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KHAIRI REYNOLDS ARCHITECTURE AND DESIGN


RESUME

Think Wilder is a full-service, emerging architecture firm based in the New York/New Jersey area. Design Team led responsible for completing design development phase of projects. Completed construction drawings ranging from plans/sections/ elevations incorporating ADA code for projects within the NY/NJ area.

WXY: Architecture/Urban Design Intern

May 2017 August 2018

New York based award-winning multi-disciplinary practice specializing in the realization of urban design, planning and architectural solutions Worked on project proposals for the architecture, planning, and urban design departments. Coordinated with studio lead on schematic design diagrams & renders for architectural projects throughout New York City.

Engineering Department of Public Works: Junior Analyst Intern

May 2015 Aug 2015

New Jersey Engineering and Technology Division, Division of Planning and Zoning and the Division of Construction & Maintenance. Assisted in data management and organization, including vector and raster data. Developed and created GIS maps as requested by implementing ArcMap/ArcGIS and analyzing relevant data.

EXPERIENCE

Digital Fabrication Shop/Woodshop: Manager

Syracuse University, Syracuse NY Taught 8th grade through high school sophomores entry level architecture drafting and model making. Introduced 3D modeling & printing programs and entry level digital fabrication through AutoDesk TinkerCad to these students.

AutoDesk (Revit 2013-2019, BIM 360, AutoCAD 2013-2019, Maya, 3ds Max, Fusion, Remake, 123D Design, Meshmixer) Rhinoceros Bluebeam Revu eXtrem ArcMap/ ArcGIS ProCore Adobe Suite (Photoshop, Illustrator, InDesign, LightRoom) Microsoft Office Suite (Word, Excel, PowerPoint) Rhinoceros 3D modeling - SketchUp Strong technical detailing skills Works well in team oriented environments Hand Drafting Presentation/ Public Speaking Model Making BIM (Building Information Modeling)

National Organization of Minority Architect Students (NOMAS)

July 2014 July 2016

Founder, President, Vice President

International Study of Urban Design Tokyo, Japan; Taipei, Taiwan; Shanghai, China

May 2016 Aug 2016

Sept 2015 May 2018

Syracuse University, Syracuse NY Oversaw a 3,000 square foot woodshop while assisting students with conceptualizing and constructing their models. Responsible for the safe operation of power tools and digital fabrication equipment (laser printing/ CNC milling/ 3D printing).

Collegiate Science & Technology Entry Program (CSTEP): 3D Printing Instructor

SKILLS

Think Wilder Studios: Draftsmen/ Consultant

May 2018 July 2018

LEADERSHIP

San Francisco based Award Winning, International Architecture Firm specializing in high-rise, office, residential and cultural projects. Worked on project proposal analysis, organization and presentation; 3-D modeling for schematic design. Field surveying/ field reports, request for information (RFI) & submittals. Led deliverables in schematic design, design development, construction documents, and construction administration.

June 2018 Present

Sept 2017 May 2018

EDUCATION

Heller Manus Architects: Job Captain

Syracuse University School of Architecture Bachelor of Architecture Syracuse, NY

Sept 2013 May 2018


KHAIRI REYNOLDS E: reynolds.khairi@gmail.com 973-517-2322 linkedin.com/in/khairireynolds


TABLE OF CONTENTS Harvest 3.0 Winery Project Thesis: Deathscape through Disprientation Disprientati Professional Experience Tenent Improvement Xiognen Project Menlo Projects San Jose Renders Kaiser Project Ceramics Project: Temporality of Sequence Sequen Art Project: Poncho

1-15 17-21 23-48 51-52 53 54-56 57-59 60-64 66-77 78-80


HARVESTING_3.0 The urban concept of co-existence is exemplified by a built environment that acts as a self-sustaining eco-system. With a combination of old and new, organic and man-made, the architecture of Shenzhen has the potential to balance the needs of a rapidly growing population. This proposal suggests a third generation harvesting to replace the “harvest_2.0” of property rent.


The villages of yesterday rapidly transform into the urban The villages of the future. Harvesting_3.0 strives to bridge the gap left behind in the transition from rural farmland (Harvest_1.0) to industrial parks and real estate rallies. With the combination of existing structure and modular planting systems, Harvest_3.0 acts as an urban farming center that combines open air modular planting systems with environments to engage the community with the roots of its food culture. In addition to providing rental plots for anyone to partake in urban farming or gardening, Harvesting_3.0 offers classroom spaces for gardening and cooking classes available to the public as well as private groups. A rooftop restaurant and bar as well as lobby salad bar and juice bars utilize the garden space to stock their kitchens with organic, locally grown produce. The building is divided in a tripartite division, grouping the service programs and storage spaces to the poorly lit back wall. The core is illuminated by an open air, seven story atrium which increases in size on every floor and creates both a light well and a wind tunnel. Mostly enclosed in glass, the north wall features green walls that frame the main staircase. The pixelated form lifts the majority of the mass off of the ground plane to give back outdoor space to the public. The green roof creates a welcoming environment to both garden and enjoy views of historic and modern Shenzhen. In place of handrails, the balconies are protected by a ďŹ ne mesh which does not obstruct the view but allows for vines and taller plants to naturally decorate the building.

2 HARVESTING_3.0


GRID DIVISION FROM EXISTING STRUCTURE

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16


WINERY PROJECT

Syracuse University School of Architecture


Trace Experimentation - Final Diagram

Phase 1

Phase 3

Phase 4

Repr Re pres pr esen es enta en tati ta tion ti on Representation

N o t a t i o n - Site Analysis Boundary Breaks 1428 Porter Covert Rd, Lodi, NY 14860

Diagram is a representation of not only the site plan, but includes colored contour lines, red being every 5 foot of the elevation/blue lines are every foot apart. Included are the wind paths with directional views. Additionally the sun path illistrates the level of sun between the summer and winter soltices showing the equinoxes as well and the variation of sun between the other months of the year. This diagram illistrates the amount of rainfall in a year with the max being in June with min. and max. temperatures.

