RV D INTERIOR DESIGN PRATT INSTITUTE
2
1 3-10
11-25
IRAVAT
PLANAR EQUILIBRIUM
RESIDENTIAL DESIGN
4
3
RESIDENTIAL DESIGN
26-38
39-50
IFETAYO
ASPIRAR
HOSTEL DESIGN
6
5
WORKPLACE DESIGN
51-64
65-78
CAMBIO
PYER MOSS
CAFE/BAR DESIGN
EXHIBITION DESIGN
8
7 79-90
91-113
POLYMORPHING PETALS
CURATING URBAN WORMHOLES
CINEMATIC INSTALLATIONS
9
RETAIL/ INSTALLATION DESIGN
114-115 EXPRESSION
MODELS/SKETCHES/PHOTO
My name is Rianna V Desai I am a detail-oriented creative that seeks to add poetry to function. My versatile design interests help me pursue problem solving through unconventional multi-disciplinary methods. Process, analysis and intentionality are key in my design ideation. Keeping socio-cultural and environmental needs at the forefront is an important goal in my process. I am interested in curating special atmospheres and bringing out my culture and personality through my creations. As a creative professional, I consider myself an empathetic designer, looking to constantly learn and grow.
IRAVAT Information
Project Type : Residential Location : Khandala, India Date : 2019 Type : Internship project at RED Architects Skill : Autocad, Photoshop
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Description
Iravat is a luxury holiday home designed to create a tension between the hilly mountainside and architecture . The interiors are designed with intentionality and attention to detail. A project that I worked on at RED Architects , an interior design and architecture firm in Bombay, India.
FIRST FLOOR PLAN
Iravat is a holiday home located in Khandala, India. The architecture stands proudly on the hillside with brilliant views that are framed by the interiors. The dynamic plan boasts the layered design, brilliant scale of the space and the curated entry sequence. One can access the inside by driving up past the curved sloped driveway to the first floor where the user is greeted by the living room and floating dining room, which are accompnied by the kitchen.
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IRAVAT
GROUND FLOOR PLAN
The ground floor can be accessed by entering through the main enterance on the first floor and taking the central staircase to the this level. As one descends the staircase, they are greeted by the bar that overlooks the pool. This floor also hosts the bedrooms and a second living room/ gathering space.
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IRAVAT
BUILDING SECTION
This building section illustrates the character of the space and its strong presence in nature. This drawing was drafted in AutoCad and rendered in Photoshop
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IRAVAT
PLANAR EQUILIBRIUM Information
Project Type : Residential Location : Brooklyn, New York Date : 2019 Type: Academic project at Pratt Institute (project is archived at Pratt) Skill : Model making, Rhino, Photoshop, Illustrator, Autocad
Description
This urban dwelling is designed for a unique family. It is designed to have distinct spaces for the use of individual family members and other spaces for the family to occupy together. The central circulation in the house connects to all the smaller thresholds and interstitial zones creating sectionally dynamic spaces.
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The design acts as an equilibrium achiever, mitigating the family’s polar personalities through its sectional levels that are connected seamlessly through the central staircase.
2.5TH FLOOR - protruding balcony
2ND FLOOR - daughter’s bedroom & entertainment space
1.5TH FLOOR - kitchen & parent’s meet space
1ST FLOOR - grandfather & parents’ bedrooms
CELLAR - dining/living roo, home office & sauna
SPATIAL ORGANISING DIAGRAM
LOUD / SOCIAL SOCIAL/LOUD
SPACE TYPOLOGY DIAGRAM
CLIENT ANALYSIS / PERSONALITIES + NEEDS
2ND / 2.5TH FLOOR
DAUGHTER’S ROOM (FLEX) ENTERTAINMENT SPACE
2ND /2.5TH FLOOR
GRANDFATHER
FATHER
MOTHER
DAUGHTER
DAUGHTER’S ROOM ENTERTAINMENT SPACE
1.5TH FLOOR
PARENT’S MEET SPACE KITCHEN
1.5TH FLOOR
PARENT’S MEET SPACE KITCHEN
CALM
CALM
SOCIAL
SOCIAL
DOCTOR
TEACHER
ARTIST
STUDIES AWAY
BACKACHE
HOME OFFICE
SPACE TO UNWIND
SOCIAL
CELLAR
QUIET / PRIVATE ANTI-SOCIAL/QUIET
LIVING ROOM
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OFFICE/SAUNA CELLAR
LIVING ROOM LAB/RELAXATION HUB
1ST FLOOR
1ST FLOOR GRANDFATHER’S BEDROOM PARENT’S BEDROOM GRANDFATHER’S BEDROOM PARENT’S BEDROOM
DESIGNING SPACES FOR THE CLIENT These diagrams illustrate the thought behind program location and client needs. Each space is customised for the family’s special requirements, keeping in mind noise levels and privacy.
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PROCESS MODELS
PLANAR EQIILIBRIUM
EXTERIOR FACADE (BACKYARD FACING IN)
1st and 1.5th floor plan, drafted and rendered. This plan illustratesthe floating 1.5th level that can be accessed via the main staircase. It houses the kitchen and the floating walkway to the parent’s meet space. The backyard can be accessed through the kitchen.
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ORTHOGONAL PLAN
PERSPECTIVAL RENDERED PLAN
FIRST FLOOR PLAN
PLANAR EQUILIBRIUM
Below is the Cellar floor plan, drafted and rendered.
To the right is the 2nd floor plan, drafted and rendered.
The cellar houses the living and dining space as well as the home office and sauna
The 2nd floor houses the daughter’s bedroom, entertainment space and direct access to the backyard
ORTHOGONAL PLAN
PERSPECTIVAL RENDERED PLAN
CELLAR FLOOR PLAN
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ORTHOGONAL PLAN
PERSPECTIVAL RENDERED PLAN
SECOND FLOOR PLAN
PLANAR EQUILIBRIUM
LONG BUILDING SECTION
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This perspectival rendered section captures the dynamism of the design, illustrating how the changing levels creates new adjacencies between programs. The section shows the generous sunlight the cellar recieves as well as the visual biophilia creating a conversation between the interiors and exterior. The section cuts through the daughter’s bedroom, entertainment space, the parent’s closet and meet space, the home office, dining room and the backyard niche seating
PLANAR EQUILIBRIUM
SHORT BUILDING SECTION This perspectival rendered section provides a view into the house, cutting through the sauna, home office, parents meet space and enetrtainment space. The staircase wraps around the glass atrium, connecting all the levels together seamlessly. This section also shows off the partly fixed glass partition that allows for sun to saok the cellar.
FINAL MODEL
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PLANAR EQUILIBRIUM
A - Detail perspective of the walk in wardrobe and stairs to the parents’ meet space. B - Partial vertical section of the building, showing the parents’ meet space, the level below and above and the central glass atrium that runs through the height of the house.
A
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B
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PLANAR EQUILIBRIUM
CELLAR Dining room Home office Atrium & staircase
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PLANAR EQUILIBRIUM
IFETAYO Information
Project Type : Cultural Dance Center Location : Crown Heights, Brooklyn Date : 2020 Type : Academic project at Pratt Institute Skill : Rhino, Autocad, Photoshop, Illustrator
Description
Ifetayo is an organisation that teaces youth about African culture and heritage through the arts. The space designed is a cultural dance center and HQ for Ifetayo in Crown Heights, Brooklyn.
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The design is a reflection of the African-American diaspora that exists so richly in Brooklyn. The space is designed for maximum efficiency while also paying great attention to detail and research
TRANSPORT METRO STATIONS PARKING
CULTURE GROCERY STORES RECREATION PHARMACY HOSPITAL CHURCH MOSQUE SYNAGOGUE
EDUCATION MUSEUM COLLEGE SCHOOLS LIBRARY
BIOPHILIA PARKS
GOOGLE MAP
CROWN HEIGHTS NEIGHBORHOOD ANALYSIS
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BUILDING LIGHT ANALYSIS
Neighborhood and building analysis to better understand the context in which the design would grow
window shape affecting light entering space, the unusual shape of the building allows for an interesting geometry analysis that the natural light entering the space adds to the overlap of light paths creates an interesting space dividing mechanism to keep in mind while planning the space and its programs INTERIOR LIGHT ANALYSIS
IFETAYO
3. 3.
2.
4.
2.
5.
6.
7.
6.
1.
8. 6.
9.
15.
6.
10.
10.
13.
11. 11. 12.
