Page 1

My ARchiTecture I am crazy about this line: the line between Art and Architecture. I make art, through which my architecture is nourished. I am an architect, but always approach my architecture in the way of artist.

Darian Lu

PG.1


PG.2

PG.3


6 26 34 38 56 58 66 68 70

Layering City Fredrick Levrat Studio:Knowledge City Fall 2012

Body-ish Fashion Gallery Mark Rakatansky Studio: Inventive Curatorial in MET Summer 2012

“VooDoo” Bear Mitchell Squire Studio: Toys! Spring 2011

Encountering Jazz Mitchell Squire Studio: Boston symphony Center Spring 2012

You Got Caked! Mitchell Squire Studio: Toys! Spring 2011

Re-Contexturalize Samantha Krukwoski Studio Spring 2010

Woven Field Entrepreneur Project: Outdoor Amphitheater Spring 2012

Hy-Bird Hotel Visual Study Spring 2013

Darian Lu | Architecture Portfolio | 2008-2013 PG.4

Retorno | Desvio Keith Kaseman Studio: Rio Remix Spring 2013

PG.5


Layering City KNOWLEDGE EXCHANGE INBETWEEN NYU & NYC CAN WE BETRAY THE VERTICALITY OF NYC, CREATING AN URBAN CONDITION THAT ENCOURAGES EXCHANGES.

PG.6

PG.7


Layering City KNOWLEDGE EXCHANGE INBETWEEN NYU & NYC CAN WE BETRAY THE VERTICALITY OF NYC, CREATING AN URBAN CONDITION THAT ENCOURAGES EXCHANGES.

Project Advisor: Fredrick Levrat Individual Project The project is a result of critical observation of NYC. It can be categorized into the following: Vivid street activities Vs. Cold and mysterious skyscrapers; People are indifferent with each other, which is contradictory to the density of NYC; The strict boundaries within existing urban design and public infrastructures. The goal of the porject is to create a unique condition that urban activities happen on all layers of the building. Different people are brought together through interactions of these layers, which eventually stimulate knowledge exchange.

PG.8

PG.9


VS.

NYC Street Activities

PG.10

NYC Skyscrapers

Density and Verticality

PG.11


Interactive Layers To Achieve the project goal, my strategy is to apply several layers on the site. The interactions of these layers (eg. folding, peeling, lifting, twisting etc.) creates knowledge exchange. The exchange happens from physical to virtual.

Speific applications extracted from concept model

(Continuity of floorplates)

Multiple Layers of programs The programs of these layers are driven by what are already around the site. By stacking these programs vertically, a new urban condition is created. Meanwhile, new programs can possibly be created. Divide space with horizotal layers, instead of strict vertical divisions

Physical

Virtual 1. Residence 2. Open Space 3. Industry 4. Commercial 5. Campus 6. Transportation

1. Cooper Union 2. The New School 3. NYU 4. City College of New York 5. Columbia University 6. School of Visual Arts

RESIDENCE

living in small households

A learning Community that provides affordable housing to designers in needs

Creative Making

Exposing the making process of products/ open studio

PRODUCTION cOMPANY

COMMERCIAL Selling/Buying

A Learning Community that encourages emerging entrepreneur designers/students

CAMPUS Learning

GREEN SPACE

Outdoor learning/events, Sports

Gathering/ “ not doing� Undefined Programs

TRANSPORTATION

Commuting

(Present in Section)

(Present in Section)

PG.12

PG.13


HONG KONG

NEW YORK

TOKYO

DUBAI

SHANG HAI

CHICAGO

GUANGZHOU

SEOUL

KUALA LUM- TORONTO PUR

5th Level

4th Level

3rd Level

104 FT

2nd Level

Street Level

Basement -1

Basement -2

Form Strategy PG.14

Circulation in Section

PG.15


N

Transverse Section

Gallery

S Entry Gym

PG.16

Open Studio +Artist Residence

Semi-Outdoor Performance Area

Gym + Commercial Gym

Secondary Entry Entry Semi Outdoor Social Space

Gym + Commercial Gym

PG.17


PG.18

PG.19


PG.20

PG.21


PG.22

PG.23


Facade Design

PG.24

PG.25


Body-ish Gallery FASHION GALLERY CURATORIAL INVENTION CAN WE EXTEND THE COLLECTION TO EVEN INVOLVE THE AUDIENCE OF THE GALLERY, CREATING A COMPLETE DIALOG WITHIN TIMELESS FASHION?

PG.26

PG.27


Body-ish Gallery FASHION GALLERY CURATORIAL INVENTION Traditional

CAN WE EXTEND THE COLLECTION TO EVEN INVOLVE THE AUDIENCE OF THE GALLERY, CREATING A COMPLETE DIALOG WITHIN TIMELESS FASHION?

Traditional

Project Advisor: Mark Rakatansky Individual Project

Conventional

Conventional

Inventive

Marking Status, signaling nobless and leisure by wearing clothes that restrict movements. eg. corset, hopple skirts in 1910 Conforming or adhering to accepted standards Time-related disruptions to a consistent type, style, or look

Inventive

Fashion is a time-based disruption of culture. The project goal is to create a series of space disruptions in the galleries of Metropolitan Musuem of Art. The fashion gallery draws attention to historical costume, display high-end fashion designs, and more importantly: putting people’s everyday wear onto display through visitors themselves. This paticular space disruption in MET was created with material that resembles modern leggings. With underneath structural support, it is able to be manipulated to create different forms and controlled perspectives that are used to display garments.