Gravel Road Swale Well

A

June 21

December 21

Anuual Variation

Spring and Fall Equinox

http://www.gaisma.com/en/location/west-seneca-ny.html

Wind Direction http://www.windfinder.com/

12’

10’

6’

Grapevines

Topsoil

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1/128”Scale

“Notation systems seek to identify the parts of a scheme, enabling them to be reporduced, enacted or performed”

B B.1

Vineyard

Road

10’ Topsoil

Focused purely on identifying significant components of the site, the NOTATIONS site analysis serves to allow for a foundation to possible developments or altercations in the future.

50’

Subsoil

100’

Weathered Rock Water Table

200’ 1/512”Scale

In combination with the site plan, sections and diagrams; relationships are made to define loosely the limitations that demand consideration when moving foward in the design process It is clear that the surrounding enviroment and its qualities in the area plays a defining role in producing the main subject, Wine. Creating a design both aestheticallly graceful and functionally efficient in the context of the natural and artificial qualities of the space in a larger scale would be a critical component to our design.

SECTION 02 B-B’

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7 Crush Pad Main detached area from main building Facilitates the needs for harvesting, crushing and maintainence Harvesting period lasts approx 2 months Harvester takes 1 min per 5 sqare meters

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Production Grapes are cleaned- with water in original harvested batches Prefermented- in vats for up to 3 days, (41~50 C) Destemmed- Destemmer (1x2x1 meters), 1 minute Pressed- Wine Presser (2.5x5x1.2 meters), 5 minutes 8.8-13 tons destemmed grapes per machine

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11 Racking/Ageing Malolactic conversion Racking through oval barrels- capacity of 5000 liters Total space capacity of 20 barrels Reception

12 Bottling Bottled by machine (up to 12000 bottles per hour)

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22


DEATHSCAPE THROUGH DISORIENTATION Syracuse University School of Architecture Thesis


24


ABSTRACT

Placing a lost one in a cemetery should not be considered an end, but a beginning. The idea that the absence of life equates to the absence of architecture should be challenged. Death is more of a gateway; the physical end is not the end. Often, burial sites, the host for lost relatives and friends, are overlooked. Modern day cemeteries are overcrowded and overpopulated, but compelling solutions to this problem are rare. The land of the living overcrowds the landscape of the dead. This thesis explores the idea of expanding the realm in which the dead are gone, creating a duality that suggests life only makes sense once compared to death. The thesis experiments with the dualities of permanent/temporary, life/death, built/ unbuilt, figure/field and found/designed, to generate new cemetery conditions. Within the space of the cemetery ritualistic “happenings” and more permanent programs coexist. Life lives within the binary because architecture is present.

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AXON

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This project will be centered around one grand labyrinth that is more ambitious in creating a new landscape for the future. Building on the work of M.C. Escher, Jean-Nicolas-Louis Durand, Ricardo BoďŹ ll, Xavier Corbero, and landscape artist muralist Yang Yongliang, the project will explore through an ambitious and experimental axonometric of collage, line work, and Photoshop, a futuristic landscape for the no longer that hints at an in-between state. Furthermore, this cemetery abstracts burial traditions and perceptions of death, focusing on what makes them sacred. Embracing polar opposites, the world of the dead and the world of the living, with a simple geometric style encompassing multiple architectural elements. This landscape encompasses just how the uncertainty within this deathscape lies. Although from plan it may seem indistinguishable, what makes this labyrinth of a cemetery so particular are the various takes on individual spaces.

28


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ORIGINS ?.3+*/"L%&*3&7(."

Heterotopia - Michael P.8.,.%9" Foucault B')"'(6'9)".4&),./" Utopia - Perfect form of Society K*,&(",-.".&2-,..*,-"3.*,$%9",-."3.8.,.%9"6')"7('3./"',",-."-.'%,"+=",-."3&,95"*.4,",+"3-$%3Mirror - reflection B&.%'%3-9" P-'*.("B+$)."N-+8."=+%"#+*.)O5"&*/&;&/$'(",+8#)5",+8#)"&*)&/."3-$%3-" !=,.%"*&*.,..*,-"3.*,$%9"),'%,",-.%."6')"&*/&;&/$'("#$%&'() S',.%",+8#)"'%.",6+",97.)T",+8#),+*.)"6&,-"'*"&*)3%&7,&+*"+%"8'$)+(.$8)"6&,-"),',$.)0" >-."3$(,"+=",-."/.'/" B&)"+%"-.%"+6*"(&,,(."#+45"=+%"7.%)+*'("/.3'9" Second Principle U$,)&/."+=",-."#+%/.%"+="3&,9 V.',-"')"'*"&((*.))"&*",-."(&;&*2" Cemetery ?-&=,",+6'%/")$#$%#)"6')"&*&,&',./5"6-.%.".'3-"='8&(9"7+)).)).)"&,)"/'%@"%.),&*2"7('3.

