Portfolio 2010

Page 1

.arch



The presence of multiple phenotypes for the same gene in a single organism allows for the selection and activation of particular sets of genes in an individual which creates variation and allows for adaptation. Likewise, architectural forms exist in a multiplicitous world of phenotypes: cross-breeding typologies, fluid formal languages, and interchangable tectonic systems. On the surface of the architectural body, these phenotypes are activated and deactivated. Through polymorphism, the phlogenic nature of architecture can be unravelled and recombined in an infinite play of variation and adaptation.

the genetic (re)combination of Bernini’s San Andrea al Quirinale and Boromini’s San Carlo alle Quatro Fontane



ACADEMIC WORK 2006-2009


Continuous & Discreet Bernini’s Third Arm Greg Lynn Studio

This project realizes the relationship between the facade and its apertures is the challenge of creating discreet apertures in a continuous facade. But the design of a facade requires a notion of phenomenal transparency: the expression of a space behind an opaque facade. If apertures, rather than acting as independently discreet elements, were made continuous with each other, the resulting figure of multiple apertures would challenge the figure/ground nature of the facade and break the facade along seams of apertures. These aperture seams extrude to the interior to create vertical pockets of bookshelves, with niches between for private reading. Hence the discreet elements of the facade become continuous elements on the interior.

The relationship between the discreet and the continuous may be answered with self-intersecting blebs, where a continuous line forms intersecting discreet singularities



An analysis of the Palazzo Carignano in Turin provided a basis for understanding phenominal transparency. Firstly, an operation of splitting the facade to reveal the ovoid shape behind it allows for the discontinuation of the facade. Secondly, the relationship between apertures on the facade are relative not to an orthographic projection of the facade, rather they are aligned equidistant in plan along the surface of the facade.

The continuous facade and discreet aperture may form a bivalent relationship where the apertures can become continous with each other and the facade can become discreet with itself.

A

A A

A

B

A B

B

B

B

B

A



The contemporary and the baroque align through the application of mass and through the study of facade and aperture as discreet and continuous systems


detailed construction model using radial framework at 1:75

WC

WC

WC

WC

WC

reading room

WC

reading ro

WC

reception

5’x9’ scale model of the vatican at 1:150


Completing Bernini’s arms of st Peters Piazza. Beginning with an arc following the existing arms, the intersections with axis on the site inflect the facade, creating seams and generating the positions of the apertures.

Phenominal transparency plays a large role in the facade, seams and apertures align with interior in elevation as well as creating bookshelves and rooms in plan


Taking phenominal transparency to its contemporary limit, the seams on the facade are literal manifestions of the vacuum of mass left from pulling facade elements into the interior. Blebs become interior blobs.

+3 +3

+4 reading room

open to below

rare books

open to below


Velocity Barriers

Velocitometer

Velocity









The question posed by this project was two-fold. First, how can one analyze a site using fields? And second, how does one design with this field in mind? The former is an exercise in critical analysis: more precisely, the ability to focus on a systemic framework to infer the inner workings of a system. The conditions of the field were recognized as a matrix of velocity vectors. By representing the velocity as a field, space was parameterized in a consistent single variable condition from which interactions and site conditions can be extracted. The site analysis was used as an empirical analysis model to determine relationships between various modes of transportation: pedestrian, bicycle, car, bus, and train. Focusing on the field interference points, it became apparent that the level or fluidity of the interaction was directly related to velocity. Field interference was generally categorized as homog-







enous, heterogeneous, and field transfers. The first two are descriptive of interactivity conditions, the last addresses people transferring from one mode of transportation to another. The threshold levels of fluid interaction in heterogeneous systems were catalogued and mapped back to velocity and acceleration to show dependencies. From these systems, methods were created to measure/manipulate velocity in order to promote or hinder fluidity in field interference. Designing within the framework of the field allowed one to design another field on the extant field, or relegate field to analysis only. The analysis, through its empirical rule extractions no longer had a direct spatial relationship to the site, but rather created a kit of tools to implement any design strategy dealing with velocity. Returning to the spatial attributes of the site, the site interference zones offer an opportunity to use the velocity manipulation tools in order to influence or disrupt extant field conditions.



