Jereth Senese Selected. by Jereth Senese

Jereth SeneSe Selected.

FAlSe liberAtion. Fall 2011

hAnd rePreSentAtion. Fall 2011

toruS houSe rePreSentAtion. SPring 2012

torntunnel. SPring 2012

houSe For cAlder. Fall 2012

kodAchrome librAry. SPring 2013

the dormitory. Fall 2013

Jereth SeneSe Selected.

Jereth Senese jerethsenese@gmail.com 626. 826. 6092

Pratt institute School of architecture 2011. 2012. 2013. 2014. Jereth SeneSe. Selected Architecture + Art.

FAlSe liberAtion Fall. 2011

FAlSe liberAtion. FAll 2011

unique.

Human Interaction

develoPment

FAlSe liberAtion. FAll 2011

The Black and White Composition

FAlSe liberAtion. FAll 2011

into the croSSing. 2011

P 11

hAnd rePreSentAtion Fall. 2011

hAnd rePreSentAtion. FAll 2011

P 13

hAnd rePreSentAtion. FAll 2011

the toruS houSe After completing drawings of the original Torus House, we took plans, elevations, and sections, and transformed them into new compositions that expanded on the concept of the Torus, using it as context, while at the same time giving it a new identity. I sought To expand the rolse of the torus of the house, and so I created several Mandala like forms, that stressed the relationship of different objects and their relationship to the center of the house. This created spatial diagrams that physically demonstrated the power the torus has on the structure.

P 15

the toruS houSe. SPring 2012

toruS, reconFigured

P 17

the toruS houSe. SPring 2012

P 19

nAture And mAn. 2010

P 21

torntunnel SPring. 2011

torntunnel. SPring 2012

the PAth I saw light piercing two dark, and damp objects, both perched high above the landscape. Hovering and open, but completely enclosed, I could only explain it as the “torntunnel” This space would grow and change from initial concept into a fully functioning lab space, with the requirements of having a launchpad, water features, and the ability to frame the landscape. The linear development of the structure has been punctuated and shifted through poetry workshops and this class which have shifted my thinking and ideas about the project and have caused me to emphasize new aspects. To begin to talk about my ‘the bridge’. ‘The bridge’ spans two land formations in my model and crosses above a gorge in the landscape. This element is the one true remnant of my foundation for which the rest of the structure is connected to. The walkway itself parallels a natural version of this walkway that exists on the adjacent mountain. From this natural path one can see the walkway and relate himself to that walkway, as the experiences are very similar. The two paths have a dialogue with one another, and they each are made stronger by the others presence. The bridge acts as a truss from which the two ‘pods’ of occupation extend out from. These two pods intersect the bridge only 8 feet from the walkway. While most of the span features a twenty foot high ceiling, in this moment in the middle the scale is cut in half, and the participant can run his hand along the bottom of the structure. By bringing the structure down to the hight of man, we are literally framing the human body, while visually intersecting his mode of movement, the walkway. We can compare this interruption to Walter Benjamin’s Paris: Capital of the Nineteenth Century, where we see the uninterrupted arcades as the mode of transgression and the future of modern society. If we look at my walkway as an arcade, which instead of framing the street and the store, is instead framing the landscape and this great gorge, we see that where the arcade is broken, more dynamic space is created. With this project we are turning that repetition of the arcade against itself, and turning the broken portion of the arcade into something greater. When we look at how these two large structures move out from this walkway, we see them torque in two different ways, the north tube angles up and further north to acknowledge a nearby mountain range, while the south tube turns down and further south to acknowledge a low point in the landscape, as well as the sunrise. When I began this project I envisioned these two tubes broken by a long void, creating negative space within and through the positive. This long allows light to enter the structure, and at a certain time of the day, light will shoot down this walkway, through the structure, and onto the ground below. The walkway’s third purpose is to bring people into the structure through these tiered steps, from the north side as its base, to the south level, allowing the user to enter the program space. From there however, he can rise further through the structure. As he moves up the tiered steps, his relationship in the structure changes, and he can see himself changing in perspective in relation to the structure.

P 23

torntunnel. SPring 2012

P 25

the space between the two structures, then rising above them, and for a moment you are at a level with the roof of the structure, and you can touch this roof and be on a plane with a level that you would not normally occupy. This series of events and sequences are all designed. however. with the own requirements which have cast positive repercussions and decision onto the structure. As a lab space we can most quickly think of this square footage as a box to be placed somewhere in the site. With torntunnel the goal was to remove that program space from the neutral, and charge each space which mentioned earlier has two torqued elements to acknowledge the mountains and the sunrise, we see that these become the focal point for our main spaces of occupying. The element that torques up is sloped, so scientists are in a sense translating that experience of the mountain into the structure, as if a small portion has been contained in the structure. With the opposite torque, that angles down towards the sunrise and water, the stress is relieved. And the slope is instead treated as a series of steps and an amphitheater, a place to stop, sit, watch the sunrise, or eat breakfast. This space, the last to be reached upon entering the structure, recalls concepts brought forth by Michael de Certeauâ&#x20AC;&#x2122;s The Poetics of Space, which posts the relationship of the intimate above the grand and unscalable. Certeau describes this relationship as centered around the house or the intimate, and as a series of images that becomes the archetype for all houses to follow. The aim of this structure is to physically frame views of the landscape, and so in a very literal way those images are being imposed into the participantâ&#x20AC;&#x2122;s mind in a direct way. More subversive however are the moments of memory which play into effect, where the user is able to recall moments of being in different places of the landscape. The program space, the two tubes of occupation are a grounding motion, you occupy them during one part of the day at a time. Lavish shadows cast upon its interiors but you do not notice its change. Instead, the lab space is a theatre, from which to view memories of your past movements. From it the participant can view all corners of the site from a new perspective, causing the user to rethink his relationship to that part of the site The two walkways however act as measures of time. As you move through them you move through memories of light and shadow. The participantâ&#x20AC;&#x2122;s physical location changes in relation to the structure, and at those moments where there is intersection, views tie the current experience to past memories. Where the ramp cuts through the south tube, only your feet are visible to those in the lab, causing you to recall site. The blank walls on the north sides of both tubesbegin at the roof from the ground to your chin. This view causes you to look down in the structure and look back down onto the water and landscape below. It is here where you recall entering the site, spending time under the shade of the structure or gathering water. Your perception is channeled, like the light in a tunnel, with the light not illuminating the way out, but the way in.