Fasion Cycle

Traditional

Conventional Fashion Cycle

Inventive

New Circulation

Concept Diagram: Space Disruptions

Exisiting Circulation

Circulation

Displa Arriving

PG.28

Coat Check

Display

Visiting Studio

Library

Runway

Runway

Fashion Photography

Runway

PG.29


Mix and Match +Controlled Perspective Creating this “Mix and Match” display allows visitors to have a fresh view on different artifacts. A “Controlled Perspective” draws attention from outside of fashion to particular Curatorial Strategygallery in Architecture Space objects. 15’-0”

4’-0”

Fabric

Fabric

Hat Hanger

6’-0”

5’-0” Glass

3’-0”

+

Glass

Hat Hanger

2’-0”

Seating

Seating

2’-0”

Hat Hanger Hat Hanger

3’-0”

2’-0” 3’-0”

2’-0”

3’-0”

1’-6”

1’-6”

Seating

Seating

Shoe DisplayShoe Display

3’-0”

PG.30

3’-0”

3’-0”

3’-0”

3’-0”

Shoe

Clothes

Hat

Hat Hanger

Hat Hanger

PG.31


I am concerned that you don’t know me. I am more concerned that I don’t know myself, or what I am passionate about.

I am concerned that you can’t see ME through my work. I am concerned that I am not in my work; what I am passionate about is not present.

I am concerned that you won’t like me. I am concerned that what I am passionate about is considered odd, and who I am is not what I am expected to be.

Before joining an architecture academia, we were forming our identities through our choices. Architectural decisions, though most of the time subconsciously, come from this identity. The choreography of diagonals, boxes, curves, color, material, lighting, are design choices made by individuals. To be able to identify oneself in architecture, however, does not mean an identity can be formed through architecture alone, and it shouldn’t be. Architecture is just one part of your life. The studio can be dangerous as a place where culture is created within a very confined environment. Do whatever interests you, and do it well. Your designs are informed by your passions, and this is when the design becomes true and expressive. Once, I was told to find some objects that I am interested in working with. I went, without anything in mind. I was so fascinated with a teddy bear lying on a shelf, and immediately knew what I wanted to make. It was a bear with a penetrable skin so that its own could attach and detach itself to at. Traces would be left and this teddy could morph in new ways to reflect its owner. This was not an “architecture” project, but I believe it is the same. What you like will inform you.

Looking back, I don’t know if my identity is evident in my work, but a consistency is been present across the variety of work. More importantly, I found myself struggling less about my decisions. I evaluate them by simply comparing the idea and the product verses me wondering what do the professors think, what do my colleagues think, or if the product looks cool. Though as I develop a project I struggle with communicating feeling through my designs; evoking a specific response from the audience. Once, I used a series of images to tell of my experience of a site. I used an image of SpongeBob to communicate the compression and sense of release I felt when walking among these trees and shrubs. These images were made fun of. Upon reflection, I realized that I should not have used Spongebob as parts of the presentation. Audiences tend to relate it to other things, as it is created within a certain culture. What it represents is hard to surpass. It would be much more successful, if it was just a sponge. Yet I would rather have done it than not. Between not doing and over-doing I would rather over-do and then be able to evaluate what I have done. This way I can come to a better conclusion of how well I can express my design intentions. On another project, my professor dragged me through the design process. I came to a point where I was too concerned about my professor’s opinion, and did not know how to make decisions for the project on my own anymore. I realized that this project was no longer about me. That semester I wrote on my sketchbook: It’s okay to fail, but if I fail, I want to fail as myself.

I found myself associating some studio projects with their designers: their personalities and their passions for certain things are involved and apparent in their work. However, many other works stay anonymous to the viewer and possibly even the owner. How do you make your project “known” to you?

Over the past few years, I have been asking myself what is it that defines MY architecture. I am able to present everything that is on the requirement list that professors provide for every single review I have had. The presentation is technically complete. However, deep down, I know it is not enough. For once, I wish I could put something on that wall that is more about me and not just the list. I am searching and experimenting, and I cannot conclude that all here. But I discovered that my works tend to create several layers so that people can explore, discover, and relate to their own experience. The layers that I create had been physical partitions, spaces of a certain sequence, and human perceptions. Searching for an answer helps me focus on what I value in the design process and eventually will lead to a self-satisfying project. “We are in design school; we are thinkers, dreamers, and creative personalities. Make our work show that and be that, instead of trying to prove that we are ‘architects’.” Before you start cranking stuff out for the review, reflect. Think about how can you tell the story of your approach and explain the current status of your work. I am talking to you as much as I am talking to myself.

From Anonymous to Known PG.32

PG.33


“VooDoo” Bear “TOYS ARE NOT AS INNONCENT AS THEY LOOK.” Project Advisor: Mitchell Squire Independent Project “The outlines of the form of life and beauty drawn on the paper are pricked through with the needle so that they show on both sides of the paper”Pricking, as one of the kindergarten gifts identified by Froebel, is capable of leading from LINE to SURFACE. In this excercise, I further exlplored its capability of leading from SURFACE to DEPTH, and to an OBJECT. A bear with a penetrable skin so that its own could attach and detach itself to at. Traces would be left. This project has cultural reference to Voodoo doll, but with a different perspective that this teddy could morph in new ways to relfect its owner.

PG.34

PG.35


PG.36

PG.37


Encounter Jazz BOSTON JAZZ SYMPHONY CENTER CAN WE CREATE AN IMPROVISED ARCHITECTURE THAT AMPLIFES THE EXPEREINCE OF A JAZZ PERFORMANCE?

PG.38

PG.39


Encounter Jazz BOSTON JAZZ SYMPHONY CENTER CAN WE CREATE AN IMPROVISED ARCHITECTURE THAT AMPLIFES THE EXPEREINCE OF A JAZZ PERFORMANCE?

Project Advisor: Mitchell Squire Project Partner: Dream Potter John Graham

Jazz as a unique music has improvisations in an organized form. Our design is to embrace the distinct characteristic of Jazz music. Jazz is social music that encourages interactions between audience and musicians. The interatction results in musicians’ spontaneous performance. One can never hear the same jazz played again. The best setting for a classic jazz performance to take place accompanies wine, laughter and light chat. The building’s purpose is to perform in a similar manner to that of Boston, and amplify the very specific experience of a jazz performance. This improvised architecture is achieved through circulation, structure, and materiality of the architecture.

