it shall be considered typical for other items which are obviously intended to be the same even though not so designated of specifically named, but do serve the same function.

REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

f) Do all other cleaning as required to turn premises over to owner in a spotless and orderly manner. 26. The General Contractor shall keep the Architect apprised of the progress of his work by providing weekly written reports describing work completed during the week and work proposed for the upcoming week No work shall be closed or covered until it has been duly inspected and approved. Should un-inspected work be covered, the contractor shall at his own expense uncover all such work so that it can be properly inspected and after such inspection he shall properly repair and replace all work interfered with.

PR OJ EC T:

ATLANTIC AVE CAFE

525 ATLANTIC AVE

27. All work shall be subject to final inspection by the Architect and acceptance by the Owner. DR AW IN G TI TL E:

28. The General Contractor shall guaranteed the work against defects in materials, workmanship or installation for a period of two years from the date of final acceptance of completed work by Owner; and he shall at his own expense and without cost to the Owner. correct any defects which may develop during such two year period and correct any damage to other work cause by such defects or repairing of same. 29. All miscellaneous penetrations & miscellaneous steel lintels as required for installation of all piping, ductwork etc. as indicated on MEP plans are within the G.C. scope of work & are to be coordinated with all subcontractors.

SE AL & SI GN AT UR E

General Notes 2

D AT E:

5/ 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05

ADA Diagrams 1/4" = 1'-0"

General Construction Notes 1/4" = 1'-0"

DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

T-002.00

[ Other Works

[ Revit Modeling and Documentation

其他作品 ]

Revit 建模與繪圖 ]

2 A-200.01 PR OJ EC T TE AM :

1 2

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

A-200.01

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

22' - 9 1/2" 37' - 6 7/8"

7' - 9 1/2"

FINAL SUBMISSION 8' - 0"

Seating Area 5 1

2' - 11"

3' - 11"

1' - 7"

Bar

14' - 11 1/2"

Level 1 - Color Coding Plan 3/32" = 1'-0"

Level 2 - Color Coding Plan 3/32" = 1'-0"

18' - 6"

6 A-500.01

17' - 8"

Room Schedule 1

Area 1

Seating Area

7 A-500.02 1 A-200.01

1 1

1 A-300.01

Manager's Office Free-standing Area

36' - 11 1/2"

6' - 3 3/4"

37' - 6 3/8"

Circulation

8 A-500.02

Free-standing Area 4 A-300.01

A-200.01

19' - 0 3/8"

8' - 0 1/4"

Seating Area 3 1

2 15' - 7"

1' - 7"

1' - 2" 23' - 0"

4' - 8 5/8"

18' - 7"

5' - 10"

Level 1 - Construction Plan 1/4" = 1'-0"

Level 2 - Construction Plan 1/4" = 1'-0"

Level

Not Placed Not Placed 365 SF Level 2 Reflected Ceiling Plan 123 SF Level 2 Reflected Ceiling Plan 43 SF Level 2 Reflected Ceiling Plan 817 SF Level 1 Reflected Ceiling Plan 286 SF Level 1 Reflected Ceiling Plan 55 SF Level 1 Reflected Ceiling Plan 221 SF Level 1 Reflected Ceiling Plan 136 SF Level 1 Reflected Ceiling Plan 56 SF Level 1 Reflected Ceiling Plan

Name Room Seating Area

Number 1 7 REV NO.

