Portfolio 2017 by Julia Markey

selected works 2010 julia

markey 2017

STUDIO 00 Primal Youth 06 Spring 2015 01 Broad Oblique 16 Fall 2014 02 Boathouse 22 Spring 2013 03 Dormitorium 30 Fall 2012 04 The Markets 34 Fall 2011 05 Land Attraction 38 Spring 2012

1 TO 1 06 Iverted Depths Spring 2012 07 Jewelry Metalwork Spring 2015 08 Chicken Coop Summer 2011 09 Freecell

46 48 49 50

Spontaneous Interventions

PROFESSIONAL 10 C3D Architecture Lane Towers 11 Till Children of the Carnival Based In 154 Attorney Reforma

52 56

STUDIO STUDIO

Undergraduate work from the Pratt Institute that investigates architecture through rigorous analysis of site and program, and form finding using 3D and pysical modelmaking, under the guidance of a diverse set of professors.

PR IM A L YO UTH

Cute n i n g t h e S e n i or Hou si n g T y p ology with Leland Jobson Undergraduate Thesis 2014-2015 Pratt Institute Critics Dragana Zoric and Evan Tribus Aging is a reality we all have to face. In time, we will be confronted by bodily limitations and the spaces we occupy must respond accordingly. Architecture has offered little innovation in this area - often trying to recreate the idea of home through superficial means such as cozy fireplaces or style of furniture (Kinzelbach). Failing to address the psychological dimension of home, these have become spaces that the old and young dread entering. We aim to create a new model for senior living by reframing the current typology in terms of cute. Cute is supple and facile enough to tackle the social, cultural, and human issues generated by the retirement community program. Cute is a middle ground between many things - it is neither ugly nor beautiful and plays in the realms of both aesthetics and functionality. The architecture of senior living as it stands now seeks to ease people out of life in the most subtle way possible, whereas we believe it should be amped up. Primal Youth is a retirement community located in Long Beach, CA about a half mile from downtown. The site was chosen as a play on the beachside retirement community while also situating itself within a larger community and in close proximity to entertainment, shopping, and attractions. We wanted the building to be easily identifiable by the passerby and an approachable character for the retiree to interact. The glass eyes act to a. bring in the outside environment b. guide the occupant through the complex, and c. give the building a personality. The coloring took from the Japanese obsession with peach and uses flesh tones to mimic a blushing face. The community is organized into three neighborhoods, Coral Ridges, Orca Springs, and Guppy Harbor. These neighborhoods take cues from sea creatures in order to develop distinct character qualities.

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Bombing of Hiroshima Ecoa Eco Rangers Earth Force by Takashi Murakami Danielle by Anthony Carielle Aerial Rendering

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Sernior Living and the Graying Population The responsibility of caring for the aging portion of society has traditionally fallen on the shoulders of their offspring, and the nursing home and retirement community developed as solutions out of the need to relieve the middle age sector from this burden. Known as the ‘sandwich generation’, children of aging parents, generally in their fifties, have a obligation to care for their parents as well as their own children. The aging of the baby boomer population has contributed to a rise in multigenerational households as a means to afford the physical and financial concerns of caring for the elderly (Geewax). This model is not ideal as it puts a tremendous amount of strain on the middle age to account for the labor intensive tasks of caring for this parents while simultaneously providing financial support for their children. In order to ease the transition from a place of intense familiarity, the home, to enstragement, the facility, nursing homes and retirement communities seek to recreate the idea of the home. These attempts at reconstruction “merely illustrate its difficulty because of its actualizations through symbolic and superficial representation: the style of furniture, the choice of material finishes, the coziness of false fireplaces or other interventions that only create a simulacrum, thereby underestimating the actual psychological dimension of home (Kinzelbach 13).” Home like objects alone hold no significance as objects rely upon a created memory to link to the feeling of domesticity. A living room with a fireplace is just as foreign as one without unless you were there to crumple balls of newspaper with your father to help it light. Actions are the propagators of new memories and consequently the creation of home. The instinct of senior facilities operators to try to mimic homelike atmospheres leads to an aversion to the type of the nursing home. The merging of domestic and institutional programmatic requirements creates a natural tension that must be addressed as this typology becomes an increasingly popular solution to the growing population of elderly.

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Neighborhood diagram Beach rendering Underneath rendering Section model (plastic and matteboard)

CORAL RIDGES ‘DEPENDENT’

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ORCA SPRINGS ‘ASSISTED’

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GUPPY HARBOR ‘INDEPENDENT’

OC. 25

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0.8 Ground Plan

0.9 Second level plan

Cute - Cultural and Architectural Physical characteristics of infants: the large head, the high and protruding forehead, the large eyes, the chubby cheeks, the small nose and tiny mouth, short and thick extremities and a plump body shape, provide a readily accessible set of criteria for establishing a concept of cute (Lorenz). While developed out of the attributes of infants, the reading of these physical proportions extends beyond babies to the old and the inanimate. Cuteness is as a tool for investigating proportional relationships of mass, aesthetics, and functionality. Furthermore, it is a means of responding to the abjection of aging through an architectural agenda.

