SP//16 Portfolio Pratt Institute

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P

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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


PAGE 30


PAGE 31


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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