Architecture Portfolio. Vol. 2. Selected Works 2016- 2020
SRIMOYEE SINHA
About Me..
A highly creative outgoing professional, on an exploratory journey of the meaning of architecture in today’s world. Growing up around a pool of architects and engineers alike, had inspired me to choose this creative field as a career path. Upon embarking on a very traditional architectural journey in my undergraduate years, I wanted to further my education in the more experiential, abstract aspect of the industry. I am interested in studying the essence of architecture in motion. To capture the world in movement, and to see the diversity in transcendence, is to truly see the influence of architecture on mankind. This portfolio takes you through some of my best projects brought to life during my graduate studies in Architecture at SCI-Arc and past internships. As a fresh graduate with an M. Arch degree, I am looking for employment which helps me expand my creative repertoire and visualize the professional world through fresh and exciting lenses.
Address :
300, S Santa Fe Ave, Los Angeles, CA 90013
Phone
:
513. 223. 2090
:
srisinha97@gmail.com
01
02
DESIGN STUDIO / DS The Art Closet 3GAX DS 4000 Vertical Studio
06.
The Hovering Outlook 3GBX DS 5000 Vertical Studio
26.
The Aqua Bloom 2GAX DS 1200 Gen. Morphologies
34.
Monumental Ephemera 4GAX DS 1420 Graduate Thesis
40.
VISUAL STUDIES / VS Victorian Playroom 3GBX VS 2703 Playroom
54.
Contents.
03
04
APPLIED STUDIES / AS Design Development 3GAX AS 3222 Design Doc
62.
A Window in A Wall 3GAX AS 2509 Details, Details
74.
The Kolon Tower 2GAX AS 3200 Materials N Tectonics
82.
INTERNSHIP WORK/ AXP Moore Residence Architecture Inc. | Fall 2016
92.
Linked In Headquarters Studios Architecture | Summer 2017
96.
Graduate
3GAX Verticals
Studio Partners
Srimoyee Sinha
Elena Manferdini Pop-Up Museum
Yash Raj Mehta
The Art Closet “Art evokes the mystery without which the world would not exist.” – René Magritte
6.
What’s “New” about the museum? How are museums politicizing engagement with social media to drive the course of Art history? The latest social trends have been convincing enough to accept the fact that pop-ups have become both the fad and the desire. The pop-up as a module presents a great monetization technique without leaving any real impression in the minds of the viewer. The crux of the criticism is that young people are silly enough to pay good money for Instagram bait, a place made for selfie culture that prioritizes style over substance. Therefore, how can museums revive their museum-goer economy amidst the challenge of pop-ups overtaking the market? Although bringing up a broad range of criticism in the process, maybe the answer is for museums to accept the popup as a module to display art. Museums have been historically known to be drivers of cultural enrichment. However, with the ubiquitous presence of pop-ups that call themselves museums, the traditional sense of the word is lost. Museum of ice-cream or the museum of selfies are hardly worthy of the title. Nonetheless, museums can certainly bring back their legacy of promoting art literacy by undertaking their mission through a different lens. If we imbibe the exciting module of a pop-up where poetic, artistic and complex interpretations of art are broken down into their simple elements and
portrayed through a series of colorful spaces, people will leave with a deepened sense of what the different genres of art is and their didactic impact on humanity. The Art Closet aims to promote art literacy by narrating a story for ART. The different pop-up spaces existing within our museum takes you down the journey that led to the existence of that particular art. We’re not proposing mundane art lessons throughout the space, rather making the art come to life by breaking down the complex understanding of color, composition, spatiality and history of the artwork into an actual three dimensional space. A few pop-up spaces currently running in our museum are ones of Pointillism, Doodle Art, Optical Illusion and Action Painting. The aim of our museum is to influence the viewers of art to traverse through these spaces as they would in a normal pop-up setting. The pop-up spaces are temporary. The museum undergoes revamping and changing of artwork once a year thereby promoting art literacy of different kinds of ART at any moment in time. The hope for such a curated space is that the viewer gains enough interest and excitement, that circulates through social media which enables art education and re-branding of the museum under the typology of a pop-up, which in turn revives the museumgoer economy.
The Art Closet
8.
Side Elevation Pan Rendered View
The Art Closet
9.
Side Elevation Pan Rendered View
The Art Closet Corner Cut Showing Entrance from the Skywalk Rendered View
110. 10 0.