SHARED SPACE

HOSPICE BEDROOM

ASST. BEDROOM

The classical use of the word Kawaii, now come to mean cute, signified pathetic or pitiful. “The fragile self-image of the “cute, innocent I” combines the two meanings of the word Kawaii taking on its classical usage signifying “pathetic” (Murakami 212). Kawaii (cute) culture exploded after the dropping of the bombs on Hiroshima, seemingly as a way to deal with the trauma of losing some 370 thousand lives. Samurai warriors were replaced with winking kitty logos and police officers were required to wear hello kitty wristbands as punishment for misconduct. Japan rebranded every aspect of their culture, including the explanation of the bombing and the traumatic events that followed to take on an image of cute. While the elderly are in constant denial of impending death, Japanese seek to deny the incomprehensible death in its history.“With a population heedless of the cost of embracing immaturity, the nation is in the throes of a dilemma; a preoccupation with anti-aging may conquer not only the human heart, but also the body (Murakami 100).” Cuteness is proven capable of softening traumatic situations into digestible material. Cuteness can be leveraged to invert our social and cultural views of old age and the end of ones life. While functioning as a mechanism to soften the trauma of aging (inwardly), cuteness can create an interactive space between the people that are aging, and the young that fear it.

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Long section Walkthrough

BEDROOM

O R C A

S P R I N G S APARTMENT

-10

0 100'

GUPPY HT. +47

BEDROOM GALLERY FLR 2 +22

BEDROOM

LIVING RM

BEDROOM

FLR 1 +11 BEDROOM KITCHEN

STREET +0 KITCHEN

KITCHEN SUB BEACH -8

GAME CENTER CABANA BEACH -30

G U P P Y APARTMENT 10

H A R B O R

CROSSOVER 30

GARDEN 50

SLOPE BOTTOM

GARDEN 70

0 200'

BEACHFRONT 30

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300'

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BROA D O B LIQ UE Fall 2014 Pratt Institute + SOM Critics Aybars Asci I Gary Haney The skyline of New York city is changing rapidly with the eruption of supertall skyscrapers along 57th street, overlooking central park. In an coordinating seminar, the studio analyzed these new towers along with towers around the world in terms of a long list of different factors, called â&#x20AC;&#x2DC;genesâ&#x20AC;&#x2122; that affect the efficiency of supertall buildings. This created a database of information to inform the design of our own skyscraper. These case study buildings were used as the point of departure for the design of a new skyscraper at 1775 Broadway. 432 Park uses a tube structure to create perfectly square plan with square windows and units. Mutating this structure to create a gradient in the facade as opposed to section, and optimizing the tube for slenderness, Broad Oblique creates from the efficient structure, a variety of spaces and units that is lacking in the design of many NYC skyscrapers.

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Rendering overlooking central park Section AA Elevation from central park Structural evolution

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215 WEST 57th

1500'

1400'

111 WEST 57th

1300'

1200'

1100'

157 WEST 57th

1000'

900'

800'

AVENUE of AMERICAS

7th AVE

avenue of americas

COLUMBUS CIRCLE

7th avenue

columbus circle 1.2

432 park

mutation

diagonalization

optimization

member sizing

tube structure

1.3

RET 355 AIL 0 sf LO 370 BBY 0 sf

CH A 200 NICA 0 sf L

RET 355 AIL 0 sf

RET 435 AIL 0 sf RET 355 AIL 0 sf

FITNESS CENTER 6000 sf

CAFE/BAR 8200 sf

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1.5

1.6

private terrace

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unit a: 1’ I 1/16” unit a mezzanine: 1’ I 1/1 unit b: 1’ I 1/16”

project / drawing description : Th describes the interaction betwee mezzanine level and the floor dir

mechanical

TYPICAL FLOO

student : Julia Markey instructor : Gary Haney & Ay

Arch 403 Fall 2014 Pratt Institute + SO

cafe/bar subway entry

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unit a: 1’ I 1/16” unit a mezzanine: 1’ I 1/16“ unit b: 1’ I 1/16”

project / drawing description : This series of plans describes the interaction between a lower floor with a mezzanine level and the floor directly one above.

TYPICAL FLOOR PLANS student : Julia Markey instructor : Gary Haney & Aybars Asci

Arch 403 Fall 2014 Pratt Institute + SOM

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residential entrance

project / drawing description : S perspective, this set of drawing tower transforms to meet the gr

retail

perspective of base ground floor, 1’ I 1/16” third floor, 1’ I 1/16”

BASE

outdoor terrace

student : Julia Markey instructor : Gary Haney & A

Arch 403 Fall 2014 Pratt Institute + S

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1.8

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Second floor plan Typical lower floor plan Typical upper floor plan Tower base diagram Study Model (foam core) Exterior rendering

