Paul Damian Baca Portfolio, Nonfiction

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1 3 9 9 P A R K AV E N U E 20

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APTHORP 50

123 LINDEN 58

640 COLUMBIA STREET 64

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LONDON ARCHITECTURE MUSEUM COMPETITION

605 42ND STREET 88

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M E TA L S & M I N E R A L S

1 SEAPORT 92

T R AV E L

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WEST 14TH STREET 76

8 6 F L E E T P L AC E 78

2 0 0 A M S T E R D A M AV E N U E 79

S U N S E T PA R K 80

RIVERSIDE BUILDING 4

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N O N - F I C T I O N is a word that here means content based on real facts or events. Prior to my work shown in this portfolio I was concerned with fiction. My projects were based in theory. I liked the creation of these places as though they took place in a film. They were not just new places, they were new worlds. With that I was allowed to disregard many truths to better feature the work. For that reason, it was fiction.

January 18, 2013 things changed. That was not only the date I submitted my last competition project shown at the end of this book, but also the day I received a call asking if I

would consider designing for a firm in New York City.

Work that followed was still very much a part of fiction, it begins there. It begins with imagining a new place in an existing world, a world subject to change. A world influenced by others. It is a new chapter to an old book.

The reason I refer to this portfolio as non-fiction, my transition from theory to real world, is quite simply because the work still needs to be written by someone. We invent worlds, and that is exciting. But to live and interact in it too, that is better than fiction.

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N E W Y O R K C I T Y has recently experienced growth and change following the recession. In the time I spent here a great number of buildings have risen, new infrastructure is operating, and places have changed.

My commute, how I interact with the world daily, is different than when I came. The skyline is not the same. Being exposed to these city dynamics, not just in experience but professional practice, has been one of the greatest educations of all, and especially at this time in the city’s history. Learning how architecure works is like learning how the world works, or better yet, is working today.

These things have brought to my attention how we experience the city, and how quickly it can all change. Since living and working in the city for a

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few years now I have become preoccupied with certain aspects of it, and ponder on what is the state of architecture today.

GRAPHIC DESIGN is certainly a prevalent tactic in architecture.

While good graphic design can be used to enrich architecture for a variety of ways and reasons, how I most commonly see it being used recently is liminal and detached from an interior standpoint. This can of course be attributed to the desire to stand out, ultimately today’s guide to success in a world motivated by exposure.

I believe much of this comes from the process as well. Exterior design and interior spaces are treated as independent and designed by separated teams at odds with each other. One team operates with out regard to what the other needs, which means they do not have full investment into full success of the project. The

most successful projects I have seen rise are those of teams who take part in designing the building as a whole. In effect they also take interest with the details because the project is no longer seen from just one flat perspective.

They build physical models. Large scale. Mock ups.

Spatial. Anything to get a feel for the end result, and to take part in understanding how things can be built. It is most likely my own passion for this type of work, but I do believe this is where quality architecture comes to be.

When I was an undergraduate student visiting Edgemar in Santa Monica as part of a class trip, a woman with her two children saw us looking at the buildings and asked what we were looking at. She told us she loved coming here with her kids.

She didn’t know why she liked being in the space so much, she just did. That is the kind of architect I want to be.

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“ H ill W est created a landmark in the H ar lem skyline by combining function and aesthetic in a tower that H arlem can be proud of. ” 8

VIEW01_HERO 2 VIEW01_HERO 2 | |PH PHCENTRAL CENTRAL | PARK Option | PARK Option22

1 3 9 9 P A R K AV E N U E H I L L

W E S T

A R C H I T E C T S - DESIGNER - PROJECT ARCHITECT

SPECS TA S K S

1399

Park

Avenue

stands

Park

Avenue

DESIGN: 2014

alongside

COMPLETION: 2018

Railroad Viaduct, two blocks from

EAST HARLEM

solution to resolve constraints of

113,272 SQ FT

New York City zoning particularly

72 CONDOS

challenging to this site, while

+ COMMUNITY FACILITY

still

22 STORY

the

Central Park. Its form is a unique

maintaining

functionality

of interior layouts. The series of volumes stack upon one another to fit the scale of the context as it streches upward.

I M AG E : VO L L E Y

M A S S I N G Z O N I N G D E S I G N C O N C E P T & P R E S E N TA T I O N S E X T E R I O R D E S I G N P L A N S S T R U C T U R A L L AY O U T & C O O R D I N AT I O N M E P C O O R D I N A T I O N R C P BUILDING CODE NERGY CODE BUILDING SECTION S TA I R S WA L L S E C T I O N D E TA I L S E C T I O N S & D E S I G N C C D 1 D I AG R A M S Z D 1 D I AG R A M C O N C R E T E T I E S Y S T E M S H O P D R AW I N G R E V I E W W I N D O W S H O P D R AW I N G R E V I E W V I S U A L M O C K - U P S I T E V I S I T S

1399 Park Avenue is a project I have been involved with as a designer every step. Working closely with a zoning associate and partner David West, development of the massing came about through assembling air rights creating a 24 ft. cantilever at the 6th floor, stepping of volumes to clear the sky exposure plane, and carving into parts of the massing to create required open space per zoning code.

The cantilever generated a unique condition not easily interpreted by the New York City zoning code.

Further research and design ensued to demon-

strate to the department of buildings the project met code as interpreted.

This included a fire study to provide recommendations of construction as well as presecriptions for facade openings, balancing required minumums for natural light and air with maximum protected openings in facade for purposes of fire protection from adjacent buildings.

This project has been vital to my education as I have been involved with nearly every aspect beginning to end, working with a small team. I have been able to see the consequences of my work take shape.