Interference Zones


HeFI

HeFI

Fluid Interference

Acelratation

Velocity Priority

HoFI

In order to mediate velocity, adjustments to extant velocity conditions require that all objects operate on the lowest common denominator. This means that cars must operate at the same velocity as that of pedestrians and so would cars and buses. This would severely cripple the performance of the transportation system. So instead of velocity mediation, a a system of velocity segregation is proposed instead. By understanding the tools for adjusting and measuring velocity, those same tools are now used to isolate velocities and provide a phenomenological or experiential perception of velocity for the objects which operate and activate the architectural mechanisms within the field.

FT FT

HoFI FT

Velocity

FT

FT

FT

Deceleration

FT

HeFI- Hetergenous Field Interference HoFI- Homogenous Field Interference FT- Field Transition



A

B

B

ONLY

A


3d 2d to from rsion rface ional su Conve ct se us CrossContinuo

Eukanu-spa Ben Pell First Year Studio

Extrude

Rolled Shapes

Ho

t/C old

Liq

uid

Tra n

sit

/So

lid

ion

Tra n

sit

ion

Mo bil e(

Breed-based customization

Eukanuba

Customized Nutrition

Breed and Performance based customization

Oc cu pie joi d/U nte no d)/ ccu Im mo pie bil d e( fus ed Ex ) o

ske

Categorization and Performance adjustments

let on

Performance-based customization Chick

Se ns itiv ity

en Pa

rts in

Dry D

og Fo

Enclosure Structure

od

Structural Skin

Aperture

to An im al R

Structural Redundancy

Load -B

earin

g Wa

lls

igh ts

ulation Well-defined circ

Rem Koolhaas Prada

ise space. and merchand Global economy

Selling Brand and Fashion

Continous

Co n

nec

tin

M

Interchangeable Wallpaper

rba

nF abr

ic

articulations

s s t ep ge St en Ca m nd se ta Ba ds an Gr

se

di

Urb a Co n sp n a Div necti ce ng isio st no f p reets rog ram

Circulation as Performance

in r tis

g fa

cad

e as

ti ula circ

on

Bernard Tschumi Lerner Student Center

Undulating Floor Lighting Ramped Circulation

Tilted Columns

Brick Facade vs. Transpare nt Facade Normative vs. Inven Publi c -> se mi-pu blic -> private space gradie nt

e at iv Pr ic/ bl Pu

e adv

n sio vi Di

Enhancing Occupation

gU

Flexible programming

Floor Surfa ce

an

ch er

single-surface

A conceptual collage, disparate constraints are topologically mapped and networked based on loose relationships. This exploratory device yeilded a consistent conceptual strain of categorization and performance enhancement. By looking to the city for part categorization, the dialectic between facade and park drove at the issue of both reciprocation negation whereby a duality of facades and parks distinguish the categorized and enhanced elements of the building




Linear Facade

Pinched Park

Corrugated Virtual Park/Real Park

Affine Transformation Primary Facade/ Secondary Facade

Helix

Cafe Seat Wall

Hallway

Cafe Table Cafe Seat Wall Room Pool

Small Dog Sleep Area Big Dog Sleep Area Reception Office

A taxonomy of extrusion enhancements were developed and operated in the conceptual park/facade interplay.


Dog Park

Cafe

Hotel

Dog Spa

Dog Pool

Dog Kennel

Office

main Office



Vegas Analysis David Schwarz Studio buildings and towers buildings

Studio Project

Our studio put together an analysis of the Las Vegas strip. The strip is essentially a linear development along Las Vegas Boulevard and is characterized by large resorts with thousands of hotel rooms each, built on top of multi-acre blocks. Before we went to Las Vegas, we spent a number of weeks looking at shopping and entertainment streets in Europe and the United States – for example Las Ramblas in Spain, Lincoln Road in Miami and Victory Park in Dallas to name a few. We looked at mixeddevelopments as well, such as Seaside in Florida and West Village in Dallas. These precedents are important to our analysis because the behavior of the visitor to the strip has changed. The principle main revenue generators on strip are now retail, lodging, entertainment and dining. Gaming is still substantial, but is slowly declining in favor of those other activities. Additionally, visitors are likely to move from property to property during their stay, either to change their luck, take in a show, grab a bite to eat, or just to take in the wide variety of spectacle that the strip has to offer. The traditional strategy of the mega-resorts is capture and sequester guests and to stand in isolation of each other is does not mesh with how visitors behave. We believe that Harrah’s is in a unique position to benefit from these behaviors because of the location and extent of their land holdings. A pedestrian-friendly environment would acknowledge and harness the existing heavy pedestrian traffic and a