1.9

CO LUM B IA B OATH O US E with Artemis Theodorou Pratt Institute Critic Brian Ripel Designed for use by the Columbia crew team, Lifted Shed Boathouse challenges traditional ideas of structure and proposes structure as asthetic in order to achieve a seemingly impossible building feat. A series of slim members with frequent repetition are supported by contrasting massive concrete walls that act as both a strutural and programmatic organizational strategy. The initial intent was to capture two opposing ideas, one of being grounded in the landscape and one of lifting off from the earth. This idea is also carried out through the treatment of water. The roof collects rainwater which is then distributed through the building,

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Site plan Boat shed rendering

2.1

(a) shear walls and steel beams

(b) primary wood members

2.3

HIGHEST LEVEL + 38 ft

THIRD LEVEL +24.5 ft

(d) roof and wall facade SECOND LEVEL +16 ft

2.2

GROUND FLOOR 0 ft

2.2 2.3 2.4 2.5

Structural diagram Aerial rendering Ground level rendering Cross section

2.4

rainwater collection cistern

Kraft Stadium | Baker Feild Area

2.5

2.6 Second floor plan (1) (2) (3) (4)

entry locker rooms boat shed boat launch

2.7 Third floor plan

(5) (6) (7) (8)

classroom lecture hall staff lounge offices

13 3 14 4 6

11 12

15 16 17 20 18

21 22

23 24

27 28 29 30 31 32 33

1 Glu-Lam Beam 2 Steel Plate 3 Wooden Step 4 Wooden Seat 5 Igu 6 Epdm Roof Membrane 7 Plywood 8 Insulation 9 Plywood 10 Steel Head 11 Metal Channel 12 Igu 13 Handrail 14 Glu-Lam/Steel Hybrid Beam 15 Steel Plate Colulmn 16 Paint Finish 17 Gypsum Board 18 Insulation

19 Concrete Masonry Wall 20 G-Sky Standard Green Wall Panel 21 G-Sky Ss Frame 22 3/8â&#x20AC;? Wedge Anchor 23 Drip Irrigation Line 24 Insulation 25 Steel Connection 26 Air Distribution Grill 27 Glu-Lam/Steel Hybrid Beam 28 Plywood 29 Insulation 30 Plywood 31 Raised Floor Pedastals 32 Floor Panel 33 Gym Rubber Flooring 34 Header 35 Glu-Lam/Steel Hybrid Beam 36 Concrete Footing

2.8

Circulation Vertical

Vehicular Pedestrian

circulation

Program vertical OfďŹ ces CONDITIONED

Community (Lobby/Lounge) Educational Training

Boatshed UNCONDITIONED

2.9

program dist

2.10

offices

2.8 2.9 2.10

Detailed wall section Circulation and program diagram Study models

com (lob

conditioned

D O R M ITO R I UM Grand Ave. Brooklyn, NY Pratt Institute Critic Lawrence Zeroth Designed as an addition to Pratt Instituteâ&#x20AC;&#x2122;s existing campus, Dormitorium fills the need for both graduate housing and a performance space for the college. The lower third of the building is dedicated to a glass box auditorium that acts as a funnel to first gather all the students as they enter, then disperse them to their rooms. while allowing open interaction with those using the space as a hang out area to interact as well as a place to perform, witness, engage, support. Dormitorium houses 110 people and consists of mostly double rooms and some single room options. (a) Lift housing progarm

(b) Insert glass box auditorium

3.0

3.1

3.0 3.1 3.2 3.3

Entry rendering Programmatic diagram Final model (basswood, plexi) Sectional rendering

3.2

frontal sectional perspective

rear sectional perspective

3.3

UP SECURITY -4.5

DN UPPER GARDEN

-4.5

UP DN DN

-4.5

UP DN 0

3.4

3.5

3.4 3.5

Second floor plan Short section west

-4.5

UP DN 0

3.6

3.7

3.6 3.7

Fourth floor plan Short section east

T HE M A R KETS

at Ch i n at ow n L ibra r y

Grand and Chrystie St. New York, NY Pratt Institute Critic Greg Merryweather

RYS T

IE S

Located at the corner of Grand and Chrystie Street on the edge of Chinatown in New York City, The Markets at Chinatown Library seeks to mediate between the highly urban setting and the cultural demands of a library. Characteristic of the surrounding neighborhood, the markets are allowed to bleed into the building site. The ground floor serves as an open-air fresh and prepared food market. The clash of these two programs, library and market, brings an energy to the space that is atypical of other library sites.

