Interior Design Portfolio

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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


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7 79-90

91-113

POLYMORPHING PETALS

CURATING URBAN WORMHOLES

CINEMATIC INSTALLATIONS

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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

RV D

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

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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.

­

T.V. / LIVING ROOM EXPERIENCE (A) RV D

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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

RV D

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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