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JACOB PEEL Portfolio

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TABLE OF CONTENTS

ACADEMIC WORK 7

WHERE CARS TURN INTO PEOPLE

19

SALTWORKS

29

HOMO(GENEOUS) SAPIENS

33

THE SCALE OF A MILE TO THE MILE

41

VERDANT UMBRA

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ELEMENTS

59

LIGHT BRICKS

69

GRADIENT SCHOOL

PROFESSIONAL WORK

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DUNHAM-SIMMONS BARN RENOVATION

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TEDESCO APARTMENT RENOVATION

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ACADEMIC WORK

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Jacob Peel

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Portfolio title:

WHERE CARS TURN INTO PEOPLE

program:

CIRCULATION

location:

Shands Hospital, Gainesville, Florida

measure:

3 600 square feet

studio: critic(s): term: summary:

Design Studio Four Donna Cohen Spring 2006 Given the prescription to create an intervention that would operate as a “sign” along a portion of the perimeter of an existing parking garage west of Shand’s Hospital at UF, the program developed as a means to blend the phenomenological aspects of moving between the interior and exterior of the garage. Deliberations on this movement involved, among other things, considerations of scale, light, space and time of day. Using the column spacing at the eastern edge of the existing parking garage, a comparative photographic study was conducted. The purpose of this study was to create a graphic juxtaposition of the interior and the exterior of the garage at both the middle of the day (12 pm) and the middle of the night (12 am). Using this study, the views out were filtered according to established and prospective points along the edge that can be linked to indicative views in to and out of the garage. The intervention was then draped around these points with the intention of providing for movement between them.

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@ MID NIGHT

LEVEL -10

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@ MID DAY

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looking out

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Jacob Peel

section

elevation: east

plan: level +10

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Portfolio

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Jacob Peel

exterior view: from east

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Portfolio

exterior view: from north - east corner

exterior view: from south - east corner

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Jacob Peel

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Portfolio title:

SALTWORKS

program:

TEMPORARY RESIDENCE FOR ARTISTS

location:

Salt Flats, Bonneville, Utah

measure:

2 300 square feet

studio: critic(s): term: summary:

Design Studio Four Donna Cohen Spring 2006 Twelve artists will reside in the structure for three months during the summer. The structure slowly moves south while transversing east and west. Along the way, the artists set pigment to the desert floor and mark it in such a way that at the end of their journey they will have created a work of art that is 47 miles square. The global coordinate system is used to place the structure on a more appropriate system of measure in the vast space. Longitude and latitude lines provide the system by which the structure will wander through out the desert while always knowing its exact location. The work takes place at the intersection of these lines. Specific portions of the overall image must be produced at specific coordinates. At the end of three months, a satellite will take a picture of the work in its entirety. With winter comes a heavy rain that covers the surface of the desert. This returns the surface to its original condition so that during next summer another class of artists can produce the next large-scale work of art.

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Jacob Peel PRINTING PROCESS

WEEK 00 N 40D 40M 06S W 113D 50M 08S

JUN

WEEK 01 N 40D 35M 17S W 113D 50M 58S

JUL

WEEK 05 N 39D 34M 36S W 113D 54M 03S

AUG

WEEK 09 N 38D 38M 02S W 113D 18M 32S

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WEEK 02

WEEK 03

WEEK 04

N 40D 22M 38S

N 40D 08M 15S

N 39D 55M 02S

W 112D 58M 01S

W 113D 48M 42S

W 112D 24M 05S

WEEK 06

WEEK 07

WEEK 08

N 39D 12M 40S

N 39D 01M 06S

N 38D 52M 27S

W 112D 15M 21S

W 113D 30M 47S

W 113D 01M 02S

WEEK 10

WEEK 11

WEEK 12

N 38D 24M 13S

N 38D 19M 30S

N 38D 15M 12S

W 113D 08M 27S

W 113D 12M 22S

W 112D 50M 32S

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Jacob Peel elevation: west

interior view: from south - east

interior view: from north - east

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prefunction

working area

bath recreation area bath

plan

elevation: south 23

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Jacob Peel

exterior view: printing 24

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Portfolio

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Jacob Peel

exterior view: working 26

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Portfolio

exterior view: entry 27

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Jacob Peel

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Portfolio title:

