P
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architectural projects by peter hsi
RESUME / EDUCATION Pratt Institute, School of Architecture Brooklyn, NY Major: B.Arch Architecture minor: psychology Anticipated Date of Graduation: May/June 2018 Brewster High School Brewster, NY Graduated: June 2013 The Tech Center at Putnam/ Northern Westchester BOCES Yorktown Heights, NY Program: Architectural Designing and Modeling Graduated: June 2013 // Work Experience Digital Output Center ( pratt institute) Brookltn, NY Print Lab Technician 2016-current ErayCarbajo Brooklyn Navy Yard, NY Spring Intern 2017 De-Spec Inc. Chelsea, NY Winter and Summer Intern 2014-2017 Lee Yi Chung Architect & Engineer Keelung, Taiwan Summer Intern 2014 O’Brien & Gere Hawthorne, NY Summer Intern 2013
/// SOFTWARE SKILLS ADOBE SUITE Photoshop Illustrator InDesign
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ALGORITHMIC MODELING Grasshopper3D ////// AUTODESK AutoCAD Revit 3Ds Max
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CHAOS GROUP VRay Render
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McNEEL Rhinoceros 5
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MICROSOFT OFFICE Word PowerPoint
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NEXT LIMIT Maxwell Render ///////// VIRTURAL REALITY Unity 3D ///////
Name Peter Hsi Birthday 06.24.1995 Contact 917-319-1288 phsi6213@gmail.com 200 Willoughby avenue unit 59712 Brooklyn, NY 11205
table of contents
/
DESIGN
03 04 05 06 07 08 09 10
arch 402
world trade center performing art center
arch 401
los angeles co-lab housing
arch 302
columbia university boathouse
arch 301
pratt institute graduate housing
arch 202
bronx wave hill academy
arch 201
manhattan chinatown library
arch 102
pratt institute townhouse
arch 101
intro to architecture
// COMPETITION 01 CTBUH 02 sunbrella architizer 03 future // micro House
city acre inner skyline present living
///
INTERNSHIP 01 02
////
REPRESENTATION 01 arch 211 Rebrand, Redesign, Rethink 02 arch 112 Wu House 03 arch 111 Intro to represenatation 04 miscellaneous Software experiment
de-spec
taberna 97
eray-carbajo
senda verde
03 program performance type:
wtc performing art center collaborate:
crit: dan bucsescu
PAGE 6
program performance Project Discription: // as rem koolhaas’ delirious new york explained, each architecture in new york has a unique and personal statement. the project of performing art center is to not only showcase the performing arts, but also to express architecture as a performing art.
Architecturally
a programmatic design was used to achieve both the internal and external expression of the performance.
// delirious new york is a retroactive manifesto of new york because it was the only way to make any form of conclusion of new york city. the building is a manifestation of the ability to serve both as function and expression, it’s something that has not yet defined at the world trade center site.
Site: world trade center, new york WORLD TRADE CENTER. NEW YORK, NEW YORK scale: 1/64” =1’
PAGE 7
-30'-0"
-30'-0" DN
DN
+0'-0"
UP
DN
DN
UP +0'-0" UP
UP -30'-0"
-30'-0"
DN
DN -15'-0" +5'-9-1/4"
+15'-0"
-15'-0"
UP
UP -15'-0"
+0'-0"
-15'-0"
-15'-0"
+0'-0"
-15'-0"
-5'-1"
-9'-9" DN
-5'-1"
+0'-0"
-9'-9"
DN
DN
structure PAGE 8
+0'-0"
DN
circulation
PROCESS OPERATION // sharing of the fly tower derived from taipei performing art center. // exposing the theater spaces and the surrounding as part of circulation, forces people to move through and experience the architecture. // extend the fly tower to share the fly tower as more than a planer understanding but also a three dimensional sharing.
// create a beacon on sight as night as by both elevated the fly tower and free the ground plan to further signify the theater above.
// as a performing art center, architecture is exposing the programmatic spaces as the expression of an art piece, which transformed architecture into a piece of perfroming art.
southeast isometric
northwest isometric PAGE 9
ninth floor
ninth floor
E.L. 165'-0"
E.L. 165'-0"
eighth floor E.L. 150'-0"
seventh floor E.L. 135'-0"
sixth floor E.L. 120'-0"
fifth floor E.L. 105'-0"
fourth floor E.L. 90'-0"
third floor E.L. 75'-0"
second floor E.L. 60'-0"
eighth floor E.L. 150'-0"
ground floor E.L. 0'-0"
section aa’ scale 1/16”=1’
ninth floor E.L. 165'-0"
eighth floor E.L. 150'-0"
seventh floor E.L. 135'-0"
sixth floor E.L. 120'-0"
fifth floor E.L. 105'-0"
fourth floor E.L. 90'-0"
third floor E.L. 75'-0"
second floor E.L. 60'-0"
ground floor E.L. 0'-0"
PAGE 10
east elevation
ninth floor E.L. 165'-0"
1 WTC
2 WTC
eighth floor E.L. 150'-0"
seventh floor E.L. 135'-0"
sixth floor E.L. 120'-0"
fifth floor E.L. 105'-0"
fourth floor E.L. 90'-0"
third floor E.L. 75'-0"
second floor E.L. 60'-0"
ground floor E.L. 0'-0"
section bb’ scale 1/16”=1’
ninth floor E.L. 165'-0"
1 WTC
eighth floor E.L. 150'-0"
seventh floor E.L. 135'-0"
sixth floor E.L. 120'-0"
fifth floor E.L. 105'-0"
fourth floor E.L. 90'-0"
third floor E.L. 75'-0"
second floor E.L. 60'-0"
ground floor E.L. 0'-0"
south elevation
PAGE 11
PAGE 12
PAGE 13
04 swit[ch]ange house type:
la co-lab house collaborate:
crit: lawrence blough
PAGE 14
HOST V. GUEST SCHEDULE
SWIT[ch]ANGE house
ERRANDS
RELAXING
23:00 SLEEPING
22:00 WORKING
21:00
Project Discription: In this new age we live in, the concept of sharing has transformed in a way that contradicts everything we were taught as a kid.