Free-standi 8 ng Area

Manager's Office

Seating Area

Circulation

Seating Area

Bar

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

PR OJ EC T:

ATLANTIC AVE CAFE

525 ATLANTIC AVE

DR AW IN G TI TL E:

Construction Plan

Free-standi 4 ng Area SE AL & SI GN AT UR E

Toilet

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

A-100.01

[ Other Works

[ Revit Modeling and Documentation

其他作品 ]

Revit 建模與繪圖 ]

PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

3' - 0" 2' - 8"

2' - 0"

WOOD FLOOR FINISH

3' - 0"

1 4

6' - 8"

7' - 0"

FINAL SUBMISSION Steel Hand Pull

Steel Door Frame

2' - 0"

Glass Door

Front Door 1" = 1'-0"

WOOD FLOOR FINISH UP

3' - 0" REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724 2' - 0"

WOOD FLOOR FINISH

5 1

PR OJ EC T:

ATLANTIC AVE CAFE

525 ATLANTIC AVE

Level 1 - Finish Plan 1/4" = 1'-0"

Level 2 - Finish Plan 1/4" = 1'-0"

Material: Name

Material

Description

700TDISLA xxx 700TDSYR PB-LED930 Please Load Accompany ing Type Catalog (.txt)

Isla Pendant Syrma Pendant Burk Head

SD5R0793 01W

5" Round surface mount 700lm 90 30K 120V

Count

3' - 0"

Model

Steel Hand Pull DR AW IN G TI TL E:

Finish Plan, Door Elevations and Schedules

199 39 39 27

2' - 0"

7' - 0"

Material Schedule 6

Maple Solid Wood Door

SE AL & SI GN AT UR E

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Y ue Mi n Hu

C HK B Y:

C he ck er

DR AW IN G NO .

Interior Door 1" = 1'-0"

A-101.01

[ Other Works

[ Revit Modeling and Documentation

其他作品 ]

Revit 建模與繪圖 ]

PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

FINAL SUBMISSION

18' - 10 3/4"

CUSTOM MILLWORK BAR SEE SHEET A-500.02

REV NO.

CUSTOM MILLWORK BAR SEE SHEET A-500.02

2' - 11"

DATE

DESCRIPTION

PRATT INSTITUTE | INT724 30' - 7"

36' - 8 3/8"

CUSTOM MILLWORK BAR SEE SHEET A-500.01

PR OJ EC T:

ATLANTIC AVE CAFE

525 ATLANTIC AVE

1 3

DR AW IN G TI TL E:

Furniture Schedule Model

Level 1 - Furniture Plan 1/4" = 1'-0"

Level 2 - Furniture Plan 1/4" = 1'-0"

1. 2. 3. 4. 5. 6.

Type Knoll_Studio_Richard_Schultz_Petal_Coffee_Table Knoll_Studio_Richard_Schultz_Petal_End_Table Knoll_Studio_Gehry_Off_Side_Ottoman Knoll_Studio_Gehry_Cross_Check_Chair Knoll_Studio_MiesvanderRohe_Krefeld_Bench Knoll_Studio_MiesvanderRohe_Four_Seasons_Stool

Manufactur er Knoll, Inc. Knoll, Inc. Knoll, Inc. Knoll, Inc. Knoll, Inc. Knoll, Inc.

Description Pine wood finish Pine wood finish Bamboo finish Bamboo finish Pine wood finish Bamboo finish

Furniture Plan

Count 11 8 22 13 15 7

SE AL & SI GN AT UR E

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

A-102.01

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Revit 建模與繪圖 ]

PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

FINAL SUBMISSION

11' - 4"

10' - 0"

3 3

14' - 0"

13' - 0"

14' - 0"

13' - 0"

25' - 10"

11' - 4 3/4"

10' - 0 3/4"

REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

PR OJ EC T:

ATLANTIC AVE CAFE

525 ATLANTIC AVE

DR AW IN G TI TL E:

Longitudinal Section 1 1/4" = 1'-0"

Section

Transverse Sectionn 1 1/4" = 1'-0" SE AL & SI GN AT UR E

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

A-200.01

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PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

FINAL SUBMISSION

Stair Elevation 1/2" = 1'-0"

REV NO.