HOMO(GENEOUS) SAPIENS

program:

PROPAGANDA POSTER

location:

Various

measure:

A0 poster

comp.: sponsor(s): term: award: summary:

Shrinkage Worldwide Competition Shahneshin Foundation Summer 2006 Shrinkage Worldwide Award Shrinkage Worldwide Competition is a design competition that requires participants from all manner of disciplines to identify a growing concern of “shrinkage” in the modern world, and design a poster that would call attention to the concern. The team that generated this submission was Jacob Peel (architecture), Shannon Zandy (science) and Anton Legoo (graphics). It was decided that the focus of the poster would be how the development of communication and transportation technology is resulting in the shrinkage of diversity in the human race. The team was careful not to take a specific position on the subject, and instead approach the idea as a scientist might; that is to say, with an objective eye. Six microscope slides, each containing a specimen of the human race from the year 2006, were placed in a field of white. The slides are labelled according to ethnicity and sex. The accompanying text at the bottom of the poster was written as if some future scientist were informally presenting the collection to a visiting class of students. The submission was one of a collection that received the competition’s award, and was included in a travelling exhibition.

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Jacob Peel

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Portfolio

Through out human history, the model that different societies have inherently followed has been one of centralization and relative isolation. Being insulated by a whole host of containing forces, including geography and language barriers, variations have been incubated and differences between cultures have been bred into the populations that belong to them. Simultaneously, human evolution has caused mutations that respond favorably to the natural and artificial forces that act on their respective environments. Out of this situation, a race of human beings was born with a wide spectrum of talents, adaptations, beliefs and perspectives. As time has moved forward, societies began to branch out and intercommunal commerce connected assorted lands. In the latter day world, the progresses in technologies have sped up this dissemination. The branching out of specific cultures have become permanently intertwined with that of others, and a more dynamic structure for cultural development has been created. The advancement in communications and transportations have facilitated this more that anything else. Cultures are beginning to mix, and along with it, their respective differences. As this trend continues, specificities will fade and homogeny will be the result. This process has been taking place for decades now and will go on for decades more while still only achieving a negligible effect. The time require for a complete diffusion can only be speculated upon, but the fact that it is happening is definite. So then, what influence will this development have on our identities? What will be the benefits and shortcomings that are sure to result from this happening?

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Jacob Peel

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Portfolio title:

THE SCALE OF A MILE TO THE MILE

program:

TOURISM

location:

International Drive, Orlando, Florida

measure:

N/A

studio: critic(s): term: summary:

Design Studio Eight Brendan Macfarlane and Nancy Clark Spring 2008 International Drive is the thoroughfare that tourism industry in Orlando is mainly structure against. A series of mapping studies were carried out in order to isolate and understand the scale and structure.

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Jacob Peel MAP 01 altitude: 4 000 feet

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Portfolio

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Jacob Peel MAP 02 altitude: 16 000 feet

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Portfolio

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Jacob Peel MAP 03 altitude: 32 000 feet

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Portfolio

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Jacob Peel

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Portfolio title:

VERDANT UMBRA

program:

COOPERATIVE URBAN GARDEN

location:

Washington Square Park, New York, New York

measure:

410 000 square feet

studio: critic(s): term: summary:

Graduate Design Studio One William Tilson FALL 2009 [An] alternative to the lawn is a productive garden… After three generations have distanced themselves from farming, and farms have become industrial giants cultivating thousands of acres, a new interest in where our food comes from has fostered gardens and small farms that supply food for college kitchens and farmers’ markets. People are devoting parts of their lawns to orchards and vegetable gardens, rediscovering the seasons and which delicacies each one yields.