COOKING
20:00 EATING
19:00 SOCIALIZING
18:00
One of the most drastic change comes
17:00 16:00
from the concept of home sharing, the idea was to bring strangers into your house for a
15:00 14:00
temporary stay. However, regardless of the idea being changed, the architecture stayed the
13:00 12:00
same. As Mies van der Rohe once said “architecture is the will of an epoch translated into
11:00
space.” how do we begin to translate our understanding of human behavior and relationship
10:00
of this modern ideolody into architecture.
One o the mot important phenomenons after
08:00
being in the same space with someone is that your schedule changes based on the person
06:00
09:00
07:00
05:00
you’re living with; and there lies the essence of the design. Space and time are always in flux, in
04:00 03:00
science and in human behavior, maybe it’s time for architecture to react accordingly.
02:00 01:00 00:00
HOST
GUEST
CATALOG:
DIVIDER
EXTENSION
THRESHOLD
FURNITURE
RAILING
Site: Venice Beach, Los Angeles. PAGE 15
SWIT[CH]ANGE HOUSE PETER HSI
PAGE 16
SWIT[ch]ANGE HOUSE SCHEDULED LIVING I decide to focus on the schedule of the occupants’ activities, but also understand the flexibility of human behavior. The project is called SWIT[ch]ANGE House, meaning, the house itself switches with the activities in and out. SWIT[ch]ANGE House focuses on three aspects of adaptability, daily, monthly, and yearly. Daily switches comes from both occupants day-in-life schedule and when you have two different usergroups E.L. 20’-0”
with different schedules that different parts of the house is being activated. Monthly switches comes dealt with a larger scale of changes, the E.L. 10’-0”
neighborhood, the house turned into a event gathering space. Finally, the yealy switches understands the process of life, we eventually grow larger in size or grow out of the house.
SECTION BB’ SCALE: 1/4” = 1’
E.L. 20’-0”
E.L. 10’-0”
SOUTH ELEVATION
SCALE: 1/4” = 1’
E.L. 20’-0”
E.L. 10’-0”
WEST ELEVATION
SCALE: 1/4” = 1’
PAGE 17
N
01. 02. 03. 04. 05. 06. 07. 08. 09.
N
LIVING ROOM KITCHEN DINNING BEDROOM 1 BEDROOM 2 BEDROOM 3 GARAGE PARKING ACTIVITY
01. 02. 03. 04. 05. 06. 07. 08. 09.
LIVING ROOM KITCHEN DINNING BEDROOM 1 BEDROOM 2 BEDROOM 3 GARAGE PARKING ACTIVITY
04 DN
UP
06
02
B
B’
B
B’
01 07
07 05
A
A’
09
08
A’
09
FIRST FLOOR PLAN
SCALE: 1/8” = 1’
PAGE 18
A
08
SECOND FLOOR PLAN
SCALE: 1/8” = 1’
E.L. 20’-0”
E.L. 10’-0”
SECTION AA’ SCALE: 1/4” = 1’
E.L. 20’-0”
E.L. 10’-0”
SECTION BB’ SCALE: 1/4” = 1’
PAGE 19
PAGE 20
PAGE 21
05 history of syncopation type:
columbia university boathouse collaborate:
crit: sal tranchina kaanur papo
PAGE 22
syncopation Project Discription: Columbia Boathouse located at the edge of the Manhattan island, Spuyten Duyvil Creek. Locating at the entrance of the creek, the architecture is constantly under the influence of the natural environment, and the development of buildings of Columbia sports department. The Nature Development is to take the two forces onsite and create an architecture celebrates the combination of the site and the building. We decide to use the tectonic of sticks instead of planer walls to further develop the building that changes with the landmass, sunlight, windflow, and other environmental factors.
Site: Manhattan, NY via. Google image & Photoshop PAGE 23
BELOWGROUND GRID & TECTONIC The columns in the floorplan has a constant rhythm that helps the occupants to understand their location while underground. The programs are not to be limited within the grid from the columns but use the tectonic of sticks to blur the line of the programs. The idea of Syncopation is to break away from the rhythm step by step. The columns create an invisible grid that later define the perimeter of each program, but with the use of the sticks, we are able to move away from the grid and the boundary of the program, and into a stage where the entire floorplan feel like one room.
COLUMBIA BOATHOUSE
SAL TRANCHINA
PETER HSI // KAANUR PAPO
SP//16
SCALE: 1/8” = 1’
KITCHENETTE
LOCKER ROOM
CLASSROOM VIDEO ROOM/LOUNGE
COACH OPEN OFFICE
STAFF OPEN OFFICE
0’-0” F.L.
LOBBY / RECEPTION
2’-0” F.L. MACHINE ROOM INDIVIDUAL OFFICE
4’-0” F.L.
6’-0” F.L.
LOCKER ROOM
0’-0” F.L.
