Portfolio

Page 1

JASON T CHERNAK Projects 2005-2010



Academic

UNIVERSITY OF MICHIGAN

M.Arch 3G



CHICAGO DISTRICT LIBRARY

New ways of accessing media are beginning to challenge the way the public uses the library. As more space is required to accommodate technology the importance of the book seems to be diminishing. While this library acknowledges those needs it also retains the idea of the library being a sanctuary for learning. This library’s form is derived by framing the surrounding context; the street, the city grid, the Bloomingdale Train (an obsolete elevated train line now turned into a park), CTA (Chicago Transit Authority) and the city skyline. By connecting each frame to one another a spiraling ramp is created allowing all user to access any part of the building without the need TER SCIENCE for 000 stair or elevator. This ramp also provides a clear and sequential path for navigating through the library’s Dewey decimal system . The buildings construction is then TECHNOLOGY 600 framed out in a series of ribs that run both horizontally and vertically. The ribs themselves provide not only the structure for the building but also the shelves for the library’s collection, thus keeping the library free of typical book stacks and open to whatever new program might be required in the future. The spaces that require more privacy PSYCHOLOGY 100 (reading room, study areas, etc) are formed by the same method, however rather than being built of thin ribs these spaces are constructed from solid stone. Much the way ART 700 these rooms administer the more tradition spaces of the library so too does their physical appearance. Using new fabrication techniques decorative ornament is carved into the side of the stone that not only depicts Chicago’s rich literary history but also melt into various staircases that provide shortcuts between different sections of the Dewey RELIGION 200 decimal system. SCIENCE

500

CIAL SCIENCE

300

LANGUAGE

400 800

COMPUTER SCIENCE

000

/ PSYCHOLOGY 900 GEOGRAPHY PHILOSOPY

100

LITERATURE

RELIGION

200

SOCIAL SCIENCE

300

LANGUAGE

400

SCIENCE

500

TECHNOLOGY

600

ART

700

LITERATURE

800

HISTORY / GEOGRAPHY

900

COMPUTER SCIENCE TECHNOLOGY

000

900

PHILOSOPY / PSYCHOLOGY auditorium

ART

300

RELIGION SCIENCE cafe reference

SOCIAL SCIENCE HISTORY / GEOGRAPHY LANGUAGE LITERATURE

900 400 800

100 700

RELIGION

200 500

HISTORY / GEOGRAPHY

SOCIAL SCIENCE

300 900

LANGUAGE LITERATURE

400 800

SCIENCE

600

700

100 700

300

PHILOSOPY / PSYCHOLOGY ART

600

200 500

000

TECHNOLOGY

800

400

COMPUTER SCIENCE

reading room

exhibition

600

500 meeting spaces

200

entry

100

electronic workstations

000

800

900

700 reading room

auditorium

300 cafe

400

exhibition

600

500 meeting spaces

reference

200

entry

100

electronic workstations

000




09.08.2009

09.15.2009

09.15.2059


LOW TIDE

This site specific installation acts as a simple and subtle recorder of time where the land meets the ocean. A series of frames are allowed to act independently from one another so that as the tide and land change so too does their vertical position. A thin datum line is cut on the interior and is only rendered perfectly level at the water table. While the structure services as a marker on an endless coastline, it provides a subtle reminder to visitors that this point is always in a slow but constant flux.


PUBLIC BATH

Throughout history bathing was largely a social or civic undertaking, due largely to the technology required to provide water. By the middle ages bathing had already begun to diminish as a social practice and with further advents to the bath in the domestic realm has only added sigma to most forms of public bathing. Today there are still a number of different kinds of bath houses that provide services of rest and relaxation while at the same time bring up concurrent issues of body image and self indulgence. This bath house playfully uses those selfish urges by applying the lessons learned by Dante when he ascended through the seven deadly sins of Purgatory. Each of seven main programmatic elements (changing room, hot pool, cold pool, steam room, lap pool, massage and bar) take on the role of one of the seven sins and just as in the Purgatory, one must preform some sort of act of penance in order to be cleansed of the sin and thus cleansing the body. Only the bar encourages the users to continue in their gluttonous behavior by offering only food and drink. However, if the sinners inside still feel any remorse for their drunkenness they can gaze out of the only window in the building which looks out in the direction of mecca.