Diana Balmori,

It is easy to understand that to take on this responsibility of stewardship of the earth, and enter into an activity that requires a closer relationship to the natural environment, one would enter into a position much larger than any offered within the realm generated by human beings. In turn, one may reap a reward in many different aspects of life that has become all too absent in contemporary society. The psychological benefits of vegetation and gardening have long been espoused; even to simply have within one’s sights on a regular basis the color green is said to positively contribute to a person’s mental health. With the act of plunging one’s hands into earth, intent on sowing a plot of land, a strong connection to the natural environment is established. Through the dedication required to cultivate a garden or orchard, this link is reaffirmed. If one can expect to be a success at such an endeavor, they must pay close attention to the subtle clues given by nature and maintain an acute sense of its happenings. The sociological factors of this format are designed to encourage an emergent sense of community. As participants exchange information [gardening tips, 41

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Portfolio

weather, recipes, etc.] and materials [gardening tools, produce, “cup of sugar�, etc.], they become agents contributing to this pleasant development. Perhaps for too long the urban environment has allowed its residents to operate in relative isolation and anonymity, failing to fully take advantage of the benefits that come as a result of a community. This project is meant to provoke a shift in this situation. Toward this end, the project intends to offer a venue by which individuals can come together in cooperation. In terms of sustainability, this project is two-fold. Firstly, the project aims at reducing much of the detrimental effects of the modern agricultural industry by putting at less of a distance the food supplied to a population, as well as encourage organic practices. Secondly, the project may be able to negate the effects of urban activities. This would require that the format become widely adopted, and many streets and parks allowed to become a productive medium again. To begin, a collection of shade diagrams were generated using a simulation tool that tracked the sun as it moved across the sky daily, as well as its change in tilt through out the year. One day each month, at three times each day, the shade projected onto the ground was extracted. Initially interested in only the shadows being cast by the structures surrounding Washing Square Park, the collection shadows that were documented were then divorced from the city surface to be considered apart and manipulated before being reintroduced into the urban context. These thirty-six shade diagrams were combined into a single document in order to understand the aggregate location and size of areas subjected to unvarying shade, unvarying light and varying instances of each in between. This mapping of the light conditions was pixelated as a means to render a grid work of 1600 16 by 16 foot plots, each representative of a unique quantity of light available. This resulting diagram was then superimposed back on to the city. Through this operation, an array of small plots of land was delineated. These small plots would then be distributed to all those residents in the immediate area who might wish to have a piece of land to cultivate. Based on different shade tolerances, plants that would flourish in this climate zone were identified and organized into vegetation groups according to the varying light conditions of each plot. This information might prove helpful to those amateur farmers as they navigate this format of cooperative urban agriculture.

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Jacob Peel

new york city: map: public parks 44

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Portfolio

aerial image

orientation

solar path 45

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Jacob Peel JAN

FEB

MAR

APR

MAY

JUN

DAY 0900

1200

1700

MONTH

YEAR

SHADE

TRACE

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Portfolio JUL

AUG

SEP

OCT

NOV

DEC

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Jacob Peel

high angle view: from south - west

KEY Vegetation Class 01

Vegetation Class 05

Vegetation Class 09

Vegetation Class 02

Vegetation Class 06

Vegetation Class 10

Vegetation Class 03

Vegetation Class 07

Vegetation Class 11

Vegetation Class 04

Vegetation Class 08

Vegetation Class 12

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Portfolio VEGETATION CLASS DISTRIBUTION

Vegetation Class 01

Vegetation Class 02

Vegetation Class 03

Vegetation Class 04

Vegetation Class 05

Vegetation Class 06

Vegetation Class 07

Vegetation Class 08

Vegetation Class 09

Vegetation Class 10

Vegetation Class 11

Vegetation Class 12

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Jacob Peel

low angle view: from north - east 50

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Portfolio

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Portfolio title:

ELEMENTS

program:

CONCEPT CONSTRUCTOR TOY

location:

N/A

measure:

N/A

studio: critic(s): term: summary:

Phenomenology And Architecture Seminar Hui Zou Spring 2010 The notion of Chora has long been an item of philosophical discourse. Various notable minds have extended themselves on the subject and many works have been produced that aim to define this highly elusive topic. One of the first to introduce the notion of a Chora was Plato, who discussed the item in his text Timaeus. In this text, it becomes clear the limitations of language in attempting to present the pertinent pillars. Plato must rely on the capacity of his readers to construct a proper image of the idea from only the fleeting and indirect glimpses he provides. Using Timaeus as the primary reference, this project, Elements, developed as an artifact in attempting to assemble the ideas he presents. In this way, Elements uses a system of construction that came about in synthesizing an understanding of the subject Chora. This project resulted in a toy.