The ribbed facade (vertical louvers) add a level of porosity without revealing all the interior content of the museum. The open floor plan with pockets of concentration create areas of curiosity that influences the circulation of people throughout the space.
The Art Closet Corner Cut Showing Entrance from the Skywalk Rendered View
111. 11.
The skywalk connects to the outdoor area of the 6th floor of the New Museum. The skywalk blends in with the interior of the museum, therefore allowing a seamless transition between interior and exterior.
The Art Closet Corner Pan showing Levels of Artwork Rendered View
12. 112 2. 12.
Artwork displayed in this rendering are mainly Keith Herring’s doodle art and sculptures of cave men and creatures. The Doodle Pop-Up aims to educate visitors of the history of Doodle Art.
The Art Closet Entrance from Outdoor Space to the Inside Rendered View
13. 13 13.
Outdoor area leading into the open museum spaces. The artwork displayed inside is shuffled around to educate people about different artworks in a certain period of time.
The Art Closet Elevation Rendering Artwork displayed inside the museum
The four major art movements displayed in our museum at the moment are Illusion art, Pointillism, Doodle Art, and Action Art. All art movements displayed in the Museum have a pop-up space dedicated to them in order to educate the visitors of the origin and history of the Art Movements portrayed.
Video All images sourced from Google Images.
115. 15 5.
The Art Closet The Doodle Pop-Up Renderings portraying a Pop-Up space focused on Doodle Art
16.
The ‘Allegory Of The Cave’ is a theory put forward by Plato, concerning human perception. Plato claimed that knowledge gained through the senses is no more than opinion and that, in order to have real knowledge, we must gain it through philosophical reasoning. The pop-up of Doodle takes one through the journey of the cave-man and their mindless scribbles on the wall.
The Art Closet The Doodle Pop-Up Renderings portraying a Pop-Up space focused on Doodle Art
17. 17.
The “doodles” are ones of Keith Herring, portrayed through Plato’s didactic experiment of distinguishing between sensory knowledge versus real truth. We aim to take viewers through the journey of progression of doodling, from the didactic abstract representation to a more light headed form of art. The two floors of the pop-up portray the progression of doodle making from the era of Keith Herring to the modern day Mr. Doodle.
The Art Closet Pointillism Renderings portraying a Pop-Up space focused on Pointillism
18. 18.
In Sunday Afternoon, a screen of colored dots partially masks a layer of varied brush strokes beneath, but the overall effect is one of uniformity of mark-making that has come to be called pointillism,” explains Art in Time. “Seurat himself called it ‘chromo-luminarism’, and Paul Signac preferred the term divisionism, emphasizing the principle of divided color more than the application of paint.” In our concept of the pop-up for pointillism we use a series of screens to show the use of pointillism from old paintings to the modern day LED screens.
The Art Closet Pointillism Renderings portraying a Pop-Up space focused on Pointillism
19.
The sculptural magnifying glasses in front of every “screen” helps one see that almost every painting, every screen, every composition is made up of tiny dots that form the basis of pointillism. The pop-up space introduces one to the movement of “Pointillism” in the mid-level and gradually takes one up or down . While upstairs one goes through the progression of pointillism and downstairs portrays modern-day technology using projection mapping to show the use of points to create seamless imagery.
The Art Closet Action Art Renderings portraying a Pop-Up space focused on Jackson Pollock’s Action Painting
20. 20.
Referred to the dribbling, splashing and rather unconventional techniques of applying paint on canvas, Action Painting believes in the expressive power held in the actual act of painting as much as in the finished product. Our pop-up on Action Art claims to take one through the process of creating a horizontal canvas. Just like the process Pollock went through to make his paintings, viewers are made to lie down on the floor to perceive a projection mapping of paint spilling on themselves.
The Art Closet Action Art Renderings portraying a Pop-Up space focused on Jackson Pollock’s Action Painting
21.
The 4D projection of the paint and the atmosphere inside the space aligns ones senses to that of dripping paint onto themselves. However, the senses are mere projections showcasing the process behind Pollock’s work. The pop-up on Action Art is meant to be a didactic composition promoting literacy of Action Art by involving the viewers in the midst of action painting.
The Art Closet
22. 22 2 2. 22.