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The building exterior is composed of

architectural

concrete

with

expanses of glass. These two materials create a simple and natural

feel

to

the

building.

Visual weight of the monolithic material frames and defines the volumes as earnest objects. Cuts and

cantilevers

however

defy

its weight, allowing the building to

break

from

becoming

an

overbearing concrete tower. Glass also reinforces its lightness while providing optimal views from an interior vantage.

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VIEW01_HERO 1 | HERO | Option 2

I M AG E : VO L L E Y

P A R K AV E N U E & 1 0 4 T H S T R E E T, EAST HARLEM

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ZO N I N G E N V E LO P E

THE WEDDING CAKE

O P E N S PA C E

Zoning of the site requires a maximum street wall height of 60 feet, where the sky exposure plane begins at a 2.7:1 slope for narrow streets and 5.6:1 for wide streets. As the building is situated on a corner, both sides are subject to setbacks, further reducing available building area. In assembling the lots for this project, the client therefore purchased the air rights of the adjacent building. This acquisition brought the efficiency back to a level the client was comfortable with, but presented the many challenges associated with a 24 foot cantilever extending over another building for several stories.

Initial manipulations to the zoning envelope as a massing begin with the simple orthagonal scheme while taking into account repeatable floor plates, terraces, areas, and at what levels they all occur.

Open space is another requirement of New York City zoning and is a percentage of building area, a certain amount allowed to be covered. This area is intended for use by public or common spaces for building tenants. In order to produce these areas we carved out setbacks at ground level, partially covered, and two terraces at third and fifth floors for amenities. These terraces provided amenities at an elevation allowing more open views and and yet a good level of privacy from the street. This also began to break down the first few stories into volumes of a scale more appropriate for maintaining the context of surrounding buildings and street life.

EDITING

A R T I C U L AT I O N

A BUILDING

Further manipulations to the massing came from observations of how it could potentially be percieved as imposing, which was not a quality we wanted. Carving away and setting back the first tier of the cantilever to the plane of the second tier greatly reduced this and began to inform a language of form, further generating smaller nuances of the building. This also worked hand in hand with the layouts as they were concurrently being generated. The setback relieved some units of being excessively deep further allowing for a varied unit mix per floor.

Opportunites to further enhance the language of form were taken by carving out reliefs to visually seperate the volumes that were emerging. Boxes of varying proportion brought scale relevant to the street and neighborhood. They floated to remove visual density and to make the cantilever feel as though it were natural to the site and not just an appendage.

The bulkhead covering mechanical systems at the roof was extended as it is allowed to pierce the sky exposure plane.

The resulting massing of 1399 Park is quite the example of New York zoning, efficient layouts, and contextual proportioning all coming together to create a unique building. These restraints were not seen as requirements to work around, but as challenges embraced that strive for a better environment.

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When it came to facade design, the massing appeared to bring a level of complexity to composition which could easily become exacerbated by window modulation. This actually proved to be somewhat difficult. A delicate balance had to be struck. When too much regularity was introduced, the building looked very rigid and officelike. If too much concrete was introduced it became oppressive, and if too little it became bland. If there wasn’t enough regularity, the result was very haphazard. I did a study which looked at expressing programming and demising walls on the facade which began to inform our final design. Regularity seemed to occur more at the base and around a form moving around the building, and was well suited for having heavier concrete piers. This framed the floating cube which we decided to make as a concrete framed glass box with regular modulation of mullions. The top two tiers had striations which we later turned into a more striking composition with fewer parts. The bulkhead was also designed to reinforce these elements. This presented a balance of parts that were cohesive yet distinguished different parts of the building, and worked with the interior layouts.

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EAST 104TH STREET

C.J.

C.J.

C.J. C.J.

C.J. C.J. PARK AVENUE

CONCRETE

CONCRETE

C.J.

11 Broadway, Suite 1700, New York, NY 10004 Tel: 212.213.8007 Fax: 212.686.1754

11 BROADWAY NEW YORK NY 10004

C.J.

SUITE 1560 212.213.8007

C.J.

BUILDING ELEVATIONS

1

2

EAST 104TH STREET

C.J.

C.J. PARK AVENUE

11 Broadway, Suite 1700, New York, NY 10004 Tel: 212.213.8007 Fax: 212.686.1754

60'-0"

11 BROADWAY NEW YORK NY 10004

SUITE 1560 212.213.8007

TOP OF BUILDING ON ADJACENT ZONING LOT

17'-115 16" 17'-01 2"

TOP OF BUILDING ON SAME ZONING LOT

37'-8"

BUILDING ELEVATIONS C.J.

3

4

15

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I M AG E : VO L L E Y

Due to the simplicity of materials in the project, detail design played an important role. The structure however was not as simple due to setbacks, challenges of integrating into plans, and the fact that structure is often times left exposed as architectural concrete. These conditions presented opportunities to present details not just as solutions but as specially crafted moments in the design. Successful design can very easily depend on details in this case, and that became one of my largest roles as both a designer and coordinator of structure for the project. As much time was spent identifying issues, researching, sketching, rendering, and drafting as was done in the initial stages of facade design. In the case of eliminating a corner column for space design, a beam was required, and so began investigations on how to deal with it in a concealed manner. By recessing the beam we were able to continue ideas about carving and floating of the volume into details of the parts. Other tactics played this up at detail levels, such as mullion design which allowed the wider operable window mullions appear to float within the overall window wall.

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I M AG E : VO L L E Y

The nature of the building form calls for a considerable number of different floor plans for a building of this size, with many non-repeated units. This helps add to the boutiqeness of the design, adding a higher degree of care and craft. 1399 Park’s interior materials

were

designed

by

Whitehall interiors to complement the concrete building.