FLOOR PLAN The growth graph of ifetayo is great and hence this space can be designed as its HQ. And hence while there is a ton of space for the children, in-cluding a fun rooftop space for performances, there should be a good office environment 3 Main studios named after african birds to symbolise the idea of unleashing spirit while dancing, combat, learning. Expressing and flying to success aas a community, beyond the protection of the baobab ceiling Birds: ibis / kori / oriole
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1. RECEPTION 2. CONFERENCE ROOMS 3. CLOSED OFFICES 4. OPEN OFFICE 5. CANTEEN & FLEX SPACE FOR GATHERINGS 6. STORAGE 7. SEATING 8. EXTENDED GATHERING SPACE & CLASS ROOM 9. IBIS DRUM STUDIO 10. BALLET STUDIOS 11. ART STUDIOS 12. CLASS ROOMS 13. STAIRCASE & GALLERY SPACE 14. SEATING NICHES 15. TOILETS
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MATERIAL PALETTE ATERIALITY
Charcoal iron dropped grid / kitchen cabinetry
Custom shelving
Brass tambour doors
Colours for walls/ details
Terrazzo flooring
Rust/maroon walls
Patterned wood ceilings
Tambour door perforation
EATION
MOVEMENT DIAGRAMS CAPOEIRA
BALLET MOVEMENT DIAGRAMS
Gees Bend inspired shelving / detail
A CENTRAL FORCE/SPIRIT
Wallpaper earthy tone
65 CAPOEIRA
A CENTRAL FORCE/SPIRIT
MOVEMENT DIAGRAMS BALLET MOVEMENT DIAGRAMS
DJEMBE DANCE
CAPOEIRA DJEMBE DANCE
BALLET
DJEMBE DANCE CULTURE
17 CULTURE BALLET
DJEMBE
CAPOEIRA
An artistic dance form performed to music using precise and highly formalized set steps and gestures.
Djembe, originated from West Africa, is the instrument of dance and it is used to keep rhythm and communicate with other people.
Capoeira is the Brazilian martial art that teaches students to resist, defend, dance, and play all at the same time.
The drum that speaks with the dancer.
IFETAYO
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DETAIL PLAN - STUDIOS CULTURE & DESIGN
SWAZILAND STRUCTURES
STORAGE
DRUMS STUDIO GEES BEND
DRUMS STUDIO
CEILING STRUCTURE
DRUMS
DANCE STUDIO
Studios are located on the bottom left of the plan, getting prime window access as well as facing the important corner. The studios are divided with a space saving tanbour door system elevated by a fractalised ceiling condiiton inspired bt rhe baobab tree and swaziland vernacular architecture. The space opens up through the a widening mouth with simultaneous access to all studios at once. The space is designed to create an interaction amongst all the students as they enter their own spaces. IBIS Immediate DRUMSasscess STUDIO to : stairs and canteen
IDEATION
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DANCE STUDIO
Studios are located on the bottom left of the plan, getting prime window access as well as facing the important corner. The studios ART STUDIO are divided with a space saving tanbour door system elevated by ART STUDIO a fractalised ceiling condiiton inspired by the baobab tree and swaziland vernacular architecture. The space opens up through the a widening mouth CLASS ROOMSwith simultaneous access to all studios at once. The space is designed to create an interaction amongst all the students as they enter their own spaces Immediate asscess to : stairs and canteen
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DETAIL PLAN - STUDIOS CULTURE & DESIGN
SWAZILAND STRUCTURES
STORAGE
CULTURE & DESIGN PRECEDENTS
Gees bend + shelfing + tambour GEES BEND
Inspired by the bold drama of the Gees Bend quilts, the shelfing and tamDRUMS STUDIO bour room dividers are designed to have vibrant colours and patterns. The use of the diamond pattern symbolises cycles of life, and the changing patterns symbolises the birth of a new life.
DRUMS STUDIO
Baobab + ceiling structure
The Baobab, The Tree of Life, heavily inspired the design of the space as well as the detailed ceiling structure. The fractalised branches give form to function in the ceiling, bringing all the spaces together.
Swaziland + ceiling structure + material CEILING STRUCTURE
DRUMS
Studios are located on the bottom left of the plan, getting prime window access as well as facing the important corner. The studios are divided with a space saving tanbour door system elevated by a fractalised ceiling DETAIL condiitonFLOOR inspired btPLAN rhe baobab tree and swaziland vernacular architecture. The space opens up through the a widening mouth with simultaneous access to all studios at once. The space is designed to create an interaction amongst all the students as they enter their own spaces. DRUMS STUDIO DRUMS STUDIO Immediate asscess to : stairs and canteen
Swaziland vernacular architecture includes a sturdy wooden striated ceiling structure that inspired the material and form of the ceiling structure in theDANCE studios. STUDIO
DANCE STUDIO
DRUMS STUDIO DRUMS STUDIO
ART STUDIO ART STUDIO
CLASS ROOMS
DANCE STUDIO DANCE STUDIO
IDEATION
dow
ling
ule s.
DANCE STUDIO DANCE STUDIO
ART ART STUDIO STUDIO
ART STUDIO STUDIO ART
CLASS ROOMS CLASS ROOMS
IFETAYO
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DETAIL PLAN - STAIRCASE/GALLERY CULTURE & DESIGN
BATHROOM TILES
STAIRS
GRAFFITI
CULTURE & DESIGN PRECEDENTS
DETAIL PLAN STAIRCASE/GALLERY Swaziland + toilet- + material
Using the same in the gallery space and designing the toilet for a CULTURE & wood DESIGN cooler colour palette. BATHROOM TILES
STAIRS
GRAFFITI
Niches + gallery + graffiti
Designing the staircase area as a space of respite and gathering by adding a gallery space and seating niches to curate moments to allow for converTOILETS sations and appreciation of Brooklyn’s culture through grafitti.
Diane Von Forstenburg + facade
TERRAZZO Using the glass facade and roof structure as inspiration to create tension between the exterior view and facade of the building, to highlight and bring attention to Ifetayo.
TERRAZZO
STORAGE
DIANE VON FORSTENBURG
DIANE VON FORSTENBURG
NICHES
The staircase gallery space is a dynamic space for both conversation and introspection. Creating a skulight condiiton and changing the facade at this bottom right corner will allow light to flood in and create a conversation from the interior to the exterior providing the street view a glimpse Thethe staircase space is a dynamic space for both conversation into culturalgallery exchanged happening at ifetayo. Creating a landmark and introspection. Creating a skulight condiiton and changing for culture and secondly design. The gallery space could be usedthe to facade at this bottom right corner will allow lightImmediate to flood inasscess and create showcase great inspiring works for the children. to : a conversation from the interior to the exterior providing the street reception and studios
NICHES
The staircase gallery space is a dynamic space for both conversation and introspection. Creating a skulight condiiton and changing the facade at this bottom right corner will allow light to flood in and create a conversation from the interior to the exterior providing the street view a glimpse into the cultural exchanged happening at ifetayo. Creating a landmark for culture and secondly design. The gallery space could be used to showcase great inspiring works for the children. Immediate asscess to : reception and studios
STAIRS TO ROOFTOP
STAIR
SEATING/GA
view a glimpe into the cultural exchanged happening at ifetayo. Creating a landmark for culture and secondly design. The gallery space could be used to showcase great inspiring works for the children.
RENDERED SECTION
IDEATION
SEATING/GALLERY SPACE
IDEATION
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KORI DANCE STUDIOS
CLASS RO
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SE/GALLERY GRAFFITI
TOILETS TOILETS
STORAGE STORAGE
ace for both conversation and and changing the facade at ood in and create a conversang the street view a glimpse etayo. Creating a landmark y space could be used to ren. Immediate asscess to :
OOMS
STAIRS TOTO ROOFTOP STAIRS ROOFTOP
SEATING /GALLERY SPACE SEATING/GALLERY SPACE
57 GALLERY / STAIRCASE
SECTION
IFETAYO
GALLERY/STAIR TO ROOF
KORI STUDIO
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IFETAYO
ASPIRAR Information
Project Type : Hostel Location : New Mexico, Mexico Date : 2020 Type : Academic group project at Pratt Institute Skill : Rhino, Photoshop, Ilustrator
Description
The hostel , Aspirar, gets its name from its trademark hammock design. This boutique hostel has a central courtyard open to ventilation, the space is designed to provide an oasis in the city by creating a contemporary eclectic and relaxing space for young travellers. The unique hammock design of the hostel provides respite in the middke of the hot city by not only bringing natural ventilation into the space but by also curating moments to socialise.
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The hostel has a cafe, work space, games room , pool and a rooftop lounge.
BUILDING AXON DIAGRAM RV D
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1ST FLOOR PLAN
2ND FLOOR PLAN
4TH FLOOR PLAN
ROOFTOP PLAN
The axon diagram shows programs on each floor that are interconnected to one another by the central ventilation and hammock design. The first floor hosts the reception and an eclectic cafe and bar. The reception also has a water feature that brings a cooling factor into the space. The hostel logo symbolises the sense of biophilia that is designed into the space through elements like the hammock. HOSTEL LOGO APIRAR
RECEPTION
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APIRAR
OAK WOOD
BRICK WALL
YELLOW CLAY WALL
CONCRETE
CAFE&BAR VIGNETTE (B) MATERIAL • FURNITURE • LIGHTING
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1ST FLOOR PLAN
A - Aspirar reception. The materiality reflected in this space is that of the existing brick architecture juxtaposed with contemporary furniture. The use of fayetoogood’s Roly-Poly lounge chairs add a fresh pop of colour that works well with the wooden lounge chairs and rattan pendent. Large potted plants add a touch of green that lift the space and provide fresh vibrancy. B - Aspirar Cafe & Bar. The yellow clay walls along with the brick create a warm atmosphere that goes well with the varying rattan pendents that create dynamic patterns through light. The metal stools add a contemporary chicness to the bar.