Model Photos Moments captured in broad daylight
The Art Closet
23.
Model Photos Moments captured in broad daylight
The Art Closet
24. 24.
Model Photos Moments captured in broad daylight
25.
Gra adu duat ate e
3GB 3G BX Verti errti tica c al S Sttudio ud dio io
Srrim S moy oyee e Sinh Si nha a
Joh o n En Enri righ ghtt Urb rban ba an n Con o fl fluenc ncce Si Silico con on Vall Vallley ey Com ompe omp peti titi ition ion En nttry tryy
The Hovering Outlook Meandering Paths framing the San Jose Skyline
thus creating a seamless walkway connecting the two ends of the site. The perforated patterning not only generates interesting moments underneath, but also allows sunlight to seep into the Riparian Corridor, keeping the flora and fauna alive and blossoming.
This project proposes that one does not need towering height to create a powerful iconic symbol for Silicon Valley and San Jose. The Outlook, located in Arena Greens, is an urban perforated public space surface located off of the Guadalupe Freeway. It creates a powerful space of gathering that is low to the ground and allows the natural environment to integrate with the elliptical form and acts as a bridge that spans the two edges of the park.
While on the top of the outlook, this seamless bridge/ramp is broken down into a series of labyrinthine sections, which unfold and loop into itself, creating interesting moments of exposure to the city’s skyline versus enclosed qualities of the maze itself. The Outlook, a serene experiential package, with light emanating from its pores, presents itself as a beacon, to the city of San Jose.
This large 845 ft. long ellipse acts as a slightly sloped piazza. The large length combined with the accessible low slope ramp allows the center of the space to reach 55 feet above the ground,
27.
San Jose, Silicon Valley’s largest urban metropolis, is home to multiple leading industries in various sectors. Although a global icon, Silicon Valley lacks an urban landmark that defines and upholds the neighborhood’s zeitgeist.
The Hovering Outlook
28.
Top View Plan showing the placement of the accessible ramp/ bridge on site and various meandering paths
The Hovering Outlook Structure Diagram Space truss grid forming the under structure of the reinforced concrete plate
1 ft. thick concrete perforated deck Perforations of different patterning to allow sunlight to seep through to the ground Wall like railings make a meandering path from one side to another Circular perforations allow more sunlight to pass through in areas of heavy flora growth
Ball Hinge holding the space truss system in place Deciduous trees piercing through the perforated skin/ structure Diagonal member zeroing moment in long span structure
29.
Rectangular grid member interconnecting to form long spans of structure
The Hovering Outlook Rendered View Birds Eye View showcasing the variant meandering paths that can be traversed through in The Outlook
Longitudinal Section showcasing the span of The Outlook and the conjoined structure underneath | SECTION AA’
The Hovering Outlook
31.
Rendered View Close-Up View of one of the Meandering paths
The Hovering Outlook
32.
Rendered View Night’s sky view of The Outlook: Underneath the large free-standing walkway
The Hovering Outlook Rendered View Night’s sky view of The Outlook: Underneath the large free-standing walkway
Graduate
2GAX Compositional Morphologies
Studio Partners
Srimoyee Sinha
Florencia Pita Transformative Architecture
Lourenco Vaz Pinto
The Aqua Bloom Morphological Transformation of Architectural Moments to generate new form
A cabinet of curiosities is determined by juxtaposed compositions that are emblematic of something new. For this design exercise, we were asked to gather different photogrammetry scans of the Westin Bonaventure Hotel in downtown LA. We took inspiration from a range of big and small details throughout the hotel to create a spatial composition that could be synonymous to that of a modern flower shop. We took parts of the major central core, incandescent lights on the pond and the ripples of the interior pond itself to create a fluff y and bubble like texture on the model. We intentionally kept the anomalies in the 3D Scans to add texture to our curated composition.
34.
The end goal of this project was to utilise photogrammetry scans to use a ready-made shape or object to redefine an existing architectural typology, such as the flower shop. We used the 3d scans and their anomalies to form a blobby mass that formed into a flower shop located amidst a parking lot in downtown LA.
The Aqua Bloom
36.
Plan Showing the Location of the Flower Shop in the Parking Lot Rendered Plan
The Aqua Bloom
37.
Plan Showing the Location of the Flower Shop in the Parking Lot Rendered Plan
The Aqua Bloom
38.
