Emanuel Mordekhai - Portfolio

ACADEMIC PORTFOLIO

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EMANUEL MORDEKHAI

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I am a third-year student at Pratt Institute’s School of Graduate Architecture and Urban Design. As of May 2024, I will have graduated from the 3-Year, 6 semester Master of Architecture program. I hold a Bachelor of Science in Architecture from the University of Maryland, College Park. Since I have began my undergraduate studies, I have interned at 4 different architectural firms of differing locations, sizes and project type focuses. Through both my academic and professional experience, I have developed my design thinking and practical skills, while also gaining proficiency in various softwares used in the field.

My ability to use both the creative and analytical sides of my brain, while efficiently switching between the two, will make me a valuable asset to an architectural or design firm.

Other interests of mine include traveling, drawing, painting, reading and, my favorite of all, speanding time with my family and friends.

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Table of Contents

Studio

Contemporary Medieval ..........................................................................................4 Museum of Emotions .............................................................................................24 Floating Urbanism ..................................................................................................58 ­

Motion .....................................................................................................................78

C.N.W YARDS: Synergy between Community, Nature and the Workplace

What would a space look like where community members and workers were immersed within both each other’s environments and the natural environment? Workers often feel isolated from their neighborhoods when at work, and likewise residents are not always aware of the institutions taking place within their communities. This is often because, in a typical office building. their is a fine line between where the street ends and the workplace begins. C.N.W Yards combat’s this issue in two primary ways: 1) Bring the workspaces to the forefront of the community through highly-articulated research pods and 2) create a unified, central space courtyard space in which both workers, residents and site visitors could all enjoy. A stepped-garden doubles as an entrance to the building area and a park for the public. The research pods emerge from the building perimeter to penetrate this park-area, and sliding doors encourage the reseachers to leave their pods and enjoy the fresh air with their community. Through this entrance, all members are drawn in under a bridge into the main exhibit space, which is framed by the buildings. As you move through this space, you are encouraged to continue your journey through the greenhouse and onto the gardens on the south-western end of the site, which include reflecting pools that lead you to the outdoor-educational area, as well as to the constructed forests where you can connect with the natural environment. On the building’s interior, the private-workspace areas and public visitor areas are not separated by the two buildings, but rather blended within each other to encourage engagement between these two realms.

Parking

street view Administrative Building

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Main Entrance

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Research Building Outdoor Exhibit Area Greenhouse

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Precedent-Danish Maritime Museum

Site Plan 1/25’=1’

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Georgetown Reservoir

Convergence ...........................................................................................................98

interior perspective 1

Synergy .................................................................................................................110 Mediums

interior perspective 3

Exploring Scales ....................................................................................................122

Material Vantage Points .......................................................................................130

interior perspective 5

Surreal Objects and Landscapes Emanuel Mordekhai - ARCH770B - Sulan Kolatan

Electives

Overlapping Patterning ........................................................................................142

The primary goal of my artifact exploration was to express familiar objects in new contexts. Utilizing silicon molds, I created casts of various different fruits and vegetables, and then poured wax into the molds. By mixing the wax with various vibrant colors, the food objects now had an entirely new aura to them. Furthermore, I created a set of water casts, where I poured the same color schemes of wax into containers filled with water. The results were different every time, but always resulting in some sort of abstract form that sprung out of a base, which was the size of the container I was using. By placing the food objects next to or not top of the water casts, hints of objects in a landscape began to form. To take the idea of Food Casts expressing familiar objects in new contexts, further I created two natural scenes in photoshop that combined both the food objects and water casts with the natural features of both a rock formation landscape and a seascape. I matched the coloring of the nature images to that of my objects through manipulating the brightness and saturation of both my objects and the images. The reuslt was two surreal landscapes, similar to the 20th century paintings of Salvador Dali, who influenced the my entire exploration of creating the objects and scenes.