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Jacob Peel

Reference: Plato, Timaeus. trans: Lee, Desmond. (London: Penguin Books, 1965) Suppose a man modeling geometrical shapes of every kind in gold, and constantly remolding each shape into another. If anyone were to point to one of them and ask what it was, it would be safest to say, if we wanted to tell the truth, that it was gold and not speak of the triangles and other figures as real things, because they would be changing even as we spoke; we should be content if they even admit of a qualitative description with any certainty. The same can be applied to the natural receptacle of all bodies. It can always be called the same because it never alters its characteristics. For it continues to receive all things, and never itself takes a permanent impress from any of these things that enter it. ----Now anything that has come to be must be corporeal, visible and tangible; nothing can be visible without fire, nor tangible without solidity, and nothing can be solid without earth. So god, when he began to put together the body of the universe, made it of fire and earth. But it is not possible to combine two things properly without a third to act as a bond to hold them together. And the best bond is one that creates the closest unity between itself and the terms it is combing; as this is best done by a continued geometrical proportion. For whenever you have three cube or square numbers with a middle term such that the first term is to it as it is to the third term, and conversely what the third term is to the mean the mean is to the first term. Then since the middle becomes the first and last, and similarly the first and last become the middle, it will follow necessarily that all can stand in the same relation to each other, and in so doing achieve unity together. -----

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Portfolio

There were, before the world came into existence, being, space and becoming, three distinct realities. The nurse of becoming was characterized by the qualities of water and fire, of earth and air, and by the others that go with them, and it visual appearance was therefore varied; but as there was no homogeneity of balance in the forces that filled it, no part of it was in equilibrium, but it swayed unevenly under the impact of their motion, and in turn communicated its motion to them. ----In the first place it is clear to everyone that fire, earth, water and air are bodies, and all bodies are solids. All solids again are bounded by surfaces, and all rectilinear surfaces are composed of triangles. ----We must start our new description of the universe by making a fuller subdivision than we did before; we then distinguished two forms of reality – we must now add a third. Two were enough at an earlier stage, when we postulated on the one hand an intelligible and unchanging model and on the other a visible and changing copy of it. We did not distinguish a third form, considering the two would be enough; but now the argument compels us to try to describe in words a form that is difficult and obscure. What must we suppose its powers and nature to be? In general terms, it is the receptacle, and as it were the nurse of all becoming and change‌

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Jacob Peel

prototype 01: playing 56

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Portfolio

prototype 02: package: closed

prototype 02: package: opened

prototype 02: components 57

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Jacob Peel

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Portfolio title:

LIGHT BRICKS

program:

INTERACTIVE LIGHTING SYSTEM

location:

Uf Architecture Building, Gainesville, Florida

measure:

160 square feet

studio: critic(s): term: summary:

Lighting Design Seminar Martin Gold And Stan Kaye Fall 2010 Students in the College of Design, Construction and Planning are regularly asked to pour a significant amount of time and energy into their projects. The areas of study offered in this college have earned a reputation of being some of the more difficult and most time-consuming. The studio becomes the place where a student spends the majority of their time, and a good night’s sleep doesn’t come until the end of a semester. Students take a fair amount of pride in soldiering through such a work load, but at the same time, such a work load needs to be counter balanced and some mode of reprieve is usually sought out. As a result, peripheral and playful activities are introduced, and on any given night, it is common to see footballs, hacky sacks and Frisbees being tossed about in the Atrium of the Architecture Building. In considering this situation, the distinction between practical and playful is obfuscated. Instead of occupying opposite ends of a polemic, it can be understood that there exists much overlap between practical and playful initiatives. And so, in this building, it is practical to be playful. The lighting strategy that was suggested stems from these considerations. This scheme was less concerned with addressing the pragmatic issue of appropriately lighting a space, but instead developed from an interest in offering a more playful venue by deploying an interactive system of lighting; lights that are used to play various games. The interactive lighting system would be located in the south-eastern corner on the second floor of the Architecture Building. Being both out-of-the-way and relatively contained, this location would be ideal for allowing a sort of arcade to be installed without disrupting the building’s normal activities. The section at this location also maintains the arena-like situation with balconies 59

