Jenna Steinbeck - Architecture Portfolio by Jenna Steinbeck

JENNA STEINBECK

JENNA STEINBECK M ARCH / PRATT INSTITUTE

jenna.steinbeck@gmail.com / 512.635.2644

CONTENTS

SHUTO REMOTO

JENNA STEINBECK

SHUTO reMOTO CAR RETROFITTING LAB

LOCATION: Tokyo, Japan CRITIC: Alex Barker PARTNERS: Jonathan Shockley + Elle White CONSULTANTS: STRUCTURAL: Cristobal Correa MECHANICAL: Jeff Glaspie FACADE: Karen Brandt SITE + SUSTAINABILITY: Meta Brunzema

SHUTO REMOTO

JENNA STEINBECK

The project is a car showroom located in the Minato Ward of Tokyo, Japan. The site exists on a small wedge of land sandwiched between an active canal and Tokyo Bay. The goal of the comprehensive studio is to incorporate sustainable practices such as passive solar design, passive cooling and geothermal/hydrothermal heat sourcing into a design that is responsive to the site and programmatic conditions. Our project addressed the sustainability challenge with two programs. The first being a car retrofitting lab that aims to take older, gas powered Japanese cars and incorporate â&#x20AC;&#x153;greenerâ&#x20AC;? features that help the car to be less harmful for the environment. The second program is a waterfront edge park that creates green space in a dense hardscape city, but also catches rainwater runoff from nearby roadways and filters it before being dumped into the canal.

SHUTO REMOTO

JENNA STEINBECK

Coastline

Circulation

Vegetation

SHUTO REMOTO

JENNA STEINBECK

Exit Handover

Show Room

Genuis Bar

Enter

Consultation

Perform Service

SHUTO REMOTO

Restaurant

Exhibition Show Room

Hand Over Room

Retrofitting Bar

Entry Level Show Room

Service Garage Pedestr

ian Entr

Vehicle Entry

JENNA STEINBECK

The site becomes a sustainable framework through hydrological and ecological interventions. The design allows for the treatment of rainwater runoff from the surrounding watershed. Ecological systems include a renegotiation of the canal edge to provide for increased wildlife habitation and recreational outdoor space and waterfront access. The storm water collected from the surrounding roadways amounts to approximately 2.3 million gallons annually and once collected, is cleansed through a series of tiered planters called filtration terraces. These planters aerate and cleanse the runoff through gradual stepdowns that eventually dispense the water into the canal.

SHUTO REMOTO

JENNA STEINBECK

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SHUTO REMOTO

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JENNA STEINBECK

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Basement Level PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1/ A

1. Car Entry Driveway 2. Car Drop-Off 3. Consultation Office 4. Stair to Main Level

5. Service Garage 6. Service Office 7. Parts 8. Car Lift

SHUTO REMOTO

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1/ A 302

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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1 A201

First Level 1. Pedestrian Entry 2. Small Car Display 3. Open to Garage Below 4. Open to Garage Below

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1/ A

5. Conference Room 6. Lecture Hall 7. Mechanical Room 8. Car Lift

9. Mechanical Shaft 10. Viewing Platform 11. Car Display 12. Thoroughfare

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

JENNA STEINBECK

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WATER FILTRATION TERRACE DN

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Second Level

1. Service Desk (genius bar) 2. Sales Office 3. Open to Below 4. Main Showroom

5. Merchandise 6. Open to Below 7. Exterior Terrace 8. Car Lift

9. Exterior Step Seating 10. Water Filtration Terrace 11. Water Filtration Terrace

SHUTO REMOTO

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Third Level

1. Handover Room 2. Waiting Area 3. Exterior Car Display 4. Green Roof

5. Sloping Roof Drive 6. Skylight to Main Level 7. Water Filtration Terrace 8. Car Lift

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

JENNA STEINBECK

A202 1

13 14 15

N K G

M I

2 UP

5 A 6

2 7

1 A201

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Fifth Level 1. Exhibition and Event Space 2. Stair to Restaurant 3. Car Lift 4. Mechanical Shaft 5. Car Display

SHUTO REMOTO

JENNA STEINBECK

The interior program of the project consists of a service garage located in the below grade, a small showroom at the entrance of the building, a large showroom along with a “Genius” bar on the second level, a ceremonial ‘handover’ room connected to the roof drive and finally a restaurant and exhibition space located at the top. Typical users of the project range from visitors checking out the cars to customers looking to retrofit their existing car and make it more sustainable. The waterfront park is also a primary destination attracting users such as locals on their lunch break to tourists visiting the waterfront development.