Model Photos Elevation of Flower Shop
The Aqua Bloom
39.
Model Photos Zoomed in detail of Flower Shop
G ad Gr duate
4G GAX AX Gra ad du uat ate te Th hes esiiss esis
Srrim S imoy oyee ee e e S nh Si ha
Ele El en na na M Ma anf n er erdi din nii n U ba Ur an Design
Monumental Ephemera A take on redeďŹ ning urban space through ephemeral instances.
40.
Link
Historically, architectural pavilions were meant to function as a proleptic design index of disciplinary advancements for the future. They were introduced to the world through world fairs and best captured the essence of monumental ephemera. However, the ubiquity of pavilions in our time has rendered them irrelevant, baseless and cheap. This project therefore tries to establish a new definition of an architectural pavilion: to capture the zeitgeist of architecture in the 21st century. In the process of defining the new pavilion, we look into monumental instances, and theatrics as the stepping stones of design methodology. The Theatrics- Referencing the early works of Bernard Tschumi,namely Parc de La Villette, where formal autonomy encouraged a space to be interpreted on one’s own terms, this project aims to do the same. Most phenomenological research on theater productions focus either on the play itself as a work of dramatic literature, or the techniques of staging, such as the position of the audience from the stage, or the presentation of the actor themselves. If the pavilion became the play, and the movement of the spectator : the stage, the space thus formed is but an abstract moment; meta-operational elements (sound, light, pathways, diversions, convergence etc.) deployed to freeze that image: a fleeting moment of spatiality captured through multiple stages. Monumental Instances- Monumental Instances
are defined by characteristics such as large, grand and imposing. Although a pavilion by default is a monumental object, monumental instances are captured through the treatment of these spaces. Material qualities, surface treatments, scenography etc. are a few tropes used to achieve such novelty. Nevertheless, the pavilion as a proleptic design index can only be successful if placed on a site. Currently some of the most highly valued real estate, New York’s waterfronts, are seeing a positive shift from abandonment to turning into invigorating public spaces. The Pavilion, as an architectural problem can thus be utilized to activate land, to bring in meaning, and to view a space through a new lens. Although portraying specific scenarios metaphorically that represent a classic New York vibe, the pavilion presents itself as a set of deconstructed pieces that are situated in an informal grid to form a whole system. The pavilion of the 21st century will see a convergence of the arts and crafts with technological innovations encompassing the architectural language of the Pavilion. The theatrics of this space, although purely subjective to the viewer, is strongly seduced by the meta-operational elements at play. The relationship between the spectator experiencing the space and the experiential toolkit generates a theatrical dialogue to be observed under the umbrella of an activated urban space.
Monumental Ephemera
42.
MasterPlan All 5 Pavilions collapsed to show the relation of these pieces with the ground plane
Monumental Ephemera
43.
MasterPlan All 5 Pavilions collapsed to show the relation of these pieces with the ground plane
Monumental Ephemera The Playground Top View
44.
The playground portrays bustling times square on one end and a theatrical backdrop of New York on the other. Spectators can occupy the playful seating spread around to see the transformation of these spaces. Each popup plate is treated like a two sided coin, where each side presents a unique narrative of its own.
Monumental Ephemera
45.
The Playground Renders of inside the space
Monumental Ephemera The Confessional Top View
46.
The Confessional investigates the definition of a confessional through different lenses. Using the vast expanse of Brooklyn bridge, the greens cape of Central Park, and the comfort of a typical living room of a Victorian apartment in New York, we try to define what a confessional space means to an individual or a group of people.
Monumental Ephemera
47.
The Confessional Renders of inside the space
Monumental Ephemera The Urban Corridor Top View
48.
The Urban Corridor acts as a reflection space of the follies lined up in front of it but also acts as an elevated space that frames the skyline of New York City. While one of the plates portray New York’s skyline, the other adds a domestic element of mirroring the pavilion itself and the surrounding pavilions.
Monumental Ephemera
49.
The Urban Corridor Renders of inside the space
Monumental Ephemera The Urban Corridor Top View
50.
The Mimicry celebrates the different sounds of New York. Using a series of Boomboxes hanging off of one of the pop-up plates, we stage a scene where different sounds of different borrows and different atypical characteristics of New York is brought to life through this space.
Monumental Ephemera
51.
