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contact ethan feuer hellofold@gmail.com http://metafold.net/

13 dana

lane

colts neck, nj 07722 united states

+ 1 732 216 7223


design studios counterparts | housing [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 01-08 treehaus | education [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 09-16 living well | housing [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-24

professional work porta nuova garibaldi | mixed-use [2010] . . . . . . . . . . . 25-28 one kilometer tower | competition [2010] . . . . . . . . . . . 29-30 santander bank building | office [2010] . . . . . . . . . . . . . 31-34

graphic design orpheus | books [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 tange | posters [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 chains | books [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 flicker | posters [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 il conformista | posters [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 from hell | books [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 four tet | posters [2010] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41-42 four photos | photography [2009-2011] . . . . . . . . . . . . . . . . . 43-44


architecture | counterparts

prompt critic type scale

groundwork for a void type mark wamble [ interloop ] mixed-use residential 60000 SF / 5500 m² [ 172 ’ ]

statement

rendering | exterior [from bissonnet street]

this studio emphasized the use of void [space] to organize the envelope and, in turn, the overall design. the solution presented here articulates two figures [void and mass] which operate [add, subtract] on one another. the goal was to create a figure-field effect, allowing each body to read clearly against the other. the design deliberately privileges subtle intersections, misalignments, and material changes over monumental shifts in form. this double figuration also extends into aspects of detailing, interior design, and materiality. surfaces established with void geometry are coded with a runningbond, iridescent swiss pearl panel system while the mass-surfaces are simple precast concrete. the goal of detailing was to preserve both the performance of the rainscreen system and the flat, taut aspect of the skin. inside, the unit’s fenestration is constrained to mass surfaces while the void walls become articulated surfaces, useable as shelving or seating. diagram | concept A [mass]

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B [void]

AB [mass+void]

CAB [mass-void]


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architecture | counterparts

rendering [below] | street level lobby plans | bottom-to-top, left-to-right [1” = 100’ / 1:1200 ] rendering [opposite] | level 11 unit interior / exterior rcp + detail plan [center opposite] | level 11 [1” = 50’ / 1:600 ] 08 0

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architecture | counterparts

(you are here)

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rendering [opposite] | view of subgrade lobby and ramp down rendering [below] | view of interior facade surface section [below right] | transverse perspective-section [ NTS]

several of the presentation’s images featured a fragmented esthetic, meant to extend the formal narrative of void and solid in subtle competition. the lobby rendering [opposite[ captures the scale and qualities of the space below grade. the view from the elevated courtyard [below] showcases the materiality of the iridescent swisspearl tile. rendering key

(you are here)

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architecture | counterparts

window assembly 1:8 operable frame sits outside wall assembly (glass is nearly flush with finished face). structural mullion is recessed within precast concrete panel system.

window assembly [top, opposite] detail key [below right] details [bottom] | 1:20

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swiss pearl floor-to-floor

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swiss pearl at precast pavers

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roof deck termination

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precast panel floor-to-floor

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precast panel at soffit

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20 cm prestressed reinforced 2-way flat slab subframing connection plate light steel framing swiss pearl cladding panel vertical z-channel subframing horizontal c-channel subframing / reveal self-healing moisture barrier rigid stud jacket (sheathing) rigid foam insulation interior wall finish (gypsum) precast concrete pavers bison screwjack adjustable pedestal fingertip spacer joint 6 cm stainless steel angle wooden shim (air gap) precast concrete panel 5 cm protective slab precast concrete hanging profile aluminum flashing

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architecture | treehaus

prompt critic type scale

vocational high school dawn finley [ interloop ] educational / cultural 136,000 SF / 12600 m² [ 33 ’ ]

statement treehaus is an ambitious, holistic proposal. four vocational / professional curricula are present in the program: automotive, manufacturing, construction management, and graphic design. the project includes proposed curricula, certifications, and potential sponsors for each. each vocation has specialized facilities, but also strategically shares spaces with the other groups—as in, for example, liberal arts or socialization. specialized spaces include garage facilities (automotive), drafting studios (graphics), and full fabrication shops (manufacturing).