02 03

GLUTTONY (bar)

GREED (massage) SLOTH (lap pool)

WRATH (steam room)

LUST (hot pool/showers)

ENVY (cold pool)

PRIDE (changing rooms)



09.21

10:00

09.21

12:00

09.21

ART PAVILION

14:00

09.21

18:00

This art pavilion does its best to humble itself for the exhibition within. In order to create a seemingly unchanging light condition for the interior a series of tubes focus their attention towards the sky. Each tube corresponds with the sun’s position over the course of the year, attempting to allow an equal amount of sun light into the interior regardless of the date or time. Because of the complicated nature of this system the structure is incased in a one way glass so as not to detract any attention from the art work. However at night, when the pavilion is closed it’s structure begins to glow from the light absorbed over the day, thus exposing it’s strange skeletal structure.


UNSOCIAL/SOCIAL

This assignment tasked teams of students to construct an object that responded to the ongoing evolution of smart phones and how new forms of communication (texting, twitter, facebook, etc) might actually be making us less social. All objects were to be constructed using a limited amount of material (acrylic), untradition fasteners (string) and a few select additions. This object addresses the base functions of a telephone; talking and listening. It plays with the notion of how we might have begun communicating with others from a distance. The form, nostalgic in many ways, recalls a string and coffee can, housed at the base are the raw components of a child’s walkie-talkie, and a small light. The light reacts to sound waves so that when in use the object turns into a small beacon. The two cans are tethered together with 100 feet of spliced telephone chords, the inevitable entanglement reminds us of why we wanted to go cordless in the first place.



DETROIT AGRICULTURAL CENTER

This project stems from the mass documentation of Detroit’s disappearing urbanscape. Despite these photographs having unique authors their composition retains a strange but uniform continuity; an abandoned house framed by two vacant lots. These photographs do little more then service as a quiet witness to the city’s struggles, if anything they only intensify Detroit’s plight. This project attempts to take these documents as a type of blue print of what could be. The site plan is arranged in much the same way as the photographs; an empty house neighbored by two empty lots. However the Agricultural Center hopes to be seen as open, not empty, a place where knowledge can be can gained and then planted throughout the city. At street level the site oscillates between park, monument and museum, meanwhile the programed elements reside underground around a giant golden seed bank. The seed in itself not only services storage/study but also acts as a lecture hall where visitors can learn and imagine what opportunities might begin to grow in their neighborhood.




Academic

THE SCHOOL OF THE ART INSTITUTE OF CHICAGO

Architecture, Interior Architecture and Designed Objects



Continuing on some of Wright’s ideas of abstracting forms found in nature, the addition abstracts a form found from a non-indigenous nature, the tropical strangler fig. Like that of the strangler fig, the addition begins at the pinnacle and uses existing geometries to grow towards the ground, slowly engulfing its host. The existing program can now be reorganized within the newly hollowed out spaces of the previous floor plan and additive program expanded beyond the walls of the preexisting Robie House. The addition’s skin also borrows aesthetic designs from the strangler fig. The bark of the fig is in many ways similar to the tree in which it covers and yet its presence is undeniably foreign. Similarly, the addition’s cladding of colored ceramic tiles will retain many traits of the running brick from the current Robie House. However, this material and texture will still appear completely alien as to aptly distinguish itself from its predecessor.



THE (w)RIGHT MUTATIONS

The last 100 years of residential architecture in Chicago have hidden behind the shadows of two haunting figures. This project attempts to emerge from the earliest shadow and create a new light for a new era of architecture. By examining Frank Lloyd Wright’s Robie House as a typology that has the potential for critical examination and argumentation within the realm of architecture. By confronting historic architecture vs the material techniques of today’s practice in order to create a mutated new model and a new way of living. The result confronts the notion of architecture as a visual presence and explores it as a continually emerging and evolving condition of form, culture and context.


CONEY ISLAND PAVILION

The Parachute Pavilion was conceived to be an allseason generator of recreational activity, drawing the public onto the boardwalk, beach and Surf Avenue. Throughout history pavilions have acted as catalysts for animating parks, waterfronts and urban districts as well as being archetypes for innovative design. This pavilion is intended to be a connecting point to both the history and the future of Coney Island by accommodating variable recreational and commercial activities and furthermore inducing new ideas toward the development of its surroundings.


BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK BOARDWALK


CITY VIEW

Lake views are typically considered as the premium units within a building. On studying a site for new housing that has nothing but unimpeded views of Lake Michigan, it is the city that truly harbors more interest. Rather than focus the dwellers attention on the placid lake side, the building’s architecture calls back to the city that has left it alone and isolated on the wrong side of Lake Shore Drive. The dramatic telescoping forms make the new structure an unabashed voyeur to each of the buildings that are centered within its frames.


The building plan is derived from sight lines toward six of Chicago’s marque structures. Six new structures then emerge, each showing a direct relation to the building it’s watching through its size and material. The moments where the structures intersect become programmed for public spaces where building tenants can interact.





WATERSHED

The laws of physics that govern the commencement and eventual diffusion of Milan’s annual trade show are the same laws that govern the convergence and dispersal of our resources, such as water. This most primary of resources animates our environment, determines our weather and sustains our bodies. In April of 2006 12 students and 3 professors traveled to Milan to shed light on the complexities of the water cycle by performing an installation at the Salon Satellite. The group aimed to channel the various scales of water’s manifestations into a unique installation that offers an object to further raise awareness of this vital substance. INSTRUCTORS: John Manning, Carl Ray Miller, Douglas Pancoast STUDENTS: Ji Hyung An, Amelia Black, Ro Hsuan Chen, Jason Chernak, In Sun Cho, Steven Haulenbeek, Ting Fen Ho, Jeong Hee Kim, Nancy Kim, Tae Ryung Kim, Leah Patgorski, Travis Saul



TRICERATOPS

This sculpture is similar to that of the small bass wood skeleton puzzle, only 30 times in size. The inspiration comes from a childhood dream of becoming a paleontologist and abstractly makes it come true through the skills and knowledge gained in pursuit of a new dream.


SHELF-LIFE

This multi-functional shelving system was designed for a multi-user household to help in segregating personal books and belongings. Each C shaped object can be slid off the shelf in order to provide extra seating or small side tables. Shelves are hung in place by a simple plainer structure that allows for the shelves to be arranged in various ways while mounted on the wall. Even when all the objects are removed from their place on the wall, the plainer structures provide amble surface area for storage.


1’ 1’-2"

1’-2"


2" 2" 2"

1'-0"

1'-6" 4'-5"

4 1/2" 4 1/2" 2'-11"

Too often is good design lost because users can ill afford the cost. The ‘DWR’ chair is a response to some of the staggering costs of designer furniture. The construction comes by means of taking the profile from some of the most iconic chairs of the 20th century and cutting them out of a single sheet of plywood. What remains is a profile and a silhouette that can then be attached by the remnants of the plywood to form a seat and backrest. Besides the playfulness of each individual chair, the ultimate purpose is for the user to create new designs of their own. Each side of the chair has the ability to simply connect to any other side, creating enumerable different furniture constructions and arrangements. When the chairs are not in use they can be broken down for storage or hung on the walls as decoration.

8"

9"

DESIGN WITHIN RELIEF CHAIR

2'-2"




Collaboration

THE MIGHTY BEARCATS

Works by Jason T. Chernak, Steven Haulenbeek and Bryan Metzdorf





FATHOUSE

The temporary, sight specific installation ‘fathouse’ was intended to be ironically grotesque. This small environment draws inspiration from the very place that it was exhibited: Chicago’s meat packing district. This area remains in an odd fluctuation between the laborers that work in processing plants and the stylish that seek out the areas trendy clubs and galleries. Fathouse aspired to juxtapose the area’s two conditions by providing a space that retained some of the programmatic elements typical to nightly activity but evoked the grisly tasks that take place during the day. Wine spigots embedded in the structure drip down the flabby interior walls like blood flows to the drains just a block up the street. At the center hangs a lamp made of bacon, its thinly sliced strips become strikingly luminance while filling the air with the odor of processed meat.


POP SHELF

The objective for this project was to make a storage system that was easily constructed, completely utilitarian, easily dismantled and moved. A storage system that serves its purpose while installed and then nearly disappears while not in use. Through various material studies it was found that by laminating a piece of acrylic to a sheet of rubber one could create a flat-pack shelving system. Using a laser cutter, strategic lines are cut into the acrylic and rubber allowing for the lamination to fold, the rubber serving as a natural hinge. After the shelf is folded into place the angled side pieces become book ends. A once flat sheet can now morph into a shelf and just as simply back to a flat sheet.