Has always existed Until the eighteenth century the cemetery was placed at the heart of the city, >-&%/"L%&*3&7(. next to church W'%/.*)"+(/.),"-.,.%+,+7&' >-."2'%/.*"-')"#..*"'")+%,"+="-'7795"$*&;.%)'(&X&*2"-.,.%+,+7&'")&*3."#.2&**&*2"+="'*,&Y$&,9 Hierarchy Chanel House (home for bones), individual tombs, tombs inside church J+$%,-"L%&*3&7(." After the start of the nineteenth century there were individual burials B.,.%+,+7&'"')"'")(&3."&*",&8. Later tombs become two types:!#)+($,."#%.'@"=%+8",%'/&,&+*'(",&8. tombstones with an inscription or mausoleums withA$).$8):"(&#%'%&.) statues. >-.".47%.))&*2"+="'*"&*/&;&/$'("3-+&3. The cult of the dead P+*),&,$,&*2"'"7('3."+="'((",&8.)"&*",&8. A+/."+="J.),&;'(" His or her own little box, for personal decay !#)+($,.(9",.87+%'( >6&3."'"9.'% Outside of the border of city Death J+%,$*.",.((.%)5"6%.),(.%)5"89),&3"'3,)".,30" as an illness in the living Z'3',&+*"Z&(('2.) >-',"+=",-.".,.%*&,9"+="'33$8$(',&*2",&8. Shift toward suburbs was initiated, where each family possesses its dark resting place J&=,-"L%&*3&7(. L%.)$77+)."'")9),.8"+="+7.*&*2"'*/"3(+)&*2",-',"#+,-"&)+(',.)",-.8"'*/"8'@.)",-.8"7.*.,%'#(. L$#(&3")7'3. B.,.%+,+7&')"+="7$%&=&3',&+* >-',"&)"7'%,(9"%.(&2&+$)"'*/"7'%,9"-92&.*&3" L$%.")&87(."+7.*&*2)5"#$,"2.*.%'((9"-&/."3$%&+)".43($)&+*)" C(($)&+* <*,.%&*2"-.,.%+,+7&'"')"'*"&(($)&+* 1.".*,.%"6-.%."6."'%.5"#9",-.";.%9"='3,",-',"6.".*,.%"6."'%.".43($/./ A+,.("M++8) C)+(',./"+7.*")7'3."=+%"&((&3&,"Q.43($/./R").4 [.7,"&)+(',./"6&,-+$,"-+6.;.%"#.&*2"'((+6./"+$,"&*"+7.*"

?&4,-"L%&*3&7(. >6+".4,%.8.) ?7'3."+="&(($)&+*T"='*,')9" >-',".47+).)".;.%9"%.'(")7'3.5"'((",-.")&,.)"&*)&/."+="6-&3-"-$8'*"(&=."&)"7'%,&,&+*./5"')"),&(("8+%."&(($)+%9" P+87.*)',&+* !")7'3.",-',"&)"+,-.%5"'*+,-.%"%.'(")7'3.5"')"7.%=.3,5"')"8.,&3$(+$)5"')"6.(("'%%'*2./"')"+$%)"&)"8.))95"&(("3+*),%$3,./5"'*/"I$8#(./ F%+,-.()"'*/"3+(+*&.)

1#'".."23%+'4)5%+--6"

sublime, like shown above in Boullee's design for Isaac Newton, many methods of "The >-.")$#(&*.5"(&@.")-+6*"'#+;."&*"F+$((G.D)"/.)&2*"=+%"C))'3" sublimity were in effect. The magniďŹ cence height/scale of the project, the congested section, uniformity, and the dark shadow and tones. Sublimity cannot be experienced, H.6,+*5"8'*9"8.,-+/)"+=")$#(&8&,9"6.%."&*".==.3,0">-."8'2E but instead must be cerebral. *&=&3.*3."-.&2-,:)3'(."+=",-."7%+I.3,5",-."3+*2.),./").3,&+*5" $*&=+%8&,95"'*/",-."/'%@")-'/+6"'*/",+*.)0"?$#(&8&,9"3'**+," #.".47.%&.*3.5"#$,"8$),"#."3.%.#%'("*+,".47.%&.*3.0"


,:;<=:>?<( @A( )>?<( *BCDB:E<( )B?:E( 2B:@( =F( G<( =D<( ;FE=( H:E:=<@( C<;<=<?I( :J( =D<( Cimetiere du Pere Lachaise Paris is said to be the most KF?L@0(=D:E(M MN1BC?<(O?BH<IB?@(:E(PALL(FP(CFGGL<E=FJ<@(KBLQKBIE0(=?<<1L:J<@(BLLR<E0( visited cemetery in the world, this 110-acre graveyard is full BJ@(<L<OBJ=(;BAEFL<A;E9(!D<(CFJC<J=?B=:FJ(FP(JF=BGL<(?<E:@<J=ES:JCLA@:JO(.F1 of.B?C<L( cobblestoned walkways, andT:;( elegant L:<?<0( )?FAE=0( &ECB?( 6:L@<0(tree-lined 3<?=?A@<(allées, 2=<:J0( BJ@( .F??:EFJSB;FJO( mausoleums. The concentration of notable residents—including =D<(UN0NNN(VLF=E(:E(JF(BCC:@<J=9(-E=BGL:ED<@(:J(MWNX0(=D<(C<;<=<?I(KBE(P:?E=(AE<@( Moliere, Marcel Proust, Oscar Wilde, Gertrude Stein, and Jim PF?(?<GA?:BLE(P?F;(F=D<?(VB?=E(FP(=D<(C:=I9(%J(B(;BCBG?<(YBJ@(:JHFLAJ=B?IZ(PF?;(FP( Morrison—among the 70,000 plots is no accident. Established C<L<G?:=I(<J@F?E<;<J=0(FPP:C:BLE(DB@(D:OD1V?FP:L<(GF@:<E(;FH<@(:J(=F(GFFE=(VFVA1 in 1804, the cemetery was first used for reburials from other LB?:=I9( parts of the city. In a macabre (and involuntary) form of celebrity endorsement, officials had high-profile bodies moved in to boost popularity.