by combining the four specializations under a single roof, the design offers a solution to the often-problematic relationship between the fabrication and design professions. the notion of the project is to create an opportunity for the manual, technical, and managerial aspects of these interdependent ventures to be integrated at the most crucial point—education—rather than later on when such differences can become devisive.

the design gives voice to this cooperative spirit in part through its figure, a circulation path that rings around and winds through the building, pulling the outside in and vice-versa. the figure varies in size, public visibility, and the degree to which it deforms surrounding materials and forms, often wrapping onto walls, furniture, armatures, and ceilings. it allows architecture to concretely represent the sense of community that the school stands for. in addition, the figure serves to unify [and sometimes obviate] unsightly signage.

physical model | plan view with figure at street level [in teal] and figure at level 01 [in cyan] as it interacts with steel structure

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physical model | exterior, clerestory, courtyards, and street approach [ 01-02 ] / partitions and circulation [03-05] / structure and figure [06]

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architecture | treehaus

(you are here)

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(you are here)

rendering [opposite] | welding + machine shop rendering [above] | automotive garage + lab street level plan [opposite] | [ 1:200 / 1” ≈ 192’ ] level 01 plan [below] | [ 1:200 / 1” ≈ 192’ ]

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architecture | treehaus

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formal classrooms restrooms / services administration / offices lobby / group space resource center cafeteria automotive lab welding / machine shop woodshop / boxlab informal classrooms pin-up / exhibition space storage / engineering computer lab weight room health services multipurpose room lounge / socialization interior courtyard design-assembly lab design studio

vehicular circulation pedestrian circulation stair / elevator / exit / entry 13


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architecture | treehaus

elevation [below] | south / primary pedestrian entry [1:1200 / 1” = 100’ ] section aa [below] | longitudinal [1:1200 / 1” = 100’ ]

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shop entry

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shop entry

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shop entry

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rear entry

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assembly entry

physical model [below] | process model, figure denoted by graphic paper

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elevation [below] | north / primary vehicular entry [1:1200 / 1” = 100’ ] section bb [below] | longitudinal [1:1200 / 1” = 100’ ]

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cafe entry

01B _

cafe entry

02A - 02F _

auto entries

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side entry

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architecture | living well

prompt critic type scale

interpretive music center william cannady [ wtc + assoc. ] multifamily residential 22,000 SF / 2000 m² [64’]

statement the focus of this studio rested firmly in the realities of architecture: clientand subcontractor-relationships, the saleability of design, local design culture and politics, and the resolution of fine detail. while the solution this mindset produces may be among the most experimental or adventurous academic projects, there is no question as to its value in the course of education. the team consisted of three students, two of whom worked on the comprehensive design of a multifamily apartment building while the third worked on the landscape and site. as a result the design increasingly became a matter of context--not only to existing surroundings--but to an ever-evolving companion proposal. the final design created a subtle dialog between the two forms, a shared language devoid of mimicry. in addition, an unusual level of emphasis was devoted to the material and habitable qualities of interior spaces. in effect, the design became an exploration of lived and loved spaces on the scale of human beings, rather than becoming an exercise in free formalism or didactic urban reform. *this project was designed in collaboration with diana ang and karla wallace. drawings included here represent my individual contributions to the team.

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aa

1 parlor / living 2 kitchen / informal dining

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4 media / reading 5 study / library

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architecture | living well

plan | typical floor [1:300 / 1� = 25’ ]

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7 guest bedroom 8 WD / HW 9 outdoor kitchen 10 storage 11 elec / mechanical 12 trash disposal


plan | roof [1:300 / 1” = 25’ ] including schematic resolution of stormwater drainage, mini-split system refrigerant lines, and roof access. section [below] | site [1:200 / 1” = 16’ ] section taken [ near AA ] shows the two mid-rise designs and their shared courtyard. right is due north, left is due south. plans correspond to the building on the right.