DESCRIPTION

PRATT INSTITUTE | INT724

14' - 5 1/4"

DATE

PR OJ EC T:

2' - 8 3/8"

ATLANTIC AVE CAFE

525 ATLANTIC AVE

DR AW IN G TI TL E:

5' - 6"

Stair Plan Section and 3D Study

SE AL & SI GN AT UR E

D AT E:

9' - 6 13/32" 26' - 6 3/4"

Stair Perspective

Leverl 1 - Stair Plan 1/2" = 1'-0"

Level 2 - Stair Plan 1/2" = 1'-0"

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05

Stair Section 1/2" = 1'-0"

DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

A-300.01

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PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242 1' - 0"

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

0' - 6 15/16"

0' - 4 7/16"

Wood Panel 2"

Metal Carriage 1/2"

0' - 1 1/2"

Metal Carriage 3-1/4" Metal Rail

First Floor

0' - 1" 0' - 1 1/2"

Wood Handrail Metal Handrail Carriage

FINAL SUBMISSION

Stair and First Floor Connection Detail 3" = 1'-0"

2' - 11 1/2"

3' - 6 1/2"

Glass Guardrail

Wood Panel 2"

REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

Wood Panel Metal Holder

0' - 2"

Metal Carriage 1/2"

PR OJ EC T:

ATLANTIC AVE CAFE

525 ATLANTIC AVE

1' - 0 1/2"

Metal Carriage 3-1/4" 0' - 7"

Second Floor

Metal Carriage DR AW IN G TI TL E:

Stair Details

3' - 2 1/4"

SE AL & SI GN AT UR E

Stair and Second Floor Connection Detail 3" = 1'-0"

Railing Detail 3 3" = 1'-0"

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

A-301.01

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PR OJ EC T TE AM :

4' - 2"

3' - 7 15/32"

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

4' - 8 1/2"

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724 2' - 11 1/4"

1 1 12' - 0 1/2" 6' - 7"

4' - 0"

6' - 7"

6' - 0"

4' - 0"

6' - 11"

2 1 4' - 0"

4' - 0"

7' - 10"

FINAL SUBMISSION

4' - 0"

4' - 2"

2' - 9 1/2"

3' - 0 1/4" 2' - 2 1/4"

2' - 0"

8' - 0"

4' - 0"

4' - 2 1/2"

8' - 0"

4' - 0"

2' - 5"

4' - 0"

1 4' - 1"

3 4' - 0"

1 11' - 0"

4 4' - 0"

4' - 11"

8' - 9"

2 12' - 0 1/4"

1 4

Level 1 - Reflected Ceiling Plan 1/4" = 1'-0"

PR OJ EC T:

Lighting Fixture Schedule

5' - 0"

DESCRIPTION

2 4' - 0"

DATE

PRATT INSTITUTE | INT724

4' - 0"

3 4' - 0"

4' - 0"

3' - 5"

REV NO.

4' - 0"

10' - 0 1/2" 3' - 1"

4' - 0"

4' - 9"

4' - 0" 4' - 0"

4' - 0"

4' - 0 1/2"

4' - 0"

4' - 6"

Level 2 - Reflected Ceiling Plan 1/4" = 1'-0"

Model

Description

700TDISLA xxx 700TDSYR PB-LED930 Please Load Accompany ing Type Catalog (.txt)

Isla Pendant Syrma Pendant Burk Head

SD5R0793 5" Round 01W surface mount 700lm 90 30K 120V

ATLANTIC AVE CAFE

Manufactur er

525 ATLANTIC AVE

Count

Tech Lighting Tech Lighting Tech Lighting

Lightolier

DR AW IN G TI TL E:

13 9

Reflected Ceiling Plan and Light Fixture Schedule

SE AL & SI GN AT UR E

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

A-400.01

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Back

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PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724 1' - 1"

0' - 6"

Maple Solid Wood Bar Top 1-1/2"

1' - 10"

Tile Finish

Maple Solid Wood Bar Top 1-1/2" 0' - 8"

Pine Plywood 1"

Pine Plywood 1/2"

Maple Solid Wood Finish 1"

3' - 0"

3' - 6"

0' - 8"

Pine Plywood 1/2" Pine Plywood 1"

2' - 0"

1' - 0"