4.0

4.1

4.0 4.1 4.2

Site aerial Final model (basswood) Exterior rendering

4.2

1. Existing site I Street Markets 1. Existing site I Street Markets (a) existing street markets 1. Existing I Street Markets 1. Existing site I Street site Markets

2. Lift I Insert new market 2. Lift library I Insert newlibrary market

(b) lift building for market

Lift library Insert new market 2. Lift library2.I Insert newI market

STUDY MODEL

I Externalize program 3. Centralize books3.I Centralize Externalizebooks program Centralize books I program Externalize program 3. Centralize3.books I Externalize

Position theater 4. Position theater 4. above I View out above I View out 4. Position theater 4. Position theater above I Viewabove out I View out

(d) position theater above for views out

4.3

ces administrativeoffi offices

4.3 4.4 4.5

Programmatic diagram Section rendering Plan series

main stacks circulation/reading cubbies main stacks circulation/reading cubbies/special sections

4.4

PLAN ground floor PLAN ground floor

1. ground floor plan

PLAN first floor PLAN ground floor PLAN ground floor

PLAN fourth floor PLAN third floorPLAN third floor

PLAN ground floor PLAN first floor PLAN first floor

PLAN second floor first floor floor PLAN third floorPLAN PLANfirst third floor

PLAN third floor secondfloor floor PLAN PLAN fourth PLANsecond fourth floor floor

PLAN fifth floor PLAN fourth floor PLAN fourth floor

PLAN fifth floor PLAN fifth floor

3. thrird floor plan

5. fifth floor plan

PLAN first floor PLAN second floor PLAN second floor

2. second floor plan

PLAN fourth floor PLAN fifth floor PLAN fifth floor

4. fourth floor plan

6. sixth floor plan 4.5

LA N D ATTR AC T Spring 2012 Pratt Institute Critic Ezio Blasetti Land Attract Kindergarten explores the opportunities that arise when one introduces a point of attraction to an initially linear line. Looking at Rem Koolhausâ&#x20AC;&#x2122; Park Villette as a precedent, I took the notion of dividing the land into strips in order to integrate program and introduced attraction points and a â&#x20AC;&#x2DC;zâ&#x20AC;&#x2122; direction to deal with the slope of the site. The points are placed on the landscape and manipulate the existing landscape to blend a kindergarten with a new constructed landscape. This approach to the development of the kindergarten encourages the scientific study of land but also transforms the classroom into a place of wonder to let immagination run free and enter another world.

5.0

5.0 5.1

Parc la Villette diagram Catalog

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0.2 0.2 0.2, 0.03 0.03 0.03, 0.5 0.5 0 0.2 0.2 0.2, 0.3 0.3 0.3, 0.05 0.05 0.0 0.02 0.02 0.02, 0.3 0.3 0.3, 0.5 0.5 0 0.2 0.2 0.02, 0.3 0.3 0.03, 0.5 0.5 0.0 0.5 0.3 0.2, 0.2 0.2 0.2, 0.3 0.3 0.3 0.5 0.5 0.05, 0.3 0.3 0.03, 0.2 0.2 0.0 0.2 0.2 0.2, 0.2 0.3 0.3, 0.2 0.5 0.5 0.5 0.5 0.5, 0.2 0.2 0.2, 03 0.3 0.3 0.3 0.3 0.3, 0.2 0.2 0.2, 0.5 0.5 0.5 0.3 0.3 0.3, 0.02 0.02 0.02, 0.5 0.5 0 0.2 0.2 .02, 0.3 0.3 .03, 0.5 0.5 .05 0.02 .02 .02, .03 .03 .03, 0.5 0.5 0.5 0.2 0.2 0.2, .03 .03 .03, .05 .05 .05 0.02 0.2 0.5, .03 0.3 0.5, .05 0.5 0.5

project / drawing description : This catalogs m in the possiblilites that one script could offer i generating curves. Through this series I was observe the immense ammount of variety tha achieved through the manipulation of the var

initial catalog student : Julia Markey instructors : Ezio Blasetti

#.12

#.13

Design II 2012 Pratt Institute

#.14

5.1

5.2 5.3 5.4 5.5 5.6

Front section Roof plan Second floor plan First floor plan Gestural renderings

5.2

shows rs wing " l 1' t dra contou rs 1/8 l 1' e firs at es the : Th contou w 1/8" tion ten tak ts them #.0 top vie g descrip dergar collec for Kin win and ape #.1 apes landsc t / dra ich the projec y in wh g landsc a new the wathe existin to create from c points ming. far cifi spe g and learnin

plan

rkey lia Ma setti nt : Ju io Bla stude ctor : Ez te instru 0 Institu 202.1 Pratt Arch g 2012 Sprin

5.3 #.1

5.4

5.5

5.6

1 1 TO TO 1 1

Work done outside of the traditional architectural design studio that explores the process of making using new tools and techniques and a close relationship to the physical materials.