SPONTANEOUS INTERACTIVE SOCIAL PG.40

PG.41


Encounter Jazz

in

BOSTON

Nicknamed “The Walking City” The Unique Boston

Boston is a city to be experienced on foot. There are two major factors which shape the experience of Boston: Web of circulation created by the amorphous composition of the city. Commutors constantly encounter areas of activities that were purposefully designed were purposefully designed or spontaneously derived. We call these areas hotspots.

OBSERVED POINTS OF SPONTANEOUS ACTIVITIES. COLOR REPRESENTING DIFFERENT TYPES.

1.City Map 2.City Blocks 3.Downtown Zoning 4.Web of Circulation PG.42

PG.43


To achieve a improvised architecture. We approached from 3 aspects: circulation, structure, and material. Visitors travel along this organized web of circulation and encounter spontaneously derived activities. The structure of the building is composed of trusses and steel frame.Additional truss supports allow building shell to split to create a different lighting condition along the circulation spine. The skin is composed of translucent stone panel and translucent skin. The same material is used on both the building facade and plaza. By getting closer to the building, one is able to tell the difference between two materials.

PG.44

PG.45


The unique form creates different visual impact from multiple approaches to the site

Auditorium

Circulation Spine Public Area 3456 SF

Leased Office

Auditorium

Auditorium

Experimental Hall

Experimental Hall

Experimental Hall 3,000 SF

Public Area

Auditorium 13,000 SF

Storage, Rehearsal, Dressing Room

Public Area

Mechanical

Street Level

Leased Office 25,000 SF

Experimental Hall

Leased Offices

Public Area

REGROUPING PROGRAM

Plaza Level

Auditorium

Circulation Spine Leased Office

Auditorium

Auditorium

Experimental Hall

Experimental Hall

,000 SF

Public Area

SF

Storage, Rehearsal, Dressing Room

Public Area

Mechanical

Street Level

00 SF

Experimental Hall

Plaza Level

Leased Offices

Public Area

ORGANIZING FORM Auditorium

Circulation Spine

Auditorium

Experimental Hall

Auditorium

Experimental Hall

Public Area

Plaza Level

Storage, Rehearsal, Dressing Room

Public Area

Mechanical

Street Level

Leased Offices

RECONNECTING SPACES

Auditorium Experimental Hall Plaza Level Public Area Street Level

DIVIDING PLANE

Exploded Axon of building components:

PG.46

PG.47


Movement As people entering the jazz symphony center through multiple entrances, they are filtering through the builiding and end up on different levels, in the final spine that connects three shell spaces into one. In the final Spine, people can move on to different destinations as they wish. Lighting Impact In the sketch model studies (Far Right), we experimented with different cuts on facade to achieve unique visual impact. And let light come through the sides with structure component casted.

PG.48

PG.49


PG.50

PG.51


Exterior Shell Egress Stairs

Major Structure Interior Shell

Tilted Plaza

Staff Street Entrance

Shared Facilities

PG.52

PG.53


PG.54

PG.55


You Got Caked! SOCIAL EXPERIMENT HOW WOULD PEOPLE REACT TO 1,500 FREE CUPCAKES, CAME OUT OF SUPRISE, THAT TAKE UP THEIR COMMON SPACES?

Project Advisor: Mitchell Squire Studio Project A social experiment project where 15 tables are appeared to be covered with a total of 1500 cupcakes. The entire process is secretly recorded from different locations in College of Design. We are able to observe different reactions when students’ daily-used spaces are taken by free cupcakes.

PG.56

PG.57


ALL OBJECTS LOSE BY TOO FAMILIAR OF A VIEW PG.58

PG.59


ALL OBJECTS LOSE BY TOO FAMILIAR OF A VIEW PG.60

PG.61


ALL OBJECTS LOSE BY TOO FAMILIAR OF A VIEW PG.62

PG.63


ALL OBJECTS LOSE BY TOO FAMILIAR OF A VIEW PG.64

PG.65


Woven Field ENTREPRENEUR AMPHITHEATER DESIGN Project Advisor: Mark Engelbrecht Project Partner: Ann Cashman

“The MOVEMENT of LAND to create a gathering SPACE”

We recognized a need to have an amphitheater in Waverly, IA to support the municipal band performance. We used the formation of land to address the motion of people coming in, and also create seatiing areas, stage and entrances.

300 20:44

Imperfect Wine Glasses (R) As time goes by, sun shines through glass in different directions. Reflections of colored glass move around the space, with shadows of leaves and tree branches casted in the meantime.

W

6’-0”

4’-0” Street Level 0’-0”

E

70

07:20

40

20’-6”

20’-6”

Section looking East

18:19

60 05:32

Section looking West

4’-6”

Street Level 0’-0”

COURTSEY AHTS ARCHITECTS

COURTSEY AHTS ARCHITECTS

PG.66

PG.67


Main Structure

Hy-Bird Hotel

Minor Structure

Parametric Prototype Birdnest

CREATING HYBRID DWELLINGS FOR MIGRATING BIRDS WITHIN CITY FABRIC Teammate: Yu Zheng

Transformation Through Time

Numerous types of birds migrate through NYC during Spring and Fall. This project is to create multiple structure within the existing city fabric that provides temporary housing for these birds (like a hotel for birds!) The components change thoughout the year to simulate different natural birdnests,and allow birds to add natural material onto it.

We obtained our data by comparing different birdnests side by side, quantifying their traits. Based on the scale that we created, the bird nests can change its amount, material density, and form. The density of the structure grows or declines based on the migration pattern in NYC.