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architecture | living well

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diagram [right] | typical floor program diagram [far right] | typical floor materials rendering [bottom right] | kitchen + dining detail section | typical kitchen [1:20 / 1” = 1.67’ ] 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38

parapro 123 flashing membrane parapro cool roof membrane [white acrylic] paradiene 20P [ modified bitumen ] fiberboard [or similar coverboard] rigid insulation [roof] wood blocking zinc flashing counterflashing assembly concrete masonry unit block parapet cant 6” cast-in-place concrete slab drywall cross tee 12 gauge hanger wire [or by code] drywall hanger beam drywall end bead ecorock recycled gypsum board stucco finished coat reinforcing metal lath stucco base coat cedar cabinetry [beyond] .625” ecorock drywall cedar sill and interior trim double-pane argon-filled glazing insect screen yacht-varnished cedar backsplash aluminum mullion [exterior] sealant bead and cell foam backing painted aluminum flashing unfaced batt insulation [or similar] dry pipe to vent stack hot / cold water supply lines sink drain with p-trap sink drain pipe to main sewer line concrete masonry unit block .625” densglass gold sheathing .045” henry airblock moisture barrier .5” air / drainage gap cork flooring [underlay, core, veneer]


sheetrock

granite

ceiling, walls

counters, trim

cedar

millwork, trim

polished concrete

ceiling, floor

socialization

kitchen, mezzanine, dining, media

utility

trash, elec, mech, bath, closet, w/d

rest

bedroom, study, balcony

movement

stair, elevator, lobby

ceramic tile

ceiling, floor, trim

bamboo

ceiling, floor, walls

cork

ceiling, floor

slate floor

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architecture | living well rendering [above] | north facade t-section [far left] | aa [1:300 / 1” = 25’ ] t-section [left] | bb [1:300 / 1” = 25’ ]

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rendering [above] | study + dining l-section [right] | cc [1:300 / 1� = 25’ ] section key [below]

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professional | porta nuova garibaldi

firm phase type scale

pelli clarke pelli architects construction administration mixed-use commercial 1,000,000 SF / 93,000 m²

statement sited in milan, italy, porta nuova garibaldi is comprised of three major towers [A, B, and C] which surround an expansive circular piazza. in addition to creating the masterplan, pelli clarke pelli [PCPA] oversaw the design of the towers themselves and, subsequently, the nearby supplementary tower [E3]. the scale of the project is astonishing; its completion will reinvent the milan skyline. i joined the team while the project was in construction administration. as such, my responsibilities were diverse and included physical and digital document coordination, organizing and maintaining drawing sets, checking and revising RFIs and contractor drawings, designing minor facade, fascia, canopy, and structural elements, creating and retouching renderings, and overseeing elements of specifications. on this project, as with all others at PCPA, i was fortunate to work with a fun, talented, and dedicated team.

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section-perspective [opposite] | cut through offices showing slab, finished floor, and hung ceiling rendering [below] | view of balconies, showing wood soffit, lightwell, and pedestrian course section [below right] | section of balcony and sublevels showing balcony lighting system [ NTS] METAL SOFFIT SEE GR-C AE 6.210 rev.01 (det. 6)

PIAZZA SIDE: DOWNLIGHTING CEILING-RECESSED DOWNLIGHT LAMP Nยบ 1 X TC-T 26W 3000K

WOOD SOFFIT SEE GR-C AE 6.210 rev.01 (det. 3)

SAIL SIDE: UPLIGHTING ASSYM. GROUND-RECESSED LAMP Nยบ 1 X T16 35W 3000K

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professional | porta nuova garibaldi

1 2 3 4 5 triple laminate option exploded isometric view

double laminate option exploded isometric view

triple laminate option assembly isometric view

double laminate option assembly isometric view

OPTION 1 GLAZING COMPOSITION

1 SK5935

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SCALE 1:25

low-iron clear glass blue frit as needed photovoltaic cells annealed float glass low-iron clear glass with continuous white frit pattern (variant: translucent white film with similar pattern)

2 SK5935

OPTION 2 GLAZING COMPOSITION SCALE 1:25

section [below] | cut through canopy, with canopy glass composition above


elevation [top] perspectives [below] ] | top sail bracket assembly photographs [right] | top sail construction photos

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professional | porta nuova garibaldi 29

firm phase type scale

pelli clarke pelli architects design development mixed-use office 300,000 SF / 27,900 m²

statement monterrey has been a growing economic center of mexico for some time. this tower, commissioned by santander bank, serves as an opportunity for this growing status to be realized through architectural form. the program includes office spaces, a bank branch, as well as commercial.