Pine Wood Frame 1x1/2" Pine Plywood 1/2"

0' - 4"

LED Strip

Pine Plywood 1/4"

Pine Wood Frame 4x2" 1

Counter Bar Section A 1" = 1'-0"

FINAL SUBMISSION 1' - 1"

0' - 6"

Maple Solid Wood Bar Top 1-1/2"

1' - 10"

Tile Finish

2' - 0"

Maple Solid Wood Bar Top 1-1/2"

Pine Plywood 1" Maple Solid Wood Finish 1"

3' - 0"

Pine Plywood 1"

3' - 6"

Pine Plywood 1/2"

Pine Wood Frame 1x1/2" Maple Solid Wood Bar Top 1-1/2" Pine Plywood 1/2"

0' - 4"

LED Strip

LED strip to be fatened above the kickplate through the bottom of willsens

Pine Plywood 1/2" Maple Solid Wood Finish 1"

Pine Plywood 1/4"

Pine Wood Frame 4x2" 4

Counter Bar Section B 1" = 1'-0"

Counter Bar Knife Edge Detail 1 1/2" = 1'-0"

Counter Bar Light Sourct Detail 1 1/2" = 1'-0"

REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

Maple Solid Wood Bar Top 1-1/2" Tile Finish

Maple Solid Wood Bar Top 1-1/2"

Pine Plywood 1"

Pine Plywood 1" 3' - 0"

3' - 6"

Pine Plywood 1"

Pine Plywood 1/2"

3' - 6"

Maple Solid Wood Finish 1"

Pine Wood Frame 4x2" Counter Bar Section C 5 1" = 1'-0"

Maple Solid Wood Finish 1"

DR AW IN G TI TL E:

Millwork Bar Section and Details

LED Strip Pine Plywood 1/4" Pine Wood Frame 4x2" Counter Bar Section D 6 1" = 1'-0"

0' - 8 1/2"

Pine Plywood 1/2"

0' - 4"

LED Strip

525 ATLANTIC AVE

Pine Wood Frame 1x1/2"

0' - 8 1/2"

Pine Wood Frame 1x1/2" Pine Plywood 1/2"

ATLANTIC AVE CAFE

2' - 0"

Maple Solid Wood Bar Top 1-1/2"

Pine Plywood 1"

Pine Plywood 1/2"

PR OJ EC T:

3' - 0"

2' - 0"

1' - 10"

0' - 8 1/2"

Tile Finish

1' - 1"

0' - 8 1/2"

0' - 6"

Maple Solid Wood Bar Top 1-1/2"

1' - 10"

0' - 6"

1' - 1"

SE AL & SI GN AT UR E

Pine Plywood 1/4"

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

A-501.01

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PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

LED strip to be fatened above the kickplate through the bottom of willsens 5

Counter Back Bar Light Sourct Detail 1 1/2" = 1'-0"

Maple Solid Wood Bar Top 1-1/2"

Pine Plywood 1/2" Maple Solid Wood Finish 1"

Counter Back Bar Knife Edge Detail 1 1/2" = 1'-0"

FINAL SUBMISSION

1' - 0"

0' - 6"

1' - 0"

0' - 6"

1' - 0"

0' - 6"

Steel Structure with White Coat

1' - 0"

Steel Structure with White Coat

1' - 0"

Steel Structure with White Coat

1' - 0"

Maple Solid Wood Board

1' - 0"

Maple Solid Wood Board

1' - 0"

Maple Solid Wood Board

REV NO.