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5 | BEDROOM

I M AG E : VO L L E Y

I M AG E : VO L L E Y

I M AG E : VO L L E Y

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8 9 T H AV E N U E H I L L

W E S T

A R C H I T E C T S - DESIGNER

SPECS TA S K S

150 89th Avenue in Jamaica DESIGN: 2013

Queens is a full block masterplan

COMPLETION: 2018

redevelopment, containing several

JAMAICA QUEENS

Rufus King Park. It makes use of

505,344 SQ FT

of Mary Immaculate HospitaL,

4 7 6 R E N TA L S

two of which are prewar. The

16 STORY

third building will be reused for

ULURP

its structure while the others are

MASSING ZONING ULURP PROCESS DESIGN CONC E P T & P R E S E N TAT I O N S E X T E R I O R D E S I G N M A T E R I A L R E S E A R C H & S E L E C T I O N E L E VA T I O N & W I N D O W D R AW I N G S C O N S U LT WITH FA C A D E R E STO R A T I O N C O N S U L TA N T S B U I L D I N G C O D E E N E R G Y C O D E B U I L D I N G S E C T I O N WA L L S E C T I O N D E TA I L & D E S I G N Z D 1 D I A G R A M W I N D O W S H O P D R AW I N G R E V I E W

buildings situated across from

three older buildings once a part

renovated. Green space continues from the park, meandering its away

amongst

the

throughout the block.

buildings

Jamaica started as a ULURP (Uniform Land Use Review Process), which is the New York City rezoning process. I worked with in house zoning experts on massing and masterplanning to create a series of buildings which met zoning requirements and client area goals. I also created renderings depicting potential designs.

The client decided to move forward with these designs for construction.

However, the scope and massing of the project changed from a ULURP to an as of right in order to meet an upcoming deadline for the 421-A tax incentive. This in effect com-

bined the buildings, but still retained the green space weaving around the buildings.

My scope of design later became facade design for the West wing built upon existing steel structure of hospital, a new addition of North wing concrete construction, and a Penthouse addition and facade renovation of prewar East wing of steel and load bearing masonry construction.

The main challenges of the project were to accomodate different types of construction, varying floor heights, and merging contemporary design with with that of an older era.

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PERSPECTI The site in Jamaica Queens is believed to become an “up and coming” neighborhood as it is near a major transportation hub and targeted for development. Plus, its proximity to many different parks makes it a key location The roof areas are also being developed as green roofs to provide even more outdoor space.

SCHEME 1 - DARK

JAMAICA, QU

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PERSPECTIVE

PERSPECTIVE

NW

NE

SCHEME 1 - DARK GRAY

SCHEME 1 - DARK GRAY

JAMAICA, QUEENS NY

JAMAICA, QUEENS NY

8 9 T H AV E N U E & 1 5 0 T H S T R E E T, JAMAICA, QUEENS

AERIAL

SCHEME 1 23

The ULURP process concerning exterior designing was a quick excercise in design. Because the main tower is built upon existing structure with a new facade, inconsistencies in floor height became very apparent. I devised a strategy to relieve this by creating two grids or patterns in which varying distances in between each are read as random lyrical patterns. A grid of brick piers and spandrels was applied very regularly. The windows are all one height. The space in between these are allowed to vary as a layer behind the brick. Selected portions of brick spandrel are then broken to introduce a graphic pattern to help distract from given inconsistencies.

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The tower facade strategy informed exterior design for the other new buildings. Each building had a regular grid applied to it of some sort. Random patterns where then applied in different ways to different buildings.

This would allow for a certain amount of efficiency, and yet allowed each building to take on its own character.

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Combining these buildings, or wings, into one and sharing a main core presented the issue of entrance.

The existing prewar building had a grand entrance but was too far away from the main core. We placed the new entry in the corner where the buildings meet and made its projected massing in similar proportion to the old entrance. However, in opposition to the existing entrance we utilized a lot more glass and metal with a shroud of stone. The glass ties into the window wall vertical strip to help draw attention to it, and then becomes wrapped in stone as a continuation of the limestone at first floor. This generates a glass portal of similar proportions, materials, and rhythms throughout the buildings.

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PROPORTIONAL TO EXISTING ENTRY

VERTICAL G

OPTION D PROPORTIONAL TO EXISTING ENTRY

VERTICAL GLASS RIBBON DIRECTS ATTENTION ENTRY CONDITION PROPORTIONAL TO EXISTING ENTRY

OPTION D

ENTRY CONDITION NOVEMBER 3, 2014

MASONRY FRAMING

VERTICAL GLASS RIBBON DIRECTS ATTENTION

NOVEMBER 3, 2014

MASONRY FRAMING OPTION D

ENTRY CONDITION NOVEMBER 3, 2014

MASONRY FRAMING

150-01 89th AVE., JAMAICA, QUEENS - B1 & B2 29

150-01 89th AVE., JAMAICA, Q

I M AG E : H I L L W E ST

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Adding a completely new floor to an existing prewar building brought up many questions of what it should be and how it should look. The idea was to make the entire floor addition become the grand cornice itself. A storefront system was used to give a light appearance with glass, in opposition to the heft of the masonry below. Deep extrusions of bronze colored metal mullions and varying depths of metal panel give back the depth and articulation to the facade where modern systems would appear too flat. A new metal cornice and glass railing finish the top and a new GFRC cornice to replace the original. As the project grew and developed over a long period of time, I was able to become involved in working out details to improve solutions and further refine the project The addition is a modern cornice, a befitting crown the building was missing this whole time.