SHUTO REMOTO

JENNA STEINBECK

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SHUTO REMOTO

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SIXTH LEVEL 82'-0"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

FIFTH LEVEL 60'-0"

FOURTH LEVEL 38'-0"

THIRD LEVEL 21'-0"

SECOND LEVEL 6'-0"

FIRST LEVEL -9'-0"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

JENNA STEINBECK

Coping Steel Channel

Green Roof Assembly

Concrete Roof Panel

Rigid Insulation

Precast Concrete Panel

1/2â&#x20AC;? Steel Panel Tie

Aluminum Louver Vertical Louver Support

Concrete Panel Air Cavity Precast Concrete Planter

Sheathing

Polished Concrete Floor Concrete On Metal Deck W30 x 99 Beam Drain

Roof Detail at Cantilever

Steel Angle Rigid Insulation Concrete Panel Aluminum Louver

C Channel Concrete Panel W14 x10 Beam

Slab Detail at Cantilever

Wall Section at Showroom

SHUTO REMOTO

JENNA STEINBECK

SHUTO REMOTO

JENNA STEINBECK

SHUTO REMOTO

MEDIATHEQUE

JENNA STEINBECK

MEDIATHEQUE CREATIVE MEDIA CENTER LOCATION: New York, NY CRITIC: Henry Smith-Miller

MEDIATHEQUE

JENNA STEINBECK

The Mediatheque is an organized collection of information resources made accessible to a defined community for reference or borrowing. It provides physical or digital access to material and may be a physical building or room, or a virtual space, or both. The site is located on the north side of Spring Street in SOHO (lower Manhattan) between the Judd Foundation Building and Broadway. The project provides designated spaces allowed for using media and creating media that are stitched together by an interstitial ethereal volume known as the cloud. The cloud allows for a dialogue between media users and media creators with the idea that they are both one in the same due to the evolution of new media. Think physical comment space or chat room. A space for feedback, reflection and discovery.

SOHO

MEDIATHEQUE

JENNA STEINBECK

PROGRAM

PROGRAM PROGRAM

JUDD PROGRAM PROGRAM

PROGRAM

JUDD

SHOPS

THEATER

THEATER JUDD

SHOPS

THEATER

BROADWAY

THEATER

VOID

THEATER

SHOPS SPRING

VOID

VOID SPRING BROADWAY

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SPRING

JUDD VOID

VOID JUDD

THEQUE

SPRING

VOID

MEDIA

SHOPS

SHOPS BROADWAY SPRING

THEQUE

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SPRING

THEATER

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MEDIA

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SPRING BROADWAY

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MEDIA

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BROADWAY

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THEQUE

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MEDIATHEQUE

THEATER THEATER

THEQUE

MEDIA THEATER

JUDD

SPRING

MEDIA

THEATER

JUDD

PROGRAM

MEDIATHEQUE

THEATER

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BROADWAY SPRING

MEDIATHEQUE

PROGRAM

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THEATER

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MEDIATHEQUE

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VOID

MEDIATHEQUE

JENNA STEINBECK

MEDIATHEQUE

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

3D PRINTING

DIGITAL PRODUCTION STUDIO

WORK SHOPS

WEB DESIGN BLOGGING TUTORIALS

WORK COLLECTIVE

JUDD

CLOUD THEATER

THEATER

CULTURE + COMMERCE

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

COMPUTER LABS

SHOP

JENNA STEINBECK

MEDIATHEQUE

JENNA STEINBECK

MEDIATHEQUE

JENNA STEINBECK

MEDIATHEQUE

JENNA STEINBECK

MEDIATHEQUE

GOWANUS HOUSING

JENNA STEINBECK

GOWANUS HOUSING MULTI-FAMILY HOUSING + MIXED USE LOCATION: Brooklyn, NY CRITIC: Carlos Arnaiz

The design proposal calls for a large mixed-use housing project to be located on the Gowanus Canal. Located in the New York City borough of Brooklyn, the canal was once a busy industrial cargo transportation hub, however, because of the decline of the cityâ&#x20AC;&#x2122;s shipping industry via water, the area is now classified as a brown field. The canal is surrounded by historic neighborhoods lined with traditional brownstones, eclectic restaurants and maintains the old industrial vibe. Assuming that the city pursues its plan of cleaning up the canal, the housing proposal will provide residences for single and multi-family households as well as space for commercial establishments. The project is designed to respond to the specific site conditions that transform from hard urban edge to a waterfront habitat.