Water Casts

Surreal Landscapes ................................................................................................154 Composite Images

Seascape Sc

Water Casts Food Casts

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Modern cities, have lost their sense of human scale.

Enormous skyscrapers tower over humans, who walk along wide car-filled boulevards that do not provide the sense of place that medieval towns once did. Medieval towns were successful in this regard for two reasons: 1) all pedestrian paths were at different scales/widths, adding a unique character to every area, and 2) each building sprung out of its surrounding context, making the city read like one organism rather than adjacent buildings that do not relate to one another.

These two principles were the guiding factors in our design for a series of housing complexes at the existing Farragut Housing in Brooklyn. We took advantage of the unique forms of the existing housing, using them to inform the paths that would divide the 3-4 story buildings that we added to the site.

Multiple Pedestrian Scales: The wide streets that surround the site (scale 1) are balanced by medium-sized walkways that break up the housing zones on the site (scale 2), while 12’ wide pathways divide the indivisual housing blocks from one another (scale 3).

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Contemporary Medieval Design Studio 3 - James Slade Fall 2022 - Pratt Institute

Emanuel Mordekhai & Breonna Bradshaw

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Section SECTION - 3/16” = 1’

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Retail Community Facilities Housing

Site Program Diagram - Ground Floor

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Site Isometric

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The original Farragut towers were stripped of their first two stories to create a public squares that the pathways between the new buildings culminate towards.

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The pedestrian paths provide a lively area for community/resident activity. The low-rise buildings, which step back as they get taller, do not overwhelm the scene.

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The low-rise housing, spread across the site, are a balancing element to the large existing Farragut towers.

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1ST FLOOR PLAN - 1/16”=1’

Existing Site

PRIMARY PUBLIC CIRCULATION

Building Lines Extended

SECONDARY PUBLIC CIRCULATION

2ND FLOOR PLAN - 1/16”=1’

New Forms Created

Site Plan

TERTIARY PUBLIC CIRCULATION

DIAGRAM SERIES - NTS

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COMTEMPORARY MEDIEVALISM ARCH703 - BREONNA BRADSHAW AND EMANUEL MORDEKHAI

The diagrams on the left visualize how the existing Farragut towers informed the new housing, while the diagrams on the right show the different scales of circulation that exist on the site.

PRIMARY PUBLIC CIRCULATION Primary Site Circulation

SECONDARY PUBLIC CIRCULATION Secondary Site Circulation

TERTIARY CIRCULATION Tertiary Site PUBLIC Circulation

DIAGRAM SERIES - NTS

COMTEMPORARY MEDIEVALISM ARCH703 - BREONNA BRADSHAW AND EMANUEL MORDEKHAI

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First Floor Plan PLAN - 1/16”=1’ 1ST FLOOR

2ND FLOOR PLAN - 1/16”=1’ DUPLEX DWELLING UNIT

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SINGLE-STORY - DWELLING UNIT

Retail/Community Space Duplex Housing Single-Story Housing

1ST FLOOR PLAN - 1/16”=1’

2ND SecondFLOOR Floor PlanPLAN - 1/16”=1’ DUPLEX DWELLING UNIT

SINGLE-STORY - DWELLING UNIT

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Third Floor Plan

3RD FLOOR PLAN - 1/16”=1’

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4TH FLOOR PLAN - 1/16”=1’

D FLOOR PLAN - 1/16”=1’

Retail/Community Space Duplex Housing Single-Story Housing Fourth Floor Plan 4TH FLOOR PLAN - 1/16”=1’

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The building’s louvers become more or less frequent on the facade depending on the privacy needs of the program behind them.

3RD FLOOR PLAN - 1/16”=1’

Elevation

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ELEVATION - 3/16”=1’

4TH FLOOR PLAN - 1/16”=1’

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The wide surrounding streets are met by gentler pedestrian pathways that lead you into the site.