OAK WOOD
BRICK WALL
JUTE RUG CONCRETE
RECEPTION VIGNETTE (A) MATERIAL • FURNITURE • LIGHTING
APIRAR
A B
FLOATING HAMMOCKS (A)
A - Hammocks. The hammocks are central to the design of his hostel. These causal lounge spaces create potential for serediptious social exchanges, adding an excited buzz to the atmosphere
A
B - Bedroom. This vignette provides a glimpse into the curated aesthetic for the bedrooms. The colour palette of blues and linen whites provide an escape from the hot su, giving the visitors their own mini oases to unwind in.
B
2ND & 3RD FLOOR PLAN
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LINEN CURTAIN
PLASTER WALL
WOOL RUG
OAK WOOD FLOOR
BEDROOM VIGNETTE (B) MATERIAL • FURNITURE • LIGHTING
APIRAR
TERRACOTTA WALL OXIDISED METAL
BRICK WALL
CONCRETE
WORK SPACE & GAME ROOM VIGNETTE (A) MATERIAL • FURNITURE • LIGHTING
A - Work lounge and game room. Furnished with movable furniture to give the space a more relaxed and collborative atmosphere.
A
B - Roftop lounge. A lounge with a view and custom fireplace seating. B
4TH FLOOR PLAN
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ROOFTOP PLAN
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ROOFTOP LOUNGE (B) APIRAR
CAMBIO Information
Project Type : Cafe & Bar Location : Brooklyn, New York Date : 2020 Type : Academic group project at Pratt Institute Skill : Autocad, Rhino, Photoshop, Illustrator
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Description
Cambio is a Cafe turned Bar where onecan be served coffee in the day and sake at night. The space is located on 191 Smith street in Brooklyn. Cambio’s facade has been re designed for outdoor seating, a potential flex space through the folding doors and the pick up window for deliveries. The space has a shifting atmosphere from day to night, where the program shifts from a casual exhibition cafe space to a rave bar space with a built in stage in the bottom floor.
DESIGN CONCEPT
Logo of a mock design studio for the group project. A confluence of languages and cultures amongst the three group members: Indian / Turkish / Nicaraguan, overlapping Hindi, Arabic and Spanish in the name of the company, La Makan.
DAY CA F
E
IBITION NY 11205 200 WilloughbyEAve, EXHBrooklyn, E Tel: (240)-813-5459 FF CO www.lamekan.com DATE
ISSUED FOR
SHEETS
This cafe, located on 191 Smith street in Brooklyn, New York, is named “Cambio”. Cambio in Spanish means “shift”, which speaks to the changing program of the cafe (day) into a bar (night).
CAMBIO
The space shifts from a coffee cafe exhibition space to a tapas bar rave space.
NI G H
T
AK E RS BA
RAVE RV D
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MATERIAL MOOD COLLAGE
CAMBIO
A
3 A-300
100'-0"
B
3 A-300
100'-0"
B
55'-441"
A
2
101
SEATING
102
STAIR 1
ST1
BAR
103
K
TAKE OUT
101
SEATING
102
STAIR 1
ST1
BAR
103
K
DN
GFI
DN
GFI GFI
OPEN TO BELOW
9'-334"
1
TAKE OUT
9'-334"
1
55'-441"
OPEN TO BELOW
25'-0"
2
7'-034"
GFI
GFI
G
GFI
G
WAP
2 A-300
25'-0"
4
ENTRANCE 100
8'-721"
3
2 A-300
ENTRANCE 100
8'-721"
3
7'-034"
WAP
SEATING
108
S
SEATING
108
S
4
1
A-110
1
A-110
FIRST FLOOR POWER AND SIGNAL PLAN
3/16" = 1'-0"
FIRST FLOOR POWER AND SIGNAL PLAN
3/16" = 1'-0"
A
3 A-300
90'-541"
B
3 A-300
90'-541"
B
55'-441"
A
1
SEATING
C02
SEATING
C03
STAIR 1
SEATING
C02
SEATING
C03
ST1
UP 9'-334"
1
55'-441" STAIR 1 ST1
OPEN TO ABOVE
3
C01
SEATING
C01
7'-034"
25'-0" 25'-0"
2
OPEN TO ABOVE
SEATING
7'-034"
2
9'-334"
UP
WAP
GFI
8'-721"
3
GFI
4
8'-721"
WAP
4
2
A-110
2
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A-110
GFI GFI
JAN ROOM C06
BAR
C05
STAGE
C04
JAN ROOM C06
BAR
C05
STAGE
C04
CELLAR POWER AND SIGNAL PLAN CELLAR POWER AND SIGNAL PLAN
3/16" = 1'-0"
3/16" = 1'-0"
55
GENERAL NOTES 1. NOTE.
C
2. NOTE.
GENERAL NOTES
9'-634"
35'-1"
1. NOTE.
C
KITCHEN
104
KITCHEN
104
35'-1"
2. NOTE.
WC
105
9'-634" TERRACE
106
WC
105
TERRACE
106
200 Willoughby Ave, Brooklyn, NY 11205 Tel: (240)-813-5459 www.lamekan.com
GFI 1 A-300
GFI
SHEETS ISSUED FOR 200 Willoughby Ave, Brooklyn, NY 11205 Tel: (240)-813-5459 www.lamekan.com
DATE
GFI 1 A-300
GFI
GFI
GFI
DATE
107
SEATING
107
UNDERCOUNTER REFRIGERATOR
NOTE 2SHEET NOTES
GFI
SEATING
SHEETS
SHEET NOTES
1
GFI
ISSUED FOR
3 1
NOTE UNDERCOUNTER REFRIGERATOR
4 2
NOTE
5 3
NOTE
4
NOTE
5
NOTE
COMMUNITY TABLE
PROJECT
Cafe/Bar: 191 Smith Street Brooklyn, New York 11201
C
BLOCK : 391
BIN: 3006101
LOT : 04
PROJECT DRAWING:
Cafe/Bar: 191 Smith Street Brooklyn, FLOOR New York 11201 FIRST AND
35'-1"
CELLAR BIN: 3006101 : 04 BLOCK : 391 POWER AND LOT SIGNAL PLANS
C
DRAWING:
35'-1"
FIRST FLOOR AND CELLAR POWER AND SIGNAL PLANS
FEATURE WALL SEATING AREA 1 A-300
1 A-300
CRAWLSPACE (N.I.C.)
ELECTRICAL SYMBOL LEGEND WAP
DRAWN BY:
PROJECT NUMBER ISSUE DATE:
DRAWING: DRAWN BY:
PROJECT NUMBER SEAL:
DRAWING:
The two floor plans showcase the different seating typologies for different types of interactions. The show the two bar locations as well as the custom stage built in the cellar for intimate performances. They illustrate the proximity of the the signature bar to the kitchen and access to ADA toilets
WIRELESS ACCESS POINT (WAP) COMPUTER DATA OUTLET
CRAWLSPACE (N.I.C.)
ISSUE DATE:
ELECTRICAL SYMBOL LEGEND
SEAL:
TELEPHONE JACK
WAP
WIRELESS ACCESS POINT AT (WAP) COMPUTER DATA OUTLET THE FINISH FLOOR COMPUTER DATA TELEPHONE JACK OUTLET AT THE FINISH FLOOR
TV
TELEPHONE JACK SATELLITE TELEVISION OUTLET
COMPUTER DATA OUTLET AT THE FINISH FLOOR DIGITAL CABLE OUTLET T
TELEPHONE JACK AT THE FINISH FLOOR THERMOSTAT
TV
SATELLITE TELEVISION OUTLET WALL MOUNTED DUPLEX RECEPTACLE OUTLET
DOB JOB NUMBER
DOCUMENT
DRAWING NUMBER DOB JOB NUMBER
DOCUMENT
DIGITAL CABLE OUTLET WALL MOUNTED QUADRUPLEX RECEPTACLE OUTLET T
THERMOSTAT RECESSED DUPLEX OUTLET AT THE FINISH FLOOR WALL MOUNTED DUPLEX RECEPTACLE RECESSED DOUBLE DUPLEX OUTLET ATOUTLET THE FINISH FLOOR WALL MOUNTED QUADRUPLEX RECEPTACLE OUTLET RECESSED DUPLEX OUTLET AT THE CEILING RECESSED DUPLEX OUTLET AT THE FINISH FLOOR
GFI K.P.
GROUND FAULT INTERRUPTION RECESSED DOUBLE DUPLEX OUTLET AT THE FINISH FLOOR SECURITY ALARM KEYPAD RECESSED DUPLEX OUTLET AT THE CEILING
GFI K.P.
GROUND FAULT INTERRUPTION
A-110 A-110
DRAWING NUMBER B-SCAN STICKER
SECURITY ALARM KEYPAD B-SCAN STICKER
CAMBIO
C
TERRACE
B
104
WC
103
KITCHEN
102
BAR
ROOF
+ 15'-3 1/4"
2
2
2
2
A
C
11
1" 15'-34
1" 16'-14
10"
2
4
11
3'-6" 8"
1" 10'-82
CRAWLSPACE (N.I.C.)