GOWANUS HOUSING

JENNA STEINBECK

CANAL

IRD

GO W

GOWANUS HOUSING

JENNA STEINBECK

G TIN S EXIS ENCE ID RES

Grid Transformation Historically, the grid has been used as a tool to create high density housing that provides natural light and ventilation for many occupants, open floor plan, and access to outdoor spaces. Unlike the standard cartesian grid that is typically used to organize large housing projects, this grid has been pinched on one side of the site producing a gradient from small to big geometry. As a result, the following project characteristics were discovered:

Perspectival Experience The goal for the Gowanus canal housing proposal is to revisit the generative operation of the grid, but use it as a tool to open up inhabitable spaces to the eclectic mix of aesthetic features, commercial establishments and residential neighborhoods that make up this specific site. The grid creates tapered or expanded views depending where one is located on the site. The public ramp experiences the tapering and expanding as it extends the length of the site.

GOWANUS HOUSING

G TIN S EXIS ENCE ID RES

Gradient Relationships Because the grid is pinched on one side, the resultant geometries grow from small to large as you get closer to the canal. The gradient quality of the grid allows for other gradient relationships to take place within the project. Among these are small to large housing units, materiality change, and a shift from urban street front to a greener, more natural habitat.

Shifted Nesting Every unit is generated from the grid. In the largest building, the unit walls follow the grid and are organized in clusters of two or three. The clusters, formed around an exterior space, shift back and forth from floor to floor and provide passage from the central interior corridor. These passages allow for natural light to peek though and into the corridor.

JENNA STEINBECK

Nature / Hardscape This exploded diagram of the ground material shows how the grid has generated gradients between concrete and nature. The canal pours in towards the west side of the site and gradually shrinks as it moves closer to Third Ave. Vegetation also follows the same pattern. Circulation The project allows for residents and shoppers/visitors to coexist comfortably by using elevated walkways and waterways effectively. Commercial establishments are concentrated towards the perimeter of the site however, visitors can cut diagonally through the site by way of an elevated walkway. This ramp also gives supplementary access to the housing and commercial establishments located on the second level. The small canals serve as physical barriers and help to keep visitors from invading the residentâ&#x20AC;&#x2122;s privacy. Program / Material This diagram shows the concentration of commercial space located within and on the ramp as well as on the ground floor of the two largest structures. The town homes are located furthest from Third Avenue to give more privacy to families. There are approximately 400 SRO units that are densely packed towards the east end of the site.

PERFORATED PANEL

SRO

TOWNHOME

COMMERCIAL

LANDSCAPE

HARDSCAPE

GOWANUS HOUSING

JENNA STEINBECK

AN OW

PUB

US NA

THIRD AVE.

BLI

GOWANUS HOUSING

JENNA STEINBECK

PRODUCED BY AN AUTODESK EDUCATI

PRODUCED BY AN AUTODESK E

GOWANUS CANAL

AUTODESK EDUCATIONAL PRODUCT

ESK EDUCATIONAL PRODUCT

GOWANUS HOUSING

IONAL PRODUCT

EDUCATIONAL PRODUCT

PRODUCED BY A

PRODUCED BY AN AUTO

JENNA STEINBECK

Building Envelope and Facade System The facade of the structure follows the same gradient relationship as many other elements of the project do. The primary materials include glass, wood cladding, fiber glass reinforced concrete panels and perforated aluminum panels. The elevations facing third avenue have most of their surface covered with the perforated panel. This is to act as a shield against the public street and the harsh light of the rising eastern sun. On the southern and northern elevations of the site, the perforated panel begins to unwrap from the building and exposes the wood and concrete underneath. The structure is composed of a simple concrete slab and column structure that has proven to be extremely economical for mass housing design.

