P
O
R
T
F
O
L
I
O
architectural projects by peter hsi
table of
contents
/
DESIGN 01 Arch 302 Columbia University Boathouse
02 Arch 301 Pratt Institute Graduate Housing 03 Arch 202 Bronx Wave Hill Academy 04 Arch 201 Manhattan Chinatown Library 05 Arch 102 Pratt Institute Townhouse 06 Arch 101 Intro to architecture
//
REPRESENTATION 01 Arch 211 Rebrand, Redesign, Rethink 02 Arch 112 Wu House 03 Arch 111 Intro to represenatation 04 Miscellaneous Software experiment
/// COMPETITION 01 CTBUH City Acre ////
INTERNSHIP 01
De-Spec
Taberna 97
RESUME / EDUCATION Pratt Institute, School of Architecture
/// SOFTWARE SKILLS ADOBE SUITE
Brooklyn, NY Major: B.Arch Architecture Anticipated Date of Graduation: May/June 2018
Brewster High School Brewster, NY Graduated: June 2013
ALGORITHMIC MODELING Grasshopper3D //////
The Tech Center at Putnam/ Northern Westchester BOCES Yorktown Heights, NY Program: Architectural Designing and Modeling Graduated: June 2013 // Work Experience De-Spec Inc. Chelsea NY Winter and Summer Intern 2014-2015 Lee Yi Chung Architect & Engineer Keelung, Taiwan Summer Intern 2014 O’Brien & Gere Hawthorne, NY Summer Intern 2013
Photoshop Illustrator InDesign
//////// //////// ////////
AUTODESK AutoCAD Revit 3Ds Max
//////// /////// ////
CHAOS GROUP VRay Render
/////////
McNEEL Rhinoceros 5
/////////
MICROSOFT OFFICE Word PowerPoint
///////// /////////
NEXT LIMIT Maxwell Render /////////
Name Peter Hsi Birthday 06.24.1995 Contact 917-319-1288 phsi6213@gmail.com 2-17 51st avenue, Long Island City, NY 11101
01 Arch 302 Project: Columbia University Boathouse Professor: Sal Tranchina Partner: Kaanur Papo
PAGE 6
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 7
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 8
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
GYM
E852 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
E852
ERG TRAINING ROOM
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 9
PAGE 10
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 11
COLUMBIA BOATHOUSE
PAGE 12
SAL TRANCHINA
PETER HSI // KAANUR PAPO
SP//16
SCALE: 1/8” = 1’
PAGE 13
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
E818
E806
E817
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 14
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 15
PAGE 16
PAGE 17
PAGE 18
PAGE 19
02
Arch 301
Project: Pratt Institute Graduate Housing Professor: Andrew Lyon Partner: Ipek Duru
PAGE 20
double loaded corridor not just as circulation but as usable,
programmed space.
MY
10
RT
LE
’S
AV
ET
GR AN DA VE NU E
Project Discription: We consider the
15 ’S ET BA CK
30
%
RE
AR
YA
RD
Sponge Porosity
BA
CK
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 21
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 22
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 23
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 24
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
PAGE 25
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 26
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 27
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 28
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 29
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03
Arch 202
Project: Bronx Wave Hill Academy Professor: Anthony Caradonna
PAGE 32
Tree Court Pavilion Project Discription: Frame
The project focused on using wood as the main structure, which leads to the beginning of the wooden studies. Starting with “Corner, and
Array�,
the objective was to simply find a narrative to connect two pieces of
framework, then finally a threshold.
1:2
ratio basswood sticks, and evolving into a
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 33
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 34
EXTENSION
FRAME
ARRAY
EXTERIOR
GOOGLE Plan scale SITE1'=1/64"
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 35
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 36
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 37
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
sections,
SECTION AA' scale 1'=1/4"
the
frameworks are two directions and using the extension of both extensions, the exterior pathway was able to exist without intruding 4.
3.
into the enclosed spaces.
SECTION BB' scale 1'=1/4"
1.
6.
4.