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APTHORP H I L L

W E S T

A R C H I T E C T S - DESIGNER

SPECS TA S K S

William

Waldorf

Astor

DESIGN: 2014

comissioned Clinton and Russell

N YC L A N D M A R K P R E S E R VAT I O N A P P R O VA L : 2 0 1 5

Architects in 1908 to design the

UPPER WEST SIDE M A N H A T TA N

Revival building is one of three

24,000 SQ FT

New York city, and known as the

4 CONDOS

most elegant. Hill West Architects

D U P L E X AT O P EXISTING 12 STORY BUILDING

was asked to design a Penthouse

Apthorp. The Italian Renaissance

full block courtyard buildings in

addition as part of a move to help restore the historical building.

Three presentations were made to

the New York City Landmark

Preservation obtain approval

Commission

to

H I S TO R I C A L R E S E A R C H FA C A D E P R O P O R T I O N S T U D I E S S I T E D O C U M E N TA T I O N S I T E S U R V E Y M A S S I N G S T U D I E S C O N C E P T D E S I G N P R E S E N TAT I O N D I A G R A M S C L I E N T P R E S E N TAT I O N S C O O R D I N A T E F U L L S C A L E M A S S I N G M O C K U P O N R O O F TO P D O C U M E N T M A S S I N G V I S I B I L I T Y R E N D E R I N G S D R AW I N G S W I N D O W A N D M AT E R I A L S S E L E C T I O N L P C P R E S E N TA T I O N S M O D E L M A K E R C O O R D I N AT I O N L P C C O O R D I N AT I O N

I began with the Apthorp project after its first attempt for approval from NYC LPC. The penthouse addition was controversial and therefore LPC was rightfully critical of any addition. Mainly their criticism of the first proposal was that it was too bulky and very visible from the street and courtyard, and architecturally out of character. These became my driving points with moving forward. My personal academic background had well prepared me for such an endeavor.

My approach was certainly not to mimic the original building, which I did not feel would be suc-

cessfull off or even appropiate. Nor did I want a completely modern structure to land its way on the rooftop. My approach was for a building academically rigored with the historicism and rules of the original along with an evolved narrative of what the Apthorp really was. This uncovered the history of the Apthorp coming into its being and how it was actually a hard sell itself in that day.

With this analysis we proceeded with two very different directions, one recieving approval from LPC for the very reasons the others were turned down.

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Apthorp’s presence is monumental in its context. It sits on Broadway and 79th street in between the Boat Basin on the Hudson and the American Museum of Natural History. The 12 story stone building can be seen for many blocks down Broadway as the terminus for the bend in Broadway.

The Apthorp was actually a difficult sell as luxury living in its day. In that time individual townhomes were considered upscale housing.

Multi

unit

buildings

were

considered lower class as people were “living on top of each other.”

What saved the Apthorp was its configuration as a courtyard building. The exclusiveness of the courtyard was an allure by those

passing

by,

essentially

making it a gated community. The ornamentation was simply that; added glitz. The real statement was monumentality in context and exclusiveness in society. In doing so it changed how people thought about luxury living.

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B R O A D WAY & 7 9 T H S T R E E T, UPPER WEST SIDE

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APTHORP C.1910

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The existing roofs are another extension

of

exclusiveness.

Terraces are directly accessed from top floor units to create a private outdoor world flanked by stonework and porticos on the upper roof. These porticos will enclose part of the new penthouse with thin sightline bronze windows.

After decades of neglect, the rooftop world will be rejuvenated to its original intent.

EXISTING CONDITIONS

APTHORP THE FEIL ORGANIZATION / BROADWALL CONSULTING SERVICES August 12, 2014

7 PENN PLAZA, NEW YORK, NY 10001

CONDITIONS EXISTING CONDITIONS

APTHORP

THE FEIL ORGANIZATION / BROADWALL CONSULTING SERVICES 7 PENN PLAZA, NEW YORK, NY 10001

THE FEIL ORGANIZATION / BROADWALL CONSULTING SERVICES August 12, 2014

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7 PENN PLAZA, NEW YORK, NY 10001

EXISTING CONDITIONS

APTHORP

37

THE FEIL ORGANIZATION / BROADWALL CONSULTING SERVICES August 12, 2014

7 PENN PLAZA, NEW YORK, NY 10001

GRID AS EQUALIZER

C O U R T YA R D A S D E F I E R

D E F I N I N G C H A R AC T E R

The Apthorp both defies and blends with the grid of New York City. The grid is the equalizer of the city, implemented to make uniform, balanced, and utilitarian the society which imbues it. By conforming to the grid as a full block building, the Apthorp becomes its citizen.

However, by removing its center for a gated courtyard, Apthorp then sets itself apart as a private entity for those who live there. Perceived notion of the building is monumental in its street presence, yet upon closer view through the arched gate into the courtyard is a contained

The Apthorp becomes a majestic presence in the city and reveals its eccentricity and elegance only upon close and private encounters. This began the concept for the penthouse addition, a narrative for defining the character of Apthorp which the addition contributed to.

elegant world.

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SYMMETRY

R E G U L AT I N G L I N E S

RHYTHM

Any addition to the Apthorp must begin with an analysis of the classical facade. I began looking for hierarchies, found easily in levels of symmetry.

The facades had a clear tripartite design. By studying the regulating lines I was able to break down the facades rules of proportion. Although the rules were not of any known system, they were there. These rules then became useful for any addition to the building, which would later be scaled up about their lines of symmetry to achieve a more modern grid that would allow for a lighter introduction of solid to void atop the edifice.

Simply extending the same window rhythm is perhaps the easiest way of making an addition feel part of the existing building.