GOWANUS HOUSING

Wood Blocking Perforated Panel System Wood Cladding

JENNA STEINBECK PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

RESIDENCE

Continuous Vapor Barrier

Concrete Panel

Perf. Panel System Wood Cladding

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Roofing Membrane Vapor Barrier Flashing Gravel Ballast Rigid Insulation

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Double Thermal Insualted Glazing 5/8” Gypsum Board Continuous Vapor Barrier Wood Flooring Perforated Panel System

RESIDENCE

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Vapor Barrier

RESIDENCE

Metal Cap with Cont. Cleat Wood Blocking Gypsum Sheathing

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Metal Stud

Drainage Mat Waterproof Membrane Waterproofing Protection Board Concrete Footing Footing Drain Gravel Cover Concrete Pile

COMMERCIAL

Insulation Wood Soffit Store Front

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Sub-Flooring

Glass Rail

Wood Decking Rigid Insulation Rail Support Sealant with Backer Rod

Insulation Gypsum Sheathing Wood Siding Continuous Vapor Barrier

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

GOWANUS HOUSING

JENNA STEINBECK

GOWANUS HOUSING

INTEGRATIVE ELEGANCE

JENNA STEINBECK

INTEGRATIVE ELEGANCE MIXED-USE TOWER LOCATION: New York, NY CRITIC: Hina Jamelle PARTNER: Megan Hurford

The tower explores a programmatic strategy responding to the network of relationships existing within the daily experiences of live, work and play. Serving as an extension of the Childrenâ&#x20AC;&#x2122;s Museum of Art, commercial offices and individual living units, this SOHO highrise entertains these relationships by providing architectural features that contribute to various degrees of integration or separation among the respective users of live, work and play. First, is the varying modes of circulation that gradiate in speeds from slow to fast. Ramps, stairs and elevators located throughout the structure allow the user to control the amount of time he or she takes to circulate the space based on purpose of occupancy and allows for various levels of exchange or disruptions between activities. Secondly, is the varying levels of exterior access respectfully associated with live work and play that range from full, physical access to visual access only. And last, is the executed spatial qualities appropriate for the activities of live, work and play and the interplay among these qualities when programs coincide.

INTEGRATIVE ELEGANCE

JENNA STEINBECK

CARBON

HYBRIDIZATION

COVALENT BOND

CRYSTALIZATION

FINAL COMPOSITION

carbon as a single atom

depending on parameters such as pressure and heat that exist within the Earth’s mantle, this phase determines what kind of bonds will form between the carbon atoms. The atomic structure needed for graphite becomes evident in the hybridization phase.

when pressure and temperature are ideal for the four valence electrons in carbon to form with four other carbon atoms. Each carbon atom is in a rigid tetrahedral network where it is equidistant from its neighboring carbon atoms. The structural unit of diamond consists of 8 atoms, fundamentally arranged in a cube. This network is very stable and rigid, which is why diamonds are so very hard and have a high melting point.

aggregation of millions of strctural diamond units into a face-centered cubic lattice. In this phase, diamond crystals can develop into several different shapes, known as ‘crystal habits’. The most common crystal habit is the eight-sided octahedron or diamond shape. Diamond crystals can also form cubes, dodecahedra, and combinations of these shapes.

diamond in its pure or impure form.

INTEGRATIVE ELEGANCE

CARBON ATOM

COVALENT BOND

SYMMETRICAL / FLUID / DELICATE

INTERLOCKING / IMPERMEABLE / STABLE

GRAPHITE

WISPY / LAYERED / OPAQUE

PLASTIC DEFORMATION FRACTURED / SHIFTED / ASYMMETRICAL

PURE DIAMOND

TRANSPARENT / FACETED / ANGULAR

IRRADIATION

OVERLAPPED / EXPOSED / DISTORTED

1000

100

10.0

A FIN ION

IT OS

ND BO

ATIO

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A YST

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JENNA STEINBECK

Plastic Deformation Fractured Shifted Asymmetrical

Carbon

Pure Diamond

Symmetrical Fluid Delicate

Transparent Faceted Angular

Covalent Bond Interlocking Impermiable Stable

Irradiation

Graphite

Overlapped Exposed Distorted

Elongated Layered Opaque

Pure Diamond Transparent Faceted Angular

PLAY

LIVE

WORK

INTEGRATIVE ELEGANCE

LIVE:

S URFACE : SHARP (CRISP EDGES ) S TRUCTURAL : INTERLOCKING , STABLE S PATIAL : ANGULAR

WORK:

S URFACE : WISPY S TRUCTURAL : ELONGATED S PATIAL : LAYERED

PLAY:

S URFACE : SMOOTH + OVERLAPPED S TRUCTURAL : DELICATE S PATIAL : FLUID

PLAY:

S URFACE : SMOOTH + OVERLAPPED S TRUCTURAL : DELICATE S PATIAL : FLUID

WORK:

S URFACE : WISPY S TRUCTURAL : ELONGATED S PATIAL : LAYERED

JENNA STEINBECK

The project begins by studying a tranformative process. The process we investigated was the tranformation of a carbon atom to a diamond and the six phases that occur inbetween. By assigning descriptive words to each phase (spatial, surficial, structural), we were then able to design architectural units that fit those descriptions. These units become the building blocks of a tower in SOHO. By using blending tools, we are able to make our own tranformations of spatial, surficial and structural qualities that are suitable for the mixed occupancy of the tower.

INTEGRATIVE ELEGANCE

WORK

LIVE

PLAY

JENNA STEINBECK

INTEGRATIVE ELEGANCE

JENNA STEINBECK

INTEGRATIVE ELEGANCE

JENNA STEINBECK

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PLAY: Floor 1 DO W

1 11

DOWN

5 7 DOWN

0'-0"

RAMP UP

12 EXISTING CMA NY DESIGNED BY WORK

OPEN TO BELOW

DOWN

RAMP DOWN

NEW STRUCTURE

EXISTING STRUCTURE

1. Ramp to Parking Garage 2. Public Plaza 3. Steps/Seating 4. Seating 5. Tower Entrance

6. Museum Entrance 7. Planters 8. Reception 9. Cafe 10. Kitchen

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

11. Museum Gift Shop 12. Lounge 13. Residence Entrance (below) 14. Office Entrance

INTEGRATIVE ELEGANCE

JENNA STEINBECK

Live: Floor 20

4 2 3 5

1. Outdoor Deck 2. One Bedroom Unit 3. Two Bedroom Unit 4. Lounge 5. Observation Deck

6. Ping Pong 7. Pool Table 8. Card Table 9. Share Work Space

INTEGRATIVE ELEGANCE

JENNA STEINBECK

Work: Floor 34

1. Reception 2. Waiting 3. Work Area 4. Conference Room 5. Work Area 6. Conference Room

INTEGRATIVE ELEGANCE

JENNA STEINBECK

INTEGRATIVE ELEGANCE

URBAN LANDSKATE

JENNA STEINBECK

URBAN LANDSKATE PUBLIC RECREATION FACILITY LOCATION: New York, NY CRITIC: Stephanie Bayard

The site located at the intersection of the FDR, 23rd St. and the East River in Manhattan, provides a unique canvas for a skate park / yoga studio. The project becomes a location in which two contrasting activities can coexist. Skateboarders have a sense of familiarity in the already urban context and the yoga studios are designed to provide a peaceful environment with views of the sky. Before the project is realized as inhabitable space, multiple material studies are explored that deal with the development of a â&#x20AC;&#x2DC;smartâ&#x20AC;&#x2122; unit or component. When these units are multiplied and aggregated, the physical properties of the material which it is made of should begin to change. For example, turning rigidity into fluidity or transforming opacity into transparency. The final aggregation is composed of white bristol paper. This material is both opaque and flexible so in order to be successful, the final composition should have a rigid quality and achieve a sense of transparency. In this particular field, the units gradually change scale in width. As a result, the aggregation becomes denser as the units get thinner.

URBAN LANDSKATE

JENNA STEINBECK

URBAN LANDSKATE

Unit Assembly

JENNA STEINBECK

The original unit is enlarged so that each enclosure can become inhabitable space. Because the form has been reduced to four units, the landscape needs to be addressed in a way that mimics the field qualities of the original material study. To achieve this, the unit is unfolded and becomes a surface with edges from the original folds. The initial geometry is still evident. Some of the folds are exaggerated to provide a more suitable surface for skateboarding. A gradient of materials is applied that responds to the program and circulation about the facility. The skate park is smooth concrete. Pedestrian paths are pervious concrete to control water run-off. Where pedestrians have access in between buildings, the surface changes to wood and is carried through to the interior. Vegetation is toward the outer edges and dispersed in several locations throughout the site.