Inverting Depths Julia Markey

Digital Crafting Critic Ronnie Parsons Pratt Institute, Spring 2012

I N VER TED D EP TH S Spring 2012 Digital Crafting I Pratt Institute Critic Ronnie Parsons Unknown, Crochet Blanket

(a) Single Toshiko Horiuchi, Crochet Playground

Inverted Depths is a physical exploration of the translation of techniques employed in traditional forms of â&#x20AC;&#x2DC;craftingâ&#x20AC;&#x2122; to the available mechanical technologies of today. This study first began with diagramming the motions of crochet and using the different physical stitches to create a vocabulary within a parametric model to drive the mechanical extension of the hand, the CNC mill. The CNC milling process makes 1. Plain Crochet possible the realization of complex three dimensional designs with extreme changes in depths. This piece specifically focuses of the optical illusion produced from convex and concave extrusions. Unknown, Crochet Blanket

crochet stitch

Toshiko Horiuchi, Crochet Playground

Ruy Klein, Matters of Sensation

1+2

1+2 2. Simple Crochet

(b) curve translation 2+3

2. Simple Crochet

1. Plain Crochet

3. Crochet Fringe

2+2

2+3 1+3

(d) varying density aggregation

3. Crochet Fringe

(0) rotate around large circle end

2+2

1+3

(1) rotate around large circle corner

6.0 (2) rotate around small circle end

(3) rotate around small circle corner

(e) varying density distribution 3

6.1

6.0 6.1 6.2 6.3

Horizontal roughing Parallel finishing Path development Milling process

6.2

DECREASING DENSITY OF ST

MILLING PROCESS

(g) Final Piece

rotate around

final piece

large circle end

rotate around

(f) Parallel Finishing

large circle corn

parallel finishing

rotate around

small circle end

(e) Horizontal Roughing

horizontal roughing

rotate around

small circle corn

1. (d) Inverted Mesh

inverted mesh

engraved mesh

(b) Vee-Mill Engraving

2. vee-mill engraving

(a) Initial Curves

initial curves

6.3

JEWELRY M ETALWORK Spring 2015 Jewelry I / Pratt Institute Critic Mary Beth Rozkewicz In my final semester, I wanted to take the time to explore how the past four and a half years of architectural design studies could be applied to a different artform, something more tactile. There is a new design element added when working with metal, since many times you canâ&#x20AC;&#x2122;t plan exactly what the final piece will be from the start but rather have to adapt and get inspired as you work on the piece and respond to the way that the metal reacts. The cuff (right) is hand sawed from a single piece of nickel. The ring (below) is sterling silver, brass, and jasper stone.

7.0

6.2

7.0 7.1

Bezel set ring Nickel pierced cuff

MOB I L E CHICKEN COOP Perrysburg, New York +FARM design/build Summer 2011 Designed in collaboration with the +FARM team and students from Pratt and RISD, Mobile Chicken Coop was made for use at the Three Sisters Farm. Unlike most architectural endeavors, our design studio, woodshop, and sleeping quarters were all located on site of where the final chicken coop would occupy. This fully submersive approach to design provided new insight into the architectural building process. The project, from initial design phase to the final build piece, was complete in in just one week. The coop houses 6-12 chickens and allows access to the eggs from the outside.

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8.1

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Chicken usage Coop within farm site

S PO N TA N EO US I N TERVEN T IONS Program: US Pavilion for the 2012 Venice Biennale Status: Completed Exhibition Design: Freecell Contribution: Fabrication From Freecell: The US Pavilion at the 2012 Venice Architecture Biennale, curated by Cathy Lang Ho, features an installation rather than a conventional exhibition of projects. It consists of a lively system of banners to present a collection of 124 actionable strategies aimed at bringing immediate improvements to the urban public realm. Freecell collaborated closely with communication design studio M-A-D, led by Erik Adigard and Patricia McShane, to design an enveloping environment that puts Spontaneous Interventions in a broader historical and cultural context. Freecell designed a kinetic system, employing banners, counterweights, and pulleys, in which the viewer needs to reach to pull information from the sky.

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Closeup of pulley system Installation final photos

9.1

PROFESSIONAL PROFESSIONAL

Work completed in a professional setting for projects at a wide range of scale including installation, residential, and office.

EXISTING BRICK WALL CONSTRUCTION

ALUMINUM TRIM

MITERED CERAMITEX Location: 107-40 Queens Blvd, Queens NY Program: Multi-unit Residential Renovation RIGID INSULATION Status: In Construction CERAMITEX WALL CONSTRUCTION Architect: C3D Architecture Contribution: Fabrication

MITERED CERAMITEX

RIGID INSULATION CERAMITEX WALL CONSTRUCTION

ATTACHMENT CLIP

ALUMINUM CLOSURE TRIM BLUESKIN

Lane Towers, located in Queens, NY is currently undergoing renovation led by C3D architecture for developers, ABC Properties. The scope of the project included the renovation of the exterior, lobby, EXIST WINDOW and apartments. C3D designed an updated entry using highly durable yet lightweight gray Ceramitex panels as well as new planters, entry doors, and awning. The lobby renovation proposes to restore the modernist black andBLUESKIN white marble features EXISTING CEMENT WALL and add wood paneling to warm the space.The ALUMINUM CLOSURE TRIM 9" apartment units were updated and converted into 1,2, & 3 bedroom apartments with Hickory wood flooring, Italian cabinetry, and clean lines throughout.