The Urban Corridor Renders of inside the space
Monumental Ephemera The Urban Corridor Top View
52.
The Urban Monument while portraying the Highline on one end and Columbus circle on the other this pavilion depicts monumental instances already existing in New York city’s urban spaces
Monumental Ephemera
53.
The Urban Corridor Renders of inside the space
Gra radu duat ate
3GBX 3G X Vis isua ual St Stud udie ies
Pa P art rtn rtne ne ers rs
Srrim S moyyee ee Siinh S nha
Flo orre en nccia ia Piitta Pla layr ayr yroo o om
Jussttin Ju ine Po P oul ulin in
Victorian Playroom
54.
Using Paint as a Medium to Build a Victorian Room
This visual studies seminar focused on ideas of ‘play’ as an entry into architectural language. We developed a vocabulary of forms and materials that are then unravelled in living spaces and landscapes embedded with color, texture and ornament. For all that is odd and mundane, there is an architecture full of stuff, and an aesthetic of familiarity and cuteness. In Sianne Ngai’s book ‘Our Aesthetic Categories: Zany, Cute, Interesting’ she presents the notion of ‘cuteness’ as one of ‘mute poetics’, where language detaches from experience and propels a ‘de verbalizing effect’, an aesthetic experience as an act of submission, and as an access to the enchantment of form and material. ‘ ‘We have seen how cuteness cutifies the language of the aesthetic response it compels, a verbal mimesis underscoring the judging subject’s empathetic desire to reduce the
distance between herself and the object’. Sianne Ngai. The design process is done by a recursive feedback between analog mediums and digital ones. We began the seminar by creating fresh paint brushes that were digitally reproduced by a sequence of steps: paint, photo, scan, mesh & print. The last step was using these digitally recreated paintbrushes to then overlay on a ready made Victorian room. The process of adding an overlay onto a pre-existing object, followed by the deletion of the object results in the creation of a new composition that can be read through a new lens.
Inspiration Matthew Stone’s painting of FKA Twigs Using paint strokes as a method of portraying figure
56.
Image Source: “MATTHEW STONE.” MATTHEW STONE. Accessed May 4, 2020. https://www.matthewstone.co.uk/.
Paint Brush Palette
57.
Color Palette Photoscans of physical paintbrushes
Victorian Playroom Detail shot Rendered view showing a part of the victorian room
58. 58.
Portions of victorian windows revealed behind curtains, deformed in a certain way to mimic a flowing curtain. A victorian tabletop with a vase and chairs, all ovlerayed on canvas to represent a deconstructed painting. The paint strokes form the composition of the room.
Victorian Playroom Detail shot Rendered view showing a part of the victorian room
59.
An old bed with victorian cabinetry overlayed with paint to define the composition of the space. The color palette of this composition compares to the skin-like effect of Matthew Stone’s paintings to give them a grounded effect.
Victorian Playroom
60.
Detail shot Rendered view showing a part of the victorian room
Victorian Playroom
61.
Detail shot Rendered view showing a part of the victorian room
Graduate
AS3222 Design Doc
Project Partners
Srimoyee Sinha
Herwig Baumgartner, Scott Uriu Seminar
Theo Dattola, Christina Griggs, Chian Liao, Junkai Liu, Xiaolei Liu, Sixtina Maculan, Rad Mika, Taian Wang, Yanchen Wu
Design Development Developing a DD Set for a Library situated in Atlanta
The following project is located in Atlanta, Georgia. A library comprised of 60,000 square feet of open floor space, consisting of grand stairs, auditorium space, curatorial areas consisting of ageold library collection, collaboration spaces and open work areas for the modern day individual. The diagrams and drawings that follow demonstrate various environmental, topographical, sociological, and programmatic analyses that have influenced and informed the design of this public library at the city of Atlanta. This project has been documented throughout its design development phase to help us learn the different processes and methods of construction that can possibly take place in this complicated system of materials and massing.
62.
Video
Design Development Structural Analysis showcasing Construction Process Rendered Image
Secondary Beams W 12 X 14 RCC Decking
RCC Central Core
Primary Structure
Tabletop Truss forming the main anchor for all the facade structure to hang from
64.
Secondary Beams W 12 X 14
Design Development Structural Analysis showcasing Construction Process Rendered Image
Tabletop Truss divided into two half floors for uniform load distribution
RCC Decking
Tabletop Truss divided into two half floors for uniform load distribution
Steps towards entry into the library
65.