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T R A N S L AT I O N

Lines and proportions were translated and explored as a modern configuration. Extending the proportioning system for each window floor to ceiling unlocked a more modern system consistent with that of the classical system. This generated a pier to window ratio of 2 to 1 at a dimension of 2’-8�, a repetitive grid dimension commonly used by modern architects such as Mies van der Rohe. The discovery enhanced the idea of making the addition a ubiquitous glass box shrouded with piers and entablature.

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EXTENSION

Extending the translated facade as a new top to Apthorp allowed for a new but light intervention. To the client’s delight, it also allowed for larger windows; floor to ceiling and of course wider. The extension felt of natural scale and proportion, allowing us to move forward with a design that met requirements of Landmark’s Preservation Committee to maintain character of the existing buiding.

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COPPER CONCEPT The copper design is an evolution of the genes of the original Apthorp’s through reinterpretation and adaptation of concept, character, and classical rules of composition. It is able to discreetly express its modern eccentricty through the building’s original concept of traditional composure veiling discrete private worlds. The perforated copper is a diaphonous material defining traditional composition. It shrouds a modern glass box also derived from massing and proportions of the original building. From view of the public, it maintains traditional materiality and composition.

Upon close, private encounter, it reveals itself as eccentric and modern design. This not only achieves the best of both worlds, melding new and old, but alieves the disparity between two parties in disaggreement of what an addition to an historic building should or shouldn’t be. Because according to Apthorp itself, it can be both.

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2 STORY CONCEPT Despite the historical consultant’s recomendation to proceed with a well proportioned 1 story addition, it was decided to proceed with a 2 story stone version. The concept was that if it were all stone and mimicked the rooftop porticos, it could be made much larger. At an expected sale of 4,000 $/sf, the client was for any increase in square footage. Stonework was carefully studied, pulling details from the existing building that had a simple modern quality. However the design was rejected by LPC for being too visible and out of character. The copying and pasting I believe was too artificial and actually compromised parts of the design intended to be original, making them feel disparate, unrelatable, and out of character. Simply put, since the design was not architecturally enthrawling, LPC requested it not be seen from street level at all, forcing us back to a lesser 1 story version.

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1 STORY STONE CONCEPT The 1 story stone version is a combination of the previous two schemes utilizing a pared back massing of the copper concept with attention to stone work studied from the previous stone concept. This version recieved approval from NYC Landmark Preservation Committee thus permitting the client to proceed with the construction process.

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1 2 3 L I N D E N B O U L E VA R D H I L L

W E S T

A R C H I T E C T S - PROJECT ARCHITECT

SPECS TA S K S

Linden

Boulevard

is

a

large

DESIGN: 2016

floorplate rental building sitting

COMPLETION: 2019

on a three story plinth that

B R O O K LY N , N Y

facility, and amenities in basement

includes

parking,

community

and terrace level. The large and

I M AG E : H I L L W E ST

470,619 SQ FT

efficient floorplate is composed by

4 6 7 R E N TA L S

positioning essentially two tower

26 STORY

masses over a core. These two

COMMUNITY FA C I L I T Y + PA R K I N G G A R AG E

masses are further defined with precast concrete and curtain wall systems.

PROGRAMMING PLANNING ZONING BUILDI N G E N V E L O P E C U R TA I N WA L L P R E C A S T C O N CRETE BUILDING CODE ENERGY CODE ZONE GREEN BUILDING SECTIONS WA L L SECTIONS D E TA I L S E C T I O N S S T R U C T U R E C O O R D I N AT I O N M E P C O O R D I N AT I O N U N I T P L A N S F L O O R P L A N S P A R K I N G L AY O U T O C C U P A N C Y & E G R E S S C A L C U L A T I O N S S TA I R D E S I G N C O N S T R U C T I O N D O C U M E N T S

My efforts on Linden began with composing program elements in the plinth, specifically parking. Zoning regulations specified maximum elevation of parking and types of occupancy for the community facility.

These had to be laid out like a swiss watch to accomodate the amount of parking needed, a covered port-cochere, and the square footage requested by the client. This was an on going effort as the client weighed their options and approval of different program alternates.

I later took on floor plans after a partner and associate had blocked and be-

gan to lay them out. This involved laying out bathrooms, kitchens, ducts, coordinating structure, code compliance, and envelope buildup to adhere to zone green code. I also performed occupancy and egress calculations as well as designing stairs.

I then created wall sections to identify areas needing problem solving, and working with the designer and exterior consultants to resolve details.

A seperate exterior bid package was created to which I generated many of the drawings to which I was able to gain knowledge of precast and curtain wall construction.

51

Linden in located a few blocks SE VIEW

southeast of Prospect Park in Brooklyn and will be the tallest of most surrounding buildings. It contains many outdoor amenities on three terrace levels as well as enclosed amenites in the cellar.

Outdoor terrace areas total to over 30,000 square feet, residential total area is 367,000 square feet, and community facility is 38,000 square feet.

The building will adhere to the zone green initiative by accomodating extra insulation in the envelope in exchange for deducting the extra area used.

I M AG E : H I L L W E ST

52

I M AG E : H I L L W E ST

ROGERS AVE

BEDFORD AVE

LENOX RD

LINDEN BLVD

123 LINDEN B O U L E VA R D , B R O O K LY N

53

My involvement with developing the floor plans is a wide range from anywhere from reworking layouts, engineer coordination, envelope systems, stair and core design, tagging, kitchens and bathrooms, egress and occupancy calculations, light and air calculations, and anything else involved in development. The production team was composed of myself and two others, all of us able to identify and take on any issues within this broad range. We all took ownership of the entire project, working towards quality in architecture.