ALUMINUM CLOSURE TRIM BLUESKIN

ATTACHMENT CLIP

EXISTING WALL CONSTRUCTION

EXIST WINDOW

PLAN DETAIL

3"=1'-0"

BLUESKIN EXISTING CEMENT WALL ALUMINUM CLOSURE TRIM

1'-10 1/8"

EXISTING CONCRETE COLUMN

CERAMITEX WALL CONSTRUCTION

PLAN 1/4"=1'-0"

2'-9 1/4"

CERAMITEX WALL CONSTRUCTION

3 1/2"

L AN E TO WER S

MITERED CERAMITEX

CIRRUS WALL GRAZER

PLAN DETAIL

EXISTING DECORATIVE WALL TILE

3"=1'-0"

1" TEMPERED LOW-E GLASS INSULATING UNIT

1'-6" 1'-9 3/4"

6'-4 3/

7/8"

2 1/4"

10.1 4 5/8"

10.0 10.1 10.2 10.3

BLUESKIN MITERED CERAMITEX

4 5/8"

BLUESKIN MITERED CERAMITEX

CERAMITEX WALL CONSTRUCTION

STEEL FLASHING

Lobby rendering Exterior Ceramic Cladding Section WALL SECTION Exterior Rendering 1 3/4"=1'-0" Exterior Elevation

1 A-201

9'-2 1/2"

2 10.2

1'-6"

10'-2 1

WALL SECTION

3/4"=1'-0"

GRAZING FIXTUR 3"=1'-0"

ELEVATION 1/4"=1'-0"

1/4"

4'-1 1/4"

10.3

2 A-204

7'-6 1/2"

1'-9 3/4" 1'-6" 1'-9 3/4"

7'-0 1/2"

2'-4"

9'-5 3/4"

1'-9 3/4"

1'-9 3/4"1'-10 1/2"1'-9 3/4"

6'-1 1/2"

3'-2 3/8"

3'-4 1/8"

3'-2 3/8"

2'-9 3/4"

11'-4"

1'-6"

6'-3"

1'-7" 39'-5 1/2"

1'-9 3/4" 1'-10 1/2"

5'-3"

2'-4 3/4"

1'-6 7/8"

10'-10"

2'-4"

9'-11"

2'-7 1/2"

7 A-204

1'-6"

6'-4 3/4"

1'-10"

1'-4 1/2"

1'-10 1/2"

9'-7 1/4" 1'-10 1/2"

6'-10"

7'-3 3/4"

4'-8" 7'-3 1/2"

1'-10 1/4"

1'-9 3/4"

2'-1 1/4"

4'-8 1/4"

1'-9 3/4" 1'-7" 1'-9 3/4"

10'-5 1/4"

2'-1 1/4"

1'-9 3/4" 1'-10 1/2" 1'-9 3/4"

2'-9 1/4"

5'-7 3/4"

4'-8"

1'-9 3/4" 1'-10 1/4" 1'-9 3/4"

1'-10 1/4"

7'-5"

1'-10 1/2"

1 A-204

1'-3" 1'-5 1/4"

/4"

1'-10 1/2"

10'-7 1/2"

1'-10 1/2"

26'-7 1/2"

10.4

BEDROOM

LIVING/DINING ROOM

BATH

KITCHEN

10.4 One Bedrom Apartment Layout

10.5 Interior Apartment Renderings

10.5

1 54 ATTO R N EY Program: Apartment Renovation Area: 500 sq ft. Status: In Construction Design Architect: Till

GLASS POCKET DOOR

5'-11 13/16" 1'-3 9/16"

The client, whose main residence is in Equador, came to us with the desire to have this Lower East Side studio apartment serve and feel like a luxury hotel suite for his occasional visits to NYC. In response to this desire, we packed all of the services into an operable ‘jewelry box’ that allows for them to be hidden away when not in use. The rest of the space is left open for sleeping and entertaining. Using the Boffi On/Off kitchen as a point of departure, the rest of the box is wrapped in the same material to appear as seamless as possible.

2'-9 3/16"

1'-11" TOTO NEOREST

BOFFI TOILET CABINET

VINYL TILES 17.7" X 17.7"

5'-2 1/4"

7'-11 1/4"

1'-5 11/16"

GLASS DIVIDER 2'-3"

3'-8 13/16"

STONE TLES 17.7" x 17.7" 2'-9"

3'-0"

5'-11 13/16"

SWITCHABLE GLASS 55" X 88"

1 A407

BOFFI WOOD PANEL

4'-6"

11 3/8"

BATHROOM PLAN

SCALE

PROJECT:

2'-0"

154 ATT RES.

154 ATTORNEY STREET #604 New York, NY 10002

11 3/8"

1/2" = 1' - 0"

DESIGN:

ARCHITECT OF RECORD:

EXPEDITER:

TILL INC. 49 ELIZABETH ST. FL.5 NEW YORK, NY 10013 Tel: 212 219 2192

CHARLOTTE DEWALD 559 WEST 141 STREET NEW YORK, NY 10031 Tel: 212 281 0402

J. CALLAHAN CONSULTING 299 BROADWAY MIRROR SUITE 1200 NEW YORK, NY 10007

3 1/2"

RESIDENTIAL

2'-0"

3 1/2"

2'-0"