PAGE 24
COLUMBIA BOATHOUSE
SAL TRANCHINA
PETER HSI // KAANUR PAPO
SP//16
SCALE: 1/8” = 1’
E852 E657 E658 E852 E852 E657 E658 E852 E852 E657 E658 E852
GYM
E852 E657 E658 E852 E852 E657 E658 E852
E852
E852
E658 E657
E657 E658
E852
E852
E852 E852
E658 E657
E657 E658
E852
E852
E852 E852
E658
EL EV .
E657
E852 E657 E658
E852
E852
E658 E657
E852
E852
E658 E657
E852
E852
E658 E657
E852
ERG TRAINING ROOM
E852
E658 E657
E852
E852
E658 E657
E852
ABOVEGROUND GRID & TECTONIC Once the occupant
travel through the underground to the aboveground space, the concept of syncopation swifted the focus
from blurring the edges of the program to finding the edge of the encolsure. The tectonic of the exterior has became a device of reaching the surrounding environment and create an undefinable enclosure that breaks away from the traditional roof system and solves the problem of the sunshading, waterproofing, and wind resistance.
PAGE 25
PAGE 26
COLUMBIA BOATHOUSE
SAL TRANCHINA
PETER HSI // KAANUR PAPO
SP//16
SCALE: 1/8” = 1’
COLUMBIA BOATHOUSE
SAL TRANCHINA
PETER HSI // KAANUR PAPO
SP//16
SCALE: 1/8” = 1’
PAGE 27
COLUMBIA BOATHOUSE
PAGE 28
SAL TRANCHINA
PETER HSI // KAANUR PAPO
SP//16
SCALE: 1/8” = 1’
PAGE 29
COLUMBIA BOATHOUSE
SAL TRANCHINA
PETER HSI // KAANUR PAPO
SP//16
SCALE: 1/2” = 1’
SEALED DOUBLE ACRYLIC DRAFT SEAL VINYL THERMAL BREAK EXTRUDED ALUMINUM RETAINING FRAME CONDENSATION GUTTER EXTRUDED ALUMINUM CURB FRAME INSULATION CONCRETE
12" CONCRETE 1/16" WATER PROOFING BARRIER 2" SPRAY INSULATION 1" DRAINAGE LAYER
E833 E806
E806
E817 E818
E829
E602
UNDERGROUND CONSTRUCTION PROCESS The use of the tectonics are not only as an conceptual device, but also as a construction method. Starting to fill the current flatland with landmass and does the traditional means of excavation to open the pit, second we use the tectonic sticks as the structure integrety to hold the foam as a surface to fill the concrete for the above enclosure, and eventually melting off the foam after the concrete has cured and the sticks will remine as an structural support for the concrete.
PAGE 30
COLUMBIA BOATHOUSE
SAL TRANCHINA
PETER HSI // KAANUR PAPO
SP//16
SCALE: 1/2” = 1’
5/8" GYPSUM 5 LAYER MIN. CLT PANEL 4" ACOUSTICAL INSULATION, FILL CAVITY CEILING SUSPENSION SYSTEM 5/8" TYPE X GYPSUM WALL BOARD
ABOVEGROUND CONSTRUCTION PROCESS The stick tectonics are used as a structural integrity of the roof. We started with the spacetruss, a regular nonshifted grid, we then exploited the concept of syncopation that changes the grid and shifted the spacetruss to accommodated to the environment. Using the polycarbonate are a material for the transparency and its flexibility to fit onto the syncopated spacetruss. The spacetruss also move beyond the polycarbonate through the joints of the sticks and create more connections on the extended sticks as the device of sunshading.
PAGE 31
PAGE 32
PAGE 33
PAGE 34
PAGE 35
06 sponge//porosity type:
pratt institute graguate dormitory collaborate:
crit: andrew lyon ipek duru
PAGE 36
programmed space.
15 ’S ET BA CK
Project Discription: We consider the double loaded corridor not just as circulation but as usable, MY
10
’S
RT
LE
ET
GR AN DA VE NU E
30
%
RE
AR
YA
RD
sponge //porosity
BA
CK
AV
EN
UE
We believe that living in a community requires large, medium and small shared spaces. We’ve developed a response to the brief that takes the idea of a double loaded corridor and creates a hybrid between a sponge-like matte building and a traditional double loaded corridor. We expand the shared spaces throughout the building by using the sponge concept, and eventually connect to the exterior, also primary, shared spaces. We capture the opportunity the shared spaces contact the facade of the building, and able to create the porosity-like movement on the facade.
PRIMARY
VOID CONNECTION
SECONDARY
TERTIARY
DIRECT CIRCULATION
PUBLIC SPACES
SPREAD OF CIRCULATION
UNIT GRID
UNIT TYPES SINGLE DOUBLE QUADRUPLE PUBLIC
PUBLIC SPACE AND UNIT ORGANIZATION
Site: Broolyn, NY via. Google image & Photoshop SCHEMATIC DIAGRAMS
PETER HSI
SCALE: NTS
IPEK DURU
ANDREW LYON 12_11_2015
PAGE 37
TYPE 3
16'-0"
9'-0"
9'-0"
16'-0"
9'-0"
6'-0"
TYPE 3a
16'-0"
9'-0"
9'-0"
16'-0"
9'-0"
11'-2"
11'-2"
11'-2"
11'-2"
11'-2"
9'-0"
15'-4"
9'-0"
15'-4"
15'-4"
9'-0"
TYPE 2a
9'-0"
15'-4"
8'-0"
15'-4"
9'-0"
15'-4"
TYPE 2
8'-0"
6'-0"
9'-0"
15'-4"
TYPE 1
8'-0"
TYPE 1 ADA Unit
12'-6"
9'-0"
15'-4" 6'-0"
6'-0"
15'-4"
15'-4"
11'-2"
15'-4"
15'-4"
11'-2"
15'-4"
15'-4"
4'-0"
6'-0"
4'-0"
1'-6"
11'-9"
11'-2"
11'-2"
UNITS
PETER HSI
PROFESSOR ANDREW LYON
SCALE: 1/8" = 1'
IPEK DURU
12_11_2015
UNITS COMMUNAL & INDIVIDUAL Different type of units allowed the architecture to have the flexibility to show the porosity of the building; by using the number of beds in each apartment. Within each type of apartment, we decide to take advantage of the communal area (private) and combine with the communal area in the building (public). We were drawing the connection of the micro and macro scale from unit scale to building scale.