SECTION CC' scale 1'=1/4"
PAGE 38
1.
6.
2.
SECTION DD' scale 1'=1/4"
6.
10.
SECTION EE' scale 1'=1/4"
SECTION FF' scale 1'=1/4"
PAGE 39
04
Arch 201
Project: Manhattan Chinatown Library Professor: Frederic Levrat
PAGE 40
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. me, but none can make contact with me.
Although there are hundreds of people walking by
Although I’m not alone, but yet I am.
Multiple Concentration vs. Distraction
The
struggle of constantly defining
Multiple Concentration
and
idea was to have individuality with the group but not shut off to the public.
Distraction. The One does not get
distracted but still have enough social interaction with others.
Site: Manhattan, NY via. Google image & Photoshop PAGE 41
PAGE 42
PAGE 43
PLAN CIRCULATIONAL PROGRAMMING
The
C
idea of the plan was constructed as very open floor
plan with minimum partition walls to divide the spaces. of
Multiple Concentration
the pathways and
The
A 60.00
struggle
Distraction lies in the dimensions of programmatic spaces; the pathways were given and
B
a dimension that were able to fit two way direction traffic so the
OPEN +0.00
TO BE LOW +48.00
circulation won’t be stopped even with the occupants inhabiting the programmatic space.
+60.00
4
2
1
3
D
6th Floor
C
C CPU
CPU
CPU
CPU
CPU
CPU
A
CPU
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 44
CPU
A
B
3rd Floor
CPU
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
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
B
Chrystie St.
-15.00
LOBB Y +0.00
GIFT SHOP
-14.00
B
-13.00
-12.00
Machine Room
D
D
4
2
1
Basement
3
4
2
1
3
Grand St. Lobby
PAGE 45
PAGE 46
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 ///
PAGE 47
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 48
PRATT INSTITUTE SCHOOL OF ARCHITECTURE ARCH 201 / FREDERIC LEVRAT // PETER HSI ///
PAGE 49
05
Arch 102
Project: Pratt Institute Townhouse Professor: Lapshan Fong
PAGE 50
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 but not being seen.
Student found the private spaces that allows him to see the Cartographer
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 51
Diagram
Diagram
Cross Section
Cross Section
PAGE 52
Diagonal Section
Longitudinal Section PAGE 53
PAGE 54
PAGE 55
06
Arch 101
Project: Intro to Architecture Professor: Michele Gorman
PAGE 56
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 57
Line Model
Planar Model
Final Model Component
Final Model Top View
PAGE 58
PAGE 59
Final Model Front
Final Model Back
Final Model Side
Final Model Side
PAGE 60
Final Model
PAGE 61
01
Arch 211
Project: Rebrand, Redesign, Rethink Professor: David Mans
PAGE 62
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 63
Rebrand
Original
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 64
Light. Material. Modeling. process PAGE 65
PADI Hammer Head - Powered by TOSHIBA
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 66
We
decided to combine the use of technological and efficiency of
Warning System - Color Change
Kiosk - Pratt Institute Higgins Hall Pit PAGE 67
02
Arch 112
Project: Wu House Professor: Scott Sorrenson
PAGE 68
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 69
Site: Broolyn, NY via. Google image & Photoshop PAGE 70
03
Arch 111
Project: Intro to Representation Professor: Danelle Willems
PAGE 71
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
PAGE 72
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
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 73
04 Miscellaneous Software: Rhino 3d Grasshopper WeaverBird VRay Render Maxwell Render Photoshop
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01
CTBUH Competition
Project: City Acre Partner: Andreas Tellman
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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. structures.
A big step towards self sufficient housing calls for change in the way existing buildings coexist with newer
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.
of steel grating are added as
second layer to the facade for plant growth in areas of solar energy and ecological gain. orientation and maximization of sunlight.
Between
Panels
The tower’s geometry is a result of the site’s
The North tower is constantly maximizing sunlight while the South tower minimizing its shadow effect.
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. of the townhouses facing
We decided to maintain the facade
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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01
De- Spect
Project: Taberna 97 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 83
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