1'-5 11/16"

9 1/8"

FIXED MIRROR

3 1/2"

9 1/8"

2'-6" 8'-0"

8'-0"

2'-6"

MIRROR LIGHT ROBERN

7'-0"

MED. CABINET ROBERN

5'-10 9/32"

2 3/4"

VOLA FAUCET MIRROR

3'-0"

BOFFI TOILET CABINET (CORIAN)

3'-0"

3'-6"

2'-1 1/2"

TOTO NEOREST

1'-4 1/16"

2'-9 1/4"

1'-10 1/2"

1'-8"

BATHROOM ELEVATION SCALE

1/2" = 1' - 0"

3'-6 1/4"

1'-4 7/8"

BATHROOM ELEVATION SCALE

1/2" = 1' - 0"

EXISTING WALL TO BE PAINTED BENJAMIN MOORE- VENETIAN MARBLE MATTE

2'-0"

9 1/8"

3 1/2"

2'-0"

3 1/2"

2'-0"

9 1/8" SHOWER HEAD

DESIGN:

ARCHITECT OF RECORD:

EXPEDITER:

154 ATT RES. FIXED MIRROR

TILL INC. 49 ELIZABETH ST. FL.5 NEW YORK, NY 10013 Tel: 212 219 2192

CHARLOTTE DEWALD 559 WEST 141 STREET NEW YORK, NY 10031 Tel: 212 281 0402

J. CALLAHAN CONSULTING 299 BROADWAY SUITE 1200 NEW YORK, NY 10007

154 ATTORNEY STREET #604 New York, NY 10002

3 1/2"

1'-5 11/16"

PROJECT: MIRROR

HANDHELD SHOWER HEAD

RESIDENTIAL

MIRROR LIGHT ROBERN

2'-6"

ROBERN MED. CABINET

8'-0"

2'-6"

2 3/4"

VOLA FAUCET 5'-10 9/32"

11.0

MIRROR

2'-1 1/2" BOFFI TOILET CABINET (CORIAN)

12" X 12" STONE TILE

SHOWER EDGE 3'-0"

3'-0"

3'-6"

BOFFI VANITY CABINET (CORIAN)

7'-0"

8'-0"

MED. CABINET ROBERN

TOTO NEOREST

1'-4 1/16"

11.0 11.1 11.2 11.3 11.4

2'-9 1/4"

1'-10 1/2"

1'-8"

Interior rendering open/closed Bathroom details BATHROOM ELEVATION 1 Construction plan Section A’A Section C’C

PROJECT:

154 ATT RES.

154 ATTORNEY STREET #604 New York, NY 10002

RESIDENTIAL

SCALE

1/2" = 1' - 0"

3'-6 1/4"

1'-4 7/8"

BATHROOM ELEVATION SCALE

1/2" = 1' - 0"

11.1

DESIGN:

ARCHITECT OF RECORD:

EXPEDITER:

COMMENT:

TILL INC. 49 ELIZABETH ST. FL.5 NEW YORK, NY 10013 Tel: 212 219 2192

CHARLOTTE DEWALD 559 WEST 141 STREET NEW YORK, NY 10031 Tel: 212 281 0402

J. CALLAHAN CONSULTING 299 BROADWAY SUITE 1200 NEW YORK, NY 10007

ISSUE DATE: 11 / 06 / 2015 SCALE:

BIDDING

1/2" = 1'

DRAWING TITLE: DETAILS BATHROOM

A-404.00

PROJECT:

154 ATT RES.

154 ATTORNEY STREET #604 New York, NY 10002

RESIDENTIAL

DESIGN

TILL INC 49 ELIZA NEW YO Tel: 212

C A201

D A201

7'-6 9/16"

2'-1 15/16"

1 A412

3'-2 9/16"

6'-0 1/8"

10"

3'-2 1/4"

SYMBOL LEGEND

11 7/16" 9 7/8" 1'-6 1/2"

3 5/8"

1 A300

DOOR TYPE TAG

00 A-00

ELEVATION TAG

2 A300

2 A302

DESCRIPTION PARTITION TYPE TAG

7'-6"

11'-2 3/4"

10'-11 1/4"

TYPE/SYMBOL

WALL TYPE SCHEDULE 2 A300

TYPE 1

6'-4 13/16"

2'-10 1/2"

10'-8 1/2"

3'-3 1/4"

EXISITING WALL

1 A407

4'-7 1/8"

3'-0"

8'-2 3/4"

1 A-302

WALL HOOKS

7'-0 1/4"

3" 1'-0"

3'-3 1/4"

7 3/4"

9 1/4"

5" 1'-7 1/2"

5'-11 3/4"

2'-2 3/4"

2'-4 1/4"

5'-8 3/4"

1'-4 1/2"

1 A409

3'-0"

TYPE 3 NEW TYP. INTERIOR PARTITION PLUMBING

1'-4 1/4"

1 A411

11.2

CONSTRUCTION PLAN SCALE

G.W.B

312" METAL STUD

5'-8 3/4"