!"#$%!%&'( )*#'( &+( #( ,-.-!-"/0( ,&.1 )"%2%'3(&+(#(,-'!"#*(+4'-"#"/(,5#)-* (%'(!5-(.%$$*-(&+(!5-()*#'

6"#))%'3("&#$2(!5#!(,"-#!-(7-#4!%+4*( ,4"8#!4"-29(

#(.&$4*-(&+(74"%#*(!&.72(%'(#(,-.-1 !-"/( 25&6%'3( !5-( ,&'!"&**-$( ,&'1 3-2!%&'(&+(!5-(2%!-9(

30


;+%<=%>?@%AB<CDE%?F%@GD%ED<E9%+%<=%AB<CDE%?F%@GD%HIJI>K:L5%/M?@D%@<ND>%FC?=%<% O?=<>%OG?%HIJDA%I>%@GD%2I<>@%#KPQ@I<>%$DIKGR?CG??E%,MIH@%I>@?%<%2C<JDP<CE:% "I am not scared of the dead, I am scared of the living" #H5)C<F<9%?>%@GD%?M@AIED%?F%*<IC?9%IA%G?=D%@?%G<HF%<%=IHHI?>%QD?QHD%I>%#KPQ@:%!?=RA% -Quote taken from a woman who lives in the Giant Egyptian <CD%AD@%MQ%I>%MAM<H%?C><=D>@%C??=A%@G<@%<CD%R<AIB<HHP%G?MADA%OI@G%K<CED>:% Neighborhood Built into a Graveyard. El-Arafa, on the outside of Cairo, is home to half a million people in Egypt. Tombs are set up in usual ornament rooms that are basically houses with gardens.

*0$!0&-'% 01% !"#% 4-#*#(#$!% *#7#5 !#-39% !0% ,#2+$% !0% &$(#-'!)$(% !"#% !0402-)4"3%01%)%*#7#!#-3%

!"#$%&'#(%!"#%)$*+#$!%,&-+).%!#*"$+/&#%01%!"#% )$*+#$!% #234!+)$'% !0% *-#)!#% )$% &$(#-5 2-0&$(%#$6+-0$7#$!

!"+'% &$(#-2-0&$(% #$6+-0$7#$!% '#-6#'% )'% )% '37,0.%10-%!"#%*0$(+!+0$'%8"#-#%!"#%4#04.#%01% !"#% *+!3% 01% !"#% (#)(% +$% *)+-09% #234!% 7&'!% .+6#% !"-0&2":


+9$%:;<=:>9$5?:@<A$&BC:A$)@;:$>D:$<C;D9CE$<F$9@$9EG<B@B@H$;D?C;D1$+9$%:;<=:>9$ La Recoleta Buenos Aires was once the orchard of an adjoining church. La @<I$=<<JA$=BJ:$9$;B>K$?@><$B>A:=F1$L9=:$9A$9$M<@:$9@E$@:A>=:E$B@$;:@>C9=$5?:@<A$ Recoleta now looks like a city in itself, pale as a bone and nestled in central &BC:AN$#O9$0:CP@$BA$>D:$Q<A>$F9Q<?A$L:CA<@$B@>:CC:E$D:C:RA<Q:$ST$F::>$M:=<I$ Buenos Aires. Eva Peron is the most famous person buried here—some 15 HC<?@E1$><$:@A?C:$D:C$C:Q9B@A$9C:@U>$EBA>?CM:EN$!D:$;:Q:>:CK$E9>:A$><$SVWW$9@E$ feet below ground – to ensure her remains aren’t disturbed. The cemetery dates back to 1822 and is full of touching angel sculptures, as well as art BA$F?==$<F$><?;DB@H$9@H:=$A;?=L>?C:A1$9A$I:==$9A$9C>$E:;<1$9C>$@<?O:9?1$M9C<X?:1$ deco, art nouveau, baroque, and neo-gothic markers and mausoleums. 9@E$@:<6H<>DB;$Q9CJ:CA$9@E$Q9?A<=:?QAN$5?>$>D:$Q<A>$Q:Q<C9M=:$HC9O:$Q9K$ The most memorable grave may be the monumental one of Rufina M:$>D:$Q<@?Q:@>9=$<@:$<F$%?FB@9$/9QM9;:C:A1$ID<$EB:E$B@$SYZW$9>$>D:$9H:$<F$ Cambaceres, who died in 1902 at the age of 19. Legend has it that a few SYN$+:H:@E$D9A$B>$>D9>$9$F:I$E9KA$9F>:C$D:C$M?CB9=1$A;C:9QA$I:C:$D:9CE$;<QB@H$ days after her burial, screams were heard coming from her tomb. It was FC<Q$D:C$><QMN$(>$I9A$<L:@:E$><$C:O:9=$A;C9>;D:A$<@$>D:$;<FFB@$9@E$<@$D:C$F9;:1$ opened to reveal scratches on the coffin and on her face, the result of her >D:$ C:A?=>$ <F$ D:C$ F9B=:E$ 9>>:QL>$ ><$ :A;9L:N$ 0D<><HC9LD:C[$ 3<C:A>$ \<<E6 failed attempt to escape. I9CE],:>>K$(Q9H:A$

!"#$!%&'(!()*&+$,%('

+)*,$-!%.!/"#'$0&!"-$1$%#0(!()*$(*$!"#$ /)*-!%./!()*$ &*'$ -(2#$ )3$ !)456 -!)*#-