PAGE 38
UE ND AVEN
EE ARDS STR AINT EDW T
MYRTLE
AVENUE
PRATT FILM AND VIDEO BUILDING
MYRTLE HALL
B1 FLOOR
LOBBY FLOOR
HEYWAR D STREET
9
9
WILLOUGHBY HALL DORMITORY
Pratt Playground
8
8
SITE PLAN
PETER HSI
PROFESSOR ANDREW LYON
SCALE: 1/32" = 1'
IPEK DURU
12_11_2015
MAILROOM
7
7
6
6 E.L. 0'-0"
E.L. -12'-0" E.L. -2'-0"
E.L. -12'-0"
E.L. -9'-0"
SECURITY
5
5
E.L. -6'-0"
DRY LAUN ROOM
4
4 E.L. 1'-6"
E.L. 1'-0"
E.L. 0'-6"
E.L. 0'-0"
3 E.L. -12'-0"
PUBLIC THEATER SCREENING ROOM
E.L. -12'-0"
2
2
E.L. -3'-0"
E.L. -17'-0"
E.L. -15'-0"
FEMALE BATHOOM
MALE BATHROOM
MECHANICAL ROOM
E.L. -15'-0"
1
1
1'-6" DN
G
F
E
D
C
B
A
G
PLANS
PETER HSI
PROFESSOR ANDREW LYON
SCALE: 1/8" = 1'
IPEK DURU
12_11_2015
F
E
D
C
B
A
PAGE 39
ROOF E.L. 83'-0"
9TH FLOOR E.L. 74'-0"
8TH FLOOR E.L. 65'-0"
7TH FLOOR E.L. 56'-0"
6TH FLOOR E.L. 47'-0"
5TH FLOOR E.L. 38'-0"
4TH FLOOR E.L. 29'-0"
3RD FLOOR E.L. 20'-0"
2ND FLOOR E.L. 11'-0"
LOBBY FLOOR E.L. 0'-0"
OFFSET 2' E.L. -2'-0"
BASEMENT FLOOR E.L. -12'-0"
OFFSET 5' E.L. -17'-0"
SECTION AA’
PETER HSI
PROFESSOR ANDREW LYON
SCALE: 1/8" = 1'
IPEK DURU
12_11_2015
MAT BUILDING RESIDENTIAL & INSTITUTIONAL Dismantling and reframing programme and composition, mat-building envisaged architecture as a dynamic, flexible armature. As this project progessed, we decide to dedicate the building to film major students and begin to design the dorm as a mat-building that combines that function of dormitory and film experience functioning.
PAGE 40
3RD FLOOR
5TH FLOOR
9
8
8
7
7
6
6
5
5
IVA TE
SC
RE
B’
EN
ING
9
CR EE
NIN
G
PR
A
4
IVA TE S
4
PR
A’ 3
3
2
2
OUTDOOR PATIO
1
1
1'-6"
B
1'-6"
G
F
E
D
C
B
A
G
PLANS
PETER HSI
PROFESSOR ANDREW LYON
SCALE: 1/8" = 1'
IPEK DURU
12_11_2015
F
E
D
C
B
A
PAGE 41
ROOF E.L. 83'-0"
9TH FLOOR E.L. 74'-0"
8TH FLOOR E.L. 65'-0"
7TH FLOOR E.L. 56'-0"
6TH FLOOR E.L. 47'-0"
5TH FLOOR E.L. 38'-0"
4TH FLOOR E.L. 29'-0"
3RD FLOOR E.L. 20'-0"
2ND FLOOR E.L. 11'-0"
LOBBY FLOOR E.L. 0'-0"
OFFSET 2' E.L. -2'-0"
BASEMENT FLOOR E.L. -12'-0"
OFFSET 5' E.L. -17'-0"
SECTION BB’
PETER HSI
PROFESSOR ANDREW LYON
SCALE: 1/8" = 1'
IPEK DURU
12_11_2015
FILMING EXPERIENCE MAT-BUILDING The mat-building concept allowed the double loaded corridor as the display for films while the communal rooms are act as screening room, reception room, reading room, and as well as a filming studio.
