FA//17 Portfolio Pratt Institute

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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

//////// //////// ////////

ALGORITHMIC MODELING Grasshopper3D ////// AUTODESK AutoCAD Revit 3Ds Max

//////// /////// ////

CHAOS GROUP VRay Render

/////////

McNEEL Rhinoceros 5

/////////

MICROSOFT OFFICE Word PowerPoint

///////// /////////

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


PAGE 58


PAGE 59


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

PAGE 60

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

PAGE 61


Chrystie Street Elevation

Grand Street Elevation

Section AA

Section BB PRATT INSTITUTE SCHOOL OF ARCHITECTURE

PAGE 62

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.

PAGE 64


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

PAGE 68


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.

PAGE 73


Line Model

Planar Model

Final Model Component

Final Model Top View

PAGE 74


PAGE 75


Final Model Front

Final Model Back

Final Model Side

Final Model Side

PAGE 76


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.

PAGE 79


PAGE 80


PAGE 81


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.

PAGE 83


PAGE 84


PAGE 85


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’

PAGE 87


01 taberna 97 type:

de-spec architecture renovation collaborate:

architect: frederic levrat

PAGE 88


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


PAGE 90


PAGE 91


02 senda verde type:

juan b. castagnino museum extension competition architect:

gonzalo carbajo inanc eray

PAGE 92


senda verde Address: Av. Pellegrini 2202, S2000QDN

Project Responsibility: rendering

Rosario, Santa Fe, Argentina Project Type: Museum Extension Competition

schematics plans and sections

PAGE 93


PAGE 94


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.

PAGE 95


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PAGE 97


01 rebrand, redesign, rethink type:

product representatio collaborate:

crit: david mans

PAGE 98


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.

PAGE 99


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.

PAGE 100


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.

PAGE 102


Warning System - Color Change

Kiosk - Pratt Institute Higgins Hall Pit PAGE 103


02 wu house type:

housing representation collaborate:

crit: scott sorrenson

PAGE 104


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.

PAGE 105


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.

PAGE 108


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

PAGE 110


PAGE 111


PAGE 112


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