towers

mixed-use development would quench visitors’ thirst for variety. Before we get to that though, we have to understand the strip as it exists currently. We want to understand how the different resorts organize themselves and examine the connective systems between them: both vehicular and pedestrian. In the analysis we are about to present you will see how we did this. We look at the sidewalk at various points along the strip to understand what the pedestrian experience is like and to exposit different strategies that resorts employ to encourage visitors to enter their properties from the street. We looked at vehicular circulation patterns to understand how cars move along the strip and into the resorts. We looked at how the interior environments of the resorts are connected to the exterior by examining their entry points. We looked at how different resorts use their street frontage. We performed a mini-analysis on downtown Las Vegas and the Freemont Street Experience so that we could have a base for comparison between the newer strip development and an older, urban grid based morphology. To repeat: our observation in Las Vegas was that there is a heavy pedestrian load on the Harrah’s campus – but pedestrians circulate in an environment that isn’t favorable to pedestrian traffic. We believe this is the primary issue that needs to be addressed in a master plan.

vehicular access parking structures surface parking ashphalt

pedestrian access exterior circulation paths interior circulation paths

block size

0 20 50 100

200

400


. vd bl as eg sv la

desert inn rd.

fashion show

fashion show

wynn

wynn

treasure island

treasure island

palazzo

palazzo

sands ave.

mirage

mirage venetian

venetian

harrah’s

harrah’s

imperial palace

imperial palace

o’sheas

o’sheas

flamingo

caesars

flamingo

caesars

bill’s

bill’s

flamingo rd. bally’s

bally’s

bellagio

bellagio paris

paris

planet hollywood

planet hollywood

harmon ave. city center

city center

new york new york

new york new york

excalibur

excalibur

monte carlo

monte carlo

tropicana ave.

tropicana

tropicana

mgm grand

mgm grand

luxor

luxor

mandalay bay

mandalay bay

pedestrian circulation exterior circulation paths interior circulation paths monorail site 0 20 50 100

200

400

parking parking structures surface parking ashphalt monorail site

resort entry points interior pedestrian paths points of access monorail site


Enclave

+20

SECTION B

David Schwarz Studio

RIDGE TO BRIDGE ONORAIL AT +20 + MONORAIL

+20

-2

+20

RDE

+20

Flamingo Casino & Hotel

A: 25,725 sq ft

Las Vegas Blvd.

Flamingo Tower

2 person group project

-6 +10

ENTRY TO FLAMINGO HOTEL 0

Flamingo Port Cochere

0

RDE

-3

A: 11,968 sq ft

BRIDGE TO CAESARS PALACE AT +20

RDE A: 7,699 sq ft

SEC SECTION D

+20

+20

+20 +20

OPEN TO BELOW

GRILLE

+20

+20

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

+10

RESTAURANT

A: 3,925 sq ft

+20 +20 +20

4

+10

ULTRA SPORT BAR

+20

RDE A: 3,124 sq ft

RDE

RDE A: 4,243 sq ft

RDE

A: 2,481 sq ft A: 5,004 sq ft

OFFICE LOBBY

+20

+20

+20

SECTION C

A: 2,454 sq ft

+20

+20

+20 RDE

THEATER LOBBY

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

Hall of Fame

A: 4,176 sq ft

+20

+20

RDE

A: 2,104 sq ft

RDE

+20

+20

+20

2

3

4

5

1

5

3

4

2

1

BOX OFFICE BOH

A: 1,829 sq ft A: 1,881 sq ft

+0

+0

RDE

A: 2,161 sq ft

RDE

A: 5,688 sq ft A: 87 sq ft

SECTION A

A: 12,247 sq ft

RDE

RDE

A: 2,805 sq ft

A: 5,167 sq ft A: 4,583 sq ft

+20

A: 3,571 sq ft

+10

+0

+0

+10

+10 +20

A: 1,485 sq ft

ESCALATOR DOWN TO HOTEL COORIDOR ESCALATOR UP TO THEATER

SECTION D

GYM

A: 10,490 sq ft

A: 1,606 sq ft

CAFE

A: 2,511 sq ft

+20

HOTEL LOBBY

SPORT BAR BOH

+10

+0

+20

SECTION B

+0

-2

5 ELEVATION

Flamingo Blvd.