8” 1”

2”

2”

1”1”

9” 1’-3”

9” 4”

8” 2”

4”

1’-3”

4”

2” 4” 1’-4” 8” 2”

1’-4”

2”

2” 1”

2”

1’-2”

1”

1’-6”

1’-2”

1”

1’-6”

1”

2”

1”

2”

8”



TAKE ME INTO YOUR SKIN

Rather than focus on creating archetypal furniture objects, for a furniture show, this project looked to do a study in materials, namely heat shrink tubing. Inspired by the song ‘Take Me Into Your Skin’ by the band Trentemollar we began to experiment with various types of common industrial materials that acted as protective layers. Through a trial and error approach we were able to take seemingly banal materials used for primarily one specific function and use them to create objects on intrigue. Continuing with the title theme and bringing it up in scale, a unique space was created in order to appropriately showcase these new objects. The moving truck used for this event was completely covered in graffiti, to offset this grungy exterior the interior was built out of wood planks and painted white and gold. This space was meant to enhance the seemingly precious objects on display. However, once visitors enter the space it is discovered that the wood too suffers from many small imperfections, holes scar certain areas of the interior in which light from behind tries to escape.



SKIN SERIES BUD VASE

The skin vase is the end result of the 2007 Guerrilla Truck Show. The material used in creating these vases is a heat sensitive plastic that when in contact with temperatures above 250 degrees will shrink in size. At first glance the vases appear to be made of a thin, fragile porcelain. However, once they are touched it’s found to be surprisingly soft and flexible. Because each vase is handmade and produced individually no two are exactly alike, yet they all retain similar characteristics allowing the size and style of any vase to fit in with all the others.




SKIN SERIES LIGHT

The second object to evolve from the 2007 Guerrilla Truck Show, ‘Take Me Into your Skin.’ These lights are the end result of a material experimentation with a heat sensitive plastic. Staying true to the idea of experiment, the rest of the light is created from salvaged lab ware.


Designer Picnic

The first collaboration of The Mighty Bearcats was for a street design show in Chicago called The Guerrilla Truck Show. This event corresponds with Neocon, Chicago’s biggest design event of the year, but serves to showcase independent designers and their work. The uniqueness of this event is in its format, all the designers display their work inside the back of moving trucks. The trucks pull up side by side along a loading dock in an arrangement very akin to the booths at the trade fair just a few blocks away. The conceptual process began by analyzing the event as a literal and figurative tailgate party for Neocon. We began to look at individual symbols commonly associated with tailgate parties and other outdoor gatherings, using them as conceptual fuel to design a set of new objects that would be more in keeping with our audience. At the end of the discussion three objects where created; the plastic flag vase, tether lamp and the designer picnic table.




DESIGNER PICNIC TABLE

The featured piece at the 2006 Guerrilla Truck Show, is an extra long picnic table made from a framework of 3 identical profiles of the typical backyard picnic table. The table top is a single sheet of frosted glass which gives the picnic table a modern update. The table comes equipped with white paint pens which allow users to ‘carve’ their own personal messages into the surface. By the end of an event the top is completely covered in the scribbling of several anonymous collaborators and can be wiped clean for the next occasion. The twelve small seats retain the unified quality of a bench when they are all placed under the table, but also allow for smaller groups to easily pick up their seats and move away for more private conversations. Two very distinct fabric patterns of matching pink and brown cover the cushions allowing users to randomize or control the appearance of the seating.


TETHER LIGHT

The Tether Light was one of the objects created for the 2006 Guerrilla Truck Show. This light was inspired by the school yard game of tether ball and takes its form directly from its predecessor. It can bring users a warm sense of nostalgia when the light is playfully batted or gently sways in the breeze. The height of the light can be adjusted by simply pulling the excess cord.