Foundation consisting of sheet pile set in place with tie-backs followed by piling of concrete slab to utilize basement as parking area
Design Development Reected Ceiling Plan Illustrated Drawing
66.
Rendered Plan showcases the different altitude angles of the sun based on different times of the day. The intensity of the light changes according to the intensity of the daylight penetrating through the facade.
Design Development Reected Ceiling Section Illustrated Drawing
2PM: 59 Degree Altitude Fins open to let in ambient light Mesh Closes as needed Supplemental lighting on lower floors + reading area
67.
Ambient Light reflects off plaza and bounces back into the building
Design Development HVAC systems: Cooling Illustrated Drawing
Chiller
Chilled Metal Panel Ceiling Providing Radiant Cooling
68.
Air Flow
Design Development HVAC systems: Heating Illustrated Drawing
Heated Metal Panel Ceiling Providing Radiant Heating
Air Flow
69.
Boiler
Design Development Facade Detail showing structural pieces of the Facade Rendered Detail Components
Acoustic Ceiling Tiles
Double Curved Glass Finished Flooring Structural Edge Beam Glass Frame Horizontal Mullion Secondary Structure W 12 X 14 Circulation Staircase
Concrete Decking
Fabric Structure
Vertical Mullion Fin Structure
Connection Node
Typical Unitized Panel Structural Edge Beam Curved Glass Mullion
70.
Horizontal Mullion
Design Development Facade Detail showing structural pieces of the Facade Rendered Image of the PV embedded solar fabric Fins that prevent solar heat gain inside the building
Double Curved Glass
71.
Solar Fabric
Design Development Facade Detail showing structural pieces of the Facade Rendered Detail
Structural Edge Beam
Secondary Structure hung from edge beam to hold the RCC auditorium bowl
Vertical Mullion
Structural Edge Beam
RCC Auditorium Bowl
Solar Fabric
72.
Fabric Structure
Design Development Facade Detail showing structural pieces of the Facade Rendered Detail
Structural Edge Beam
Structural Glass Movable Mesh Element Interconnected Mullion System holding the Movable Meshes together
Structural Edge Beam
73.
Solar Fabric
Graduate
AS3509 Details, Details
Project Partners
Srimoyee Sinha
Dwayne Oyler Seminar
Yash Raj Mehta Murk Zhu
A Window In A Wall An Architectural Detail that sits at the Subtle Conjecture of an Autonomous Element and as a Motif
The architectural reading of a window and its function are hidden within the motifs. Based on Edward R. Fords’ Book “the architectural detail”, this detail as motif reads the design in the stylized fashion and hides its function within. Although operating on simple mechanisms, the window itself presents a complex relationship of part to whole. The window as a singular piece is simply a mechanism operating on concealed hinges, however the concept of the window in a wall presents a harmonious relationship that embraces multiplicity in existence and demands a bigger dialogue between what could have been a mundane wall and a window.
74.
The aesthetic continuity can be seen in “the window on a wall” where the milled motifs meet the handle continuing onto the other side of the wall, turning into a slide that locks the mechanism. Altogether, our window sits at the subtle conjecture of an autonomous element and as a motif, one harmoniously responding to the other.
76.
77.
Linear Rail Mini Bearing Steel Guide
Red Oak plank CNC milled to shape
Acrylic Mesh painted with Metal Topcoat
Concealed Wood Domino Joints attaching window to the wall
Mahogany window frame notched to ďŹ t glass member
Brusso L-23 brass Offset Pivot Hinge
A Window in a Wall
Exploded Axonometric showcasing materiality Illustrated Drawing
A Window in a Wall Elevation-Section Drawing showing the different layers of Materials Illustrated Drawing
1/4” MeshMesh 1/4”Metal Metal 1/8” Panel 1/8”Glass Glass 1” Nominal Mahogany 1” Nominal Mahogany Dimension Lumber
Dimension Lumber
78.
CNC Milled Red Oak CNC milled Red
Oak
A Window in a Wall Plan View Illustrated Drawing
5”
10”
20”
79.
0
A Window in a Wall
80.
Model Photos Opening Process
A Window in a Wall
81.