i entered this project during the architect selection process and remained with it until departing PCPA to return to school. in that time, my responsibilities were primarily concerned with fabricating models,

revising and generating drawing sets, document organization and maintenance, and working to prepare for client meetings at home and abroad. more than a hundred variations were considered as the form was refined.


model [opposite] ] | sectional model of lobby model [top] ] | eight of 100+ massing iterations model [bottom] | 1:500 model with site

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professional | jeddah one kilometer tower

firm phase type scale

pelli clarke pelli architects competition mixed-use residential 1000 m [height]

statement this project, was part of a widereaching competition for the contract on a one kilometer high tower in jeddah, saudi arabia. although PCPA did not receive the job, the proposal remains impressive in both its thoroughness and its monumentality. reproduced here are several of the dozen boards used during the presentation stage of the competition. PCPA’s proposal provided insight into the structural approach, sustainability concerns, program distribution, vehicular and pedestrian circulation, and more. i worked on this project for just over two weeks--the majority of our deadline. i worked in a limited capacity to touch-up and modify renderings and correct drawing errors. my primary capacity was that of working with our structural engineer to clearly diagram our solution to the momentous problem of a tower at this scale. i also took part in documenting the project’s efforts toward ecological responsibility.

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JEDDAH ECONOMIC COMPANY

AERIAL VIEW The drawings, specifications, ideas, designs and arrangements presented thereby are and shall remain in


EW

remain in

rendering [opposite] | massing siteplan [left] | rendered view

32 JEDDAH ECONOMIC COMPANY

MASTERPLAN


professional | jeddah one kilometer tower 33

diagram [below, right] | structural system diagram [below, left] | program distribution


orthographics [below] | tower podium elevation [below] | rendered view

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graphics | orpheus _ tange

prompt critic type scale

book cover franz werner [ imv ] print 5” x 8” / 127 x 203mm

statement rainier maria rilke’s sonnets to orpheus was originally published in 1922; this speculative book cover was designed to accompany edward snow’s brilliant 2004 english translation. the photogram—a technique nearly extincted by digital photography—serves as a complement to rilke’s dense yet ethereal prose. the design reflects the best-known orpheus myth: that of his descent into the underworld to retrieve eurydice. the clouds [medical gauze] hang above the threshold of heaven and, further down, the rougher line of the earth’s surface [weeds, roots]. the solid lines of orpheus and eurydice touch the text and are refracted, as if by a prism, into trajectories above, below, and through the boundaries that surround them.

o rpheus sonnets to o ρ φεύς rainier maria rilke

translated by edward snow

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bilingual edition


prompt critic type scale

poster [ lecture ] tom wedell [ skolos-wedell ] print 25.5” x 36.1” / 648 x 917mm

statement this poster was designed as a promotional / informational piece for a fictional lecture to be delivered by kenzō tange, the famed japanese structuralist architect. more than his better known works, the design focuses on tange’s organic bent and his profound influence on the young metabolist movement. two vastly different scales [ 3d radiography of the moon, electron microscopy ] are presented together in the drawing. their presence reflects both the cellular organization and the tremendous scale of many metabolist undertakings. that tange’s name is written both in english and [ larger ] in his native japanese is a tribute to his dedication to japan’s architectural vernacular.

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graphics | chains _ flicker

prompt client type scale

lookbook [ film promotion ] ben feuer [ atavision films ] print, digital 5.5” x 10” / 140 x 254mm

statement chains was written as a speculative feature film script in 2010. it explores the impersonal grandeur and horror of middle-america and, in particular, of corporate greed. this image served as the cover page to a forty-page promotional document [ ‘lookbook’ ]. in it, we are brought into the protagonist’s epiphany: a surreal vision of frenzied commercialism , metastasized into a new babel. color, shot angles, and lens distortion had to be handled with extreme care for this project, as their presentation was--by extension--that of the film to come. the warm, saturated palette is meant to recall the reversal film stock and kitschy theatricality of pieces like malick’s badlands and altman’s brewster mccloud. type that was part of the story of the film was set in demonstrative serifs like caecilia or clementine. for type external to the story, a less obtrusive san serif was selected.