-3

-5 BRIDGE +20

BRIDGE TO HOTEL V AT +20

-9

-12

MONORAIL ABOVE AT +30

-17

TO BALLY'S AT

+20

R0 +20

0

SECTION B

+0

16'

32'

64'

-8

BRIDGE TO MONORAIL AT +20

-2

Las Vegas Blvd.

Flamingo Casino & Hotel -6

Flamingo Port Cochere

Existing Garage

-3 +0

+0

ramp down

-4

BRIDGE TO CAESARS PALACE AT +20

ramp up

-3

SECTION D +0 OPEN TO BELOW

+0 +0 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

+10

+10

+0

RESTAURANT RDE

+0

+0

+10

1

+10

HOTEL LOBBY

+0

RESTAURANT

PRO SHOP

A: 662 sq ft

A: 18,033 sq ft

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

4

5

3

2

1

3

4

5

1

2

A: 450 sq ft

+0

+0

SECTION B

-2

5 ELEVATION

-7

-2

-7

-17 -7.5 -7.5

-7

-8

+0

+10 +0

+0

-2

RDE

RDE

A: 2,009 sq ft

A: 2,048 sq ft

OPEN TO BELOW

-12

-15

-10

-12

-15

-17

-17

RDE

-17

A: 2,385 sq ft

-10

MULTILEVEL RDE A: 3,571 sq ft

+10

+10

+0

SECTION D

A: 87 sq ft A: 330 sq ft

+0

+0

+0

SECTION A

A: 1,398 sq ft

CAFE

+0

+10

+0

+0

BOH

A: 6,771 sq ft

A: 1,881 sq ft

A: 9,772 sq ft

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

-17

+10

A: 12,292 sq ft

+10

+10

SECTION C

+10

A: 23,815 sq ft

5

4

2

3

1

4

5

1

2

3

A: 17,495 sq ft

HOTEL COORIDOR +10

+10

MULTILEVEL RDE

+10

+10

GYM

Rock Climbing +0

A: 10,497 sq ft

+0

+10

A: 2,819 sq ft A: 604 sq ft

HallBOH of Fame

+10

+0

A: 13,899 sq ft

14.39 %

7.19 %

LUXURY CAR SHOWROOM

+0

RDE

MULTILEVEL RDE A: 20,869 sq ft

BOH

A: 16,891 sq ft

A: 10,483 sq ft

+10

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

A: 8,822 sq ft

A: 10,313 sq ft

18 17 16 15 14 13 12 11 109 87 65 43 21

+0

ULTRA SPORTSULTRA BAR SPORT BAR +10 +10

+0

A: 2,966 sq ft

A: 5,999 sq ft

A: 3,167 sq ft

2

SECTION A

A: 3,056 sq ft

BOH

A: 1,990 sq ft

+0

BOH

+10 +10 +15

SECTION C

BOHKITCHEN

KITCHEN

+0

+10

A: 7,812 sq ft

-17 -17

+0

-3

Flamingo Blvd.

-5

-9

-12

MONORAIL ABOVE AT +30

-17

BRIDGE TO BALLY'S AT +20

BRIDGE TO HOTEL V AT +20

MEZZANINE +10 N

SCALE: 1/32" =

1'-0"

0

+0

16'

32'

-8

BRIDGE TO MONORAIL AT +20

SECTION B

+20

-2

+10

Flamingo Casino & Hotel

Taxi Queue Ground Floor and Basement

Las Vegas Blvd.

+0

-6 ENTRY TO FLAMINGO HOTEL

ENTRANCE TO FLAMINGO CASINO

Flamingo Port Cochere

Existing Garage

-3 +0

+0

ramp down

-4

BRIDGE TO CAESARS PALACE AT +20

ramp up

-3

SECTION D +0 +0

BOH

+0 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

An enclave is a territory entirely enclosed within another territory. The enclave retains identity, but draws its resources entirely from the territory around it. Likewise, our 50 story hotel must negotiate pedestrian flow from its adjacent resorts, but also retain its own brand. Furthermore, to capture the charged corner between Las Vegas Blvd. and Flamingo Blvd, our tower contains in its base an ultra-sports bar with stadium seating and a performance theater, both capturing the activity of the strip in its view and contributing to its intensity.