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looking into the space, which would allow students who are not directly engaged with the interactive lighting system to be included as spectators; watching, rooting or heckling. The importance of this idea is that a good interactive design is not simply about a person and a machine interacting, but should also foster interaction between people. In this area of the building, onlookers can look on from various levels and an audience can collect within the space. The array of lights would extend up three floors along the northern brick wall. The running bond pattern of the wall modulates the organization of the array. Each component of the array is dimensioned according to that of a single brick. The idea is not to carve out any of the existing bricks, but to simply provide a new illuminated face to the bricks, and in effect, render those as “Light Bricks�. The attachment of each Light Brick component would be anchored into the vertical mortar joints. These attachments would be minimal and would not jeopardize the structural integrity of the wall. Each Light Brick in the array is networked together into a microcontroller that handles the input/output signals according to whatever program that has been uploaded onto it. An Arduino platform operates well in this capacity. It was suggested that an application can be developed to allow for a more familiar interface that uses increasingly ubiquitous web enabled devices, such as an iPhone or Android phone. In this way, a person can scroll through the games available to be played and make a selection, at which point the computer would upload the appropriate program to the microcontroller. This application could also be used to display game information -- like game instructions, individual performance, high score histories, etcetera -- using the phone.

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Jacob Peel

architecture building: section elevation: view looking west 62

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Portfolio

concept model: front

architecture building: section elevation: view looking north

concept model: sequence 63

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Jacob Peel

game: selection

game: example: rain catcher

game: selection: web enabled device 64

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Portfolio

game: example: wall climber

game: example: space invader

game: example: tunnel runner

game: score: web enabled device 65

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Jacob Peel

concept image: view from fourth floor balcony 66

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Portfolio

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Jacob Peel

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Portfolio title:

GRADIENT SCHOOL

program:

EDUCATIONAL FACILITIES

location:

Cleveland, Ohio

measure:

88 000 square feet

comp.: sponsor(s):

2011 Cleveland Design Competition: A New School Vision Cleveland Urban Design Collaboration, Cleveland State University, Cleveland Metropolitan School District and Campus International School

term: summary:

Summer 2011 The Gradient School was developed with a particular interest in promoting collaboration between the students and faculty. Traditional planning for educational facilities have placed barriers between ascending levels of education, resulting in compartmentalized academic units. To align with the philosophy of Campus International Schools, the Gradient School employs a strategy that dissolves these divisions in order to encourage the desired exchanges across differing grade level. The spaces allocated to the all grade levels was designed to be a single continuous space. Rather than mark the movement within the school with distinct gates into ascending levels of education, the path is open and able to accommodate more fluid transfers. Instead of placing partitions separating the classrooms of one grade level from the next, the varying areas are buffered by zones that would be available to the students to share. And so, in addition to a more formal setting in which to receive instruction, students of one grade level can easily intermingle with those of another within a more informal shared space. The shared space becomes a venue for peer-to-peer tutoring and general socializing. Beyond the connections setup between a grade level to those before and aft, the volume described above was shaped about a spiral as a way to add opportunities for more distant interactions. This form results in an atrium. Along the edge of the atrium, circulation moves unbroken and sloping upward at a rate of one foot over a twenty foot long run. This looping begins to establish spaces that can offer connections to all grade levels not immediately flanking any given grade. In addition, the curving of the class spaces should 69