54

55

3 1

A

SCALE: 1"=1'-0"

TOWER- TYPICAL CURTAIN WALL ELEV. PARTIAL

3

SCALE: 1"=1'-0"

11 BROADWAY 17TH FLOOR NEW YORK, NY 10004 T. 212 213 8007

TOWER- CURTAIN WALL TYPICAL SEC @ VISION SCALE: 1"=1'-0"

Interior Designer:

4

TOWER- CURTAIN WALL TYPICAL SEC @ OPERABLE SCALE: 1"=1'-0"

In

WHITEHALL INTERIORS

11 BROADWAY

17TH FLOOR

N Y C 2 1 2 . 9 0 8. 49 4 0

S

T

Structural Engineer:

1 U (9

Titan Engineers PC

1331 Stuyvesant Ave Union, NJ 07083 (908) 624-0044

M

V

3 N (2

MEP/FP Engineer:

Ventrop ECG, PLLC NO.

DATE.

REVISION.

Number: Date: Revision: 365 W. 34th St, 3rd Floor New York, NY 10001 PROJECT: 123 LINDEN BLVD. (212) 244-5060

E

J

1 N (2

123 Linden Blvd Brooklyn, NY 11226

Elevator Consultant:

Jenkins & Huntington, Inc. 123 Linden Holdings, LLC

L

OWNER:

M

3611 14th Avenue 1251 Avenue of the Americas, Suite Brooklyn920 NY, 11218 New York, New York 10020 (212) 696-1818

1 N (2

Architect:

DOB

Landscape Architect

MPFP

PLLC 120 Broadway Floor 20 New York, New York 10271 Interior Designer: (212)-477-6366

11 BROADWAY 17TH FLOOR NEW YORK, NY 10004 T. 212 213 8007

DOB STAMPS & SIGNATURES: WHITEHALL INTERIORS

11 BROADWAY

17TH FLOOR

N Y C 2 1 2 . 9 0 8. 49 4 0

Structural Engineer:

Titan Engineers PC

1331 Stuyvesant Ave Union, NJ 07083 (908) 624-0044

DWG

MEP/FP Engineer:

Ventrop ECG, PLLC

365 W. 34th St, 3rd Floor New York, NY 10001 (212) 244-5060 Elevator Consultant:

Jenkins & Huntington, Inc.

1251 Avenue of the Americas, Suite 920 New York, New York 10020 (212) 696-1818

SEAL

Landscape Architect

CURTAIN ICAL PRECAST TOWERSTAGGEREDTYPICAL PANEL LAYOUT

"

TOWER- TYPICAL SECTION @ BALCONY

2

SCALE: 1"=1'-0"

WALL PLAN SECT.

I M AG E : H I L L W E ST

I M AG E : H I L L W E ST

3

TOWER- PRECAST SECTION PERSPECTIVE

DWG TITLE:

SCALE: N.T.S.

MPFP

PLLC 120 Broadway Floor 20 New York, New York 10271 (212)-477-6366

I M AG E : H I L L W E ST

DOB STAMPS & SIGNATURES:

SEAL & SIGNATURE:

DATE: 07/29/2016 DWG TITLE:

PROJECT #: 16A02.00

ICAL PRECAST PANEL PLAN SECT.

"

SCALE: SEAL & SIGNATURE:

DATE: 07/29/2016 PROJECT #: 16A02.00 SCALE:

DWG NO. DWG NO.

56

Two main cladding systems are used on Linden: curtain wall and precast concrete.

Although curtain wall is a straight forward and essentially pre-engineered system, I had not yet worked with it. Part of its detail design involved its mating and alignment with precast concrete sections. Precast concrete was also a new system to me, but discovered that it is essentially a curtain wall system with a potentially higher degree of customization.

We worked with a number of consultants to develop the system to work. Issues that arose involved waterproofing, construction sequence, cost savings of pre-installed windows, dead and lateral load anchoring, and coordinating with the superstructure. We eventually were able to simplify the details and construction with a few tweaks in design.

My role was in development of most of these details.

57





 58







640 COLUMBIA STREET H I L L

W E S T

A R C H I T E C T S - DESIGNER

SPECS TA S K S

640

Columbia study

street

was

looking

a

DESIGN: 2014

feasibility

at

FEASIBILITY ST U DY

developing the open site in Red

RED HOOK, B R O O K LY N , N Y

conditions.

1,280,920 SQ FT

with midrise development while

1 , 3 1 1 R E N TA L S

integrating itself to adjacent parks

38 STORIES

and waterfront. The towers add

3 TOWERS

an extra level of density thus

MIXED USE + PA R K I N G G A R AG E

substantiating the need for more

F E A S I B I L I T Y S T U D Y S TA T U E O F L I B E R T Y V I E W C O R R I D O R A N A LY S I S T Y P O LO G Y S T U D I E S V I E W S T U DY M A S S I N G S T U D I E S P R O G R A M M I N G PA R K I N G A N A L Y S I S A R E A A N A LY S I S S I T E D E S I G N & M A S T E R P L A N N I N G P L A N S & S E C T I O N S C L I E N T P R E S E N TA T I O N

Hook per as of right and rezoning The

project

would

help anchor retail and residences

local mixed use development, and of course offering unobstructed views.

Columbia began by experimenting with a variety of massings on a site both in digital and physical models. This was used to get a sense of scale, the quality of space created at ground level, and to try out different configurations that would maximize views from the towers.

After many variations we discovered a three tower composition sitting on top a lower massing was most efficient and produced a scape of mixed use that matched the scale of Red Hook. We proceeded with two options; “F” was a looser composition aimed to work well with casual outdoor spaces located on

the fringe of the city and shoreline, while “G” was a tighter, Miesian composition suited for metroplitan massings that provide a well ordered outdoor space.