PAGE 42
7TH FLOOR
8TH FLOOR
9
9
8
8
7
7
6
6
5
5
4
4
3
3
2
2
1
1
SEATING
BOOK SHELVES
1'-6"
G
F
E
D
C
1'-6"
B
A
PLANS SCALE: 1/8" = 1'
G
F
E
D
C
B
A
PROFESSOR ANDREW LYON IPEK DURU
12_11_2015
PAGE 43
GROWING MEDIA 6"
FILTER LAYER 1/16"
DRAINAGE LAYER 1"
PROTECTION FABRIC 1/16"
ROOT BARRIER 1/16"
INSULATION 4"
ROOF MEMBRANE 1/16"
CONCRETE
PERFORATED MESH EIGHTH FLOOR E.L. 47'-0"
GLASS SILICON THERMAL BREAK
STEEL FRAME
ALUMINUM SETTING BLOCK
CATWALK BASEBOARD WOODEN FINISHING WOODEN BLOCK 16"O.C. SEVENTH FLOOR E.L. 38'-0"
GLASS
SECOND FLOOR E.L. 11'-0"
GREEN WALL
BUILDING MASS FIRST FLOOR E.L. 0'-0"
PAGE 44
EXPLODED FACADE AXON
DETAIL SECTION
PETER HSI
PROFESSOR ANDREW LYON
PETER HSI
SCALE: 1" = 1'
IPEK DURU
SCALE: NTS 12_11_2015
IPEK DURU
FACADE POROSITY Facade is designed with the sense of scale change to achieve the idea of porosity. The perforated metal panels allows limited amount of sunlights to the interior, then using the rotation of the panels to truly allow sunlight to accommodate the interior needs. The openings on the facade relates directly to the scale of the units that has a one-to-one relationship in the verticality and begin the break the horizontal correlation.
PAGE 45
PAGE 46
PAGE 47
07 tree court pavilion type:
wave hill academy collaborate:
crit: anthony caradonna
PAGE 48
tree court pavilion Project Discription:
The project focused on using wood as the main structure, which leads to the beginning of the wooden studies. Starting with “Corner,
Frame and Array�, the objective was to simply find a narrative to connect two pieces of 1:2 ratio basswood sticks, and evolving into a framework, then finally a threshold. The narrative was to have an enclosed frame but also extend the framework to exterior and create an outdoor space, which also leads to the semi-open/close space.
Site: Bronx, NY via. Google image & Photoshop PAGE 49
FRAMES INDOOR & OUTDOOR The extension of the frame was able to create indoor and outdoor spaces that co-exists in one frame; and by combining two outdoor spaces from different framing, the third kind of space were able to achieve, the in between spaces.
CLOSURE SEMI CLOSURE
SEMI CLOSURE CLOSURE
INTERIOR LIGHT INTERVAL
LIGHT INTERVAL
LIGHT INTERVAL
EXTERIOR CLOSURE
SEMI CLOSURE
EXTERIOR INTERIOR W/ LIGHT INTERVAL LIGHT INTERVAL
CORNER
PAGE 50
EXTENSION
FRAME
ARRAY
EXTERIOR
GOOGLE Plan SITE1'=1/64" scale
Site Plan scale 1'=1/32"
ORIENTATION & GRID The orientation of the pavilion is aligned with the main attraction of Wave Hill Center, Glyndor Gallery, and with the proportion of the Glyndor Gallery creates the grid that was used for the pavilion academy.
PAGE 51
G’
H’
I’
TREE COURT PAVILION PETER HSI ANTHONY CARADONNA
9.
7.
CONTEXT 6.
SEMESTER Spring 2015 SITE Wave Hill, NY
6.
UP
9.
8.
F
F’
E
E’
7. UP
10.
6.
UP
1.
1.
D
D’
C
C’
2.
Legend 1. CLASSROOM 3.
3.
B
B’
2. LAB 3. LECTURE 4. GALLERY 5. ADMINISTRATION 6. COURTARD
5.
A
A’
7. STUDIO 8. UTILITY
Ground Plan scale 1'=1/8"
PAGE 52
Floor Plan scale 1'=1/8"
10. ENTRY
G
H
I
UP
9. RESIDENCE
Roof Plan scale 1'=1/8"
SECTION GG' scale 1'=1/4"
SECTION HH' scale 1'=1/4"
SECTION II' scale 1'=1/4"
PAGE 53
Cross Sections 5.
The
sections
are
the
10.
different
frameworks that allows the occupants to move through the pavilion and at the same time understanding the indoor spaces and their direct responding outdoor spaces.
As
shown
in
the
SECTION AA' scale 1'=1/4"
sections,
the
frameworks are two directions and using the extension of both extensions, the exterior pathway was able to exist without intruding into 4.
3.
the enclosed spaces.
SECTION BB' scale 1'=1/4"
1.
6.
4.
SECTION CC' scale 1'=1/4"
PAGE 54
1.
6.
2.
SECTION DD' scale 1'=1/4"
6.
10.
SECTION EE' scale 1'=1/4"
SECTION FF' scale 1'=1/4"
PAGE 55
08 multiple concentration type:
nyc chinatown library collaborate:
crit: fred levrat
PAGE 56
multiple concentration Project Discription: Based
on a personal interface to create a two word association that eventually
becoming the concept of the design.
New York City subway isn’t the most convenient place for cell phone services, but for me is good for gathering thoughts. Although there are hundreds of people walking by me, but none can make contact with me. Although I’m not alone, but yet I am.
Multiple Concentration vs. Distraction
The struggle of constantly defining Multiple Concentration and Distraction. The idea
was to have individuality with the group but not shut off to the public. One does not get distracted but still have enough social interaction with others.
Site: Manhattan, NY via. Google image & Photoshop PAGE 57
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PLAN CIRCULATIONAL PROGRAMMING C
The idea of the plan was constructed as very open floor plan with minimum partition walls to divide the spaces. The struggle of Multiple Concentration and Distraction lies in the dimensions of the pathways and programmatic spaces; the pathways were given a dimension that were able to fit two way direction traffic so the circulation won’t be stopped even with the occupants inhabiting the programmatic space.