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Portfolio

contribute to acoustically isolating the various classes from one another. Even as the boundaries between grades are blurred, their assigned areas are codified and proportioned to indicate both academic developments, as well as respond to the physical developments of the students. Shifting colors between grades would impart an ambient identity to each grade level. Also, in an effort to offer spaces tailored to the students, the proportions were gleaned from the average sizes of the students expected to occupy the different areas. At the base of the atrium, the ground level is articulated to provide areas to accommodate various assemblies and activities. Extending out from the atrium is a more street-like situation. Along this “street� the centers dedicated to specific subjects are placed, as well as the spaces provided for administration and student dining. With the plan for the areas surrounding the site to develop with more density, this organization on the site is intended to blend into the urban condition that can be expected to result. Of the two city blocks that were made available for this project, the main educational facilities of the proposal are located entirely within one, while the logistical support is located on the other. A bus loop and parking was placed between the existing apartment building and the police headquarters.

graph: average human growth 71

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Jacob Peel

01

09

01

01

02

03

PLAN : KEY Classroom

01

Science & Technology

06

Administration

02

Music

07

Media

03

Physical Education

08

Consumer Science

04

Student Dining

09

Visual Arts

05

9

15

27

N

0 3

plan: level 01 72

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08

04

05

06

07

73

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Jacob Peel

01

01

01

01

01

PLAN : KEY Classroom

01

Science & Technology

06

Administration

02

Music

07

Media

03

Physical Education

08

Consumer Science

04

Student Dining

09

Visual Arts

05

9

15

27

N

0 3

plan: level 02 74

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Portfolio

concept image: view at ground level 75

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Jacob Peel

01

01

01

01

01

PLAN : KEY Classroom

01

Science & Technology

06

Administration

02

Music

07

Media

03

Physical Education

08

Consumer Science

04

Student Dining

09

Visual Arts

05

9

15

27

N

0 3

plan: level 03 76

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Portfolio

concept image: view at level 03 77

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Jacob Peel

0

3

9

15

27

section: looking east

78

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high angle view: from north - west 79

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Jacob Peel

concept image: view in atrium 80

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81

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PROFESSIONAL WORK

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Jacob Peel

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Portfolio project: architect(s): location: date:

DUNHAM-SIMMONS BARN RENOVATION DAVID BERS ARCHITECTURE Cornwall, Connecticut 2008

85

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Jacob Peel

W2.18

219 ASSISTANT STUDIO W2.17

W2.16

2/A210

218 ASSISTANT STUDIO

1 A217

1 A216

W2.15

DN

204 BALCONY

1 A126 W2.12

7/A322

2/A321

D2.18

216 DRAWING STUDIO W2.07

D2.02

38'-7"

214 STORAGE

4 A322

215 W/C

D2.15

UP

13'-2"

D2.03

EQUAL

213 HALL

210 HALL

STEP

STEP

X AXXX

W2.06

D2.13

NEW KITCHENETTE ISLAND W/ SINK, GAS RANGE/OVEN, D/W AND UNDER COUNTER REF

8'-8"

5/A322

205 STUDIO APARTMENT LINE OF DORMER ABOVE, TYP.

206 DUNHAM STUDIO

D2.16

2/A322

6/A322

17'-4"

3/A322

15'-4"

22'-1"

EQUAL

W2.14

EQUAL

D2.17

W2.13

34'-4"

EQUAL

W2.08

2/A211

217 BATHROOM

W2.11

5'-8"

W2.10

23'-0"

7'-0"

W2.09

BENCH

D/W

D2.11

REF.

212 STORAGE

D2.12

1/A321

W2.05

202 ENTRY HALL

203 KITCHENETTE

1/A322

D2.04

D2.01 W2.04

5'-8"

211 BATH GAS RANGE/OVEN

W2.03

W2.21

W2.20

201 STAIR HALL

8'-1"

DOWNSPOUTS W2.02

W2.22

DN

W2.01

1 SECOND FLOOR PLAN SCALE: 3/16" = 1'-0"

0

NEW STAIR AND HANDRAIL 1 A401

1

2

3

4

5

6

7

1/A210

86

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KEY EXISTING NEW

NOTES

1 A217

1 A216

-- REFER TO ENLARGED PLANS FOR INFORMATION AND DIMENSIONS FOR STAIR HALL, KITCHENETTE, LOFT AND CORE

1 A127

A

EQUAL

7/A322

B 221LOFT

6/A322

LUMACITE CARPORT ROOF BELOW

4 A322

D2.25

DN

D2.03

D2.24

D2.22 STEP

1/A211

C

D2.23

5/A322

220 MECH ROOM

D2.21

EQUAL

HVAC

D

1/A322

E

F

2 SECOND FLOOR PLAN SCALE: 3/16" = 1'-0"

Dunham-Simmons Studio

NO.