Professional

PAUL PREISSNER ARCHITECTS, LIMITED




09

COLLECTION MANAGEMENT, GENERAL AND FISCAL ADMINISTRATION

08

MEETING ROOMS

07

ELECTRONIC INFORMATION SERVICES

06

CLASSIFIED COLLECTION: ARCHITECTURE/SCENIC/VISUAL ARTS/BRAILLE

05

CLASSIFIED COLLECTION: ADMINISTRATION/SCIENCE/TECHNOLOGY

04

CLASSIFIED COLLECTION: LANGUAGE AND LITERATURE

03

CLASSIFIED COLLECTION: GENERAL WORKS/PHILOSOPHY/RELIGION/SOCIAL SCIENCES/HISTORY/GEOGRAPHY

02

CLASSIFIED COLLECTION: CHILDREN/JUVENILE, USER SERVICES

01

ENTRY/CONTROL/CIRCULATION, BROWSING COLLECTION

B1

SPECIAL COLLECTION: CLOSED STACKS/PRESERVATION/HISTORICAL DOCUMENTS/HEMEROTECA

B2

GARAGE

ENTRY/CONTROL/CIRCULATION 1,156m2 BROWSING COLLECTION 554m2 GENERAL ADMINISTRATION 494m2 FISCAL ADMINISTRATION 711m2 USER SERVICES 912m2 COLLECTION MANAGEMENT 483m2 CLASSIFIED: GENERAL WORKS/PHILOSOPHY/RELIGION 100s, 200s 1,619m2 CLASSIFIED: SOCIAL SCIENCES/HISTORY/GEOGRAPHY 300s, 900s 3,226m2 CLASSIFIED: LANGUAGE/LITERATURE 400s, 800s 3,054m2 CLASSIFIED: ADMINISTRATION/SCIENCE/TECHNOLOGY 500s, 600s 3,046m2 CLASSIFIED: ARCHITECTURE/SCENIC VISUAL ARTS 700s 1,633m2 CLASSIFIED: BRAILLE 124m2 CLASSIFIED: CHILDREN'S COLLECTION 1,099m2 CLASSIFIED: JUVENILE COLLECTION 520m2 SPECIAL COLLECTIONS AND PRESERVATION 904m2 SPECIAL COLLECTIONS: HISTORICAL DOCUMENTS 1,083m2 SPECIAL COLLECTIONS: HEMEROTECA 479m2 SPECIAL COLLECTIONS: CLOSED STACKS 1,865m2 ELECTRONIC INFORMATION SERVICES 610m2 OTHER STAFF AREAS 425m2 MEETING ROOMS 1,807m2 NONLIBRARY ASSIGNABLE 519m2 ALLOWANCE FOR NONASSIGNABLE/MECH 1,755m2 ALLOWANCE FOR NONASSIGNABLE/OTHER 7,019m2 UNDERGROUND PARKING 6,300m2


JALISCO STATE PUBLIC LIBRARY

The new JSPL tries to present its collection to people in a new format. Instead of endless rows of dimly lit stacks, this library displays its works in a more playful and inviting format. The ability to browse every stack, and explore every section with the curiosity of a new child gives a competitive advantage to the JSPL in reaching its goal: an educated and intelligent public. The JSPL will change the rules of display. Treating information as a public interest: a complete browsing collection is facilitated by compressible stacks, digital access, and layered book “galleries�. The library and its contents are transformed from a warehouse of books into a new public social center where the abundance of media and the strict professionalism of its presentation enable a new educational center for the entire region. A library which is as magnificent as it is accessible, and as complex as it is simple. JALISCO STATE PUBLIC LIBRARY (Competition 2004) PROGRAM: Public Library (45,000 sq m) LOCATION: Guadalajara, Mexico PROJECT TEAM: Paul Preissner, Jason Chernak, Matthew Utley ENGINEERING: Arup: Nancy Hamilton ACOUSTIC ENG: Shiner + Associates, Inc: Fredric Moritz



LE MONSTRE

The typical notion of architectural projects creates a programmatic shell that houses various activities, and relationships on the inside, however the image of the building is still determined by its exterior appearance: its skin. This proposal creates a body, not through its skin, but through its organs. Just as the physical volume of the human body can be deciphered from the complex choreography of its parts (skeleton, vascular system, organs), Le Monstre behaves more like an animal than a package. The ferocity with which this project attacks the site, and engages the visitor begets a new type of formal relationship with architecture; one more akin to emotion. Le Monstre connects through its lack of finite definition and through its expanse of internal composition. LE MONSTRE (Competition 2005) PROGRAM: Cultural Complex LOCATION: Gwanjyu, South Korea PROJECT TEAM: Paul Preissner, Jason Chernak, Matthew Utley