URBAN LANDSKATE

JENNA STEINBECK

Interior

Wood Surface

Pervious Concrete

Smooth Concrete

Vegetation

URBAN LANDSKATE

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

JENNA STEINBECK

First Level Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1. Restroom 2. Restroom 3. Kitchen 4. Cafe/Bar 5. Reception/Rental 6. Locker Room 7. Locker Room

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

URBAN LANDSKATE

Second Level Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

2 3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1. Yoga Studio 2. Yoga Studio 3. Yoga Studio

JENNA STEINBECK

URBAN LANDSKATE

JENNA STEINBECK

URBAN LANDSKATE

SLIP SURFACE

JENNA STEINBECK

SLIP SURFACE ELEMENTARY SCHOOL LOCATION: New York, NY CRITIC: Phil Parker

The project explores ways in which strands of continuity are found among surface, site and education. These elements are connected together to form an elementary school located in Peck Slip of the historic Manhattan shipping yards. Qualities found in the surface allow for spaces to be created that lend to a learning environment as well as directly relating to site conditions The exercise is to diagram an event involving bodies and surfaces. This diagram is showing the movements of a group of bodies as they play on light fixtures embedded in the ground. In this particular case, this is not an event between bodies and another surface, but rather an event in which the body becomes the surface. The pulsating light is acting as an attractor and when the bodies move to it by way of a vector, a boundary is created as the light hits the skin.

SLIP SURFACE

JENNA STEINBECK

SLIP SURFACE

JENNA STEINBECK

The lines from Illuminated Play are inscribed into a surface. The surface, oriented vertically, is acted upon by forces that mimic the original event: gravity, pulsating light, and transverse movements. When the event forces are applied to the membrane, unique qualities are produced that create continuities and difference within the previously planar surface. Because of the lines inscribed and the strategic placement of tears throughout, aperture and planar shift in opposite directions occur and create opportunity for in, along and through. The surface now acts a medium for creating spacial relationships that will translate into a school. Before that can happen, relationships must be discovered between the membraneâ&#x20AC;&#x2122;s characteristics, the Manhattan context in which the school will exist and educational theories. After observing many classroom settings and visiting the future site on several occasions, diagrams along with written explanations were derived.

FRAMES FRAMES 1-1501-150

Applied Forces

Surface Reaction

Sectional Change

FRAMES 151-250 FRAMES 151-250

FRAME FRAMES 251

-250

FRAMESFRAMES 251-350 FRAMES 251-350 251-350

FRAMESFRAMES 351-400 FRAMES 351-400 351-400

FRAMESFRAMES 400-420 FRAMES 400-420 400-420

SLIP SURFACE

JENNA STEINBECK

Reflective Site: Peck Slip is located within a context that is rich in history, social exchange and varied building use. With multiple kinds of commercial establishments nearby, Peck Slip is given a peculiar physicality that shifts when day becomes night. Because storefronts are lining the streets, two very different qualities are observed. During the day, glazing emits a reflection of the surrounding area and transparency is minimal. However, the reflective qualities of the glass create images of views that otherwise are not visible by the naked eye. As night begins to fall, a shift in the physicality occurs and the streets become illuminated. Lights in the storefronts are left on and the transparent quality reveals new information. Multiplicity in Education: Education can be described has being a system of multiple relationships interacting simultaneously to stimulate knowledge within an individual. In a typical Montessori classroom, different activities, social exchanges and learning opportunities are all occurring at the same instant. Work can be done individually, in pairs, or in larger groups. There are student to student relationships as well as student to teacher relationships. All of the different learning exercises can be performed on multiple kinds of surfaces existing within the same space. Different learning styles are fostered in this type of environment. A student can be solely engaged in their work but if one chooses, the environment provides the opportunity for observation of others as a learning tool.

Site Diagram

Education Diagram

SLIP SURFACE

JENNA STEINBECK

Fourth Level Plan 1. Classroom 2. Classroom 3. Exterior Classroom 4. Exterior Classroom

1 2 4

Third Level Plan 1. Exterior Classroom 2. Assembly Space 3. Exterior Classroom 4. Exterior Classroom 5. Classroom 6. Classroom

Second Level Plan 1. Classroom 2. Classroom 3. Entry / Front Office 4. Cafe 5. Library 6. Terrace

4 2

3 6

6 1

4 3

SLIP SURFACE

4 1 5

2 3

First Level Plan

1. Gymnasium 2. Restrooms / Cubbies 3. Performance Space 4. Performance Reception 5. Pedestrian Thoroughfare 6. Cafe

JENNA STEINBECK

The strands of continuity that brings surface, site and education together is the idea of pockets and apertures at various scales oriented in such a way that views of various scales are achieved. A single surface is populated by pockets and apertures of different sizes and then when aggregated, an even larger pocket and view to the surrounding context is created. These pockets or spaces allow for different activities to take place while the apertures provide a connection from one pocket to another. While there may not be a physical connection from one space to the next (direct circulation), there is still the visual connection and the power of observation in education is achieved.