3'-9 1/8"

5'-11 13/16"

NEW TYP. INTERIOR PARTITION

1'-8 1/4"

4'-11 1/4"

1 A403

B A200

5'-3 3/16"

A A200

TYPE 2

3 A-408

1/4" = 1' - 0"

1' 5'

PROJECT:

1'-7 1/2"

PLENUM EXISTING WALL

TO BE PAINTED 154 ATT RES. 154 ATTORNEY STREET #604 New York, NY 10002

EXISTING DOOR TO BE PAINTED

GLASS POCKET DOOR

DESIGN:

ARCHITECT OF RECORD:

EXPEDITER:

TILL INC. 49 ELIZABETH ST. FL.5 NEW YORK, NY 10013 Tel: 212 219 2192

CHARLOTTE DEWALD 559 WEST 141 STREET NEW YORK, NY 10031 Tel: 212 281 0402

J. CALLAHAN CONSULTING 299 BROADWAY SUITE 1200 NEW YORK, NY 10007

FIXED MIRROR 3/4" WOOD PANEL CLOSET DOORS MIRROR LIGHTS

RESIDENTIAL

MED. CABINET ROBERN

ENTRY NICHE 7'-0"

8'-7 1/2"

SUPPLIED BY BOFFI

FIXED MIRROR BOFFI TOILET CABINET (CORIAN)

4" WOOD SHELVES

TOTO NEOREST

3'-3 1/4"

1'-4"

5'-9 9/16"

6'-0 7/16"

5'-11 13/16"

2 A409

4 A411

1 A404

11.3

SECTION B'B SCALE

1/4" = 1' - 0"

1 A402

10'-11 1/4"

EXISTING WALL TO BE PAINTED BENJAMIN MOORE #2114-70

3'-5 1/2"

4'-11 15/16"

3/4" WOOD FASCIA PLENUM

SHADE

CUSTOM CLOSET

EXISTING WINDOW 5'-7 1/2"

FULL LENGTH MIRROR

8'-7 1/2"

ST. GERMAINE CLOSET BY BOFFI SUPPLIED BY BOFFI

SUPPLIED BY BOFFI

2'-0 3/4" 11 1/4"

BUILT-IN UNIT

KNEE WALL

10" 1'-6 3/8"

9'-4"

SECTION C'C SCALE

2'-5 15/16" 1'-0 7/16"

2'-7 1/2"

2'-2 1/16"

10"

4 A408

5 A412

1/4" = 1' - 0"

11.4

COMMENT:

BIDDING

ISSUE DATE: 11 / 06 / 2015 SCALE:

1/4" = 1'

DRAWING TITLE: CONSTRUCTION PLAN

A-100.00

CH ILD R EN O F TH E CA R NIVA L Program: Fashion Presentation Status: Completed Design Architect: Till Contribution: Design and fabrication

DEATH IN VENICE SCENE - LINE UP OF IDENTICAL CABANAS PORTRAY A BOUNDARY AND DEFINE SPACE Fashion designer, Thaddeus O’neil designs luxury playware taking inspiration from surf culture and so called ‘hobos of the sea’. For the presentation of his Spring collection, Till was hired to design and build the set. Inspired by beach huts in Death in Venice, a chinatown warehouse space transformed into a series of beach follies that occured around the repetitive pink striped beach huts. The huts were constructed out of construction grade plywood and hand painted and assembled.

11.5

TILL INC.

11.6 10.5 10.6

Still from Death in Venice Photos from the presentation

BAS ED IN Location: 49 Elizabeth St, NY NY Program: Office Renovation Status: Complete Architect: Till Contribution: Design-build Based In is a â&#x20AC;&#x153;curated working environment for creative entrepreneursâ&#x20AC;?. Located in Chinatown, Till converted two floors of a warehouse into office and amenity spaces for not only our own firm, but a collection of creative individuals and other small offices. The space consists of three main work areas, private meeting rooms, bathrooms, telephone booths, kitchen, and lounge. Till approached the project holistically, from design to construction, through occupation.Every step was experienced hands on and taken as an opportunity to study the human scale of achitecture and office design.

11.7

11.8

11.9 11.7 11.8 11.9

Meeting Room Shared Space I Shared Space II

REF O R M A 1 80 Location: Reforma 180, Mexico City, Mexico Program: Meeting Room + Suite Status: Completed Design Architect: Till Contribution: Presentation drawings Located at the major intersection of Paseo de la Reforma and Insurgentes, Reforma 180 is one of a series of new high rises in the area. Till was responsible for the meeting room and suite to be used in conjunction with the helipad. The meeting room takes advantage of these rooftop views by cantilevering over the residential roof deck below, while the suite balances aboves as a perpendicular box, connected by a spiral staircase.

11.10

11.11

11.10 11.11 11.12 11.13

Exterior photo Interior photos Section perspecitve Meeting room plan

11.12

11.13

JULIA MARKEY 325 Franklin Ave Brooklyn, NY 11238 juliamarkey@gmail.com 734.255.2373