These two schemes were developed and presented congruently to the client to offer two distinct directions. Target areas were near identical for both schemes for the R6 zoning district. Both schemes were later increased to see what could be achieved if the site were rezoned to an R8 in a ULURP process.

I prepared the visuals and area analysis for all these versions.

59

              

  





 











Red Hook  a

has

secluded



of

long

been

all directions, one point of study

neighborhood

was the statue of liberty view

its

corridor that must be preserved.

public

The statue of liberty is actually

transportation. There is a great

aimed to be looking at the

streetscape and park system

statue of Minerva in Greenwood

and a likelihood for waterfront

cemetery. Building within this

recreational development. The

corridor is strictly prohibited,

site itself is located next to an

but fortunately missed our site

Ikea. While the towers will be

by a matter of feet.



Brooklyn

distant

proximity

given to

able to provide great views in 60



SCHEME F / R8





SCHEME G / R8









 640 CO L U M B I A S T R E E T, R E D H O O K , B R O O K LY N 



 61

 

SCHEME F / R8







  





 







  



62

  



SCHEME G / R8







  





 







  



  



63

64

3 9 T H S T R E E T H OT E L H I L L

W E S T

A R C H I T E C T S - JR DESIGNER

SPECS TA S K S

The 39th street hotel was a concept DESIGN: 2013

for a boutique hotel between 5th

M I DT OW N

avenue and Madison avenue, close

ZONING ST U DY MASSING DESIGN CONCEPT AND RESEARCH FA C A D E STUDIES 3D MODEL P R E S E N TA T I O N RENDERINGS

to the New York Public Library. The H OT E L

design and renderings were done

20 STORY

as a request from the client in coalition with a zoning study.

The concept was derived from a previous project that utilized channel glass and glazing system much a like a rainscreen.

A translucent glass with a blue green tint was used as a way to give form to the building typically done with stone. Formally, it fit into the context, but as a boutique hotel was able to stand out and brand itself. A random pattern of vertical glass channel is distributed about the facade, denser at the bottom where smaller rooms occur and lighter at the top allowing for larger windows where larger rooms and suites typically occur.

The massing is setback

at street level, however as per zoning law there must still be presence of a street wall at property line. A two story gateway fulfills this while creating a more enclosed space off the sidewalk perfect for outdoor seating.

65

66

39TH STREET & 5 T H AV E N U E , M I DT OW N M A N H AT TA N

67

68

A

U

X

I

L

I

A

R

Y

69

605 42ND STREET H I L L

W E S T

A R C H I T E C T S - JR DESIGNER

SPECS TA S K S

DESIGN: 2013 COMPLETION: 2015

HELL’S KITCHEN, M A N H AT TA N 1 , 1 7 2 , 6 74 S Q F T 1 1 7 5 R E N TA L S 60 STORY

PODIUM EXTERIOR DESIGN AND GLAZING SYSTEM RESEARCH CANOPY DESIGN SCREEN ARTWORK DESIGN 3D MODELING RENDERING CLIENT PRESENT AT I O N SITE VISITS

SKY Luxury Apartments on 42nd street is a 60 story residential tower.

My involvement began by assisting design of the courtyard drop off area.

This included looking at some redesign of glazing at podium level, as well as designs for canopies that would also allow for a grand or artistic announcement of the entry for the residential portion and for the athletic club.

Many different affects and materials were researched and tried out. Ultimately the client went with a typical canopy and artwork by Yayoi Kusama.

I M AG E : W I L L I A M S N E W YO R K

70

71

ONE SEAPORT H I L L

W E S T

A R C H I T E C T S - JR DESIGNER

SPECS TA S K S

DESIGN: 2015

MODELING PODIUM DESIGN CONCEPTS DESIGN D I AG R A M S DESIGN P R E S E N T AT I O N S

COMPLETION: 2018

FINANCIAL D I S T R I C T, M A N H AT TA N 192,473 SQ FT 98 CONDOS 60 STORY

1 Seaport is located adjacent to the East river near the southern tip of Manhattan. Following hurricane Sandy, revisions to New York code called for certain provisions pertaining to this project.

In effect, the lobby was raised to the second floor.

I assisted the lead designer in designing a procession of spaces that would lead up to this from street level, along with a shroud connecting the building to street level and allowing views at lobby level.

These included diagrams to show intent and layout of spaces and how they would be defined.

I M AG E : W I L L I A M S N E W YO R K

72

I M AG E : W I L L I A M S N E W YO R K 73

14TH STREET H I L L

W E S T

A R C H I T E C T S - JR DESIGNER

SPECS TA S K S

DESIGN: 2014

A S S I S T B R I C K P AT T E R N AND D E TA I L CONCEPT DESIGN 3D MODELING

COMPLETION: 2017

CHELSEA, M A N H AT TA N 42,672 SQ FT 21 CONDOS 11 STORY

The residential building on 14th street paid close attention to details much like other buildings in the sought after neighborhood. My role was to assist the lead designer in experimenting with brick patterns utilizing a norman brick. Particular areas I worked on were the vertical pattern in the piers, window surrounds, and concepts for planters at the bottoms of windows.

I M AG E : W I L L I A M S N E W YO R K 74

I M AG E : W I L L I A M S N E W YO R K

I M AG E : W I L L I A M S N E W YO R K 75

8 6 F L E E T P L AC E H I L L

W E S T

A R C H I T E C T S - JR DESIGNER

SPECS TA S K S

MASSING

CONCEPTS

DESIGN: 2013 COMPLETION: 2017

DOWNTOWN B R O O K LY N 473,821 SQ FT 4 4 0 R E N TA L S 32 STORY

The massing for 86 Fleet was originally inspired by the shape of an Aalto vase, pushing for curves and fillets in architecture.