NETWORK CENTER BLDG_01

NETWORK CENTER BLDG_02

CULTURAL CREATION CENTER

VISITOR CENTER

NATURAL HISTORY MUSEUM

ARTPLEX

CHILDRENS MUSEUM


SOUTHBANK PLAN

The Southbank Site urban organization is an aggressive proposal for a new artistic and cultural center within South Africa. The plan is the new development and transformation of an agricultural site into a new an world class cultural community, complete with a central business district, high-end residential development, cultural facilities such as concert halls, museums, and theatres, and leisure programs including a proposed facility to accommodate for 2010 FIFA World Cup matches and tourist hotels. The site lies at the confluence of several important infrastructure links, including the major highway and rail link. AFRICA CENTRE (Competition 2006) PROGRAM: Museums, Galleries, Performance Halls, Residential Dorms, Studios, Hotels (157,200 sq m) LOCATION: South bank (Stellenbosch), South Africa PROJECT TEAM: Paul Preissner, Jason Chernak, Katherine Monachos


100 square meters

ARTIST ACCOMMIDATIONS AFRICA CENTRE WORK SPACES HOTEL

10000 square meters

PRIVATELY OWNED MULTI-UNIT DWELLING PRIVATELY OWNED DETACHED DWELLING RENTAL HOUSING STADIUM LANDSCAPES PRE-PRIMARY SCHOOL PRIMARY SCHOOL CRECHE RESTAURANTS/BARS

DISTRICT 09_(18328m2) -POWER PLANT

RETAIL GROCERY STORE SWIMMING POOLS GYM

DISTRICT 10_(10494m2)

SERVICES POWER PLANT

-AFRICA CENTRE

DISTRICT 01_(8781m2) -RETAIL -RESTAURANTS/BARS

DISTRICT 02_(9518m2) -RETAIL -RESTAURANTS/BARS -GROCERY STORE -SERVICES

DISTRICT 03_(12030m2)

-RETAIL -RESTAURANTS/BARS -SERVICE -RENTAL HOUSING -ARTIST ACCOMMODATIONS -WORK SPACES

DISTRICT 11_(17009m2)

-HOTEL -RESTAURANTS/BARS -PRIVATELY OWNED MULT-UNIT DWELLING

DISTRICT 12_(10537m2)

-PRIVATELY OWNED MULT-UNIT DWELLING -RENTAL HOUSING

DISTRICT 13_(10796m2)

-PRIVATELY OWNED MULT-UNIT DWELLING -RENTAL HOUSING

DISTRICT 04_(5627m2)

-PRIVATELY OWNED DETACHED DWELLING

DISTRICT 05_(7455m2)

-PRIVATELY OWNED DETACHED DWELLING

DISTRICT 06_(42000m2) -STADIUM

DISTRICT 14_(12025m2)

-PRIVATELY OWNED MULT-UNIT DWELLING

DISTRICT 15_(11536m2)

-PRIVATELY OWNED MULT-UNIT DWELLING

DISTRICT 07_(4780m2)

-PRIVATELY OWNED MULT-UNIT DWELLING -RENTAL HOUSING

DISTRICT 16_(8331m2)

-PRIVATELY OWNED MULT-UNIT DWELLING

DISTRICT

08_(3486m2)

-PRIVATELY OWNED MULT-UNIT DWELLING -RENTAL HOUSING

DISTRICT 17_(3036m2) -CRECHE -PRE-PRIMARY SCHOOL -PRIMARY SCHOOL -GYM -SWIMMING POOLS



Professional

4240 ARCHITECTURE





RESORT/CASINO

This project consists of a multi-billion dollar gaming resort along the shore in Atlantic City. The conceptual approach is to create an architecture that increases opportunity for the miraculous. A behavioral and responsive architecture that focuses on the guest experience, create a dynamic story and stand alone in the casino resort industry. Guests will have a unique experience by tailoring their own environments upon arrival to the resort and their rooms. The hotel tower becomes an extension of its surrounds by creating a “towering collage.� Its folded skin constantly changes in perception reflecting the ocean, board walk, city and sky. PROGRAM: Resort and Casino LOCATION: Atlantic City, New Jersey PROJECT TEAM: Robert Benson, Geoffrey Brooksher, Tom Braur, Maurizio Bianchi, Jason Chernak, Todd Gatti, Jeremy Green, Tom Hanley, Andy Moye, Aaron Silver, Wade Splinter