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In this experimental studio, we were tasked with taking a unique thought approach in how we conceinve of space and how we observe film. We were asked to analyze a film purely through the lens of specified emotions, to see how the film’s spatial relations connected to said emotions. The film I chose was Casablanca 1942. Through diagramatic observation of the film based on the emotions of intimacy and dissonance, the filmic space was derived.

Three seprate scenes were analyzed, each informing a “pavillion” that represents the emotional and filmic space derived from that scene. After first diagramming snippets of the scene and overlaying them onto each other in 2D, we brought our diagrams into 3D based on the camera angles used in the film, thus adding another layer of analysis to the filmic spaces.

This studio challenged each of us to think about space, and how we experience it, in a new light.

However, perhaps the more important lesson learned was how to research and derive ideas from unique sources, often sources that we would not typically seek out for inspiration.

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Museum of Emotions

Design Studio 5 - William Macdonald Fall 2023 - Pratt Institute

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Scene 1

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Each scene was first diagrammed in 2D, based on spatial relationships, then brought into 3D based on the camera techniques used in the film

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Scene 2

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Scene 3

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Overlaying the 2D diagrams on top of each other hints at the spaces that the filmic spaces that could be derived in 3D

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Section Perspective

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Section Perspective

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Site Plan

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Floor Plan

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Site Section

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Section

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In this integrated design studio, in conjunction with our Integrated Building Structures course, we were tasked with designing a structure that combines both a waste-to-energy facility with a recreational center for the residents of Williamsburg, Brooklyn.

Our design is a case-study in vertical urbanism, as we created visual connnectivity between the industrial and recreational spaces while maintaining their necessary division. This was accomplished by placing the programatic elements of the community center on a plane high above ground, and having the spaces weave above and below this plane, so that the connections to the spacces on ground level is maintained.

As this studio was integrated with our structures course, we worked with architecture and engineering professionals to insure our building was structurally sound. A large truss system allowed us to raise the recreational systems above ground, while think columns carry the loads to the ground. Curved ribs are utilized when the trucc system is punctured with spaces that go above and below the recreational plane.

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Floating Urbanism Design Studio 4 - Stephanie Bayard Spring 2023 - Pratt Institute

Emanuel Mordekhai & Cong Chen

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The structural system was integrated into our design proposal for a vertical design system.

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The recreational spaces puncture to the level below to create connectivity with the waste-to-energy facility

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South Elevation

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East Elevation

North Elevation

West Elevation

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Exploded isometric drawing shows how the different building elements integrate to allow our design to function structurally

GFRC Roof Deck

Green Roof Curved-Roof Steel Ribs Concrete Deck

Glass Enclosure

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Roof Trusses

Glass Building Enclosure

Concrete Floor Deck

Columns Carrying Loads To Ground

Steel Floor Beams

Curved Glass Hung From Ceiling

Exploded Isometric - Structural System

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Glass facade allows viwes to Manhattan from both the industrial and recreational

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First Floor Plan

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Second Floor Plan

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Third Floor Plan

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Fourth Floor Plan

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Cross Section

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Section

Longitudal

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The design of conventional schools reflect the educational values that are often taught to students: rigid, structured classrooms and publuc spaces to learn subjects in the traditional method. In contrast to this typology, the design for this Middle School, located in the Red-Hook area of Brooklyn defies the traditoonal school design by encouraging students to think in unique and dynamic ways in this time of tremendous growth for adolescents.

A continuous ramp leads students up and through the building, connecting all of the common spaces and private classrooms/offices. Through dynamic spaces that create visual connectivity to other areas, students will be inspired to explore other areas of the school and learn from their peers, their teachers, and their community

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Motion

Design Studio 2 - James Garrison Spring 2022 - Pratt Institute

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The continuous ramp connects students to the school’s shared spaces on the interior, and to the classrooms and community on the exterior

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The ramp is exposed on the side of the school facing the public park, connecting the students with the community.