#70+)%&!()*$ )3$ !"#$ &!4)-0"#%(/1$ '(33#%#*!$'(4#*-()*&+$'(-/)8#%(#-

32


)=>?@A?#9B=BCBDB#'EFGFHI>EF<#7BJB?#7BJB?KL#MBENFLI#HFDFIFEC<#OPAHP#QBIFL#BMM# Okunoin Wakayama Prefecture, Japan’s largest cemetery, which IPF#OBC#RBH=#I@#STU#!868<#DB?BNFL#I@#GFFM#LFEF?F<#V>AE=C<#B?Q#JE@G@>?QMC#LJAEAI>: dates all the way back to 816 A.D. It manages to feel serene, quirky, BM#BMM#BI#@?HF8#'BEI#@G#B#-?FLH@#9@EMQ#,FEAIBNF#LAIF<#IPF#HFQBE:LPBQFQ#)=>?@A?# and profoundly spiritual all at once. Part of a Unesco World Heritage AL#P@DF#I@#IPF#DFD@EABML#@G#D@EF#IPB?#WXX<XXX#4>QQPALI#D@?=L<#A?HM>QA?N#4>Q: site, the cedar-shaded Okunoin is home to the memorials of more QPALI#DBLIFE#1ū=BA8#+PF#NBIFOBC#I@#PAL#EFLIA?N#JMBHF#AL#QFH=FQ#OAIP#TX<XXX#MB?: than 200,000 Buddhist monks, including Buddhist master Kūkai. The gateway to his resting place is decked with 10,000 lanterns; monks IFE?LY#D@?=L#LFEZF#PAD#IO@#EAI>BM#DFBML#B#QBC8#+PF#HFDFIFEC#AL#BML@#P@DF#I@# serve him two ritual meals a day. The cemetery is also home to L@DF#@QQ#DFD@EABML<#L>HP#BL#B#P>NF#H@GGFF#H>J#P@?@EA?N#B#H@GGFF#H@DJB?CKL# some odd memorials, such as a huge coffee cup honoring a coffee O@E=FEL#B?Q#B#D@?>DF?I#I@#IFEDAIFL#Q@?F#A?#RC#JFLIAHAQF#GAEDL8 company’s workers and a monument to termites done in by pesticide firms.

0)"+)-./# )*# +,$# '.$0$6$"+# 0$&$: +$.;<# +)# 4$32"# +)# -"6$./+!"6# +,$# +)')3.!',;#)*#!#0$&$+$.;#

!"#$%!&'($#)*#+,$#')'-(!.#/+!012"3# )*# +)&4/+)"$/# +$0,"25-$# -/$6# 2"# 7!'!"8#

4$32""2"3#$%'().!+2)"#)*#(23,+#!"6# /,!6$# 9).1# +,.)-3,# 0)()./# !"6# !"3($/


My goal towards the end of prep was to accomplish a first pass at combining multiple techniques in efforts to create an atmospheric landscape for this cemetery to be held. It was a success in that it allowed me to visualize the field in which these elements I hoped to curate would combine into. this was only the first step.

THESIS THESIS advisor: joseph godlewski syracuse university school of architecture

DEATHSCAPE THROUGH DISORIENTATION YNOLDS

advisor: joseph godlewski syracuse university school of architecture

DEATHSCAPE THRO

34


DIAGRAMS The Entrance/Exit is the original disorientation. Traditionally entering a maze, one begins to feel a sense of claustrophobia in that the walls begin to get to close and you feel trapped. Even further, this labyrinth creates an initial sublime experience because of the large pine trees and cypress trees which are found in old European garden mazes. Natural life causing fear.


The actual site in which passed relatives and friends are laid to rest in this deathscape are in these tombs. Each tomb in the deathscape is representative of traditional tombstones. Now these tombstones contain a part of the human essence. Further, in these cubic tombstones, the top is hallowed out to allow for rain collection to water throughout the grounds of the maze. Thus bringing life from a site of death.

36


â&#x20AC;&#x153;Death is not something you get over. Itâ&#x20AC;&#x2122;s the rip that exposes life in a before and after chasm, all you can do is try to exist as best you can in the after." Lily Graham

Within this deathscape, a landscape where there is only supposed to be death, finds that

Death is not something you get over. It s the rip that exposes life in a before and after chasm, and all you can do is try to exist as best you can in the after. Lily Graham

Within this deathscape, a landscape built around death, one ďŹ nds that death cannot exist without life. Here in life there is happiness. This joy is depicted through the ideas of creating spaces for life. One being that of a pond for marine life to live, another being a site in which visitors can grow and plant new life in the deathscape. There is a waterfall to show life above and below ground, and a nesting pond for local life (animals) to drink.

death cannot without life. Here in over. life, is where joy rip rest,that in lifeexposes there is happiness. Death is notexist something you get It s the life in This joy is depicted through the ideas of creating spaces for life. One being that of a pond for a before andanother after being chasm, allvisitors you can is and tryplant to exist marine life to live, a siteand in which cando grow life inas the death best theground, after.and a nesting pond for local life scape, a waterfall to show life you abovecan and in below (animals) to drink. Lily Graham

Within this deathscape, a landscape where there is only supposed to be death, finds that death cannot exist without life. Here in life, is where joy rest, in life there is happiness. This joy is depicted through the ideas of creating spaces for life. One being that of a pond for marine life to live, another being a site in which visitors can grow and plant life in the death scape, a waterfall to show life above and below ground, and a nesting pond for local life (animals) to drink.


The Viewing structures of the labyrinth are placed as a temporary gateway for this heterotopia. Within this landscape made for disorientation, there is a place to observe the site. As Xavier Corboro states in his work, once concrete structures are placed at different heights upon themselves it creates a commanding sculpture within the wild surroundings.