5"
1ST FLR. FIN. FLR.
+ 0'-0"
2'-10"
E
CELLAR STAGE
+ 1'-2"
CELLAR STAGE
CELLAR
+ 0'-7"
-10'-8 1/2"
1
A-300
BUILDING SECTION (LOOKING SOUTH)
12
1
BANQUETTE SEATING
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GENERAL NO
A
1. NOTE 2. NOTE
SHEET NOTE
101
1 7 8 D
3 6
2
5
9
1
ENTRANCE M
2
NEW GYPSU
3
TRANSLUCE
4
TERRACE EN DOORS ADD
5
FURRED WA ADDED
6
NEW COMMU
7
BUILT-IN SEA
8
BUILT-IN CO
9
BUILT-IN BAR
10
BUILT-IN STA
11
NEW DOORS
12
NEW WINDO
11
10
STAGE GENERAL C01 NOTES
STAIRS
1-ST1
BAR
C01
JAN ROOM C01
1. NOTE 2. NOTE
3/16" = 1'-0"
BUILDING SECTION SHEET NOTES
1
ENTRANCE MOVED WITH GLASS FOLDING DOORS ADDED
2
NEW GYPSUM WALLS ADDED
3
TRANSLUCENT GLASS SCREEN ADDDED
4
TERRACE ENTRANCE MOVED WITH GLASS FOLDING DOORS ADDED
5
FURRED WALL WITH TRANSLUCENT GLASS SCREEN ADDED
6
NEW COMMUNICATING STAIR
7
BUILT-IN SEATING
8
BUILT-IN COUNTER TOP
9
BUILT-IN BAR
10
BUILT-IN STAGE
11
NEW DOORS ADDED
12
NEW WINDOW ADDED
The building section shows the transition of spaces while boasting the staircase that creates a moment of pause in the space. 200 Willoughby Ave, Brooklyn, NY 11205 Tel: (240)-813-5459 www.lamekan.com
DATE
The banquette seating arrangement consists of fixed and movable furniture. The colours, charcoal, matcha, wood come together to creare a space that can transition from day to night while maintaining 4 3 2 neon light 1 its moody eclectic atmosphere punctuated by the installation. SHEETS
ISSUED FOR
ROOF
2
1" 15'-34
1" 16'-14
10"
+ 15'-3 1/4"
C
BAR
101
STAIRS
1-ST1
2'-10"
3' - 6"
9
1ST FLR. FIN. FLR.
8"
PROJECT
Cafe/Bar: 191 Smith Street Brooklyn, New York 11201
1" '-82
CAMBIO
5"
+ 0'-0"
6
16'-9" 1'-0"
2" 11"
12'-10"
2"
3'-9"
3 A-711
3 A-300
4"
1
3 A-711
2" 11"
2"
3'-9"
DN
12'-10"
3 A-711
2 A-711
4 A-710
1-ST1
2"
STAIRS
DN
1 A-300
3'-11"
11"
4"
2"
1
3 A-711
3'-11"
16'-9" 1'-0"
1 A-300
1 A-710
11"
2
2 A-711
STAIRS
4 A-710
1-ST1
2
1 A-710
1
A-300
ENLARED STAIR PLAN
1/2" = 1'-0"
STAIRCASE DETAIL PLAN ENLARED STAIR PLAN
1
A-300
3 A-300
2
1/2" = 1'-0"
3 A-300
1 A-300
2
BAR
4 A-710 BAR
101
3'-741" 3'-741"
2'-10"
FIRST FLOOR
1 A-710
1 A-710
FIRST FLOOR
+ 0'-0" 2'-10"
3'-6"
2'-10"
3'-6"
+ 0'-0"
2'-10"
4 A-710
5"
STAIRS 5"
STAIRS
1-ST1
1-ST1 6 A-711
STAIRS
1-ST1
1-ST1
3'-434"
3'-434"
6 A-711
4'-034"
4'-034"
8'-021"
8'-021"
1" 10'-82
1" 10'-82
STAIRS
6 A-711
DN
CELLAR
- 10'-8 1/2"
CELLAR
- 10'-8 1/2" 2 A-711
2 A-711
1
A-700
1
A-700
ENLARGED STAIR SECTION
STAIRCASE DETAIL SECTION
ENLARGED STAIR SECTION
2
1/2" = 1'-0"
A-700
ENLARGED STAIR SECTION 2
1/2" = 1'-0"
A-700
ENLARGED STAIR SECTION
Cambio’s staircase is vital to its design as it is the threshold between the day program and night program. The custom staircase has a built in handrail and a fluted glass guard rail as well as integrated lighting. This minimal, contemporary design complements the eclectic cafe.
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2
700
1/2" = 1'-0"
1 A-300
2
BAR
1
101
PROJECT
Cafe/Bar Brooklyn,
2'-10"
3'-741"
BLOCK : 391 DRAWING:
ENLAR
1 A-710 3 A-711
FIRST FLOOR
3'-6"
5"
2'-10"
+ 0'-0"
ISSUE DATE:
6 A-711
1-ST1
PROJECT NU
1" 10'-82
9'-1041"
STAIRS
DN
5 A-710
1'-4"
8'-021"
SEAL:
DOB JOB NUM
CELLAR
- 10'-8 1/2"
DRAWING NU
A-
B-SCAN STIC
ENLARGED STAIR SECTION STAIRCASE DETAIL SECTION
STAIR PERSPECTIVE
CAMBIO
1/2" = 1'-0"
COVE DISHWASHER GROHE KITCHEN SINK
MIRRORED CEILING CONDITION
2 A-800
SUB-ZERO WINE COOLER
MIRRORED CEILING CONDITION
COFFEE MACHINE
DROPPED SUB-ZERO GLASS HOLDER/ UNDER STEEL FINISH COUNTER
GROHE KITCHEN SINK
REFRIGERATOR
BAR WOLF DRAWER MICROWAVE
COFFEE MACHINE
DROPPED GLASS HOLDER/ STEEL FINISH
###
200 Willoughby Ave, Tel: (240)-813-5459 www.lamekan.com
PAINT WALL FINISH
MIRRORED CEILING CONDITION
DATE
ISSUED FOR
COUNTER TOP GRANITE
RIBBED PANELLED BAR SURFACE/ TILE
DROPPED GLASS HOLDER/ STEEL FINISH
RIBBED PANELLED BAR SURFACE/ TILE MARBLE
FOOT RAIL/ METAL DETAIL
PAINT WALL FINISH
KNOLL FOUR SEASONS BAR STOOL
KNOLL BAR STOOL
KNOLL BAR STOOL
BAR CASEWORK - PLAN
1
A-800
MARBLE
BAR C
2
BAR PLAN A-800 DETAIL 2
BAR CASEWORK - ELEVATION
A-800
RIBBED PANELLED BAR SURFACE/ TILE
7" 2"
KNOLL FOUR SEASONS BAR STOOL
2
D G N
3 4
FOOT RAIL/ METAL DETAIL
KNOLL BAR STOOL
A-800
2
BAR CASEWORK - ELEVATION 7" 2"
3 4"
MIRRORED CEILING CONDITION
PLY PANEL
2" STEEL ROD
PROJECT
5 A-800
FOOT RAIL DETAIL
BLOCK : 391
MIRRORED CEILING CONDITION
D / H
LOT : 0
DRAWING:
MILLWORK - FIR 5 A-800
DROPPED GLASS HOLDER/ STEEL FINISH
Cafe/Bar: 191 Smith Str Brooklyn, New York 112
FOOT RAIL DETAIL
3" = 1'-0"
COUNTER TOP GRANITE
COUNTER TOP GRANITE
PAINT WALL FINISH
DROPPED GLASS HOLDER/ STEEL FINISH
UNDER COUNTER LIGHTING DETAIL
ISSUE DATE:
PROJECT NUMBER
PAINT WALL FINISH SEAL: 6 A-800
DETAIL
FOOT RAIL/ METAL DETAIL
DIS
3" = 1'-0"
6 A-800
FO ME
DETAIL
DISHWASHER
FOOT RAIL/ METAL DETAIL
FOOT RAIL/ METAL DETAIL
COVE DISHWASHER
DISHWASHER
SUB-ZERO WINE COOLER
SUB-ZERO UNDER COUNTER REFRIGERATOR
WOLF DRAWER MICROWAVE
COUNTER TOP GRANITE
DOB JOB NUMBER
STEEL FINISH
DRAWING NUMBER
3
A-800
4
A-800
BAR CASEWORK - SECTION
BAR DETAIL SECTION
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4 BAR A-800
FOOT RAIL/
METAL DETAIL BAR CASEWORK - SECTION
4
A-800
BAR CASEWORK - SECTION
A-800
B-SCAN STICKER 7
A-800
DETAIL
3" = 1'-0"
CASEWORK DETAILS
7
A-800
DETAIL
61
MIRRORED CEILING CONDITION
DROPPED GLASS HOLDER/ STEEL FINISH
PAINT WALL FINISH
RIBBED PANELLED BAR SURFACE/ TILE
FOOT RAIL/ METAL DETAIL
KNOLL BAR STOOL
BAR DETAIL ELEVATION
2
A-800
BAR CASEWORK - ELEVATION 3 A-300
B
100'-0"
101
SEATING
102
STAIR 1
BAR
103
KITCHEN
104
2. NOTE.
9'-634"
35'-1"
ST1
1. NOTE.
C
55'-441"
TAKE OUT
WC
105
TERRACE
106
1
9'-334"
200 Willoughby Ave, Brooklyn, NY 11205 Tel: (240)-813-5459 www.lamekan.com
GFI
GFI
DN
1 A-300
GFI
DATE
OPEN TO BELOW
GFI
2
GFI
GFI
GFI
25'-0"
WAP
7'-034"
The Cambio signature bar is designed to have a fluted bar surface accented by a dull gold footrail. The built-in glass holder has integrated lighting as well. The L shaped bar creates a moment of social and cultural exchange.