Analysis Z

Y X

X Y Z

tart

X Y Z

X Y Z

X Y Z

Migration Pattern New York Spring Migration Bronx

March 31

November 23

May 4

American Bittern American Redstart

April 13

June 23

Double-crested Cormorant

March 24

June 9

Great Blue Heron

April 5

October 12

Green Heron

April 4

Henslow’s Sparrow

April 28

September 26

Least Bittern

June 24

September 15

Little Blue Heron

April 15

Oven Bird

New York Fall Migration City

Approx. Arrival Date

Approx. Departure Date

Common Name

Bronx

November 4

April. 17

Brant

October 1

May 21

Canada Goose

July 12

November 17

Double-crested Cormorant

September 30

Fox Sparrow

July 3

December 30

Great Blue Heron

July 6

October 9

Great Egret

October 6

May 23

Horned Grebe

August 5

Mourning Warbler

October 16

January 18

Northern Gannet

August 18

November 28

Pied-billed Grebe

October 15

May 15

Red-necked Grebe

Evalutate length on a 1 ot 10 Scale 1

2

3

4

5

6

7

8

9

10

7.7

X 10

7.8 10

Y 5.7 7.8 10

Z

7.8 7.3 3.4

Z

3 Y

PG.68 X

PG.69


Retorno| Desvio MIXED-USE BUILDING ON AVE. BRAZIL CAN WERECONFIGURE THE RELATIONSHIP BETWEEN PEDESTRIAN AND VIECHLES THROUGH AVE.BRAZIL?

PG.70

PG.71


Retorno| Desvio MIXED-USE BUILDING ON AVE. BRAZIL CAN WERECONFIGURE THE RELATIONSHIP BETWEEN PEDESTRIAN AND VIECHLES THROUGH AVE.BRAZIL?

PG.72

PG.73


Retorno| Desvio MIXED-USE BUILDING ON AVE. BRAZIL

?

CAN WERECONFIGURE THE RELATIONSHIP BETWEEN PEDESTRIAN AND VIECHLES THROUGH AVE.BRAZIL?

Project Advisor: Keith Kaseman Independent Project The project creates multiple opportunities to detour on Ave. Brazil. It reconfigures the relationship of vehicle and pedestrian in the north zone of Rio de janeiro. The space operates similar spacial movements in Rio, and contains spontaneous activities that can be enjoyed by both pedestrians and vehicle. Inbetween Spaces What happens in SPACES INBETWEEN favela houses?What happens in the URBAN FABRIC of Rio De Janeiro?What happens during traffics on Ave. Brazil, INBETWEEN Vehicles?

Activity I

Activity II

E(a)

Activity III

PG.74

A(b) B(b)

C(a)

E(b)

Activity IV A(d) D(b)B(d)

Can we reconfigure the relationship between vehicles and Pedestrians by reconfiguring the spontaneous activities to designated spaces that perform similarly to the existing fabric of Rio De Janeiro?

Existing relationship between Pedestrian and Motorized Viehcles

A(a) B(a)

C(e)

Spacial Movement Diagram

A(c) C(b)

B(c)

C(c)

C(d) D(a)

A. Layers of Interaction B. Soft Edge C. Vertical Movement D. Diverge Movement E. Centralized

New relation between Pedestrian and Motorized Viehcles. The spontaenous activites become a network that creates a new expereince of driving through Ave. Brazil.?

PG.75


Assign Activities to Movements

0FT

Spacial Movement Design

300FT

Apply Actions to Designed Movement

PG.76

PG.77


Movement Design

PG.78

PG.79


Five Star Resort BOSHAN TAIHE, CHINA A 5 star Resort planning project in North China. The main building is directly surrounded by montains and lake, sitting within the site’s natural landscape. My contribution includes producing Autocad drawings for plans and sections; preparing presentation documents. I worked side by side with supervising architect, testing back and forth between 2D drawings and sketchup models.

“He”(harmony) Resort Gucheng Island, China (120,000 sq m) My contribution includes producing section renderings and drawings with photoshop and illustrator; making minor changes to autocad drawings; Researching on sustainability guide in China. All images courtsey WoodsBagot,

All images courtsey WoodsBagot,

PG.80

PG.81


Lake Resort (interior)

Felt Light

KUBUQI DESERT, CHINA

WOOD FELT

In this project, I assisted in rendering interior perspective and floorplans with photoshop and illustrator; researching on interior materials and furniture, preparing material boards for photograph and presentation.

VARIABLE DIMENSIONS

Felt Light is a series of light fixtures recall familiar pendants or lamps, translated into the unexpectedly soft and rich material of wool. From one side, the fixtures appear whole, while from the opposite side moments of excavation are cut into the interior, hinting at a contoured landscape and light within.

All images courtsey WoodsBagot. Executive Platinum

Executive Platinum

Presidential Suite

SLICE RICHLITE,STEEL,RUBBER 30”x 108” x 60” An all black table tennis table, Slice appears as a deceptively opaque landscape when viewed from its shorter ends and impossibly thin from its longer sides. The top is made from a single thin sheet of Richlite, an incredibly dense and durable eco friendly material. An undulating topography below this surface is described by a series of flat, solid layers made from flexible EPDM rubber and Richlite. While designed for indoor and outdoor table tennis, Slice can also be used as a conference or dining table.

Presidential Suite

Lobby Bar

Lobby Bar

All images courtsey Snarkitecture. PG.82

PG.83


11/2" X 3/8" CS STEEL FRAME FOR WIRE MESH

Drafting sample from Williamsburg the EDGE A - SIDE ELEVATION B - FRONT ELEVATION

All images courtseyW Architecture and Landscape Architecture LLC. 07

06

TYPICAL STEEL RAILING AT PIERS - TYPE R1 SCALE 1"=1'-0"

5'-9"

6'

6'

EL +8.0

VARIES

4X6 SLEEPER

SYNTHETIC LAWN

1 2"

J-BOLTS 12"

WOOD SLAT

CONCRETE STEPS VARIES

VARIES

VARIES

CONCRETE STEPS

721"

RIP RAP

PRECAST CONCRETE STEPS

WOOD FASCIA,TYP.