RDE

A: 10,432 sq ft

+20

+20

+20

A: 328 sq ft

A: 980 sq ft

A: 6,608 sq ft

+0

RDE A: 3,443 sq ft

5

1

2

A: 10,483 sq ft

SECTION A

A: 5,760 sq ft

+2 0

OFFICE LOBBY

3

5

4

1

2

3

On the corner of Flamingo Boulevard and Las Vegas Boulevard, our site is centrally located along the vegas strip. With its proximity to Caesars Palace, The Flagmingo, Paris, Bally’s, and the Belagio, this site is arguably the most valuable property along the Las Vegas Strip. Our approach to the site stems from recognizing its pivotal role in joining together the 3 adjacent Harrah’s properties. To negotiate the complex requirements of the site to connect its neighbors but retain its own identity, we developed the project with the concept of an enclave.

+20

+20

+20

U

RDE

A: 3,276 sq ft

+20

+20

+20

17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

+10

A: 1,839 sq ft

A: 6,240 sq ft

+20

SECTION C +10 +20

RDE

RDE A: 5,327 sq ft

+10 +10

+20 +10

+20

BOH

RDE

A: 2,887 sq ft

A: 3,056 sq ft

BOH

+0

A: 5,999 sq ft

+0 +10

SECTION C

+15

+0

+0

2 1

HOTEL LOBBY

+0

ramp down for truck access

A: 10,313 sq ft

SECTION C

MULTILEVEL RDE

RDE

A: 9,772 sq ft

A: 13,899 sq ft

A: 20,869 sq ft

BOH

PRO SHOP

A: 662 sq ft

A: 16,891 sq ft

4

-17

5

2

3

1

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

A: 604 sq ft

ULTRA SPORTS BAR A: 7,812 sq ft

LUXURY CAR SHOWROOM BOH

Rock Climbing +0

A: 17,495 sq ft

A: 18,033 sq ft

A: 87 sq ft

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

SECTION A

3

4

5

1

2

BOH

-17

+0

+0

A: 10,497 sq ft

SECTION A

RDE

RDE

+0

+0

RDE

RDE

RDE

A: 2,009 sq ft

A: 2,048 sq ft

A: 2,385 sq ft

A: 330 sq ft

0

A: 1,398 sq ft

A: 450 sq ft

-7

-2

-10

-12

-17

-17

-17 MULTILEVEL RDE

-15

A: 3,571 sq ft

+0 +0

+0 +0

+0

+0

+0

SECTION D +0

SECTION B +0

+0

-2

5 ELEVATION

GROUND +0 LV BLVD

-17

+0

BRIDGE TO HOTEL V AT +20

-3

Flamingo Blvd.

-5 BRIDGE TO BALLY'S AT +20

-9

-1 2

-17

MONORAIL ABOVE AT +30

64'



FLAMINGO TOWER

30 FLOORS OF HOTEL ROOMS

SECTION A SCALE: 1/16" =

1'-0"

30 FLOORS OF HOTEL ROOMS

0

8'

16'

32'


SECTION D

D

LUX3

D

ECO

STYL

ECO

STYL

ECO

LUX2

STYL

terrace cafe waiting area

KITCHEN 18 18 17 17 16 16 15 15 14 14 13 13 12 12 11 11 10 10 9 9 8 8 7 7 6 6 5 5 4 4 3 3 2 2 1 1

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

18

17

16

15

14

13

9

12

11

8

7

6

5

4

3

2

10

terrace cafe

A: 642 sq ft

4 9 8

terrace cafe

+85

9 8 7 6 5 4 3 2 1

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

+75 18

17

16

15

14

13

9

12

11

10

4'

8'

D

R6-LOUNGE +85

16'

SCALE: 1/16" =

N

12 11 10

terrace cafe 18 17 16 15 14 13 12 11 10

9

8

7

6

5

4

3

2

9

1

8

7

6

5 8

7

6

5

4

3

2

1

0

17 16 15

A: 5,225 sq ft

D

SECTION D

1'-0"

A 18

14 13

7

TECHNICAL

4

3

2

1

+65

LUX1

HOTEL 03 +165

reception

LOUNGE

18

17

16

15

14

13

12

11

10

9

8

7

6

+55

LUX3

pool above

A

A

6

elevator from +55 elevator from theater lobby theater lobby

+85

3

stage level lobby

A: 264 sq ft

5

STYL

+5 5

concession +55

4

LUX3

ECO

3

ECO

A: 434 sq ft

2

STYL

escalators from theater lobby

KITCHEN

1

LUX3

CAFE

A: 3,328 sq ft

+55

5

THEATER SEATS

+60

2

A: 14,222 sq ft

open to below

A: 8,647 sq ft

1

STAGE

SKY DECK RESTAURANT

open to below

concession

SECTION A

A

SCALE: 1/8" =

+85

9

8

7

6

5

4

3

2

1

SECTION A

N

+75

18

17

16

15

14

13

12

11

10

9

8

7

6

5

4

3

2

1

HR

1

+65 +55 +55

0

1'-0"