DATE

DESCRIPTION

1' - 7"

2' - 0"

PRATT INSTITUTE | INT724 1' - 7"

1' - 7" PR OJ EC T:

Maple Solid Wood Bar Top

ATLANTIC AVE CAFE

Maple Solid Wood Bar Top

0' - 10"

525 ATLANTIC AVE

Counter Back Bar Section A 1" = 1'-0"

Maple Solid Wood Finish 1"

Pine Plywood 1/2" DR AW IN G TI TL E:

3' - 0"

Pine Plywood 1/2" 3' - 0"

Pine Plywood 1/2"

Pind Wood Frame 4x2"

Pine Plywood 1/4"

Counter Back Bar Section B 1" = 1'-0"

Pine Plywood 1/2"

Pind Wood Frame 4x2"

Pine Plywood 1/4"

Counter Back Bar Section C 1" = 1'-0"

0' - 4"

1' - 7" 0' - 4"

3' - 0"

Pine Plywood 1/4"

Maple Solid Wood Finish 1"

Pine Plywood 1/2"

0' - 4"

Maple Solid Wood Finish 1"

Millwork Back Bar Section and Details

Pind Wood Frame 4x2" SE AL & SI GN AT UR E

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Au th or C HK B Y:

C he ck er

DR AW IN G NO .

A-502.00

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CNC Panel Perspection

CNC Panel Plan

Section A

CNC Panel Perspection Section B

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PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

Blocking, 1/2" Water-Based Polyurethane Wooden Floor, 1/2"

Blocking, 1/2" Plywood Subfloor, 1"

Water-Based Polyurethane Wooden Floor, 1/2"

Plywood Subfloor, 1"

FINAL SUBMISSION

Wooden Joist, 12" 1

Misc Wood Framing, 2"

Wooden Joist, 12"

Floor Detail 3" = 1'-0"

GWB, 1/2"

Paint

Ceiling Detail 3" = 1'-0"

REV NO.

Paint

Waterproof Layer

Metal Stud, 2-1/2"

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

Tile Gypsum Board, 1/2" Gypsum Board, 1/2" CMU Block, 8"

CMU Block, 8" Insulation

Wall Type 4 Detail 3" = 1'-0"

PR OJ EC T:

ATLANTIC AVE CAFE

Insulation

525 ATLANTIC AVE

Wall Type 5 Detail 3" = 1'-0" DR AW IN G TI TL E:

SE AL & SI GN AT UR E

Partition Type

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Yu eM in n Hu C HK B Y:

C he ck er

DR AW IN G NO .

A-504.01

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PR OJ EC T TE AM :

INTERIOR DESIGNER YUEMIN HU 200 Willoughby Ave, Brooklyn, NY 11205 144 West 14th Street, New York, NY 10011 T: 718.636.3600; F: 718.399.4242

CLIENT: PRATT INSTITUTE - INTERIOR DESIGN - INT 724

FINAL SUBMISSION

Perspective 1

Perspective 2

REV NO.

DATE

DESCRIPTION

PRATT INSTITUTE | INT724

PR OJ EC T:

ATLANTIC AVE CAFE

525 ATLANTIC AVE

DR AW IN G TI TL E:

SE AL & SI GN AT UR E

Renderings

D AT E:

05 /0 8/ 20

PR OJ EC T NO . 2 0- 72 4- 05 DR AW IN G B Y: Y ue Mi n Hu C HK B Y:

C he ck er

DR AW IN G NO .

Perspective 3

Perspective 4

A-700.00

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[ Shelf With Ladder Millwork Detail Draw

附梯子書櫃木工細部圖 ]

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[ Shelf With Ladder Millwork Detail Draw

附梯子書櫃木工細部圖 ]

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Dining Table and Bench Perspective

Dining Bench Perspective

Dining Table Perspective

Dining Bench Perspective

Birch Plywood

Burned Oak Board

Dining Table Underside Module Perspective

Dining Bench Perspective

Leather and Round Head Brass Nail

餐桌木工細部圖 ]

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[ Dining Table Set Millwork Detail Draw

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[ Dining Table Set Millwork Detail Draw

餐桌木工細部圖 ]

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[ Dining Table Set Millwork Detail Draw

餐桌木工細部圖 ]

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[ Dining Table Set Millwork Detail Draw

餐桌木工細部圖 ]

感謝您的閱讀胡悅敏 YueMin Hu Tel : +86 133 4268 8798 E-mail : itshuyuemin@gmail.com