Model Photos Opening Process
Graduate
AS3201 Materials and Tectonics
Project Partners
Srimoyee Sinha
Maxi Spina, Randy Jefferson Seminar
Christina Griggs Priyanka Rajani Irvin Shaifa
The Kolon Tower Re-envisioning the Tectonics of the Kolon One and Only Tower by Morphosis
In the Kolon One and Only Tower, the GFRP panels had two major functions: sun-shading and cross-bracing the facade. Post analyzing, we proposed a material change from GFRP to ETFE. ETFE can address these two issues while bringing other benefits to the table. In terms of sun-shading and visibility, the ETFE will be covered in a custom frit pattern, thus allowing for an even higher degree of specificity than the GFRP offered. Secondly, the ETFE system is one of tension and as such makes it suitable to function as cross-bracing on the diagonal of the curtain wall. The lightweight quality of the material and its ability to deform under live load make it particularly suited to dampening wind. This is especially an asset as the Kolon Tower is located in an area prone to monsoons.
82.
There are be double-layer inflated ETFE panels where there was originally GFRP. Secondly, there will be an additional single-layer ETFE system which sits behind the inflated panels. These are outfitted with frit to control and harness the sun as well, thus taking material advantage of spaces which were completely empty in the original building.
The Kolon Tower
84.
Sectional Axonometric of a part of the Kolon Tower Illustrated Drawing
The Kolon Tower
85.
Sectional Peel-Of Axonometric showing connection between Layers Illustrated Drawing
The Kolon Tower Sectional Peel-Of Axonometric showing connection between layers Illustrated Drawing
Sectional peel-off drawing is meant to illustrate the different layering of materials in the facade of the Kolon One and Only Tower designed by Morphosis. The curtain wall system is attached to the bubble-deck slab through structural U-shaped cassettes.
GFRP Panels Steel Plate Glazing Frame Structural Gasket Cassette Connection for Curtain Wall to Slab
Vertical Mullion Horizontal Mullion
Slab Gypsum (Ceiling) Diamond Atrium Panel
86.
Atrium Railing
The Kolon Tower Connection between parts and GFRP Bries-Soleils Detail Illustrated Drawing
The connection detail drawing on the top and the GFRP Bries-Soleils show how each piece is connected to each other. The GFRP halves are joined by a central seam in the middle, followed by screwed connections for further stability.
Concrete Plastic Spheres Re-Bar Hung Ceiling Support Gypsum Ceiling Cassette Horizontal Mullion Gasket Vertical Mullion Horizontal Mullion Steel Plate Low-E Glazing
Seam Where Two Halves Of GFRP Panels are Glued And Screwed Together
Steel Plate Steel Bracket
Steel Connection For GFRP Panels
87.
Glass Fiber Reinforced Polymer (GFRP) Mixed With Aramid Fibers
The Kolon Tower
88.
Axonometric Representation with proposed ETFE replacement Illustrated Drawing
The Kolon Tower Inflated ETFE and connection Details Illustrated Drawing Steel Connection Steel Post Air Pump Curved Steel Frame Frit Pattern Inflated ETFE
Single ETFE Connection Steel Transom Inflated ETFE Steel Mullion Low-E Glazing Single Layer ETFE Curved Steel Frame
Steel Plate Connection And Post Glazing Layer Single ETFE Layer Inflated ETFE Layer
Low-E Glazing
Single Layer ETFE Horizontal Wind Strut
Glazing Layer Single ETFE Layer
89.
Steel Plate Connection And Post Socket For Tensioned Cables
The Kolon Tower
90. 90.
Model Photo Axonometric View 1/4� Scale model showing the connection between the curtain wall and the floor plates
91.
Professional Srimoyee Sinha
Architecture Incorporated Lake side Residence of Jacob Moore Fall Internship, 2016 Junior Year Internship Under grad
Moore Residence Residential design project for Mr. Jacob Moore
Located on Lake Louisa, nestled in the suburbs of Virginia, Jacob and Sara Moore’s Lake House depicts some of the finest residential spaces one can want in their dream house. Having a perfect sized outdoor space with an amazing view of the lake, the house boasts of ample natural light and outdoor views on all sides. I was involved in the construction documentation phase of this project. Developing elevations, plans and sections according to construction set norms, were a major part of my responsibility towards this project.
93.
Most of the work was performed in Revit with a few exceptions of quick design decisions being made through Rhino sketches.