GENERAL NOTES
A
2 A-300
3
8'-721"
ENTRANCE 100
ISSUED FOR
SHEETS
SHEET NOTES
MIRRORED CEILING CONDITION
1
UNDERCOUNTER REFRIGERATOR
2
NOTE
3
NOTE
4
NOTE
5
NOTE
5
4
A-800 108
SEATING
1
A-110
SEATING
FIRST FLOOR POWER AND SIGNAL PLAN
FOOT RAIL DETAIL
107
3/16" = 1'-0"
COUNTER TOP GRANITE PROJECT
DROPPED GLASS HOLDER/ STEEL FINISH
A
3 A-300
90'-541"
STAIR 1
ST1
SEATING
C02
Cafe/Bar: 191 Smith Street Brooklyn, New York 11201
C
B
BLOCK : 391
LOT : 04
BIN: 3006101
DRAWING:
55'-441"
35'-1"
SEATING
FIRST FLOOR AND CELLAR POWER AND SIGNAL PLANS
C03
1
9'-334"
UP
1 A-300
ISSUE DATE:
DRAWN BY:
PROJECT NUMBER
DRAWING:
OPEN TO ABOVE
2 C01 CRAWLSPACE (N.I.C.)
7'-034"
25'-0"
SEATING
ELECTRICAL SYMBOL LEGEND WAP
SEAL:
WIRELESS ACCESS POINT (WAP) COMPUTER DATA OUTLET TELEPHONE JACK
3
COMPUTER DATA OUTLET AT THE FINISH FLOOR TELEPHONE JACK AT THE FINISH FLOOR
WAP
8'-721"
GFI
TV
GFI
SATELLITE TELEVISION OUTLET DIGITAL CABLE OUTLET
T
THERMOSTAT WALL MOUNTED DUPLEX RECEPTACLE OUTLET
4
DOB JOB NUMBER
WALL MOUNTED QUADRUPLEX RECEPTACLE OUTLET
BAR
C05
STAGE
C04
RECESSED DOUBLE DUPLEX OUTLET AT THE FINISH FLOOR RECESSED DUPLEX OUTLET AT THE CEILING
GFI K.P.
GROUND FAULT INTERRUPTION
DRAWING NUMBER
A-110
SECURITY ALARM KEYPAD B-SCAN STICKER
2
A-110
CELLAR POWER AND SIGNAL PLAN
3/16" = 1'-0"
DISHWASHER
FOOT RAIL/ METAL DETAIL
CAMBIO
DOCUMENT
6 A-800
RECESSED DUPLEX OUTLET AT THE FINISH FLOOR
JAN ROOM C06
DETAIL
CAMBIO BAR
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CAMBIO
PYER MOSS “FASHION WITH A CONCSCIENCE”
Information
Project Type : Exhibition Location : New York Date : 2020 Type : Academic group project at Pratt Institute Skill : Rhino, Autocad, Photoshop Illustrator
Description
Created by the avant-garde fashion designer Kerby Jean-Raymond, the brand Pyer Moss celebrates the Black Experience as a tool for empowerment through fashion. His provocative designs often represent an “urban” edge, and render an homage to Black heritage, celebrating its cultural strength and passion. Pyer Moss interprets fashion as more than form and material - as an authentication of identity.
6
Fashion with a Conscience features selected pieces from Pyer Moss’ “Normal” collection, and honors the career and culture of designer Kerby Jean-Raymond.
The collection, “NORMAL”, as described by PYER MOSS In "American, Also. Lesson 2" named "Normal" we focused on telling stories of the common black family experience. We led the installation with a runway show at the historic Weeksville Heritage Center. Followed by runway shows in Shanghai & Lagos. We followed up with the Director X led film "Seven Mothers." A film that focuses on the family life of Kerby Jean-Raymond and the 7 women who raised him after his mother passed away in 1994.
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MAPPING OUT IDEAS BASED ON BRAND RESEARCH AND THE COLLECTION “NORMAL”
Fences Concrete Street Lighting
SIGHT
TOUC
H
THE URBAN FABRIC
UNITY
SC
Materials (Metal, Brick, Concrete = raw textures)
Highlight the Black neighborhood experience in an urban way through streets and courts
EN
T
SO
Metal Paint Dirt
- reflecting the power in streetwear and its effortless style
UN
D
PYER MOSS
GOAL
urban fabric as the setting in the exhibition
Choir
Paintings Prints Photographs of families
SIGHT
- the idea of uniting through fashion- accessible fashion - high fashion streetwear
reflecting the domestic black experience and uniting black communities through an introspection into their lives
TOUC
H
Fabric
WINDOW INTO
PERSPECTIVE
SC
EN
T Fabric/ home scent
SO
pieces that have black portraits doing daily activities
UN
GOAL
D
PYER MOSS
Pyer Moss short films
Graphics slogans
SIGHT
TOUC
H
CATHARSIS
DISRUPTING FASHION
SC
Basketball court / street
EN
T Court rubber
SO
PYER MOSS
PYER MOSS
-highlighting the artist -Derrick Adams
Social Justice + Black Lives Matter
- Demonstrate how Pyer Moss uses fashion to fight social justice and how BLM is an active part of his shows. - To provide a catharsis through the court setting
- Pieces from “Normal” that have typology directed towards Black Lives Matter
UN
GOAL
creating an intimate and personal interior setting that reflects the domestic experience
D
Choir/stories of the Black American experience
- Fashion as an expression
MAPPING SENSES THROUGH THE EXHIBITION EXPERIENCE
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Crosswalk KEY TO SENSES PLAN
SOUND
SIGHT
Pyer Moss Fashion Pieces / Mannequins TOUCH
Museum-goers
SCENT
Crosswalk Choir Plexi Glass Figures Pyer Moss Fashion Pieces / Mannequins
UR
Museum-goers Crosswalk Choir Plexi Glass Figures Pyer Moss Fashion Pieces / Mannequins
NARRATIVE DEVELOPMENT
COAT CLOSET THRESHOLD FOR HOME EXPERIENCE
Museum-goers
UR
Choir Plexi Glass Figures
URBAN SETTING
Coat Room
T.V. / LIVING ROOM SETTING
THRESHOLD TO EXHIBITION MINDSET
FINAL TAKEAWAY
REFLECTIONS ROOM THRESHOLD FROM HOME BACK TO URBAN SETTING
PYER MOSS
BLACKAMERICAN AFRICAN BLACK AMERICAN AFRICAN HOME AMERICAN EXPERIENCE HOME EXPERIENCE FRICAN HOME EXPERIENCE
Checkered Floor Pattern
URBAN SETTING
UR
Digital Grafi Room
Coat Room
Checkered Floor ENTRY Pattern Living Room Coat Room
Digital Grafi Room
+ Multimedia
TVs with Pyer Moss Capsule videos Velvet Rugs Checkered Floor Pattern
EXIT Living Room + Multimedia TVs with Pyer Moss Capsule videos Velvet Rugs
Living Room + Multimedia TVs with Pyer Moss Capsule Checkered Floor videos Velvet Rugs Pattern
Checkered Floor Pattern Checkered Floor Pattern
Digital Grafi Room
RENDERED FLOOR PLAN
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MATERIAL COLLAGE
Concept material collage illustrates the tactility and array of textures in the exhibition. The space is a playground for the senses rooted in research, analysis and fashion with a conscience. The rendered floor plan illustrates the transition from the urban exterior into the tiled interior home space.
PYER MOSS
B
A C
B - The visitor is greeted by the choir so that there can be an immediate immersion into the brand this is Pyer Moss. This was inspired by the short film based on this collection as well as the presence of choirs in every Pyer Moss fashion show.
A - The entry threshold is designed to have a dropped ceiling with dynamic moving panels with models wearing the “NORMAL” collection. The dropped ceiling opens up into a large immersive choir space.
C - The section illustrates the entry threshold ceiling manipulation, immersice choir space and living room.