8'

16'

ROOF 02 +520

32'

SCALE: 1/16" =

N

0

1'-0"

8'

16'

32'

SECTION D

ECO

STYL

D

LUX3

ECO STYL

LUX3

D

LUX2

18 17 16 15 14 13 12 11 10

LUX1

9 8 7 6 5 4 3 2 1

terrace cafe

18

17

16

15

14

13

12

11

10

9

8

7

6

5

4

3

2

1

+55

9

8

7

6

5

4

3

2

1

KITCHEN

waiting area terrace cafe

A: 642 sq ft

SECTION A

SECTION A

concession STAGE A: 14,222 sq ft

+55

+60

KITCHEN A: 434 sq ft

A

A: 8,647 sq ft

+55

stage level lobby

pool above

+55 elevator from theater lobby

A

reception

A

A

18

17

16

15

14

13

12

11

10

9

8

+55

7

6

LUX1

5

ECO

4

STYL

3

LUX3

2

LUX3

STYL ECO

escalators from theater lobby

concession 1

LUX2

STYL

ECO

SKY DECK RESTAURANT

terrace cafe

terrace cafe

panelite glass

SECTION D

D HOTEL 01 +145 N

SCALE: 1/8" =

0

1'-0"

4'

8'

D

16'

R3-STAGE +55 N

SCALE: 1/16" =

0

1'-0"

8'

16'

ROOF 01 +505

32'

N

SCALE: 1/16" =

1'-0"

SECTION D

D

LUX2 STYL

ECO

LUX3

STYL

D

LUX1

LUX3

dressing rooms

ECO +35

18 17 16 15 14 13 12 11 10

+35'

9 8 7 6 5 4 3 2 1

STAGE HYDRAULICS

+35'

green room

HOTEL BOH A: 898 sq ft

CALDERIUM

+45

+45

SPA LOBBY

THEATER BOH A: 10,307 sq ft

A

+35

18 17 16 15 14 13 12 11 10

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

SECTION A

9 8 7 6 5 4 3 2 1

SECTION A

TO STAGE ESCALATOR TO STAGE A: 500 sq ft

+45

A: 1,486 sq ft

+35'

A

+35

A: 1,136 sq ft

A: 450 sq ft

A: 14,750 sq ft

THEATER FLYSPACE

LUX3

LUX3

ECO

STYL

LUX2

HOTEL 02 +155 SCALE: 1/8" =

1'-0"

OFFICE A: 286 sq ft

D

SECTION D

N

FRIGIDARIUM

9 8 7 6 5 4 3 2 1

STYL

technical rm

STYL

18 17 16 15 14 13 12 11 10

LUX2

ECO

A

A: 51 sq ft

A

ECO

TEPEDARIUM

0

4'

8'

D

16'

SPA-MEN +105

R2 +45 N

SCALE: 1/16" =

1'-0"

0

8'

16'

32'

N

SCALE: 1/16" =

1'-0"

0

8'

16'

32'


Tension Space Kunsthalle Peter Debretteville Studio

The relationship between art, society and the subject is one of tension. An art work is the product of a subject and is also received by the subject in a duality of effect and affect. The subject is contained within society, which is also defined and limited by the subject. In a paradoxical strange loop of infinitely regressive body and organ relationships, tension as a concept of dualities applies here as well. If we begin to think of art as belonging to a smooth space:the space of the nomad, then the curators are part of a striated space:belonging to the state apparatus. Deleuze proposes that between two striated spaces, there is a smooth space. Can a striated space occupy the surface between two smooth spaces? The state apparatus, the striated space operates on absolutes. Rules and regulations permeate this space. The smooth space on the other hand, operates on difference. It has no goal, only instantaneous velocity. Defined by a point and a vector, the smooth space is a space of vertical flows, constantly territorializing through its movement.




