Portfolio Pratt Institute School of Architecture Peter Hsi
Table of Content Miscellaneous
4
School Work Arch 301 Design V Arch 202 Design IV Arch 201 Design III Arch 102 Design II Arch 101 Design I Arch 211 Representation III Arch 112 Representation II Arch 111 Representation I
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10 22 30 40 46 52 58 61
Contact Information Email: phsi6213@gmail.com Phone: 1 (917) 319-1288
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Miscellaneous
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SOFTWARE Rhino 3D, Grasshopper, WeaverBird, VRay Render, Maxwell Render, Photoshop.
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Arch 301
Professor. Andrew Lyon
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YA RD RE AR 30 %
VE ND A MY
We
10
RT
LE
’S
GR A
&
Porosity
NU E
15 ’S ET BA CK
Pratt Institute Dormitory - Sponge
AV
ET
BA
CK
EN
UE
consider the double loaded corridor not just as
circulation but as usable, programmed space.
We
believe that living in a community requires large,
medium and small shared spaces.
PRIMARY
We’ve developed a response to the brief that takes the idea
of a double loaded corridor and creates a hybrid between a
VOID CONNECTION
SECONDARY
sponge-like matte building and a traditional double loaded corridor.
We
TERTIARY
expand the shared spaces throughout the building DIRECT CIRCULATION
by using the sponge concept, and eventually connect to the exterior, also primary, shared spaces.
We
PUBLIC SPACES
SPREAD OF CIRCULATION
capture the opportunity the shared spaces contact
the facade of the building, and able to create the porosity-like movement on the facade.
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
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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.
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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
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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.
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3RD FLOOR
5TH FLOOR
9
B’
EN
ING
9
8
IVA TE
SC
RE
8
PR
A
7
6
6
5
5
CR EE
NIN
G
7
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
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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 Exerience 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.
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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
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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"
EXPLODED FACADE AXON
DETAIL SECTION
PETER HSI
PROFESSOR ANDREW LYON
PETER HSI
SCALE: 1" = 1'
IPEK DURU
SCALE: NTS 12_11_2015
IPEK DURU
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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.
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Arch 202
Professor. Anthony Caradonna
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Wave Hill Academy - Tree Court Pavilion 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 Selection & Design Decision The location of the pavilion academy in Wave Hill landscape and existing buildings is the next step of the narrative. largest buildings
Using
the idea of extension, the location is set to be in between the two
(Glyndor Gallery and Visitor Center) on the site, and the pavilion academy is
an attempt of reaching both buildings.
The academy pavilion consists series of frameworks, and
the ability to change these framework to fit the needs of program and the site.
Site: Wave Hill, NY via. Google image & Photoshop Page 23
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
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EXTENSION
FRAME
ARRAY
EXTERIOR
GOOGLE Plan scale 1'=1/64"
Site
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.
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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"
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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"
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Cross Sections
5.
10.
The
sections are the 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.
SECTION AA' scale 1'=1/4"
As
shown in the sections, the frameworks are two directions and using the extension of both extensions, the exterior pathway was able to exist without intruding into the enclosed spaces.
4.
3.
SECTION BB' scale 1'=1/4"
1.
6.
4.
SECTION CC' scale 1'=1/4"
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1.
6.
2.
SECTION DD' scale 1'=1/4"
6.
10.
SECTION EE' scale 1'=1/4"
SECTION FF' scale 1'=1/4"
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Arch 201
Professor. Frederic Levrat
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Library Archive - Multiple Concentration 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
and
Distraction. The
Multiple Concentration
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: Chinatown, NY via. Google image
Concept Drawing Page 31
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PLAN
C
CIRCULATIONAL PROGRAMMING
A 60.00
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.
B OPEN +0.00
TO BE LOW +48.00
+60.00
D
C
C CPU
CPU
CPU
CPU
CPU
CPU
A
CPU
CPU
CPU
CPU
CPU
CPU
A
B
B OPEN +0.00
OPEN
TO BE
+0.00
LOW +24.00
TO BO
TTOM +12.00
D
D
4
2
1
3
4
2nd Floor 2
1
3
3rd Floor
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4
2
1
3
6th Floor
C
C
A
A
B
B OPEN +0.00
TO BE
OPEN TO +0.00
LOW
BELO W +36.00
+48.00
CPU
CPU
CPU
CPU
CPU
CPU
D
D
C
4
2
1
3
2
4
4th Floor
1
3
5th Floor
C STOR AGE
-18.00
A
A INFO RMAT ION D ESK
-17.00
CPU CPU CPU
-12.00 -16.00
B
Chrystie St.
-15.00
LOBB Y +0.00
-14.00
B
-13.00
-12.00
GIFT SHOP Machine Room
D
D
Grand St.
4
1
3
4
2
1
3
2
Basement Floor
Entry Floor
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Chrystie Street Elevation
Grand Street Elevation
Section AA
Section BB PRATT INSTITUTE SCHOOL OF ARCHITECTURE ARCH 201 / FREDERIC LEVRAT // PETER HSI ///
Multiple Concentration Multiple Concentration
PRATT INSTITUTE SCHOOL OF ARCHITECTURE ARCH 201 / FREDERIC LEVRAT // PETER HSI ///
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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 ///
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Arch 102
Professor. Lapshan Fong
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Cartographer vs. Student 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 being seen.
Cartographer but not
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: Pratt Institute Townhouse via. Google image Page 41
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Diagram
Diagram
Cross Section
Cross Section
Diagonal Section
Longitudinal Section Page 43
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Arch 101
Professor. Michele Gorman
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Splash Time 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. that begins to locate the movement.
Time
acts as a systematic tracker
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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Final Model Front
Final Model Back
Final Model Side
Final Model Side
Final Model
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Arch 211
Professor. David Mans
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PADI Scuba Diving Association
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 55
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 57
Arch 112
Professor. Scott Sorrenson
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Project: Architect: Location: Date:
When
the
“Cones”
and the
Wu House Preston Scott Cohen Burson, California 2000. Unbuilt
“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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Arch 111
Professor. Danielle Willems
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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
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3 dimensional complex geometry.
P1
P1
P2
P2
TOP
PLAN 1
SIDE
PLAN 2
ORTHOGRAPHIC
S2
S2
S3
S3
S3
S1
S1
S1
S2
SECTION 2
SECTION 3
FRONT
SECTION 1
Measure, Sketch, and Construct
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 63