torntunnel. SPring 2012

P 27

torntunnel. SPring 2012

P 29

deco. 2010 dAllAS. 2011

houSe For cAlder. homAge to cAlder. Fall. 2012

P 31

House For Calder. Fall 2012

A houSe For AlexAnder cAlder

P 33

houSe For cAlder. FAll 2012

P 35

houSe For cAlder. FAll 2012

P 37

the kodAchrome librAry SPring. 2013

chinAtoWn librAry. SPring 2013

mASS, texture

P 39

chinAtoWn librAry. SPring 2013

obSeSSiogrAPhic context

KEN HING

FOOD MARKET INC.

HUA DU DUMPLING SHOP INC

SIEU THAI VIET NAM

P 41

chinAtoWn librAry. SPring 2013

the ProPoSAl

Basement

Ground Floor

2nd Floor

3rd Floor

P 43

chinAtoWn librAry. SPring 2013

P 45

chinAtoWn librAry. SPring 2013

KODACHROME STORAGE IMAGE VIEWING OFFICE SPACE THEATRE

P 47

chinAtoWn librAry. SPring 2013

the dormitory Fall. 2013

P 49

the dormitory. FAll 2013

P 51 E

ION

ING

LIV

LIC

IRC

ICA

KIT AL

ITS

UN HE

R/T

LLE

ST RIA N

CO M

KIT CH EN YA RD

UN ITS NA LS PA CE

ITS

NA LS PA CE

ST RIA N

CO M

YA RD KIT CH EN

SITE MAP + EXTERIOR CIRCULATION

1/128” = 1’ N

PROGRAMMATIC SECTIONAL DIAGRAM

An extenSion oF the Street AUTOMOBILE MOVEMENT

BICYCLE MOVEMENT

PEDESTRIAN MOVEMENT

PUBLIC CIRCULATION

PRATT CIRCULATION

CIRCULATION DIAGRAM circulAtion

the dormitory. FAll 2013

GALLERY

SCULPTURE GARDEN

+0'

-4'

R 16 P U +0'

1 UP6R

CAFE

SECURITY LOUNGE

the entrAnce, intertWining the Public

P 53

+0'

R 16 WN DO

GYM

+11' 16R DOWN

14R UP

16R DOWN

+0' +11'

+0'

the dormitory. FAll 2013

tyPicAl reSidentiAl FloorS

15R UP

DSP.

DSP. D 15R

15R UP FC FC

+4'

FC FC

D 9R

GWS

GWR

DHW

DCW

GXR

GXS

+4'

U 15R

15R UP

15R UP KX

GWS

GWR

DHW

DCW

GXR

GXS

+0'

U 9R

D 9R

-2'

-2' +0'

+0' EDO CTSE

+2' EDO CTSE

EDO CTSE

+2'

GWS

GWR

DHW

DCW

GXR

GXS

GWR

DHW

DCW

GXR

GXS

UP 15R

FC FC

SERV.

FC FC

JANIT. CLST.

FC FC

15R UP

UP 15R

15R UP

P 55

15R UP

the dormitory. FAll 2013

P 57

DCW

DHW

The UniT

GWR

FC GXS

MODELNUMBER TRADENAME PRODUCT MATERIAL

V-STACK

S-STACK

GWS

GXR

15R UP

The DormiTory. Fall 2013

ELEV +60'

EXTENSIVE GREEN ROOF VEGETATION ROOF SLAB

CORTEN STEEL PANELS 4' x10' x 1/8" DEPTH W/GRADIENT APERTURES

GLASS CURTAIN WALL CORTEN STEEL SCREEN 1/8" ON SLIDING TRACK

ELEV +49'

STEEL SUBSTRUCTURE FOR CORTEN PANELS

PLAN DETAIL

AIR/ MAINTENANCE GAP W/GRATED WALKWAY

INTERIOR CORTEN SCREEN CURTAIN WALL STEEL SUBSTRUCTURE ELEV +39'

GRATED WALKWAY

EXTERIOR CORTEN SCREEN

ELEV +29'

ELEV +19'

‘moire anD The Fire escape’

P 59

ELEV +60' 2'

9.0'

ELEV +49' 1'

12" CONCRETE FLOOR SLAB

DOUBLE PANED CURTAIN WALL

9.0' 9.0'

KINETIC WOOD PANEL SCREEN (OPEN)

HAND RAILING (GLASS)

ELEV +39' 1'

KINETIC WOOD PANEL SCREEN (CLOSED) GALVANIZED STEEL STEPS (GRATED)

BLACK PAINTED STEEL 1/8" W/DRIP + LIGHTING SPACE

9.0' STEEL TENSION CABLE 2"

ELEV +29'

GALVANIZED STEEL GRATING

9.0'

ELEV +19' 1'

The DormiTory. Fall 2013