A 60.00
B OPEN +0.00
TO BE
LOW +48.00
+60.00
4
2
1
3
D
6th Floor
C
C CPU
CPU
CPU
CPU
CPU
CPU
CPU
A
CPU
CPU
CPU
B OPEN +0.00
OPEN
TO BE
+0.00
LOW +24.00
TO BO
TTOM +12.00
4
2
1
4
2
1
3
2nd Floor
3
D
D
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CPU
A
B
3rd Floor
CPU
C
C
A
A
B
B OPEN +0.00
OPEN TO +0.00
TO BE
LOW
BELO W +36.00
+48.00
CPU
CPU
CPU
CPU
CPU
C
4
2
1
3
4th Floor
4
2
1
D
3
5th Floor
CPU
D
C STOR AGE
-18.00
A
A INFO RMAT ION D ESK
-17.00
CPU CPU CPU
-12.00 -16.00
-15.00
-14.00
B
B
Chrystie St.
LOBB Y +0.00
GIFT SHOP
-13.00
-12.00
Machine Room
D
D
4
2
1
Basement
3
4
2
1
3
Grand St. Lobby
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Chrystie Street Elevation
Grand Street Elevation
Section AA
Section BB PRATT INSTITUTE SCHOOL OF ARCHITECTURE
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ARCH 201 / FREDERIC LEVRAT // PETER HSI ///
PAGE 63
Multiple Concentration Multiple Concentration
Multiple Concentration is the idea of having open floor plan that, programmatically, the occupants will be in more than one space at the same time. One of the biggest challenge with this idea is to be able to distinctiguish the differences between multiple concentration and distraction. The plans are approached in a “circulational programming” concept, which means the programs are along side with the circulations, but the theres a clear walkway that’s wide enough to be able to differenciate between the two, allowing the idea of open floor plan to work and achieve this idea of multiple concentration.
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PRATT INSTITUTE SCHOOL OF ARCHITECTURE ARCH 201 / FREDERIC LEVRAT // PETER HSI ///
PAGE 65
09 cartographer//student type:
pratt institute townhouse collaborate:
crit: lapshan fong
PAGE 66
cartographer // student Project Discription:
Two characters were giving certain specific actions and commands. Cartographer collects information from the giving surrounding site
and creates the general spaces on the site; meanwhile the Student found the private spaces that allows him to see the Cartographer but not being seen. Two characters both know the existence of the other person but the Cartographer’s ego allows him to see nothing but himself, and on the other hand the Student is just doing his job as a student, to learn and act on the detailing of the building.
Site: Brooklyn, NY via. Google image & Photoshop PAGE 67
Diagram
Diagram
Cross Section
Cross Section
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Diagonal Section
Longitudinal Section PAGE 69
PAGE 70
PAGE 71
10 splash time type:
intro to architecture collaborate:
crit: michele gorman
PAGE 72
splash time Project Discription: Simple two-word association acting on its own but also together. Splash acts as a sense of scaling operation that causes the “ripple effect� in multiple direction. Time acts as a systematic tracker that begins to locate the movement. When two words work together, SplashTime, one begin to create chaos and one begin to find sanity.
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Line Model
Planar Model
Final Model Component
Final Model Top View
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PAGE 75
Final Model Front
Final Model Back
Final Model Side
Final Model Side
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Final Model
PAGE 77
01 city acre type:
ctbuh competition collaborate:
andreas tellman
PAGE 78
city acre Project Discription: City Acre proposes an idea of a self sufficient, environment and community driven high rise that can change the urban structure of residences in dense cities. A big step towards self sufficient housing calls for change in the way existing buildings coexist with newer structures.
City Acre creates community produce markets that receive the goods from its extensive roof system. The living roof system provides sustenance for the high rise residential units and for the surrounding community. Land bridges cross from block to block allowing for safer and faster circulation of people and produce while alleviating pedestrian traffic at street level. The high rise itself, integrates towers of farming gardens and residential units to create a cycle of self sustaining community. Panels of steel grating are added as second layer to the facade for plant growth in areas of solar energy and ecological gain. The tower’s geometry is a result of the site’s orientation and maximization of sunlight. The North tower is constantly maximizing sunlight while the South tower minimizing its shadow effect. Between the towers are sky parks that create opportunities for residents to enjoy leisure time outdoors without actually leaving the complex.
Ultimately City Acre is a retrospective of the history of New York City. Our diagrams described the process of Manhattan, from the large acre of green space, to a populated housing area, then finally the skyscrapers that we know of today. We decided to maintain the facade of the townhouses facing W107th and W108th Street, to preserve the traditional image of Manhattan housing. We then cropped the top of the townhouses to create a whole city block of green roof, and eventually each block was given a tower of their own to further developed into a city. Our motivation is to find the missing component that Manhattan desperately needs, and also to remind the city of its history, the rich acre of land which the city is built on.