Absence of the other

Surface Tension

Torsional Tension


Admin Offices

Open Offices Curator Offices

Multipurpose Theater

Cafe

MediaLab Lobby


1/4” = 1’ Model Final Presentation

1/8” = 1’ Scale Model Midterm Presentation




The Baroque Ellipse Rome Studio Prof. Alexander Purves & Stephen Harby

Bernini and Borromini were well-known rivals during Baroque Rome. Through analyzing the neighboring elliptical churchs of Bernini’s San Andrea al Quiranale and Borromini’s San Carlo alle Quattro Fontane, this project postulates a grotesque merging of the two. The worm’s eye drawing convention provides a sound basis for 3-dimensional analysis with measurable distances in all three dimensions. However, the Bernini-Borromini monster exploits this drawing convention to hide the inconsistencies behind columns and piers and obstructs the most confusing aspect of this fored encounter: the resolution of the apse.

San Andrea Facade


san carlo

san andrea

This project is a reminder that the elliptical shape of the Baroque is inherently a hybridization of irreconcilable forms, suspended in an eternal state of fluid transition.

San Andrea + San Carlo Hybrid

Sant ivo Cupula



PROFESSIONAL WORK 2009-2010



Crystal Design Center- Lead Architect & Project Manager

Pulse Tower

Situated less than a block from the West gate of the historic Xi’an city center, Pulse Tower rejects the stale notion of homogenous independent rooms and instead creates communities in a tower through shared skygardens. During Xi’an’s 3,000 year history, it has served as the capital of China for the most important dynasties. Called ‘Western Peace’ by the Chinese, it is located in a basin, protected by mountains on two sides yet connected to the fertile plains of central China. With more Terra Cotta Warriors being unearthed in the tomb of the first Emperor everyday, history runs deep in this ancient city.


500m

?

39,800m2 of residential 4,000m2 of retail

XI’an Historic West Gate


Rather than towers in a park, we propose parks in the tower. 63#"/*4.

63#"/*4.

63#"/*4.

63#"/*4.

Vertical communities share atriums which have exterior connections.


Parametrically controlled balconies direct and control views while creating a unique undulating facade.




OMA

Coolsingel On-going Project: for more information relating to my role in this project, please refer to my cover letter.

Two contextual observations triggered the design process. The position of the site in the urban context of the city Rotterdam can truly be regarded as the center of Rotterdam. This is the moment where Rotterdam’s most important streets: Coolsingel, Lijnbaan, Binnenweg and Beurstraverse merge together. The second observation is Rotterdam’s current construction development that almost entirely consists of tower projects. The high-rise creates an impressive skyline, but due to mono-functionality and its lack of engagement with the surrounding public domain it does not succeed to enhance the attractiveness and liveliness of the centre. Instead of yet another tower project competing for height, the project aims to reconfigure the image of the centre by inserting the pure form of the cube on the site. The cube spatially reorganizes its context and generates floor surfaces that can facilitate for a wide range of (public) programs. A system of void spaces introduces a spatial configuration that brings daylight into the cube and views to the surroundings from within the cube. source:oma.com



OMA

Stadskantoor On-going Project: for more information relating to my role in this project, please refer to my cover letter.

For Rotterdam’s Stadskantoor, a new building for the city hall that will accommodate municipal services, offices, and residential units, OMA conceived a modular building with repeated units gradually set back from the street as they rise into two irregular peaks. The building’s composition of smaller cells creates an impressive, complex form when viewed from Coolsingel, one of Rotterdam’s main arteries, and allows for subtlety and adaptability as the new building meets the Stadstimmerhuis (a municipal building, from 1953), which surrounds it on two sides.

The Stadskantoor’s innovative structural system generates maximum efficiency and versatility both in construction and in program: units can be added or even dismounted from the structure as demands on the building change over time, and can adapt to either office space or residential parameters as desired. Green terraces on higher levels provide the possibility of an apartment with a garden in the heart of urban Rotterdam. On the street level, the structure allows for generous open space, with modules overhanging rather than encroaching into an interstitial area, encouraging an active and open engagement between the Stadskantoor and the city. source:oma.com



OMA

NAI-Taking A Stance Shanghai Expo Exhibition Designer

O.M.A. was invited to participate in an exhibition by the Netherlands Architecture Institute to showcase a project along with three other Dutch designers and four Chinese designers. To represent the Taipei Performing Arts Center, we concieved of an image cloud. Conceptual developments on form and theater are on the left and urbanism and context on the right. The visitor can enter on either side and the 1:100 model sits in the middle, split in two, inviting the visitor to peek inside.


m.arch


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