DATE:

SUBMISSION:

44-48 Jewell Street

7

Cornwall, CT 06753 TITLE:

SECOND FLOOR PLAN

SCALE: 3/16" = 1'-0"

470 UNION AVE

DAVID BERS ARCHITECTURE

BROOKLYN, NY 11211 T 718 218 8101 F 718 218 8115

DRAWING

DATE:

A121 87

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Jacob Peel

1 A217

1 A216

2/A210

SLOPED WALL (SEE SECTION)

EXISTING DORMER

DORMER CLG. 8'-0" AFF

W2.23

W2.24

9'-11"

CEILING SLOPING UP

3'-0"

NEW DORMER W/ OFFSET SKYLIGHT

W2.25

NEW PLYWOOD CEILING

2/A211

9'-6"

4 A322

FLAT CEILING HIEGHT 17'-7" AFF

LINE OF PARTITIONS BELOW

CEILING SLOPING UP

9'-11"

LINE OF SPRING POINT IN NEW PLYWOOD CEILING

3'-0"

LINE OF EXISTING ROOF ABOVE LINE OF NEW PLYWOOD CEILING (SEE SECTION) SLOPED WALL (SEE SECTION)

FLAT CEILING HIEGHT 8'-0" AFF

DORMER CLG. 8'-0" AFF

DORMER CLG. 8'-0" AFF

LINE OF STAIR, BELOW

1 SECOND FLOOR REFLECTED CEILING PLAN

AREA OF NEW STRUCT AUGMENTATION

AREA OF DISCONTINUOUS TRUSS STR

AREA OF NEW STRUCT AUGMENTATION

SCALE: 3/16" = 1'-0"

0

1

2

3

4

5

6

7

1/A210

88

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Portfolio

KEY EXISTING NEW PLYWOOD

NOTES

1 A217

1 A216

-- REFER TO ENLARGED PLANS FOR INFORMATION AND DIMENSIONS FOR STAIR HALL, KITCHENETTE, LOFT AND CORE

3'-0"

A

EDGE OF DRAWING STUDIO CEILING

9'-11"

DRAWING STUDIO CLG. 8'-0" AFF

B

STORAGE CLG. 8'-0" AFF WATER CLOSET CLG. 8'-0" AFF

9'-6"

4 A322

1/A211

C

EDGE OF WATER CLOSET CEILING

EDGE OF STORAGE ROOM CEILING

EDGE OF STORAGE ROOM CEILING

MECHANICAL CHASE EDGE OF BATHROOM CEILING

9'-11"

OPEN ABOVE

OPEN ABOVE

D

BATHROOM CLG. 10'-0" AFF

EDGE OF CEILING OVER BENCH BENCH CLG. 10'-0" AFF

3'-0"

STORAGE CLG. 10'-0" AFF

E

F

2 SECOND FLOOR REFLECTED CEILING PLAN SCALE: 3/16" = 1'-0"

Dunham-Simmons Studio

NO.