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02 inner skyline type:
sunbrella fabric competition location:
brooklyn, ny
PAGE 82
inner skyline Project Discription: Gentrification in Brooklyn have transformed the cultural representation by inviting and enriching the thinking of a better life. Carrying on with that new development in Brooklyn, I believe these changes needs to happen in a much smaller scale. Looking around these newly created parks and these inner city parks, there’s a huge differences between them. Inner Skyline is to design a replacement for these metal fences that hasn’t yet developed for the purpose of the gentrification. Sunbrella fabric material is essential to designing a fence. It redefines the physical quality and takes on the phenomenological understanding. The fabric fence creates communication between both sides; an interplay of light, shadow and movement. The translucency of the fabric allows for one side to transcend the other forming a visual performance rather than a physical experience. Looking more deeply into the culture of Brooklyn, with the graffiti and street art, it begs the question that the fence should also have these wall art as well. One of the best thing New York is to offer is the Manhattan skyline, however, it’s a privilege that only some areas is able to get. As an aspiring architect, the Manhattan skyline became the icons as we thrive to be, just like many people’s faces in
Brooklyn and what they meant to the younger generation.
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03 present living type:
future house // micro house location: tbd
PAGE 86
present living Project Discription: our definition of micro-housing does not solely rely on small square footage, but also on the notion of owning less belongings. today it is harder to afford to own a house than in the past. the millennial generation is facing socio-economic factors such as student loan debts, fewer job availabilities, etc. the architecture that we are proposing is helping people reduce the amount of belongings they own in order to live in smaller affordable units. this is achievable through customization of the unit based on the present living requirements of the unit owner. over time as the owner’s life evolves he/she is able to adapt to new living conditions. to envision our concept of a micro-house, we created an architectural language of adaptability through the design of a toolkit. the design of the architectural toolkit developed in relation to the time of movement. we tried to understand the changes a person may encounter during daily, monthly, and yearly activities. our architecture seeks to create a distinctive architectural toolkit system, which relates to the ever changing living requirements of our users. E.L. 9' 0"
E.L. 8' 0"
E.L. 7' 0"
E.L. 6' 0"
BATHROOM
E.L. 4' 0"
ADJUSTABLE LIVING AREA
BATHROOM
ADJUSTABLE E.L. 5' 0"
LIVING AREA ADJUSTABLE LIVING AREA
E.L. 3' 0"
E.L. 2' 0"
E.L. 1' 0"
PRESENT LIVING FUTURE HOUSE
WALL LAYOUT // SCALE: 1/2” = 1’
: MICRO HOUSE
YEAR.
OUR DEFINITION OF MICRO-HOUSING DOES NOT SOLELY RELY ON
SPACE EXPANSION
SMALL SQUARE FOOTAGE, BUT ALSO ON THE NOTION OF OWNING LESS BELONGINGS. TODAY IT IS HARDER TO AFFORD TO OWN A HOUSE THAN IN THE PAST. THE MILLENNIAL GENERATION IS FACING SOCIO-ECONOMIC FACTORS SUCH AS STUDENT LOAN DEBTS,
E.L. 9' 6" E.L. 9' 1-1/2"
FEWER JOB AVAILABILITIES, ETC. THE ARCHITECTURE THAT WE ARE PROPOSING IS HELPING PEOPLE REDUCE THE AMOUNT OF BELONGINGS
THEY
OWN
IN
ORDER
TO
LIVE
IN
SMALLER
AFFORDABLE UNITS. THIS IS ACHIEVABLE THROUGH CUSTOMIZATION OF THE UNIT BASED ON THE PRESENT LIVING REQUIREMENTS OF
E.L. 6' 6"
THE UNIT OWNER. OVER TIME AS THE OWNER’S LIFE EVOLVES
E.L. 6' 1-1/2"
HE/SHE IS ABLE TO ADAPT TO NEW LIVING CONDITIONS.
100 SQ. FT.
100 SQ. FT. 340 SQ. FT.
MANY PROPOSALS OF CUSTOMIZATION AND EXPANSION HAVE BEEN DEVELOPED IN THE PAST AND MOST FOCUS ON A SIMPLE APPROACH OF ONE-SIDED MANIPULATION WITHIN THE UNIT.
THE
150 SQ. FT.
DESIGNS USUALLY AFFORD THE USER TO THE CHANGING THE
E.L. 2' 6"
SHELVES ON THE WALLS, WHILE THE WALLS ARE PERMANENT AND
E.L. 2' 1-1/2"
UNADJUSTABLE. TO ENVISION OUR CONCEPT OF A MICRO-HOUSE, WE CREATED AN
FURNITURE HEIGHT // SCALE: 1/2” = 1’
ARCHITECTURAL LANGUAGE OF ADAPTABILITY THROUGH THE DESIGN OF A TOOLKIT. THE DESIGN OF THE ARCHITECTURAL
FREE SPACE FURNITURE UTILITIES
MONTH.
LIFESTYLE CHANGE
DAY.
LIVING SCHEDULE
TOOLKIT DEVELOPED IN RELATION TO THE TIME OF MOVEMENT. WE TRIED TO UNDERSTAND THE CHANGES A PERSON MAY ENCOUNTER DURING
DAILY,
MONTHLY,
AND
YEARLY
ACTIVITIES.
OUR
ARCHITECTURE SEEKS TO CREATE A DISTINCTIVE ARCHITECTURAL
INTERIOR
TOOLKIT SYSTEM, WHICH RELATES TO THE EVER CHANGING LIVING
EXTERIOR
REQUIREMENTS OF OUR USERS.