INVERT ELEV. -1.63'

4X4 SLEEPER

METAL ANGLE 3'

FINISH GRADE

SYNTHETIC LAWN

CONCRETE STEPS

SLEEVE GROUT SOLID 8'-421"

6" 6"

EL +6.0

STEEL SUPPORT

CONCRETE CURB BEYOND SYNTHETIC LAWN

CONCRETE STEPS

EL +7.0

1'-5"

1'-2"

10 7.6 0°

GROUT

4"

3'-7"

4" EL +5.0

3'

EL +4.0

SYNTHETIC LAWN

2'-3"

CONCRETE PAVING

6'-4"

METAL RAILING

5'-4"

1'-11"

6" 6"

METAL RAILING

STAINLESS STEEL BRACKET

1'-021"

6" TYP.

2" TYP.

3'-6"

EL +0.0

3'-10"

6'-1"

1 1/2" STAINLESS STEEL TUBE RAIL

CAST IN PLACE CONC. WALL

2'-3" TYP.

5'-9"

6'-1"

METAL RAILING

4"

5'-9"

5'-9"

6'-2" 1'-2"

1'-6"

STEEL RAILING TYPE R2

5'-9"

SCALE 1"=1'-0"

6" 6"

4'-3"

5'-9" 3'-9"

2'

5'-9" 2

1" R6 2

5'-9"

B - FRONT ELEVATION

STEEL RAILING AT GET-DOWN PIER RAMP - TYPE R2

6" 6"

6"

4'-6"

10"

5'-9"

721"

1" 8

TYPICAL STEEL RAILING AT PIERS BEYOND - TYPE R1

4'-6" 6"

5'-3"

10"

4'

1'

1'-621"

1 1/2" STAINLESS STEEL TUBE RAIL

A - SIDE ELEVATION

CONCRETE STAIRS

CONCRETE

121"

1'-6"

PRECAST PILE CAP TYP.

DECOMPOSED GRANITE W BINDER

5"

16" X 16" PRECAST CONCRETE PILE TYP.

MLW EL. -3.85'

MATERIAL VARIES

CONCRETE BASE

MARINE SUB-STRUCTURE

APPROX. MUDLINE ELEV. -8.0'

Fleming-Lee Shue, Inc.

Architecture and Landscape Architecture, LLC 3' MAX

42-09 235th Street Douglaston, NY 11363

24 Commerce Street Newark, NJ 07102

226 W 26th Street 9th Floor New York, NY 10001

315 Park Avenue South 17th Floor PAVEMENT New York, NYSCHEDULED 10010

225 West 34th Street 2nd Floor New York, NY 10122

6 East 32nd Street New York, NY 10016

127 W 25th Street 12th Floor New York, NY 10001

P 212-929-5656 F 212-929-5605

P 212-330-6226 P 845-353-6400 TYPICAL STEEL RAILING AT PIERS - TYPE R1 F 212-695-1898 ANCHOR BOLTS SCALE 1"=1'-0"F 845-353-6509

P 917-339-9300 F 917-339-9400

P 212-675-3225 F 212-675-3224

7/16" DIA HOLES FOR ANCHORING

5'-9"

20'-1"

BOLTS

"T

YP

.

1 1 2"TYP. 12" TYP.

EL +0.0

WOOD SLAT

NORTH 5th STREET

TENSION ROD AND NYLON SPACER, TYP. STEEL SUPPORT STRUCTURE, TYP.

2'-3" TYP.

0

VARIES

EAST RIVER

6" TYP. 3'

VARIES

721"

WYTHE AVENUE

3' 3'-6"

KENT AVENUE

EAST RIVER

2"

721"

DATE:

CONCRETE BASE

SYNTHETIC LAWN

STAINLESS STEEL FASTENER, TYP.

02008

PROJECT NAME:

SHORELINE PLANTING

SCALE:

WILLIAMSBURG THE EDGE

6'-1"

6'-1"

DRAWN BY: METAL RAILING

5'-4"

DZ, SY NOTE:

6'-4"

6'

EL +6.0

6'

EL +7.0

SITE FURNISHINGS & RAILING DETAILS SYNTHETIC LAWN

PARC CENTRE TABLE - TYPE F4 BEYOND

PARC CENTRE CONCRETE STEPS

CONCRETE STEPS

CHAIR - TYPE F3

EL. 8.00'

DECOMPOSED GRANITE

CONCRETE WALKWAY

4"

AS NOTED

Oct. 17 2013 W. A. P. RE

GLASS RAILING

PRECAST CONCRETE PARAPET

EL +8.0

ORNAMENTAL GRASS

SYNTHETIC LAWN

4"x12" ASPHALT PAVERS

3'-7"

DATE & ISSUE:

DRAWING TITLE:

Full sheet size is 24" X 36"

STAINLESS STEEL FASTENER, TYP.

SHEET NO:

R O F ION T T UC R O PRIVATE T N NSTERRACE EL.14.00 CO

BW EL. 11.50'

L-

RIP RAP

DECOMPOSED GRANITE

INVERT ELEV. -1.63'

STEEL SUPPORT STRUCTURE

CONCERETE BASE FINISHED GRADE PAVERS

FINISHED GRADE PAVERS

CONCRETE STAIRS

MARINE SUB-STRUCTURE

RIP RAP

PILE CAP TYP. NOTESPRECAST & LEGENDS:

STEEL SUPPORT STRUCTURE

6'-2"

CONCRETE STEPS

WOOD FASCIA, TYP.