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street view

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structure/circulation diagram Circulation/Structure Diagram

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Bird’s Eye View

bird’s eye view

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street view

interior perspective 1

The following series of drawings, taken from the perspective of the unifying continuous ramp, show the spatial relationships formed between the different spaces in the school.

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Ground Floor Lobby

bird’s eye view

Entrance to Library Wing interior perspective 2

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interior perspective 1

interior perspective 3

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Overlooking Study Rooms

interior perspective 2

interior perspective 4 Roof - Recess Area

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interior perspective 3

interior perspective 5

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Auditorium

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interior perspective 6 Student Commons

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ROUND FLOOR First Floor PlanPLAN @ 6’ - 1/16”=1’

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Second Floor Plan

SECOND FLOOR PLAN @ 19’ - 1/16”=1’ - 6th grade wing

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THIRD FLOOR PLAN @ 32’ - 1/16”=1’ - 7th grade wing Third Floor Plan

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fourth FLOOR PLAN @ 45’ - 1/16”=1’ - 8th grade wing Fourth Floor Plan

LONGITUDAL SECTION - 1/16”=1’

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fourth FLOOR PLAN @ 45’ - 1/16”=1’ - 8th grade wing

Building Section

LONGITUDAL SECTION - 1/16”=1’ 96

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Tasked with designing an edition to House 14 on Governer’s Island, the design attempts to express the convergence of two pairs of contrasting forces: the Interior/Exterior and the Old/New. By having the interior editions weave through the entriety of House 14 in a seamless manner that meakes the edition seem part of the whole, a harmony is found between the old and the new. Furthermore, these editions create exterior spaces that inform balanced relationships with the interior, striking a balance between these two forces as well.

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Convergence

Design Studio 1 - Olivia Vien Fall 2021 - Pratt Institute

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As the curved editions of the house weave through both theexterior and interior spaces, the two forces converge into a single entity that, on the second floor, serves as a contonious gallery space

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Physical Chunk Model

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The vibrant edition to the house protrudes through the houses surface to create various terraces and outdoor areas, while the appearqance of the whole entity remains balanced between the old and new

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First Floor Plan

East Section

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Second Floor Plan

North Section

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East Elevation

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North Elevation

West Elevation

South Elevation

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In a typical office building. their is a fine line between where the street ends and the workplace begins, which isolates workers from their communities and vice versa. Located off of the prominent MacArthur Boulevard in Goergetown, the research center addresses this issue in 3 ways: 1) Create a central space that doubles as a courtyard for the workers and an exhibit space for the community 2) Creating transparent research pods that emerge from the building perimeter, putting the research taking place on display, and 3) Using axial lines to make the journey through all areas of the site an interesting one for all members of the community.

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Synergy

Design Studio 4 - Marcus Cross Fall 2020 - University of Maryland

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The front courtyard is designed so that both researchers (orange) and the community members can benefit from the company of one another.

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Parking

Administrative Wing

Research Wing Outdoor Exhibit Courtyard Greenhouse

Georgetwon Reservoir

Outdoor Educational Area

Both community members and research workers are invited to continue their journey through the main courtyard and onward into the many ourdoor areas that connect to the forest and reservoir beyond.

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Legend: 1: Lobby 2: Admin Office 3: Office 4: Exhibit Space 5: Storage 6: Mechanical 7: Water Closet 8: Loading 9: Research Lab 10: Field Equipment Storage 11: Classroom 12: Research Storage 13: Mudroom 14: Janitor 15: Electrical 16: Conference/Gathering Space 17: Open Office Area 18: Open Breakout Room/Tea Room/Kitchen

Outdoor Educational Area

Trolley Trail

2nd Floor Plan 1/16”=1’ Bird’s-Eye Site Plan

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The two wings of the building and the greenhouse frame an open courtyard with visual and physical connections to the neoghborhood

Second Floor Plan

Trolley Trail Trolley Trail

st FloorFirst 1st Plan Floor 1/16”=1’ Plan 1/16”=1’ Floor Plan

Elevation Elevation B 3/32”=1’ B 3/32”=1’

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2nd Floor 2nd Plan Floor 1/16”=1’ Plan 1/16”=1’

The manner in which the Danish Maritime Museum interacted with its context while simultaneiously inviting the community into the cultural center was an inspiration for my project design.