Moore Residence
94.
Sample Floor Plan layout Line drawing produced with Autodesk Revit
Moore Residence
95.
Sample Elevation Views Line drawing produced with Autodesk Revit
Profe ro ofess fe esssio iona na al Sri rimo imo moye ye e yee Sin nh ha a
Sttud udio dios io os Ar Arch Arch hit itec tec ectu ture tu e Lin nkke ed In ed n Hea e dq d ua art r er erss Sum mme mer 20 017 17 Sen nio or Ye Year ar In ntter ern nssh hiip Un Unde nde d rg gra rad
Linked In Mountainview Headquarters of LinkedIn Campus, Mountainview, California
As an intern for the schematic design team, I was responsible for making various iterations of the facades of each building with the materials decided at the time. The bottom two floors are made of pre-cast concrete with a fixed system of doubleglass units, the next two floors are made of fritted glass panels with extruding metal strips that increase and decrease in frequency on the panels based on heat map studies conducted
by the team. The top two floors are standardized curtain wall systems with integral formed aluminum, the width of which also varies depending on heat map studies conducted by the team as well.
97.
The Linked In headquarters is located in Mountain view, California. The project totals to be around 1.5 million square feet. The shape of the massing is still a work in progress, but the basic mass is derived from the shape of the site, a natural triangle. The individual buildings are then manipulated at every edge to expose or cover according to the cardinal directions of every edge. Bird Safe design has been taken into account intensively, therefore every glass facade is fritted to prevent birds from slamming against the exterior surface.
+101’-0’’ T.O. PARAPET
N
1 - NORTHEAST
STANDARD UNITIZED CURTAIN WALL, wall, E1E1-- standard unitized curtain STRUCTURALLY GLAZED SYSTEM WITH structurally glazed system with MINIMUM JOINT. GLASS TYPES TO VARY. minimum joint. Glass types to vary.
E2 - S E2 SYSTE Syst CLOSU clos
+101’-0’’ T.O. PARAPET
2 - SOUTHWEST
N
1 - EAST
98.
E1 - standard unitized curtain wal E1 - STANDARD UNITIZED CURTAIN WALL, STRUCTURALLY GLAZED SYSTEM WITH with structurally glazed system MINIMUM JOINT. GLASS TYPES TO VARY. minimum joint. Glass types to var
2 - WEST
3 - NORTHWEST
- standard unitized curtain wall tem with integral formed aluminum ure typical. Glass types to vary.
STANDARD UNITIZED CURTAIN WALL EM WITH INTEGRAL FORMED ALUMINUM URE TYPICAL. GLASS TYPES TO VARY.
E3 - STOREFRONT GLAZED WALL SYSTEM E3 storefront glazed wall system with WITH INTEGRAL FORMED ALUMINUM integral formed aluminum. CLOSURE AND DOUBLE DOOR AS REQUI -Closure and RED, TYPICAL. GLASS TYPES TO VARY. double door as required, typical. Glass types to vary.
E4 - PRECAST CONCRETE SYSTEM,system, ON E4 precast concrete on typical TYPICAL 14’ X 30’ MODULE. GLASS TYPE 14’ x 30’ module. Glass types to vary. TO VARY.
4 - SOUTHEAST
3 - NORTH
ry.
4 - SOUTH
E3 - storefront glazed wall E3 - STOREFRONT GLAZED WALL SYSTEM WITH INTEGRAL ALUMINUM system withFORMED integral formed CLOSURE AND DOUBLE DOOR AS REQUIaluminum. Closure and RED, TYPICAL. GLASS TYPES TO VARY. double door as required, typical. Glass types to vary.
E4 precast concrete on typical E4 --PRECAST CONCRETE SYSTEM,system, ON TYPICAL 14’ X 30’ MODULE. TYPICAL. 14’ x 30’ module. Glass types to vary. GLASS TYPES TO VARY.
99.
E2 - standard unitized curtain wall system with integral E2 - STANDARD UNITIZED CURTAIN WALL SYSTEM WITH INTEGRAL FORMED ALUMINUM formed aluminum closure CLOSURE TYPICAL. GLASS TYPES TO VARY. typical. Glass types to vary.
l,
Architecture Portfolio. Vol. 2. Selected Works 2016- 2020
Email:
srisinha97@gmail.com