38


SECTIONS EAST - WEST

SECTION

SCALE

1/8 inch : 1 foot

40


NORTH - SOUTH SCALE

SECTION 1/8 inch : 1 foot


42


PLANS AERIAL SCALE

PLAN 1/8 inch : 1 foot


UNDERGROUND SCALE

PLAN 1/8 inch : 1 foot

44


RENDERS


46


48


PROFESSIONAL WORK Heller Manus Architects

50


52


XIONGAN BOOT AREA, URBAN DESIGN FEASIBILITY STUDY


7

7

7

7

7

7

16' - 0"

3

&RUH

25' - 4"

3DUNLQJ Parking layout to be determined (APPROX. 140 stacker + 25 reg. self parking)

3 20' - 0"

7

&RUH

6

1

150' HOSE RUN

68' - 0"

150' HOSE RUN

24' - 4" &RPPHUFLDO

82' - 4"

D

PLAN LVL 1

B

15'

PLAN LEVEL 01 Ä?

67

59' - 0" TYP. CORNER

67

67

C

D

E

PLAN LVL 2

30' MENLO FLATS

48' - 8"

116' - 0"

C

D

PLAN LVL 3

30' MENLO FLATS

15'

%2+0HFK

4

67

5HVLGHQWLDO6WRUDJH

%2+0HFK

67

67

4

67 67

67

&RUH

67

67

2

62' - 6"

67

67

3

67 %5 67

67 67

20' - 0"

A

48' - 8"

B

82' - 4"

C

D

1

10' - 0"

1

116' - 0"

20' - 0"

20' - 0"

E

48' - 8"

PLAN LVL 4-5

1.10.2018

B

15'

PLAN LEVEL 04 (TYP. 04-05)

C

30'

MENLO FLATS Ä?

MENLO PARK, CA A-104

1.10.2018

48' - 8"

82' - 4"

116' - 0"

116' - 0"

202' - 0"

MENLO PARK, CA Ä?

82' - 4"

G

A MENLO FLATS

5RRI

2

67

2 1

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67

%5 67 67

202' - 0"

Terrace below

67

67 12' 67 - 6" 67 3' - 10 1/4"

%5

%5

67

TERRACE BELOW AT LEVEL 3

40' - 0"

29' - 10"

5' - 5"

68' - 0"

68' - 0"

67 67

67 67

67 67

%5

6)

3

67 67

7HUUDFH

8' - 10"

67 &RUH

TERRACE BELOW AT LEVEL 3

60' - 0"

59' - 0"

A-TYP.

60' - 0"

67

%5

167' - 0"

67

67

3

4

67

131' - 0"

67 TERRACE BELOW AT LEVEL 3

PATH FOR EMERGENCY EGRESS

67

67

131' - 0"

%5

68' - 0"

68' - 0"

TYP.

67 67

67 67

60' - 0"

67

5RRI

%5

%5

A

D

PLAN LVL 6

E

B

C

D

E

G

G MENLO FLATS MENLO PARK, CA

PLAN LEVEL 06

Ä?

30'

A-103

5

60' - 0"

67

15'

PLAN LEVEL 03

A-102 1.10.2018

68' - 0"

67 67

G

MENLO PARK, CA

6 Ä?

E

10' - 0"

&RUH

%5

82' - 4"

B

PLAN LEVEL 02

5

12' - 6"

68' - 0"

5HVLGHQWLDO6WRUDJH

%5

67

G

1.10.2018 A-101

%5

%5

&RUH

67

%5 %5

67

207' - 0"

116' - 0"

MENLO PARK, CA

6 19' - 0"

19' - 0"

82' - 4"

A

MENLO PARK, CA

5

67

G

1.10.2018

67

%5

20' - 0"

E

67

67

67

Double height entrance lobby at Level 1

1 48' - 8"

A

C

MENLO FLATS

6

&RPPHUFLDO

20' - 0"

JEFFERSON DRIVE B

&RUH

116' - 0" 267' - 0"

A

67 &RUH 67

%5

2

Double height entrance lobby

10' - 0"

48' - 8"

COMMUNITY SPACES / CHEF KITCHEN

3

2

1 20' - 0"

32' - 10" 6)

12 12 12 12 12 12 12 12 12 12 5HVLGHQWLDO%LNH6WRUDJH

6)

/REE\ 6)

*DV

10' - 0"

MENLO FLATS, CONCEPTUAL LAYOUT STUDY

6)

6)

6)

&RUH 20' Wide Paseo with 5' setback

30' - 6" 6)

3RRO

20' - 0" 5' - 0" 20' - 0"

1

67

5HVLGHQWLDO$PHQLWLHV 5HVLGHQWLDO$PHQLWLHV

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12 12 12 12 12 12 12 12 12 12

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2

Bike Repair Station

3

67

67STORAGE

131' - 0" 6)

(POOL AREA ABOVE)

1

Ramp to +4'-6"

0(3)3

Stacker Parking at Level 1

68' - 0"

7

7

67

5HVLGHQWLDO$PHQLWLHV

10' - 0"

7

PASEO

60' - 0"

7

67

%2+0HFK

4

60' - 0"

7

225' - 0"

9

67 67

60' - 0"

4

7

67

60' - 0"

7

6) (Layout/ use to be determined)

68' - 0"

7

67

10' - 0"

Bike/MotorCycle Parking

%5

%5

&RUH

%5

19' - 0"

4

%5

%5

3DUNLQJ

Stacker Parking at Level 1

7

Stacker Parking at Level 1

&RUH %2+0HFK

68' - 0"

1

TYP.

1

24' - 0"

%2+0HFK

5

&RUH

&RUH

12' - 6"

7

97' - 0"

7

68' - 0"

7

68' - 0"

7

150' HOSE RUN

1

6)

150' HOSE RUN

68' - 0"

1

59' - 0"

5 5HVLGHQWLDO$PHQLWLHV &RUH

Ä?

19' - 0"

19' - 0"

19' - 0"

5

1

6

6

29' - 6"

31' - 0"

Hose Run to be discussed with FD

6

15' 1.10.2018

30'

PLAN LVL 7 (ROOF)

PLAN LEVEL 07 (ROOF)

15'

30'

A-106

A-105

54


!