ENTRY THRESHOLD (A) RV D
73
CHOIR STOOP (B)
SHORT SECTION (C)
PYER MOSS
COURT SIDE DISPLAY (B)
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B
A
A - The digital graffiti space is an invitation to the visitor to be part of the creative process and to integrate back into the urban context which has been Pyer Moss’s playground. B - The court-side display is used to showcase the athletic wear of the collection. Kirby calls on memories of playing basketball in street side courts. We echo that same sentiment here as a tribute to this iconic Black American experience. We use the court as a space of catharsis to draw a parallel to the “NORMAL” collection.
Thus, these spaces begin to tell a story of the brand that is Pyer Moss.
PYER MOSS
COLLABORATIVE DIGITAL GRAFFITI WALL (A)
A
A - The T.V. room brings the visitor to a more intimate setting to not only provide further insight into “NORMAL” but also to showcase Pyer Moss’s digital content and short film on the collection.
B - The protest diaplay takes us back to the public urban setting . Pyer Moss empowers through fashion, using stories and experiences to weave his collections. This display includes many mannequins at varying heights dressed in this collection. The mannequins provdidng solidarity in numbers.
B
C
C - Opposite the protest is a continued urban story telling experience at interactive phone booths. Each phone has a unique experence of fashion and culture.
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PROTEST DISPLAY (B)
PHONE BOOTH EXPERIENCE ELEVATION (C)
PYER MOSS
POLYMORPHING PETALS Information
Project Type : Retail Location : New York Date : 2019 Type : Academic project at Pratt Institute Skill : Model making, Rhino, Photoshop, Illustrator, Autocad
7
Description
Housing Works thrift store design that is inspired by the companies values. An installation design that is a nod to the interconnectedness of the Housing Works community. The design is meant to be an immersive experience that is derived from the structure of the organisatio. Polmorphing Petals is an organic aggregation of engineered petals that come together in varying planes to create a boundary condition. This porous boundary is designed with the function of creating space and as a display system. The design is a confluence of form and function.
HOUSING WORKS
Housing Works is a New York City based non-profit fighting AIDS and homelessness. The charity is well known for its entrepreneurial businesses including a chain of Thrift Shops, which supports efforts to end AIDS and homelessness. They are also known for their social justice activism.
Anthropometric analysis to understand retail displays to design for the Housing Works thrift stores.
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Bass wood bending experimentation with scale, thickness and form
Thicker bass wood bent into a loop
Creating loops fastened with copper wire to create an aggregation of loops
POLYMORPHING PETALS
PLAN
FRONT ELEVATION
LEFT ELEVATION
COLLABORATION Housing Works as an organisation has grown exponentially over the years due to their business strategy of collaborating with different facets that could help them grow a larger revenue and ease their housing costs. They have expanded their services to thrift shops, bookstores, cafes, medical services in several locations all around New York and Brooklyn. Their company boards include experts from a large array of fields- media, retail to name a few. Hence, collaboration has been the key to their success and growth.
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HOUSING WORKS COLLABORATION DIAGRAM
HOUSING EXPANDED
THRIFT SHOP: 57 WILLBHY ST
THRIFT SHOP: 245W 10 ST
HOUSING WORKS COLLABORATION THRIFT SHOP: LONG ISLAND
MEDICAL SERVICES
THRIFT SHOP
MEDICAL SERVICES EXPANDED
THRIFT SHOP: CHELSEA
MEDICAL SERVICES: DENTAL CLINIC
MEDICAL SERVICES: EAST COMMUNITY HEALTH CNTR
HOUSING
MEDICAL SERVICES: INC 743-749 E 9 ST
HOUSING IMPROVED
COLLABORATED: Housing Works as an organisation has grown exponentially over the years due to their business strategy of collaborating with different facets that could help them grow a larger revenue and ease their housing costs. They have expanded their services to thrift shops, bookstores, cafes, medical services in several locations all around New York and Brooklyn. Their company boards include experts from a large array of fields- media, retail to name a few. Hence, collaboration has been the key to their success and growth.
POLYMORPHING PETALS
Final boundary condition // Polymorphing Petals This design makes uses varying thickness, scale and axes to create an organic multiplying form. The model is made from bent bass wood and copper wire connections
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POLYMORPHING PETALS
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The building axon captures the essence of the swarm by illustrating how the petals inhabit the space. The section is a detail view of the 3rd floor.
POLYMORPHING PETALS
This section shows the functional use of the boundary in the thrift store setting. The petals at changing axes divide space but also form displays to hang clothes or to shelf objects. The section illustrates the swarm of petals and the immersive nature of the installation.
CONCEPTUAL RENDERS
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POLYMORPHING PETALS
CURATING URBAN WORMHOLES Information
Project Type : Cinematic installations Location : New York Date : 2021 Skill : Model making, Rhino, Photoshop, Illustrator, Autocad
8
Description
Curating urban wormholes invites the exploration of the city through a new lens, by inserting cinematic experiences in sidewalk freight elevators that connect invisible, disparate moments in the cityscape. These wormholes camouflage into the city fabric creating tension between site and user while activating unused ‘other’ spaces in the city.
MULTI-VERSE THROERY
THE OSTENSIBL PROGRAM / SIT
Multiverse, a hypothetical collection of potentially diverse observable universes, each of which would comprise everything that is experimentally accessible by a connected community of observers
THEME DEVELOPMENT
USER DATA INTEGRATION
SPOOKY ACTION Unconventional Love - creating spaces of comfort + exposure AT A DISTANCE
LOCAT DEVELO
Entanglement is what Einstein referred to as "spooky action at a distance." It's a phenomenon by which one particle can effectively "know" something about another particle instantaneously, even if those two particles are separated by a great distance
TORY QUESTION
urban surface be designed to have an interior condition that is an hreshold that functions as a wormhole that transports the user to differates of seeing and percieving through interactive media installtions ?
20 block walki
maintain serend SERENDIPITY to exp
Map/address keys to other locations + Visitor data about use
ORCHESTRATE
MULTI-VERSE THROERY
THE OSTE PROGRAM
Multiverse, a hypothetical collection of potentially diverse observable universes, each of which would comprise everything that is experimentally accessible by a connected community of observers
WEB OF RESEARCH MAPPING OUT CONCEPT DEVELOPMENT
Conversely, as we have seen throughout this book, people have the capaci changing times are more apt to define and create their lived spaces aroun SPOOKY ACTION gender, or their particular cultural contexts. Thus, the user and their "voice" (ex SEREND Up AT A DISTANCE
Taking
How can the urban surface be designed to have an interior condition that is an in-between threshold that functions as a wormhole that transports the user to different mental states of seeing and percieving through interactive media installtions ?
EXPOSURE
WORMHOLES
/
DIFFERENT
STATES
OF
Space,
Entanglement is what Einstein referred to as "spooky action at a distance." It's a phenomenon by which one particle can effectively "know" something about another particle instantaneously, even if those two particles are separated by a great distance
THESIS EXPLORATORY QUESTION
PUBLIC
ORCHES
MIND
Conversely, as we have seen throughout this book, people have changing times are more apt to define and create their lived sp gender, or their particular cultural contexts. Thus, the user and their Taking
MULTI-VERSE
PARADIGM
/
WORMHOLES
/
SHIFT
DIFFERENT
STATES
OF
Up
EXPOSURE SELF
PUB
User circulating through this simulation
MIND
COMMUNAL SELF
INDIVIDUALITY
ENTERING THE WORMHOLE/ CINEMA
PERSPECTIVES INSIDE THE “BUBBLE”
PARADIGM
PARALELL UNIVERSE HOW THE “BUBBLE” WORKS
Y
CULTURE CURATING
H
I
S
T
O
R
ENTERING THE WORMHOLE/ CINEMA
PERSPECTIVES INSIDE THE “BUBBLE”
COMM
PARALELL UNIVERSE HOW THE “BUBBLE” WORKS
CURATING PERCEPTION
PERCEPTION
PERSPECTIVES
Y
The
To bring to the fore, relevence of
mind
UNLOCK learns
and
perceives
INTER INTERACT
UNLOCK through
different
Dance has b moving
details that can be designed to be read a certain way. Helmholtz theory of perperspectives, their impact in our Dance has been called proposes a “sign” theory, according to which sensations The daily mind and perceives throughception - Helmholtz different lives and how learns it is the salt symbolize their stimuli, but are not direct copof everything, without which evarchitecture details that can designed of per-stimuli. While Müller explains the moving iestheory of those erything lacks be taste, relevence to be read a certain way. Helmholtz correspondence between sensation and object by means of an innate conDance Notation, Ann Hutchinson Guest ception - Helmholtz proposes a “sign” theory, according to which sensations figuration of sense nerves, Helmholtz argues that we construct that correspondence bycopmeans of a series of learned, “unconscious inferences.” symbolize their stimuli, but are not direct ies of those stimuli. While Müller explains the correspondence between sensation and object by means of an innate configuration of sense nerves, Helmholtz argues that we construct that correspondence by means of a series of learned, “unconscious inferences.” MINDFU
To bring to the fore, relevence of perspectives, their impact in our daily lives and how it is the salt of everything, without which everything lacks taste, relevence
Dance Notation, An
The-Tell-Tale
HETEROCHRONIES
The-Tell-Tale
Heterotopias are most often linked to slices in time— which is to say that they open onto what might be termed, for the sake of symmetry, heterochronies. The idea of accumulating everything, of establishing a sort of general archive, the will to enclose in one place all times, all epochs, all forms, all tastes, the idea of constituting a place of organizing in this way a sort of perpetual and indefinite accumulation of time in an immobile place
S
ices in time— ght be termed, The idea of acsort of genere all times, all constituting a perpetual and mmobile place
User circulating through this simulation
SHIFT
INDIVIDUALITY
CINEMA HETEROCHRONIES
PERSPECTIVES
Spac
of
Detail,
Marco
of
Detail,
Marco
Fascari
Fascari
WORMHOLE The wormhole theory postulates that a theoretical passage through space-time could create shortcuts for long journeys across the universe. Wormholes are predicted by the theory of general relativity
MINDFULLNE
CINEMA INSTALLATION
UNCONVENTIONAL
LOVE WORMHOLE
P
1. Ratatouille
R
O
G
R
A
M
2. Carol The wormhole theory postulates that a 3. Call me by your name 4. Little Women theoretical passage through space-time 5. Moulin Rouge 6. The danish for girl long journeys could create shortcuts 7. A suitable boy 8. Breaking Wormholes bad movie across the universe. are pre9. 100 foot journey My octopus dicted by the 10. theory ofteascher general relativity
is a of im of of sep
11. Her 12. Highway 13. The Prestige
USER SHIFTING
V
PROGRAM PERSPECTIVE
CINEMA INSTALLATION
AL P
R
O
G
R
A
M OBJECT + ROOM DEVELOPMENT PHYSICAL + DIGITAL EXPERIENCE curating specific moments from selected cinema and creating a tailored experience toexplore engage and provide a different perspective
USER
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SHIFTING
V
PROGRAM PERSPECTIVE
94
definition: stated or appearing to be true, but not necessarily so: the delay may have a deeper cause than the ostensible reason.