SLIP SURFACE

JENNA STEINBECK

SLIP SURFACE

JENNA STEINBECK

SLIP SURFACE

NYC DISPLACED

JENNA STEINBECK

NYC DISPLACED POST SANDY TOPOGRAPHY LOCATION: New York, NY CRITIC: Alex Barker + Alihan Polat PARTNER: Megan Hurford

In the event of a hurricane, residents located in the flood zones of Manhattan either have to evacuate the island before subway lines undergo mandatory closure or be prepared to find alternate means of shelter. In the wake of hurricane Sandy, many Manhattanites were not able to move off of the island with such short notice and were forced to live without electricity for days. If an event like Sandy were to occur again, where can residents living in flood zones A-C go to seek refuge within Manhattan?

NYC DISPLACED

JENNA STEINBECK

Our study focuses on transferring households located in flood zones to available hotel rooms within the island. On average, New York City has a hotel occupancy rate of 87-88%. In the month of October, when Sandy hit, the occupancy rate was 91%. By collecting a sample of hotels, we were able to infer an available number of hotel rooms throughout the entire city and disperse households among them given that one hotel room equals one household. Shockingly, we discovered that the available rooms could only fit 10% of Zone A leaving the remainder of A, and all of B and C forced to front the storm. This study proves that the city of New York is not equipped to provide refuge for all of its residents living in Zones A-C. With storms like Sandy expecting to occur more frequently in years to come, solutions for emergency shelter on short notice should be explored. Raw Data Used: Number and location of all Manhattan hotels separated into seven typology groups (Map Pluto) Square footage of all Manhattan hotels (Map Pluto) Exact number of rooms in five hotels per typology group (research) Number and location of Manhattan Households by block (2010 Census) Hotel occupancy rate for Manhattan hotels in the month of October Flood Zone A-C boundaries

NYC DISPLACED

HOTEL TYPOLOGY

ROOMS AVAILABLE CLASS CODE

CLASS NAME

HOTEL ROOMS EXISTING ROOMS AVAILABLE

CLASS CODE

CLASS NAME

NUMBER OF HOTELS

AVERAGE ROOM SF

LUXURY TYPE - BUILT PRIOR TO 1960

10745

968

LUXURY TYPE - BUILT PRIOR TO 1960

834

LUXURY TYPE - BUILT AFTER 1960

12352

1113

LUXURY TYPE - BUILT AFTER 1960

1013

TRANSIENT OCCUPANCY, MIDTOWN MN AREA

12412

1124

TRANSIENT OCCUPANCY, MIDTOWN MN AREA

536

MOTELS

1004

MOTELS

589

PRIVATE CLUB, LUXURY TYPE

780

PRIVATE CLUB, LUXURY TYPE

2357

APARTMENT HOTELS

5642

505

APARTMENT HOTELS

612

APARTMENT HOTELS, CO-OP OWNED

169

APARTMENT HOTELS, CO-OP OWNED

4881

43104

3088

TOTAL

For all H1 Hotels:

Building Square Footage 834

247

TOTAL

Apply Hotel Occupancy Rate (.09):

= # of Rooms

# of Rooms x

.09 = Rooms Available

JENNA STEINBECK

NYC DISPLACED

JENNA STEINBECK

NYC DISPLACED

GAUD++ EXHIBITION

JENNA STEINBECK

GAUD++ EXHIBITION LOCATION: Pratt Institute CRITIC: Mike Szivos DESIGN + FABRICATION TEAM: Maryam Delshad Maurizio Huaylia Sira Kiatnum Taesoo Kim Trey Lindsay Katia Loizou Dong Gyum Park Ally Spier Jenna Steinbeck Darion Washington Nick Wright Matiss Zemitis Photos by Alan Tansey