UNIT PLANS


(Building GSF - Parking - Commercial)

OPEN SPACE REQUIREMENT MULTI FAMILY HOUSING PROJECT

SITE AREA 60,075 SF

3(5&(17$*(

$5($ 6)

23(163$&(3529,'(' 6)

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2)0,123(163$&(



5(0$,1,1*2)23(163$&(



0,1,08023(163$&(5(48,5(' 38%/,&23(163$&(5(48,5(' 35,9$7(23(163$&(5(48,5('

.

$UHD6FKHGXOH 81,77<3($5($6 $5($6800$5<

/HYHO

5(6,'16)

/HYHO 5RRI

/HYHO /HYHO /HYHO /HYHO /HYHO /HYHO 1RW3ODFHG *UDQGWRWDO

5(6,' &200(5&,$/ &20021*6) *6)

6)

6)

6)

6)

6) 6) 6) 6) 6) 6) 6) 6)

6) 6) 6) 6) 6) 6) 6) 6)

6) 6) 6) 6) 6) 6) 6) 6)

6) 6) 6) 6) 6) 6) 6) 6)

PARKING COUNT (TBD) $UHD6FKHGXOH 81,77<3($5($6 81,76800$5< MULTI-FAMILY HOUSING PROJECT UNIT TYPE MIX .

/HYHO

727$/%/'* *6)

3$5.,1**6) 6)

6)

6) 6) 6) 6) 6) 6) 6) 6) 6) 6) 6) 6) 6) 6) 6) 6)

NOTE: IN-PROGRESS DATA CALCULATION (12-18-18) This document is based on Conceptual Layout and the numbers are subject to change. Pertinent zoning, parking, fire, building and other regulations have NOT been fully incorporated in this in-progress document.

/HYHO /HYHO /HYHO /HYHO *UDQGWRWDO

81,77<3(6 7<381,76,=(5$1*( $&78$/81,7&2817 7$5*(781,7&2817 $&78$/81,70,; 7$5*(781,70,;

MULTI-FAMILY HOUSING PROJECT 3$5.,1*63$&(66&+('8/(

678',2

%5

%5

%5

%5

81,76

    

    

    

    

    

    

678',2     

%5 1$    

/HYHO

MAX. ALLOWED RESIDENTIAL FLOOR AREA (1.38 ACRES X 43560 X 2.25)

= 135,253.80 SF

MULTIFAMILY GSF PROVIDED (Building GSF - Parking - Commercial)

= 137,514 SF

MAX. ALLOWED COMMERCIAL FLOOR AREA (1.38 ACRES X 43560 X 0.25)

= 15,018.75 SF

COMMERCIAL GSF PROVIDED

= 13,684.01 SF

0XOWL)DPLO\+RXVLQJ &RPPHUFLDO3URMHFW 7HUUDFHVDW/HYHO 0XOWL)DPLO\+RXVLQJ &RPPHUFLDO3URMHFW%XLOGLQJ

SITE AREA 60,075 SF

23(163$&(3529,'(' 6)

2)6,7($5($



6)

2)0,123(163$&(



5(0$,1,1*2)23(163$&(



0,1,08023(163$&(5(48,5(' 38%/,&23(163$&(5(48,5(' 35,9$7(23(163$&(5(48,5('

 ------ -------

 ------ -------

PARKING REQUIREMENTS Multi-Family

1 space/ unit

Commercial

2 to 3 per 1000 SF

BIKE PARKING REQUIREMENTS Multi-Family

1.5 spaces / unit + 10% Short-term for guests

Commercial

TBD

AVERAGE BUILDING HEIGHT CALCULATION

OPEN SPACE REQUIREMENT $5($ 6)

%,&<&/( 67$//6

**PARKING SYSTEM AS SHOWN AS PLACE HOLDER INTENDED 1 PER 1 RESIDENTIAL, 2 TO 3 PER 1000SF COMMERICIAL, & GUESTS.

%5 %5 %5 727$/6 1$       1$        1$   

6,7($5($ 0XOWL)DPLO\+RXVLQJ8QLWVDQG&RPPHUFLDO 6)

3(5&(17$*(

5(6,'(17,$/ 3$5.,1*67$//6

------/HYHO *UDQGWRWDO

FLOOR AREA SUMMARY (COMMERCIAL)

FLOOR AREA SUMMARY (RESIDENTIAL) (~ 3616 SF above FAR Max. - to be reduced)

MULTI-FAMILY HOUSING PROJECT

6) 7HUUDFH5RRI'HFN%DOFRQ\

UNIT COUNT

MULTI FAMILY HOUSING PROJECT - AREA SUMMARY

5(6,' $0(1,7,(6 *6)

6) $W3DVHR

0XOWL)DPLO\+RXVLQJ &RPPHUFLDO3URMHFW $PHQLWLHVDW5RRI/HYHO

727$/

6) $W3DVHR

%XLOW$UHD 6)

+HLJKW )7

$UHD +HLJKW

$YHUDJH+HLJKW )7

























,6&203/,$17:,7+ 0$;+(,*+7

6) 7HUUDFH5RRI'HFN%DOFRQ\

MENLO FLATS

PROJECT DATA SUMMARY

MENLO PARK, CA Ä?

UNIT COUNT .

81,77<3(6

A-108

PARKING COUNT (TBD) $UHD6FKHGXOH 81,77<3($5($6 81,76800$5< MULTI FAMILY HOUSING PROJECT UNIT TYPE MIX .