My task was to create a series of massings derived from such inspirations. Each new iteration revealed an increasingly nuanced building, but the first proved to be the simplest and most cost effective in persuading the client to do a curved glass facade.

I M AG E : H I L L W E ST 76

77

2 0 0 A M ST E R DA M H I L L

W E S T

A R C H I T E C T S - JR DESIGNER

SPECS TA S K S

MARKETING RENDERINGS DESIGN: 2014 CONCEPT

UPPER WEST SIDE, M A N H AT TA N 423,423 SQ FT 55 STORY

78

These renderings were part of a proposal for a tower in the upper west side neighborhood, just three blocks from the Lincoln Performing Arts Center. My task was to generate five high resolution renderings of our office’s massing in site for marketing purposes.

S U N S E T PA R K H I L L

W E S T

A R C H I T E C T S

SPECS TA S K S

3D MODELING PRESENT AT I O N I L L U S T R AT I O N S DESIGN: 2014 CONCEPT

S U N S E T PA R K , B R O O K LY N 2,359,644 SQ FT RESIDENTIAL SHOPPING MALL 4 TOWERS + 3 MIDRISE

The Sunset Park project is a mixed use project in Brooklyn including residential towers nested around a shopping mall and park on the waterfront. My task was to generate illustrations of the project in its context, highlighting its water location and views with. The illustrative manner of the images helped not only to portray the project abstractly, but was also a tactic used to abstract the available imagery to be better suited for a professional presentation.

RIVERSIDE DRIVE H I L L

W E S T

A R C H I T E C T S - JR DESIGNER

SPECS TA S K S

DESIGN: 2013

3 D M O D E L M AT I N G O F DIFFERENT EXTERIOR GLAZING SYSTEMS R E N D E R I N G P H OTO S H O P

CONCEPT

RIVERSIDE DRIVE UPPER WEST SIDE, M A N H AT TA N 113,272 SQ FT 22 STORY

80

Building 4 of the riverside develpment masterplanned by Christian de Portzamparc was being designed by Hill West Architects. My role was to aid in modeling of glazing systems on complex corners and mating of a window wall system to a curtain wall system at an angle. These were used to help clarify conditions for further detailing. I also produced renderings and photoshop work of the building for presentations.

81

82

I

N

D

E

P

E

N

D

E

N

T

83

84

ARCHITECTURE MUSEUM ARC H T R I U M PH I N VI T E D C OM PE T I T I ON - D E S I G N E R SPECS TA S K S

London

Architecture

Museum

DESIGN: 2013

is a competition project making

INVITED I N T E R N AT I O N A L COMPETITION

BY ARCH TRIUMPH

use of the defunct Battersea

HONERABLE MENTION

architecture as experience and

C R

E

O

N

N D

E

C

R

E I

N

P

G

T S

Power Station along the Thames River. The concept focuses on

senses. The core of the musuem is the Hall of Imbuement, essentially an empty white room of nothing, able

to

be

holographs

filled thereby

by

voxel

allowing

visitors to experience what space might be without architecture as well as non-physical architecture.

Concept and experience, and challenging the most basic norms associated with these are at the core of this project. Designing an architecture museum puts a spotlight and strain on the design of the museum itself. The design here is not really the important part. At the core of the museum, in plan and concept, is the Hall of Imbuement. This room allows visitors to experience space, or rather non-space, as a contrast to essentially everything they know. Blank. The hall can then be filled with voxel holograms allowing visitors to experience space created only by

light. Any experience can be uploaded. One particular opportunity is a worldwide mapping able to be experienced here.

People from all over the world would be invited to upload any and as many photos they take from all over the world. These images with multiple points of perspective generate a 3d mapping of places all over the world, being reproduced and experienced here. Its not only a way to walk around distant places, but an archival effort.

This is a museum of architecture in every sense.

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M E TA L S & M I N E R A L S A

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K - EXPERIMENTER

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M O

My work with copper began many years ago. I have recently picked it up again, experimenting with other metals such as bronze and brass as well as reactions to materials to create patinas. My fascination is in the pallette of colors and textures obtained through many different chemical reactions as well as natural patinas as a function of time and environment. The changes are often times quite drastic in comparison to the original values. I often expose this by drawing, scoring on the metal to allow parts to gleam through.

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These works will be a continuous experiment, with many more already planned.

Assemblages shown here are simply investigations of patinas and variations through repetitions, meant to inform a group of planned pieces currently being designed.

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T R AV E L T

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- EXPLORERS

NORTHEAST US

R OA D T R I P : R H O D E I S L A N D , C A P E C O D , B O STO N , P L Y M O U T H , M A I N E , N E W H A M P S H I R E , V E R M O N T, S Y R A C U S E , C O R N E L L , A D I R O N D A C K S , P H I L L Y, D C

C A N A DA

R OA D T R I P : M O N T R E A L, TO R O N TO

LITHUANIA

COUNTRY PA L A N G A

C O P E N H AG E N

C I T Y L AY O V E R : C I T Y A R C H I T E C T U R E

ICELAND

1 2 0 0 M I L E R O A D T R I P A R O U N D I S L A N D : N AT U R E , C I T I E S , H I K I N G , C A M P I N G , O F F - R OA D I N G , VO LC A NOES, ICEBERGS, ARCTIC CIRCLE, NORTHERN LIGHTS

TO U R I N G :

VILNIUS,

KAUNAS,

NIDA,

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