3D PRINTABLE STRUCTURE
IN USE
DETAIL SECTIONS // SCALE: 1/2” = 1’
MONTHLY LIVING (SINGLE)
DAILY LIVING (SINGLE)
REMOVE
DAILY LIVING (DOUBLE)
PLAN // SCALE: 1/4” = 1’
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01 taberna 97 type:
de-spec architecture renovation collaborate:
architect: frederic levrat
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Taberna 97 Address: 97 St. Marks Place New York, NY 10009 Project Type: interior renovation Project Responsibility: Rendering Schematics plan and section CD drawings
de-spec 526 west 26th street suite 1012 New York
New York
t. 212.633.6626 info@de-spec.com
INTERIOR
10001
USA
f. 212.633.6603 www.de-spec.com
TABERNA 012015 SD PRESENATION-4 PAGE 89
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02 senda verde type:
juan b. castagnino museum extension competition architect:
gonzalo carbajo inanc eray
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senda verde Address: Av. Pellegrini 2202, S2000QDN
Project Responsibility: rendering
Rosario, Santa Fe, Argentina Project Type: Museum Extension Competition
schematics plans and sections
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CONCEPT URBAN LANDSCAPE Juan B. Castagnino museum extension
has
named
numerous
requirements in their program needs and their connectivity between these, however, they also wanted to preserve as much of the green area onsite. The location is in the middle of
Santa Fe, Argentina,
Rosario,
it’s at the
crossroads of their urban greenery.
The
design of the museum extension
is to have more programs they required but also have the ability to preserve the existing urban greenery.
We
decided to lift the greenery and
place the program underneath to simultaneously have both greenery and program as the museum required.
By
lifting the site, we also
created a framing towards to original museum as well as the center of the greenery park.
By lifting the site, we
also faced some opportunity to have this gradual slope to have different use of the site program, such as floor to seating to wall.
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01 rebrand, redesign, rethink type:
product representatio collaborate:
crit: david mans
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Rebrand. Redesign. Rethink.
Rebrand, taking the PADI company from corporational into an experiential association.
Redesign, combining PADI with Toshiba by using the style and technology to enrich the experience of scuba diving.
Rethink, creating a space for occupants to use the device and experience the underwater feeling while on land.
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Original
Rebrand when the designers were struggling for a logo design, john, the founder of padi, mentioned he wanted something classy like the national
geographic look. years later, in an interview, ralph, another found of padi, said that idea changed the way he was looking at this small two-man operation. at that moment, he could see a big vision for padi. ralph was responsible for putting together the first padi logo – a diver with a torch in a globe. this logo was later refined into the well known padi logo of today.
in this approach, by changing the rotation and swirl of the logo, the attention has changed to a point of view where it’s looking into the
bottom of the ocean while scuba diving, or looking up to the land when at the bottom of the ocean. the font has changed into a font where you’ll typically see on a scuba diving gear, not a strong or firm or steady firm, but more of where it seems like someone just take a marker and write their name on it.
the old logo sent out the meaning of “wolrd of water, and the divers are the ruler of the world”. in the new logo, the message was
meant to focus on the ocean, the moment, the enjoyment when one’s in the ocean, to see and feel what it’s like to be in the middle of ocean, and interesting interaction with black and white background; where looking with a black background it seems like one’s looking downwards, and white indicates looking upwards towards the light.
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Light. Material. Modeling. process PAGE 101
PADI Hammer Head - Powered by TOSHIBA
We decided to combine the use of technological and efficiency of Toshiba to create something for the enthusiastic scuba diver some extra activities. We decide to use the concept from Pokedex in Pokemon; you point the pokedex in front of any sort of pokemon and it’s able to tell what you need to know about the Pokemon. Taking that concept, we decided to have Toshiba to design a device that can be install onto the diving goggles and be used a pokedex. With Toshiba’s next generation technology, we take the concept as sharp and edge defined geometry that can begin to see the efficiency, and see the idea of the futuristic look. We also have the PADI’s experiential life experiences, and so we convert that mood into more curvature and rounded human-goggle interface.
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Warning System - Color Change
Kiosk - Pratt Institute Higgins Hall Pit PAGE 103
02 wu house type:
housing representation collaborate:
crit: scott sorrenson
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Wu House Project: Architect:
Wu House Preston Scott Cohen
Location: Burson, California Date: 2000, Unbuilt
When the “Cones” and the “Apertures” run into each other that forces the change on the surfaces of the cones, which creates openings to able to enhance the environmental surroundings into the interior with sound, light, and smell.
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Site: Broolyn, NY via. Google image & Photoshop PAGE 106
03 intro to representation type:
intro to representation collaborate:
crit: danielle willems
PAGE 107
Intro to Representation Orthographic Projections and Cube Geometry An 1/4� thick wooden box with one missing edge that creates an trangular shape surface. The wooden 3D model allows the understanding of the simple geometry with complex detail, which also allows the second degree thinking when constructing the plan, elevation and section projections as well as the further 3 dimensional complex geometry.
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P1
P1
P2
P2
TOP
PLAN 1
SIDE
PLAN 2
ORTHOGRAPHIC
S2
S2
S3
S3
S3
S1
S1
S1
S2
SECTION 2
SECTION 3
Measure, Sketch, and Construct
FRONT
SECTION 1
Location, Cut, and Expose S1 S2
S3
S4
TOP
S5
SECTION 3
BACK LEFT
BACK RIGHT
FRONT VIEW
FRONT LEFT
SECTION 1
SECTION 4
SECTION 2
SECTION 5
FRONT RIGHT
BOTTOM CUT PLANE AUXILIARY VIEW
Orient, Project, and Track
Edge, Surface, and Track PAGE 109
04 Miscellaneous Software: Rhino 3d Grasshopper WeaverBird VRay Render Maxwell Render Photoshop
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