Precedent-Danish Maritime Museum

Precedent Study Diagram - Danish Maritime Museum - Helsingor, Denmark

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Elevation B 3/32”=1’ Elevation B 3/32”=1’ Administrative Wing Elevation

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Site Section

Site Section C 1/16”=1’ Site Section C 1/16”=1’

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Conference Room Conference Room

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Interior Perspective

Conference Room

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A bridged space connects the two wings of the buildings on the second floor, creating an entryway into the

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This course investigated representing architectural interiors at the macro and micro scales. Beginning with a 3D scan of an architectural interior, Phase 1 of the project involved designing a new series of spaces which evolved from the original, representing the spaces through renderings and orthagonal drawings. The second phase of the course involved taking a chunk of our interior space and detailing that chunk at the micro scale.

My chunk focused on creating textures that were generated through multiple softwares: Rhino 3D (2d drawing), Z-Brush and Grasshopper for Rhino.

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Exploring Scales

Mediums 2 - Hart Marlow Spring 2022 - Pratt Institute

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PLAN - 2D POCHE DRAWING

SECTION -2D POCHE DRAWING

PLAN -CUT OF 3D MODEL

Phase 1 - Interior

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PLAN - 2D POCHE DRAWING

SECTION -CUT OF 3D MODEL

PLAN

RENDER 1

REND 125

While some of the skins of the chunk are more 2-dimensional, serving the purpose of desiginating rough vs. smooth surfaces, others that are more 3-dimensional represent utilitarian functions, such as shelving.

Phase 2 - Chunk Design

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A

B

C Elevation C

Elevation A

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Isometric Section

Orthagonal drawings of the chunk model showcase the 2d-origins of the skin design, and how using tools like Z-Brush and Grasshopper, they evolved into more complex patterning.

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Elevation B

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This course intended to improve our digital and physical modeling skills. Over the course of the semester the project developed from a collage of architectural detail images, to a Rendered 3D model in Rhino, and finally to a physical diorama consisting of an obect, base and two background planes.

The theme of my project began as a series of stairs collaged together at different angles. As my project evolved, I began to introdice materiality and created 3 different material vantage points for the X, Y and Z Planes. One of these vantage points, the striped plane, creates an illusion of a singular plane from the correct angle.

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Material Vantage Points Mediums 1 - Joseph Giampietro Fall 2021 - Pratt Institute

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The different materials used to create my physical model included 3D print PLA, acrylic paint, airbrush paint, acrylic glass, foam base, basswood

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1ST FLOOR PLAN - 1/16”=1’

PRIMARY PUBLIC CIRCULATION

Photoshop Collage

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DIAGRAM SERIES - NTS

1ST FLOOR PLAN 2ND FLOOR - 1/16”=1’ PLAN -

SECONDARY PUBLIC CIRCULATION

TERTIARY PUBLIC PRIMARY CIRCULATION PUBLIC CIRCULATION

Digital 3D Model

COMTEMPORARY MEDIEVALISM

SECONDA

DIAGRAM SERIES - NTS

COMTEMPORARY M

Final Physical Model

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Aerial view of the physical model, where all three planes and their assigned material pallette could be under-

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Plane Y

Seen from a distance, each material vantage point (X,Y and Z) hint at the illusion of one single, rectangular plane

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Plane X

Plane Z

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Pratt Institute partnered with SICIS, an internationally renowned mosaic company, to test new artistic/design centered uses of their product. In this Interior Design elevtive course, we were with the president of Sicic to develop our own design of mosaic tiles to fit within a standard grid pattern, that could then be repeated and mirrored to accomodate different spaces/objects of different scales.