LE TE
Program
Primer
WORK.AC
TION OPMENT
TRANS
PORTIVE
ing radius to dipity + ability plore
E
“MIND MAPS” & “NODES” “nodes”: the strategic spots in a city into which an observer can enter. and which are the intensive foci to and from which he is traveling. They may be primarily junctions, places of a break in transportation, a crossing or convergence of paths, moments of shift from one structure to another. Or the nodes may be simply concentrations, which gain their importance from being the condensation of some use or physical character. as a streetcorner hangout or an enclosed square. Some of these concentration nodes are the focus and epitome of a district, over which their influence radiates and of which they stand as a symbol.
SITE DEVELOPMENT Sidewalk freight Elevators
definition: stated or appearing to be true, but not necessarily so: the delay may have a deeper cause than the ostensible reason.
ENSIBLE M / SITE
Program
Primer
WORK.AC
ity to make sense of their surroundings, and with the nd what they need, as situated in their values, their xpressed DIPITY as needs) become vital in the design process. TRANS
STRATE
Tracee
SALVAGE SWINGS CITY OF DREAMS PAVILLION “MIND MAPS”
PORTIVE
Wolf
CONTEXT
REALMS
"performance does not depend on an event in itself but on how that event is received and placed.” In this way spatial e the capacity to make sense of their surroundings, and with the performance cannot be evaluated without considering the paces around what they need, as situated in their values, their SALVAGE SWINGS CITY OF r "voice" (expressed as needs) become vital in the design process. DREAMS PAVILLION manifold modes of its "cultural" reception.
ce,
Wolf
BLIC
Tracee
Six
Ways
to
Approach
Architecture
through
the
Lens
of
Performance,
Rodrigo
BLURR BUILDING
Tisi
"performance does not depend on an event in itself but on how that event is received and placed.” In this way spatial performance cannot be evaluated without considering the manifold modes of its "cultural" reception. Six
Ways
to
Approach
Architecture
through
the
Lens
of
Performance,
Rodrigo
PAVILION LIBRARY
IN-BETWEEN Small of the BUBBLE pieces SPACES private realm -”bubbles” -may intrude into public or parochial Spaces space. that have a special quali-
PAROCHIAL REALM
Small pieces of the private realm -”bubbles” -may intrude into public or parochial space.
TRACT
The
Public
Realm,
Lyn
The
Lofland
PUBLIC REALM
PUBLIC REALM
been called architecture
MANCHESTER PAVILION
BUBBLE
PAROCHIAL REALM
MUNAL
d e
nn Hutchinson Guest
Public
Realm,
Lyn
“mind maps”: Kevin Lynch talks about remembering cities as “mind maps”, emotional memories associated with certain spaces in the city The
City
its
Elements
,
Kevin
Image
and
its
Elements
,
Kevin
Lynch
Lynch MANCHESTER PAVILION
IN-BETWEEN SPACES OUTDOOR
Tisi
PRIVATE REALM
BLURR BUILDING
“mind maps”: Kevin Lynch talks about remembering cities as “mind maps”, emotional memories associated with certain spaces in the city
The City Image and PAVILION LIBRARY
CONTEXT
REALMS REALM PRIVATE
& “NODES”
“nodes”: the strategic spots in a city into which an observer can enter. and which are the intensive foci to and from which he is traveling. They may be primarily junctions, places of a break in transportation, a crossing or convergence of paths, moments of shift from one structure to another. Or the nodes may be simply concentrations, which gain their importance from being the condensation of some use or physical character. as a streetcorner hangout or an enclosed square. Some of these concentration nodes are the focus and epitome of a district, over which their influence radiates and of which they stand as a symbol.
OUTDOOR / WINDOW THRESHOLD
/ WINDOW Spaces that have a special qualiTHRESHOLD ty, that make people feel differently than the environment that they were previously in and the one they will be in after this in-between space. A space that has an immaterial essence about it- either in constrcution, materiality, program or atmosphere. One that will change circulation and pace intentionally
ty, that make people feel differentLofland ly than the environment that they were previously in and the one they will be in after this in-between space. A space that has an immaterial essence about it- either in constrcution, materiality, program or atmosphere. One that will change circulation and pace intentionally
t
ULLNESS
HETEROTOPIAS Heterotopia is a concept elaborated by philosopher Michel Foucault to describe certain cultural, institutional and discursive spaces that are somehow ‘other’: disturbing, intense, incompatible, contradictory or transforming. Heterotopias are worlds within worlds, mirroring and yet upsetting what is outside.
QUANTUM ENTANGLEMENT
ESS
is a physical phenomenon that occurs when a pair or group of particles are generated, interact, or share spatial proximity in a way such that the quantum state of each particle of the pair or group cannot be described independently of the state of the others, including when the particles are separated by a large distance
HETEROTOPIAS
AN EXCHANGE
QUANTUM ENTANGLEMENT A social , cultural, emotional exchange U
S
E
R
“OTHER SPACES” bus stops, store fronts, hot dog trucks, SITE / CONTEXT
Heterotopia is a concept elaborated by philosopher M Foucault to describe certain cultural, institutional and di sive spaces that are somehow ‘other’: disturbing, intense compatible, contradictory or transforming. Heterotopias worlds within worlds, mirroring and yet upsetting what is out
a physical phenomenon that occurs when a pair or group particles are generated, interact, or share spatial proxmity in a way such that the quantum state of each particle the pair or group cannot be described independently the state of the others, including when the particles are parated by a large distance USER
V
CHANGING
PROGRAM
SITE
PACE/ATMOSPHERE
V
PROGRAM
WORMHOLES ON URBAN SURFACE
AN EXCHANGE
“OTHER SPACES”
A social , cultural, emotional exchange U
USER
S
E
bus stops, store fronts, hot dog trucks, SITE / CONTEXT
R
ACTIVATED ZONES
MATERIAL SELECTION
Areas around the wormholes that activate social/emotional and cultural exchange
mirrored surfaces leading up to wormhole reflecting the existance of an “other space” a parallel universe
V
PROGRAM
CHANGING PACE/ATMOSPHERE CURATING URBAN WORMHOLES
SITE
V
PROGRAM
WORMHOLES ON URBAN SURFACE
GLOSSARY CINEMA The art or technique of making motion pictures WORMHOLE The wormhole theory postulates that a theoretical passage through space-time could create shortcuts for long journeys across the universe. Wormholes are predicted by the theory of general relativity MULTI-VERSE THEORY Multiverse, a hypothetical collection of potentially diverse observable universes, each of which would comprise everything that is experimentally accessible by a connected community of observers
WHY_CINEMA DIAGRAM / MULTI-VERSE
USER
MULTI-VERSE THEORY
SHIFTING
V
PROGRAM PERSPECTIVE
Multiverse, a hypothetical collection of potentially diverse observable universes, each of which would comprise everything that is experimentally accessible by a connected community of observers
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CINEMA DECONSTRUCTED
HISTORY OF CINEMA At first, films were very short, sometimes only a few minutes or less. They were shown at fairgrounds, music halls, or anywhere a screen could be set HISTORY OF CINEMA DIAGRAM / FLANERIE up and a room darkened. Subjects included local scenes and activities, views of foreign lands, short comedies and newsworthy events.