DHS CIS DALLAS

The Customs and Immigration Services’ core values of integrity, respect and ingenuity are conveyed throughout the design. To achieve this, our design focuses on a concept of perception and experience, the individual and the community - the Citizen and the Country. The CIS facility is perceived as a simple box, but as one gets closer, the details of the design are revealed. The walls of the building are slightly tilted away from each other in areas to break the mass of the simple box. The simple box’s shadows create depth where it is not expected from distant vantage points. Super graphics stating “I Will Support and Defend the Constitution” are imprinted on the glass wall enclosing the Ceremony Room. When viewing these graphics from the inside of the building, one will see that the words are made up of smaller text containing the Constitution of the United States. In addition to the American flag denoting the visitor entrance, it metaphorically supports the entry canopy that turns into the pergola surrounding the Ceremony Room. PROGRAM: Immigration Services (56,000 sq ft) LOCATION: Irving, Texas PROJECT TEAM: Robert Benson, Maurizio Bianchi, Jason Chernak, Lisa Ekle, Keith Evans, Tom Hanley



location of existing exterior wall existing exterior wall, sills etc. to be replaced, repaired or re-pointed as outlined in the facade inspection report

aluminum storefront system with 1� low “E� insulated glazing, provide door/operable openings as noted on elevation drawings no. 15

unit interior at third level

typ. third level unit balcony (existing floor slab) with applied waterproof membrane to upper surface and drain location for rainwater removal existing window frame and mullions to remain, existing glass to be removed, frames will require cleaning/painting to resist exterior weather conditions

existing exterior spandrel between floors unit interior at second level

unit interior at first level

inside face of exterior wall to be painted at areas exposed to exterior weather conditions area of existing floor slab to be removed adjacent to proposed balconies, structural engineer to confirm viability of slab stucture/removal (see plans for extent of slab removal) second level unit balconies constructed using heavy gauge metal stud framing with exterior grade plywood sheeting, apply waterproof membrane to upper surface and drain location for rainwater removal colored film applied to interior side of window system (3 colors minimum)

first level unit balconies (existing slab) with applied water proof membrane


reflective surface reduces solar gain prevailing winds drive natural ventilation warm air exhausted at high level

unit

unit

atrium unit

unit

unit

BLUE RIBBON LOFTS

The Blue Ribbon Loft are envisioned as an affordable housing complex with emphasis given to artists and start up business owners who will live and work within their units. With a mix of unit types consisting of one, two and three bedroom flats and lofted spaces distributed over three floor levels, the variety of size/layouts will foster creative environments for residents and community events. With the studio/gallery space located adjacent to the common circulation corridor, artists will have the option of an open or closed studio space made possible by means of overhead garage doors. The garage doors, which contain translucent glazing, can be rolled up during gallery night or special art community events and closed upon completion of the event. The scale of the ever-changing gallery walk is shaped by the opening and closing of the doors and the filtering of light through the translucent glazing. PROGRAM: Artist Housing (140,00 sq ft)



UNIVERSITY OF MICHIGAN

Taubman College of Architecture 2009-2010 M.Arch 3G

www.tcaup.umich.edu

PAUL PREISSNER ARCHITECTS, LTD

Chicago based architectural office committed to advancing the field of architecture and design through exploring new ways to bring shape to projects, and innovative organizations to program. 2005-2006 Responsibilities include: research, programming, diagramming and design documentation.

www.paulpreissner.com

THE SCHOOL OF THE ART INSTITUTE OF CHICAGO

4240 ARCHITECTURE

2003-2006 Bachelors of Fine Arts

2006-2009 Responsibilities include: research, concept design, schematic design, graphic design, model making, rendering, and construction documentation.

www.saic.edu

www.listenresearchdraw.com

The Department of Architecture, Interior Architecture, and Designed Objects explores relationships between the body, objects, and space connecting fine art experimentation with development of the ethical imagination in work in the public sphere.

THE MIGHTY BEARCATS

A Chicago based art and design collective founded by Jason T. Chernak, Steven Haulenbeek and Bryan Metzdorf. The name of the group is a reflection that design is a team activity; each member has a number of unique skills that when applied with the others creates a united group. Featured works have been exhibited at Design Within Reach, the Stockholm Furniture Fair, and ICFF in New York. 2006-2009

www.themightybearcats.com

A creative design studio producing ideas-based work determined to research, investigate and listen-compelled to challenge assumptions and expectations.


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