For my design, I studied the work of contemporary artists such as Damien Hirst to see how their graphic patterns could apply inspiration to pixelated patterning. The resulting design, created with adobe illustrator, was then tested at different scales and manipulated to accomodate the setting it in which it could be situated.

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Overlapping Patterning Surface of Composure - Kevin Walz Spring 2022 - Pratt Institute

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Murano White

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Murano Black

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Colibri Argolan 2

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Colibri Selmak 4

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Colibri Tanzanite

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Colibri Astrid

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Glimmer Mangostan

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Colibri Opalis 2

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Colibri Swami 2

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Colibri Carmesim 2

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Colibri Damaris

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Colibri Magraner

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Emanuel Mordekhai Surface of Composure Intersecting Components

Final Base Composition Panels 2x3 Grid, each panel 18”x 18”

Tile Specifications

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Evolution of Mosaic Pattern Grid

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These photoshopped renderings/3D digital models showcase the multiple ways the pattern could be manipulated and repeated for different applications

Mirror Line

33.75” Mirror Line

21’ 67.5”

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Enlarged Pool Tile Design: 14’x21’ Sheets, Mirrored Horizontally and Veryically, and Repeated

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Pool Lounger Pattern Bradford Sicic Lounger Design - Typical 2x3 Sheet Slightly altered, mirrod horizontally

Mirror Line

Emanuel Mordekhai Surface of Composure Intersecting Components

Pool Tiles and Louger - Outdoor Set

al 2x3 Sheet

Pool Tile Pattern

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Typical 2x3 Sheet

Typical 2x3 Sheet mirrored horizontally and vertically, and repeated

Pool Lounger and Pool Tile Application

Emanuel Mordekhai Surface of Composure Intersecting Components

Pool Tiles and Louger - Outdoor Set 149

12’

12’

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Back Bar Design - 8’ x 12’, Mirrored Horizontally, and repeated

Bar/Pub Ceiling Pattern Emanuel Mordekhai Surface of Composure Intersecting Components

Back Bar Set

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Bar/Pub Ceiling Application **Base Image from google

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12’

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Mirror Line

cal 2x3 Sheet

Lobby Wall Pattern Typical 2x3 Sheet

- Typical 2x3 Sheet mirrored horizontally and vertically, and repeated

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Mirror Line

Mirror Line

Typical 2x3 Sheet

Typical 2x3 Sheet

Full Wall Design - Typical 2x3 Sheet mirrored horizontally an

Int Lobby Wall Application

Full Wall Mosaic -

**Base Image from google

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This elective course enabled us to explore different methods of artifact making. Inspired by Salvador Dali, I wanted to explore showcasing familiar objects in new contexts. I created silicon molds of fruits and vegetables, and then mixed wax with crayon that, when poured into the molds, created vibrant color variants of the foods. I then poured that same colored wax into water, creating abstract objects that would interact with the foods.

This resulted in collages that resembled objects in a landscape, so I went on to create two collages in photoshop of natural sites with my objects placed strategically throughout, resulting in Surreal landscapes.

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Water Casts

Surreal Landscapes

World of Our Own Making - Sula Kolatan Fall 2021 - Pratt Institute

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ntrent t wwnew

er II I

Food FoodCasts Casts

ts Food Casts

Colored Wax Poured in Food Silicon Molds

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Food Casts Placed Within Water Casts

Water WaterCasts Casts

Water Casts

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Water Casts

Food Casts Placed Within Water Casts

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Food Casts

Water Casts

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Seascape Scene

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Seascape Scene Colored Wax Poured in Food Silicon Molds

Food Casts

Food Casts Water Casts Food Casts

Food Casts Placed Within Water Casts

Water Casts

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Composite Images

Composite Images

Water Casts Food Casts

Food Casts

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Food Casts Atop Water Casts

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Rock Formation Scene

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