CONCRETE STEPS

2'-3"

CONCRETE PAVING

PROJECT NO:

DATE: 10.17.13

03

ANCHOR BOLTS

WOOD FASCIA, TYP.

NO: DESCRIPTION:

WAP SUBMISSION - PHASE 2 WAP SUBMISSION 1 02.22.06 10 5'-9" 5'-9" 5'-9" 5'-9" 5'-9" WAP SUBMISSION 2 5'-9" 04.14.06 3'-10" 1'-11" WAP SUBMISSION 2'2 06.05.06 3'-9" METAL RAILING WAP SUBMISSION 3 WOOD SEATING08.11.06 PLATFORM - TYPE F9 SCALE 1" = 1'-0" WAP SUBMISSION 4 09.15.06 WAP20'-0" CERTIFICATION - FINAL DRAWING SUBMISSION 11.01.06 EL +5.0 WAP CERTIFICATION - FINAL DRAWING REVISION 11.17.06 4'-0" EL +4.0 WAP CERTIFICATION - FINAL DRAWING REVISION 06.15.09 R1" T CONCRETE BEYOND 1" TYP. YP CURB . 2 1" LAWN TYP. SYNTHETIC WAP RE-CERTIFICATION 12.28.09

NORTH 4th STREET

100

DECOMPOSED GRANITE W BINDER

MARINE SUB-STRUCTURE

4"

5'-9"

4'-3" NORTH 6th STREET

1

4X4 SLEEPER

6" 6"

5"

STEEL RAILING TYPE R2

MLW EL. -3.85'

11'-4"

16" X 16" PRECAST CONCRETE PILE TYP.

SCHEDULED PAVEMENT

S

4'-6"

3'-1"

R1

STAINLESS STEEL FASTENER, TYP.

STEEL SUPPORT STRUCTURE

212-981-3933 4'-1021" 5'-9" F 212-981-3979

4'-6"

SCALE 1/4"=1'-0"

3'-6"

TYPICAL STEEL RAILING AT PIERS BEYOND - TYPE R1 P

STEEL SUPPORT STRUCTURE, TYP.

34'-1121"

6x6 - W8.5xW8.5 MATERIAL VARIES

04

NORTH-SOUTH SECTION AT 6TH STREET GET-DOWN PIER

5'

2'-721"

STAINLESS STEEL BOLTS

5'-3" 127 W 25th Street RAILING AT STEPS - TYPE R4 12th Floor STEEL SCALE 1" = 1'-0" New York, NY 10001

P 212-675-3225 F 212-675-3224

CAST ALUMINUMWOOD SLAT STRAP & SUPPORT

NORTH 7th STREET

01 02 03 041'-6" 05 06 07 08 09

02

VARIES

6" 6"

6 East 32nd Street New York, NY 10016

VARIES

1'-5"

0° 7.6

SECTION

VARIES

721"

P 212-330-6226 F 212-695-1898

6TH STREET GET-DOWN PIER SECTIONS

CONCERETE BASE

1'-5"

P 212-929-5656 F 212-929-5605

DRAWING TITLE:

Full sheet size is 24" X 36"

APPROX. MUDLINE ELEV.BOLTS -8.0' ANCHOR

6'

MATERIAL VARIES

NO: DESCRIPTION:

NORTH 8th STREET

EAST RIVER

P 973-286-6100 F 973-286-6101

ELEVATION

1'-5"

P 718-281-0550 F 718-224-1397

100 Snake Hill Road 225 West 34th Street CONCRETE WALL WITH STEEL RAILING - TYPE R3 West Nyack, NY 10994 2nd Floor SCALE 1" = 1'-0" New York, NY 10122 "LOOP" STYLE 48' P 845-353-6400 P 917-339-9300 F 845-353-6509 F 917-339-9400 ARMS

6" TYP.

315 Park Avenue South 17th Floor New York, NY 10010

2'-721"

226 W 26th Street 9th Floor New York, NY 10001

CONCRETE

Architecture and Landscape Architecture, LLC

Fleming-Lee Shue, Inc.

5.0 0°

24 Commerce Street Newark, NJ 07102

DZ, SY NOTE:

WOOD FASCIA,TYP. METAL ANGLE

SIGNATURE & STAMP:

13

42-09 235th Street Douglaston, NY 11363

05

Mueser Rutledge Consulting Engineers

PRECAST CONCRETE STEPS

121"

LANDSCAPE ARCHITECT:

1'-2"

M.G. McLaren, P.C., Consulting Engineers

1'-2"

Edwards & Zuck Consulting Engineers

NORTH 10th STREET

SCALE 1" = 1'-0"

" 72

Philip Habib & Assocociates, Engineers & Planners, PE, PC

1 2"

10

ENVIRONMENTAL ENGINEER:

Thornton Tomasetti Engineers

9"

01

NORTH 9th STREET

121"

GEOTECHNICAL/SOILS ENGINEER:

2" TYP.

MARINE ENGINEER:

WILLIAMSBURG THE EDGE

WOOD SLAT

1 2"

4' WIDE WOOD BENCH WITHOUT BACK - TYPE F7 KEY PLAN:

721"

MEP ENGINEER:

PROJECT NAME: 18'

16" X 16" PRECAST 02008 CONCRETE PILE TYP.