CINEMA DECONSTRUCTED DIAGRAM / CINEMA BREAKDOWN
At first, films were very short, sometimes only a few minutes or less. They films accompanied by or lectures, music and could a lot of parwereThe shown at were fairgrounds, music halls, anywhere a screen be audience set ticipation. AlthoughSubjects they didincluded not have synchronised dialogue, they were up and a room darkened. local scenes and activities, not theyshort are comedies sometimes views of ‘silent’ foreign as lands, anddescribed. newsworthy events. The During films were by lectures, music and a lot of audience theaccompanied 1930s and 1940s, cinema was the principal formparof popular ticipation. Although they not have synchronised entertainment, withdid people often attendingdialogue, cinemas they twicewere a week. Ornate not ‘silent’ they areor sometimes described.offering extra facilities such as cafés ’super’ascinemas ‘picture palaces’,
and ballrooms, came to towns and cities; many of them could hold over
During the 1930s and 1940s, cinema was the principal form of popular 3,000 people in a single auditorium. entertainment, with people often attending cinemas twice a week. Ornate ’super’ cinemas or ‘picture palaces’, offering extra facilities such as cafés Britain, the highest attendances occurred in 1946, withover over 31 million and In ballrooms, came to towns and cities; many of them could hold visits to the each week. 3,000 people in acinema single auditorium. In Britain, the highest attendances occurred in 1946, with over 31 million visitsSpecifically to the cinema each week. inspired by single screen cinemas like The Paris Cinema in
NYC, because these types of cinemas were brought with the purpose to introduce indie genres, usually internationa genres to a wider audience, with
Specifically inspired by single screen cinemas like The Paris Cinema in the hope of providing perspective and a cultural exchange NYC, because these types of cinemas were brought with the purpose to introduce indie genres, usually internationa genres to a wider audience, with the hope of providing perspective and a cultural exchange
At first, films were very short, sometimes only a few minutes or less. They were shown at fairgrounds, music halls, or anywhere a screen could be set up and a room darkened. Subjects included local scenes and activities, views of foreign lands, short comedies and newsworthy events.
THE EXPERIENCE
THE EXPERIENCE
SOCIAL SOCIAL
EXCHANGES EXCHANGES
CULTURAL TURAL CUL
EMOTIONAL
EMOTIONAL
CURATING URBAN WORMHOLES APIRAR
Cinemas used to provide a social interaction in the pre cinema buzz and post cinema discussion as well as the quiet company of
Cinemas used to provide a social interaction in the pre cinema buzz and post cinema discussion as well as the quiet company of like-minded individuals engaged in theactivity same activity like-minded individuals engaged in the same
Cinemas used to provide a cultural interaction in the viewing of the media itself bringing the world slightly closer each movie at a time
Cinemas used to provide a cultural interaction in the viewing of the media itself bringing the world slightly closer each movie at a time
Cinemas used to provide an emotional interaction through the power of the lens provided and the after effect of it on the human condition
Cinemas used to provide an emotional interaction through the power of the lens provided and the after effect of it on the human condition
CINEMA / UNCONVENTIONAL LOVE touil
Rata
wide screens
surround sound
light
transitions
scent
temperature
le
l
Caro
lash
Whip The
l
h gir
danis
Willy
ka Won
otel
est H
udap
nd B
Gra The
rland
Alice
onde In W
CINEMA SPATIAL QUALITIES
SITE LOCATIONS
19TH & 5TH
TRACE ZONES immediate zone 2.
5
st
.r
ad
wayfinding / second zone iu
s
trace / third zone
benches
NETWORK RULES grid abiding
20 block walking diameter
not visually accessible from one another
ostensible/ to explor/ re-romanticise this/that game
10
QR code
NETWORK DESIGN DECISIONS
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The network map diagrams the finalised locations for the network, the chosen cinemas and the trace zones in the urban fabric. Re romanticizing the urban landscape by curating wormholes of cinematic experience. The closer one approaches a wormhole it gets infinitely harder not to experience it. Using this as a graphic rule, dictates that the immediate zone outside the experience is “activated” by the presence of the wormhole. This space is activated by benches that are designed to create different interactions, hence putting the people using the benches on display (in a performative act) as well as providing a space to pause and observe their surroundings and experience the city through a changed lens. The idea is inspired from not only the social component of cinema that brings strangers together for a common purpose ie to observe, but also inspired by the specific selection of movies that all speak to an idea of performance. FREIGHT ELEVATOR AS A CINEMA
BENCHES / PERFORMANCE
CINEMA PERFORMANCE ANALYSIS
CAROL
PEDASTAL
P
• different heighted seating to show inequality
E
VEILED
R
RATATOUILLE
• changing scale
F O
STAGED
R
WHIPLASH
M
SERVING
A N
THE GRAND BUDAPEST HOTEL
• seat that has a stage like seat like a platform
• a seat designed to make people face one another, an interdependency
C
CURATING URBAN WORMHOLES
EXPLORATION
E
LIFE AQUATIC
• seating with a hammock something querky but contemplative
FINAL NETWORK MAP / NODES SITE AXON VIEW
The map illustrates the 10 locations of freight elevators that comprise of one network of cinematic expereinces
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The map depicts the effect of the wormholes’ trace effect in the urban fabric. Inspired by the quantum theory that states- the closer one gets to a wormhole it gets infinitely harder to not experience it. Below are cinema vignettes in freight cabins, experimenting with material colour and methods DEVELOPING FREIGHT ELEVATOR VIGNETTES
CURATING URBAN WORMHOLES
FREIGHT_WONKA
FREIGHT_BUDAPEST
FREIGHT_ALICE
FREIGHT_RATATOUILLE
The movie breakdown is a method devised to understand in full what each cinematic piece evoked in the audience/viewer. The analysis starts from frames in the scene to concept and motif analysis to extract and dsitill information to create an experience that captures an essence of the film and its atmophere, ensuring the designs departure from set design/immitation.
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CURATING URBAN WORMHOLES
SITE PLAN
W
OO ST ER
ST .
W
HO
US
TO
The site plan reflects the sporadic bench placement activating the street zone as well as the way-finding graphic that connects the network of elevators. N
ST .
The collages show the scale change of benches The street section illustrates the simultaneity of the freight and the urban scale
STREET COLLAGE
BENCH DIAGRAMS
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STREET SECTION CURATING URBAN WORMHOLES
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NIGHT/DAY STREET VIEW The location of freight elevators is chosen because of its heterotopic quality, its ability to camoflauge into the city fabric enhances its wormhole like quality. The re-use of “other” under-used spaces in the city also adds to the expierience. These context collages illustrate the juxtaposition between the urban landscape and the interiority of the cabin.
CURATING URBAN WORMHOLES
45 PRESS 4 CINEMA
PERSPECTIVAL SECTION
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MATERIAL CONNECTIONS
MATERIAL PALETTE
ELEVATOR SURFACE
GOLD FILM
FLUTED GLASS
FLUTED GLASS PANEL
WELDED RUBBER STOPPER
MATERIALS
HELD BY TENSION OR METAL STRAPPING GOLD TUBING
DETAIL SKETCHES
FREIGHT PLAN
CURATING URBAN WORMHOLES
FREIGHT SECTION
RENDERED AXON
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DESIGN DECISIONS
TERIAL CONNECTIONS INTERIORMA EXPERIENCE ELEVATOR SURFACE
GOLD FILM
FLUTED GLASS
FLUTED GLASS PANEL
WELDED RUBBER STOPPER
HELD BY TENSION OR METAL STRAPPING GOLD TUBING
CURATING URBAN WORMHOLES
MATERIAL PALETTE
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NETWORK OF FREIGHT EXPERIENCES / WORMHOLE NETWORK Through these lifts I hope to create pockets of socio-cultural exchange that paint the city creating a multiplying effect in thhe everyday. The proposal for the network of cinematic experiences is to have a temporary installation that would constantly move and shift in location, creating new nodes where it has been occupied. The aspiration is for this project to be cross cultural and global
FREIGHT_KUBO
FREIGHT_DANISH
FREIGHT_CAROL
CURATING URBAN WORMHOLES
FREIGHT_BUDAPEST
FREIGHT_WHIPLASH
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9
EXPRESSION
MODELS/ SKETCHES/ PHOTOGRAPHY SELECTION OF EXPERIMENTS OVER THE PAST 4 YEARS USING :
LASER-CUTTING/COLOUR ACRYLICS/PLASTER MOLDING/WOOD BENDING/ ARDUINO/MATERIAL SAMPLES/CNC/PROJECTION/RHINO/CHIPBOARD SKETCH MODELS/PAPER FOLDING/CHARCOAL/PHOTOSHOP/ON SITE DRAWINGS/LIGHT-COLOUR-FORM
S EXPRESSION
S
K
E
T
C
H
E
S
P H O T O G R A P H Y
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