GAUD++ EXHIBITION

JENNA STEINBECK

Each year, this course attempts to produce an installation that explores digital fabrication methods as while showcasing the previous year’s work. Conceived in Pratt’s own Hazel and Robert H. Siegel Gallery, the installation coincides with the prospective student open house held every spring. This exhibition groups the work into clusters based on the type of project, where it was located, how it was conceived, and by semester. The projects from Fall 2011 to Spring 2012 are arranged in a three dimensional grid - dynamically adjusted into clusters around four field qualities the exhibited pieces: vertical, dense, fluid and folded. Each submission provides a cloud like cell structure that looks like it is grown rather than organized. the underside of the suspended volume is clad with color coded images of the student work, creating a solid landscape of images at various angles that visitors explored much like a cave. the bottom appears continuous and solid, where the upper section implements a porous surface to allow ceiling light to penetrate into the gallery. Constructed utilizing over 250 unique ‘cells’, the form relies on redundancy, many connections, complexity, and irregularity to produce an overall structure that is light, nimble, unique, but still open in its ability to grow.

GAUD++ EXHIBITION

JENNA STEINBECK

VERTICAL

DENSE

SUMMER

SEMESTER 1

SEMESTER 2

SEMESTER 3

+ + + + ++ + + + + ++ + + + + + + + + + + +

SEMESTER 4

SEMESTER 5

SEMESTER 6

FLUID

+ ++ + + + + + +

+ +

FOLDED

+ + + + + + + + +

+ + +

+ + + ++ + + + + + + + + + + + + + + + +

+ +

+ + +

GAUD++ EXHIBITION

JENNA STEINBECK

GAUD++ EXHIBITION

EDUCATION

SKILLS

Pratt Institute - Brooklyn, NY Master of Architecture, 2014 with Distinction

Computer GraphicsInDesign, Illustrator, Photoshop

Texas A&M University - College Station, TX Bachelor of Environmental Design, 2009 Graduated with Magna Cum Laude Honors

Computer Modeling, Drafting and ProductionAutodesk Maya, Rhino 3D, AutoCAD, Vray, Maxwell

Universitat Politecnicia de Catalunya - Barcelona, Spain Texas A&M’s semester long upper level architectural and cultural study program, 2008

PROFESSIONAL EXPERIENCE ICRAVE - New York, NY May 2013 - August 2013, February 2014 - August 2014 Design Intern - assist in the design of projects, selecting material finishes, writing specs, creation of drawing sets, and brand identity concepts. Brown Reynolds Watford Architects - Dallas, TX July 2009- July 2011 Intern Architect - With the skills I gained at BRW Architects I am able to produce complete and well documented construction documents, coordinate projects with engineers and various consultants, and assist project architects with important design decisions. On many projects, I selected both interior and exterior finishes and produced graphical representations for client visualization. I had the opportunity to work on several projects from Schematic Design through to complete Construction Documents and in some cases to Construction Administration. I have completed approximately 4000 hours of the Intern Development Program.

ACADEMIC EXPERIENCE Graduate Assistant: CAP Studio - Pratt Institute, Brooklyn, NY January 2014 - May 2014 Instruction assistant of graduate level Comprehensive Architecture Project (CAP) design studio. Graduate Assistant: Structures I and II - Pratt Institute, Brooklyn, NY August 2012 - December 2013 Responsibilities include holding tutoring sessions, grading assignments, and maintaining correspondence with students and professors.

OtherMicrosoft Office, Adobe After Affects, ESRI ArcGIS, RhinoCAM, Digital Fabrication, CNC Milling, Spexx

COMMUNITY INVOLVEMENT 2013 Pratt’s Saturday Art School - Participated as a volunteer in a teaching laboratory that offers a wide range of art classes to children and adolescents. Volunteers work closely with the Saturday Art School teachers and assist in the classroom as needed. 2010 One House at a Time - Transformed the house of a family in need into a more energy efficient dwelling. The goal was to help reduce bills paid by the resident while minimizing the structure’s impact on the environment.

AWARDS AIA Henry Adams Award - 2014 AIA Eleanor Allwork Scholarship - 2013, Portfolio Award Pratt GAUD Continuing Student Scholarship - 2012-2013, 2013-2014 Green Week Award - 2013, NYC Displaced Gathright Scholar Award - 2007, Outstanding Student Award

EXHIBITIONS + PUBLICATIONS GAUD++ Exhibition - 2014 International Contemporary Furniture Fair Exhibition - 2013, NYC Displaced GAUD++ Exhibition - 2013 Green Week Exhibition - 2013, NYC Displaced Edge Negotiation Exhibition - 2012, Urban Landskate Work published in InProcess 18, 19, 20

jenna.steinbeck@gmail.com / 512.635.2644