DRAWN BY:

VARIES

4X6 SLEEPER J-BOLTS 12"

1'-6"

1'-521"

Douglaston Development

CIVIL ENGINEER:

FINISH GRADE

3'-6"

STRUCTURAL ENGINEER:

1/8" x 1-1/2" METAL CENTER STRAP

SLEEVE GROUT SOLID

2'-121"

8'-421"

WOOD

NER:

1'-2"

3'

8'

STEEL SUPPORT

A LONG SECTION

METAL RAILING

GROUT

SCALE 1" = 1'-0"

10.17.13

WAP SUBMISSION - PHASE 2

PROJECT NO:

6'

DATE:

10

1 1/2" STAINLESS STEEL TUBE RAIL

STAINLESS STEEL BRACKET CAST IN PLACE CONC. WALL

4' WIDE WOOD LOUNGE CHAIR - TYPE F8

EL +4.0

NOTES & LEGENDS:

6" 6"

R

1'-021"

02

2

1" 8

1'

721"

1 6 2"

06

MHW EL. +0.37'

NO: DESCRIPTION:

FINISHED GRADE PAVERS

6" 6"

1 1/2" STAINLESS STEEL TUBE RAIL

4'

6"

CONCRETE BASE

P 212-981-3933 F 212-981-3979

1'-621"

10"

07

6"

P 973-286-6100 F 973-286-6101

10"

P 718-281-0550 F 718-224-1397

PRECAST PILE CAP TYP.

STEEL SUPPORT STRUCTURE

DATE:

WAP SUBMISSION 1 02.22.06 04.14.06 WAP SUBMISSION 2 WAP SUBMISSION 2 06.05.06 08.11.06 WAP SUBMISSION 3 WAP SUBMISSION 4 09.15.06 WAP CERTIFICATION - FINAL DRAWING SUBMISSION 11.01.06 WAP CERTIFICATION - FINAL DRAWING REVISION 11.17.06 06.15.09 WAP CERTIFICATION - FINAL DRAWING REVISION WAP RE-CERTIFICATION 12.28.09

FINISH GRADE

REVISIONS

Mueser Rutledge Consulting Engineers

1'-5"

STEEL FASTENER, TYP. McLaren, P.C., Edwards &STAINLESS Zuck M.G. 6" 3" Consulting Engineers Consulting Engineers

B - FRONT ELEVATION

NO: DESCRIPTION:

01 02 6' 11/2" X 3/8" CS STEEL 03 FRAME FOR WIRE MESH 04 05 A - SIDE ELEVATION B - FRONT ELEVATION 06 STEEL RAILING AT GET-DOWN PIER RAMP - TYPE R2 07 SCALE 1"=1'-0" 08 1'-2" 09

Philip Habib & Assocociates, Engineers & Planners, PE, PC

A - SIDE ELEVATION

6"

HEX HEAD BOLT AND WASHER

4"

NOTES & LEG

STAINLESS STEEL FASTENER, TYP.

SIGNATURE & STAMP: 1/2" TH. BASE PLATE

CONCERETE BASE ° .58 94 FINISHED GRADE PAVERS

CONCRETE CURB

NORTH 4th STREET

100

0

STEEL RAILING - TYPE R2

EL +6.0

1'-5"

ANCHOR BOLTS

LANDSCAPE ARCHITECT:

4'-11"

EL. +8.0'

METAL RAILING METAL RAILING

4" SYNTHETIC LAWN

EL +4.0

3"

3'

2"

ENVIRONMENTAL ENGINEER:

EL +6.0

NORTH 5th STREET

36'

GEOTECHNICAL/SOILS ENGINEER:

NORTH 6th STREET

WOOD FASCIA, TYP.

2" X 2" WIRE MESH PANEL

Thornton Tomasetti Engineers

100 Snake Hill Road West Nyack, NY 10994

321"

SEAWARD SIDE

Douglaston Development

STEEL SUPPORT STRUCTURE

321"

2"

3'-6"

1'-9"

4"

6"

FINISH GRADE

NORTH 8th STREET

NORTH 7th STREET

WYTHE AVENUE

1/2" TH. BASE PLATE

MARINE ENGINEER:

4 WOOD 9FASCIA, TYP.

"STEEL EL. +8.0' TY RAILING1 - TYPE R2 P. 2" TYP. 1" TYP.

HANDRAIL WITH 1"RADIUS

3'

°

.58

721"

MEP ENGINEER:

STEEL SUPPORT STRUCTURE

321"

4'-0"

NORTH 9th STREET

R1

STEEL SUPPORT STRUCTURE, TYP. CIRCULAR CROSS SECTION 321"

NORTH 10th STREET

HANDRAIL WITH 1"RADIUS CIRCULAR CROSS SECTION

CONTINUOUS STEEL

5.0

HEX HEAD BOLT AND WASHER

1 2"

20'-1"

CIVIL ENGINEER:

2"

KEY PLAN:

SLEEVE, 1/8" THK. STAINLESS STEEL

3" PIPE TOP RAIL TENSION ROD AND NYLON SPACER, 2" STEEL FRAME FOR TYP. WIRE MESH

13

3'-121"

34'-1121"

SEAWARD SIDE

" T2" X 2" WIRE MESH PANEL YP . 1"TYP. 11" TYP. 2 2

KEY PLAN:

SCALE 1" = 1'-0"

VARIES

KENT AVENUE

R1

STAINLESS STEEL FASTENER, TYP. STRUCTURAL ENGINEER:

3'-1"

1

REVISIONS

4"

STEEL FRAME FOR WIRE MESH

STEEL SUPPORT STRUCTURE, TYP.