/HYHO /HYHO /HYHO /HYHO /HYHO *UDQGWRWDO

1.10.2018

MULTI FAMILY HOUSING PROJECT 3$5.,1*63$&(66&+('8/(

678',2

%5

%5

%5

%5

81,76

    

    

    

    

    

    

678',2

%5

%5

%5

%5

727$/6

/HYHO

------/HYHO *UDQGWRWDO

5(6,'(17,$/ 3$5.,1*67$//6

%,&<&/( 67$//6

 ------ -------

 ------ -------

**PARKING SYSTEM AS SHOWN AS PLACE HOLDER INTENDED 1 PER 1 RESIDENTIAL, 2 TO 3 PER 1000SF COMMERICIAL, & GUESTS. PARKING REQUIREMENTS

56


35 S MARKET SAN JOSE HORIZONTAL STACK OPTION


35 S MARKET SAN JOSE SCREEN OPTION

58


35 S MARKET SAN JOSE SOLID PANEL OPTION


60


62


64


TEMPORALITY OF SEQUENCE Iterative Ceramics: Containing Ritual Through the Architecture of Nothingness Collaborated with Deena Darby

66


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The Hourglass

,31,CDDE,A&01%,F'*%0&,?"-)1"?,31*"&%>G"2*)4)*+,'6,*:", 2%##%1,H%&(?,%-,"I$"&)"12",'1?,#"'1)18,H:)2:,)6,6:'&"?, >+,8&%0$6,%-,$"%$(",'1?,%>G"2*J 31,*:)6,6"16",*:",2%##%1,"I$"&)"12",)6,*)#"J


A"8) A" 8)11 8) 11)1 11 )18, )1 8,B8, B-,. B,."/ ,. "/0" "/ 0"12 0" 12"7 12 "7,! "7 ,!:" ,! :",. :" ,.'1 ,. '1?6 '1 ?6,% ?6 ,%-, ,% -,!) -, !)#" !) #",, #" ,,,, ,, ,,

!:",%>G"2*,%-,*:",:%0&8('66,&"$&"6"1*6,*:",)?"',%-,*)#"K,1%*,)1,'1,)1?"-)1)*",2%1*)10"?,$&%8&"66,%-,"I)6*"12",>0*, &'*:"&,)1,*:",6"16",%-,*)#",)1,*:",("16,%-,*:",:0#'1J,!:",$&)#'&+,'6$"2*,)6,*:'*,*:",*)#",*:"6",&)*0'(6,2%&&"('*",*%,'&", 1%*,)1,&"('*)%1,*%,*:",*)#",%-,?'+K,>0*,*)#",)1,*:",)?"',%-,6"/0"12"J,.%,H:)(",*:",:%0&,8('66,)6,-()$$"?,%4"&K,H:'*,-)((6, )6,)*,)6,1%*,*:",$:+6)2'(,%>G"2*,%-,*:",6'1?,>0*,&'*:"&,*:",)?"',%-,H:'*,-)((6,*:",>%**%#,)6,H:'*,$&"2"?"?,)1,*:",*%$J

68


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9)*0'(, !:",&)*0'(,%-,#'L)18,*%M?%,()6*,"#>%?)"6,*:",)?"',%-,$&%?02*)4)*+, '1?,*:",)1"4)*'>)()*+,%-,?)6%&?"&K,'2*)18,'6,*:",>"+%1?6J,B&?"&,"IM )6*)18,'*,*:",>"8)11)18,%-,*:",?'+K,H:"1,*:",()6*,)6,#'?",'1?,*:", "1?,%-,*:",?'+,H:"1,*:",()6*,)6,2%#$("*"?,'1?,*:",)1"4)*'>(",*)#", -&'#",%-,?)6%&?"&,H:)2:,:'$$"16,)1,*:",#)??(",%-,*:",?'+,'6,*:", '2*)%16,'1?,*'6L6,%1,*:)6,()6*,"1*"&,)1*%,',*"#$%&'(,'1?,&"'()6*)2, 6"16"K,*:)186,8"*,"?)*"?K,'??"?,'1?,&"M%&?"&"?J,31,*:",6'#",-%&#'*, %-,*:",()6*K,*:",:%0&8('66,'1?,*:",?"2%16*&02*"?,6$:"&",&"('*",#%6*, ?)&"2*(+,H)*:,*:",)?"',%-,6"/0"12"J

70


!:",.'1?6,%-,!)#",,,,

Each iteration of the object, using differing ideas of process and sequence, symbolizes the idea of continuity and time not in a indefinite continued progress of existence but rather in the sense of time in the lens of the human. Meaning the idea of time is based on the idea of relation and sequence. As each of the previous mold were created the sequence was different but the end result is the same.


72


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74


76


PONCHO In German the word for dress (Gewand) includes the word for wall (Wand), hinting at the close relationship between the cover of the human body through a dress and the enclosure of a building. In this way a dress can be seen as both cloth or potential architectural object. In this first assignment you will design and fabricate a ‘poncho’. Derived from South American traditions, a poncho is a blanket-like cloak having a hole in the center for the head. You fabricate this poncho out of a series of materials that are unconventional for the production of a typical fabric. The poncho you design should no longer be seen as clothing, but also as a volume or form independent from its function. The poncho will be shown in a public fashion show! Prior to the show, you will study the poncho’s quality as scaleless object/artifact through a series of drawings. Collaborated with Ricardo Arteaga

78


rd for wall the human way a dress

hoâ&#x20AC;&#x2122;. Derived oak having t of a series of a typical othing, but poncho will ll study the f drawings.

2

80


Special Thanks to Taylor Whitelow


82

Profile for Khairi Reynolds

Khairi Z. Reynolds Portfolio 2019  

Collection of student, professional, and personal projects

Khairi Z. Reynolds Portfolio 2019  

Collection of student, professional, and personal projects

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