DATE:

SUBMISSION:

44-48 Jewell Street

7

Cornwall, CT 06753 TITLE:

SECOND FLOOR REFLECTED CEILING PLAN

SCALE: 3/16" = 1'-0"

470 UNION AVE

DAVID BERS ARCHITECTURE

BROOKLYN, NY 11211 T 718 218 8101 F 718 218 8115

DRAWING

DATE:

A123 89

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Jacob Peel

B.O. RIDGE 31'-0"

CLG HGT 28'-0"

LOFT FLOOR F.F. 19'-1 1/2"

STUDIO F.F. 10'-5"

W2.20

W2.21

D2.04

D2.01

W2.03

1 INTERIOR ELEVATION LOOKING EAST SCALE: 1/4" = 1'-0"

B.O. RIDGE 31'-0"

W2.23

W2.24

W2.25

CLG HGT 28'-0"

LOFT FLOOR F.F. 19'-1 1/2"

STUDIO F.F. 10'-5"

W2.09

W2.10

W2.11

W2.12

W2.13

2 INTERIOR ELEVATION LOOKING WEST SCALE: 1/4" = 1'-0"

90

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Portfolio

B-C PINE PLYWOOD SHEATHING, TYP.

W2.13

W2.04

B-C PINE PLYWOOD SHEATHING, TYP.

SIDING

W2.14

GWB PLYWOOD

Dunham-Simmons Studio

NO.

DATE:

SUBMISSION:

44-48 Jewell Street Cornwall, CT 06753 TITLE:

SECOND FLOOR INTERIOR ELEVATIONS

SCALE: 1/4" = 1'-0" DATE: 470 UNION AVE

DAVID BERS ARCHITECTURE

BROOKLYN, NY 11211 T 718 218 8101 F 718 218 8115

DRAWING

W2.03

A321 91

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Jacob Peel

B.O. RIDGE 31'-0"

CLG HGT 28'-0"

MECH F.F. 21'-1 1/2"

LOFT FLOOR F.F. 19'-1 1/2"

STUDIO F.F. 10'-5"

D2.15

D2.03

D2.16

1 ENTRY HALL LOOKING WEST

2 DUNHAM STUDIO LOOKING NORTH

SCALE: 1/4" = 1'-0"

SCALE: 1/4" = 1'-0"

B.O. RIDGE

TRAC FROM

31'-0"

D2.22

B-C PINE PLYWOOD SHEATHING, TYP.

D2.23

D2.25

CLG HGT 28'-0"

MECH F.F. 21'-1 1/2"

LOFT FLOOR F.F. 19'-1 1/2"

STUDIO F.F. 10'-5"

D2.16

4 LOFT SECTION LOOKING EAST SCALE: 1/4" = 1'-0"

D2.15

D2.12

5 DUNHAM STUDIO LOOKING SOUTH SCALE: 1/4" = 1'-0"

B.O. RIDGE 31'-0"

CLG HGT 28'-0"

MECH F.F. 21'-1 1/2"

LOFT FLOOR F.F. 19'-1 1/2"

STUDIO F.F. 10'-5"

7 DRAWING STUDIO LOOKING EAST SCALE: 1/4" = 1'-0"

92

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TRAC INSID DORM


Portfolio

T&G SIDING

TRACK MOUNTED TO WALL SURFACE

W2.05

W2.06

W2.07

D2.02

W2.08

3 STUDIO APARTMENT LOOKING SOUTH SCALE: 1/4" = 1'-0"

TRACK SUPPORTED FROM ABOVE D2.24

TRACK CONTINUES TO INSIDE OF SKYLIGHT DORMER

D2.21

RETURN AIR GRILL

WALL CONTINUES TO INSIDE OF SKYLIGHT DORMER

D2.18

D2.17

D2.11

6 STUDIO APARTMENT LOOKING NORTH SCALE: 1/4" = 1'-0"

SIDING GWB PLYWOOD

Dunham-Simmons Studio

NO.

DATE:

SUBMISSION:

44-48 Jewell Street Cornwall, CT 06753 TITLE:

SECOND FLOOR INTERIOR ELEVATIONS

SCALE: 1/4" = 1'-0"

470 UNION AVE

DAVID BERS ARCHITECTURE

BROOKLYN, NY 11211 T 718 218 8101 F 718 218 8115

DRAWING

DATE:

A322 93

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94

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Portfolio project: architect(s): location: date:

TEDESCO APARTMENT RENOVATION ARMSTRONG + COHEN ARCHITECTURE New York, New York 2009

95

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Portfolio

97

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103

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107

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109

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End

August 2011

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Peel Portfolio 082011  

Draft copy of working portfolio

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