OWNER:

2"

WOOD SEATING PLATFORM - TYPE F9

20'-0" WOOD SLAT

SLEEVE, 1/8" THK. STAINLESS STEEL

06 Feb 2007 - 12:43 AM | dragana.zoric | F:\20424 - Williamsburg II\02 Drawings\02.1 CAD\WAP rev\L-6.0_FURNISH_LIGHT_PLAN.dwg

CONTINUOUS STEEL PIPE TOP RAIL

3" 2"

2"

WOOD SLAT

3"

6'

2"

SCALE 1/4"=1'-0"

06 Feb 2007 - 12:43 AM | dragana.zoric | F:\20424 - Williamsburg II\02 Drawings\02.1 CAD\WAP rev\L-6.0_FURNISH_LIGHT_PLAN.dwg

EAST-WEST SECTION AT 6TH STREET GET DOWN PIER

4'-1021"

" 72

01

SCALE 1" = 1'-0"

4"

48'

03

STEEL RAILING AT STEPS - TYPE R4

1'-9"

SCALE 1" = 1'-0"

42'

04

CONCRETE WALL WITH STEEL RAILING - TYPE R3

05

SECTION

06 Feb 2007 - 12:43 AM | dragana.zoric | F:\20424 - Williamsburg II\02 Drawings\02.1 CAD\WAP rev\L-6.0_FURNISH_LIGHT_PLAN.dwg

ELEVATION

ANCHOR BOLTS

MHW EL. +0.54'

ANCHOR BOLTS

℄ PILE & GRADE BEAM

APPROX. MUDLINE ELEV. -8.0'

℄ PILE & GRADE BEAM 30"Ø STORM DRAIN

CONCERETE BASE

CONCRETE BASE

STEEL SHEET PILE WALL

MlW EL. -4.01'

A LONG SECTION

A FRONT ELEVATION

05

PG.84

GRETCHEN BENCH WITH BACK (RELOCATED FROM PHASE 1) - TYPE F5 SCALE 1"=1'-0"

01

SCALE 1" = 1'-0"

SUBSTRUCTURE VARIES OWNER:

Douglaston Development

STRUCTURAL ENGINEER:

CIVIL ENGINEER:

MEP ENGINEER:

MARINE ENGINEER:

01 SUBSTRUCTURE VARIES

EAST-WEST SECTION AT 6TH STREET GET DOWN PIER GEOTECHNICAL/SOILS ENGINEER:

ENVIRONMENTAL ENGINEER:

LANDSCAPE ARCHITECT:

Thornton Tomasetti Engineers

Philip Habib & Assocociates, Engineers & Planners, PE, PC

Edwards & Zuck Consulting Engineers

M.G. McLaren, P.C., SCALE 1/4"=1'-0" Mueser Rutledge Consulting Engineers Consulting Engineers

Fleming-Lee Shue, Inc.

42-09 235th Street Douglaston, NY 11363

24 Commerce Street Newark, NJ 07102

226 W 26th Street 9th Floor New York, NY 10001

315 Park Avenue South 17th Floor New York, NY 10010

100 Snake Hill Road West Nyack, NY 10994

225 West 34th Street 2nd Floor New York, NY 10122

6 East 32nd Street New York, NY 10016

P 718-281-0550 F 718-224-1397

P 973-286-6100 F 973-286-6101

P 212-929-5656 F 212-929-5605

P 212-330-6226 F 212-695-1898

P 845-353-6400 F 845-353-6509

P 917-339-9300 F 917-339-9400

P 212-675-3225 F 212-675-3224

B SIDE ELEVATION

OWNER:

Douglaston Development

STRUCTURAL ENGINEER:

Thornton Tomasetti

4' WIDE WOOD BENCH WITHOUT BACK - TYPE F7 SCALE 1" = 1'-0"

SIGNATURE & STAMP:

Architecture and Landscape Architecture, LLC

127 W 25th Street 12th Floor New York, NY 10001 P 212-981-3933 F 212-981-3979

01

CIVIL ENGINEER:

Philip Habib & Assocociates,

EAST-WEST SECTION AT SCALE 1/4"=1'-0" MEP ENGINEER:

Edwards & Zuck

NO: DESCRIPTION:

DATE:

01 WAP SUBMISSION 1 02.22.06 02 WAP SUBMISSION 2 04.14.06 03 WAP SUBMISSION 2 06.05.06 04 WAP SUBMISSION 3 08.11.06 05 WAP SUBMISSION 4 09.15.06 PHASE 206PARK WAP CERTIFICATION - FINAL DRAWING SUBMISSION 11.01.06 07 WAP CERTIFICATION - FINAL DRAWING REVISION 11.17.06 08 WAP CERTIFICATION - FINAL DRAWING REVISION 06.15.09 MARINE ENGINEER: GEOTECHNICAL/SOILS ENGINEER: 09 WAP RE-CERTIFICATION 12.28.09

M.G. McLaren, P.C.,

Mueser Rutledge

PROJECT NO:

NO: DESCRIPTION:

DATE:

10

10.17.13

WAP SUBMISSION - PHASE 2

02008 DRAWN BY:

REVISIONS

02 CONCRETE FOOTING

4' WIDE WOOD LOUNGE CHAIR - TYPE F8

DZ, SY NOTE:

Full sheet size is 24" X 36"

ENVIRONMENTAL ENGINEER:

Fleming-Lee Shue, Inc.

LANDSCAPE ARCHITECT:

Architecture and

PROJECT NAME:

SCALE:

WILLIAMSBURG THE EDGE

AS NOTED

DEP OUTFALL

DATE & ISSUE:

Oct. 17 2013 W. A. P. RE-CERTIFICATION

DRAWING TITLE:

SHEET NO:

R O F ION T T UC O TR N NS O C

SITE FURNISHINGS & RAILING DETAILS NO: DESCRIPTION: SIGNATURE & STAMP:

01

WAP SUBMISSION 1

L-6.3

DATE:

NO: DESCRIPTION:

DATE:

02.22.06

10

10.17.13

WAP SUBMISSION - PHASE 2

PROJECT NO:

02008 DRAWN BY:

PROJECT NAME:

WILLIAMSBURG

PG.85

SCALE:

1/4"

DATE & ISSU


PG.86

PG.87


Cherry On Top

written in 2012

PG.88

PG.89


PG.90

PG.91


PG.92

PG.93

MY ARchiTecture  

A constant multidisciplinary exploration with Art and Architecture portfolio 2008-2013.

Read more
Read more
Similar to
Popular now
Just for you