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prompt critic type scale

poster [event promotion] tom wedell [ skolos-wedell ] print 25.5� x 36.1� / 648 x 917mm

statement the flicker film festival is an ongoing film screening, largely dedicated to super 8 and 16mm films, that takes place serially in cities across the world. at the time this poster was designed, the screening was shortly to take place in providence, rhode island. the portraits are presented in sequence, like frames of film--a direct reference to the character of super 8. magnetic tape [from an audio cassette] is also used for the larger title, reinforcing the physical qualities of the medium. all of these strings and threads are made to connect the figures, suggesting the interpersonal connection the festival is meant to foster. the technical information [location, date] is presented in a minimal, discrete fashion meant to reference classic rolling film credits. although the type is small, its centrality within the composition ensures that it won’t be overlooked.

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graphics | il conformista _ from hell

prompt client type scale

poster [ film ] franz werver [ imv ] print, digital 25.5” x 36.1” / 648 x 917

statement bernardo bertolucci’s il conformista was released in 1970 to great critical success, both at the time and subsequently. the sophisticated treatment of moravia’s novel [the basis for the script] is only eclipsed by the film’s visual ingenuity. this design was an attempt to synthesize the successful qualities of the film into the simplest, most elegant possible package. the muted colors and simplistic patterns recall the paranoid, conservative uniformity of the fascist party as depicted in the film. pinstripe suits and finely halftoned ties are drawn into a parallel with era’s characteristic pressure to blend in and conform. like the politics of the film itself, the design is made to hide in plain sight.

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prompt critic type scale

book cover franz werner [ imv ] print 6” x 9” / 152 x 229mm

statement from hell is a series deeply disturbing, visually stunning comics written by alan moore and illustrated by eddie campbell. in 1999, the ten issues were collected into a single 576-page volume. in it, moore explores the occult history of london through the lens of the infamous jack the ripper murders. campbell’s style in the book is loose and fragmented, capturing moments with frigtening clarity. the blurred figures of the cover reflects this visual fluidity and, moreover, the careful concealment of identity present in the novel. seriality, obsession, and compulsion are important themes in the book that are reinforced here by the regularity of the gutters and the repetition of the figure. the clarity and abrupt finality of campbell’s artwork is mirrored as well in the bold, sharp character of the text.

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graphics | four tet

prompt critic type scale

poster [ concert ] tom wedell [ skolos-wedell ] print 25.5” x 36.1” / 648 x 917mm

statement kieran hebden[ a.k.a. four tet ] is a contemporary musician whose work has borrowed from and built upon electronic, jazz, folk, hip-hop, and aleatoric music. his work is often characterized by subtle instrumentation, minute, obscure samples, live percussion, and strong thematism. these posters were publicity for a speculative concert. the poster on the left uses strong graphic precision to reflect the rigorously composed structure of hebden’s work. hebden’s plays on rhythms and recurring motifs are expressed in the subtle misalignments of vectors and type. the integration between text and image is meant to flatten the distinction between hebden’s sources [ samples ] and their output. in the poster on the right, the multiple meanings of four tet are used as a starting point. as with his sampling, each spelling has its own meaning, derivation, and significance. but as with his sampling, these parts create a mosaic of a greater whole.

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architecture | four photos

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photographs [clockwise from top left] | maison à bordeaux [ rem koolhaas | bordeaux, france ] oslo operahuset [ snøhetta | oslo, norway ] street [ astoria, new york, united states ] hardangerfjord [ bergen, norway ]

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contact ethan feuer hellofold@gmail.com http://metafold.net/ 13 dana

lane

colts neck, nj 07722 united states + 1 732 216 7223

copy unless otherwise noted, all work is the sole product and property of ethan feuer [Š2011]. pelli clarke pelli retains copyright to all work on or pertaining to the firm’s projects.


ethan feuer _ design portfolio 2012  

hellofold@gmail.com | http://metafold.net/ professional and academic work in architecture, graphic design, visualization, and photograph...

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