Page 1

ARCHITECTURE PORTFOLIO STEPHANIE WHITE


SYRACUSE UNIVERSITY B. ARCH 2018


TABLE OF CONTENTS ACADEMIC A

FIRENZE CENTRO DELLA CULTURA

6

B

CAYUGA

16

C

EO GREEN-WAY

26

D

BANDEAU

38

PROFESSIONAL F

INTERNSHIPS

48

TEN ARQUITECTOS

50

SEKOU COOKE STUDIO

62

CURB GARDNER CREATIVE GROUP

66


A

FIRENZE CENTRO DELLA CULTURA Forth Year - Florence Abroad Semester Prof. Kyle Miller Design and production collaboration with Nico Carmona The preservation latitude of Florence, Italy has lead itself to be isolated and non participatory in contemporary building culture. Currently there stands Palazzo Vecchio, the political icon and Santa Maria del Fiore the religious monument of the city. We are proposing the Cultural Center of Florence, since there currently lacks such. By subtracting the traditional form-making/spacemaking Florentine typology, the arch, we are using Florence’s roots to generate its Cultural Center.

6


ACADEMIC

7


ARCH TYPOLOGIES

CLOISTER

OPERATION STUDIES

LOGGIA

ARCHED VOID

ARCH DEFORMATION

INTERSECTING SCALES

REVEAL FROM SUBTRACTION

INTERRUPTION

STACKED ICON

8


5m

10 m

BOOLEAN OPERATIONS

5m 7m

10 m

7m

9m

10 m

10 m

9m

10 m

10 m

BOOLEAN OPERATIONS

9

ACADEMIC

BOOLEAN INTERSECTIONS

BOOLEAN OPERATIONS

BUILDING COMPOSITION

BOOLEAN INTERSECTIONS INTERSECTIONS BOOLEAN

BUILDING COMPOSITION COMPOSITION BUILDING


E

SI V

PA N

EX

ER Y

M

IU

AT R

GA LL

KI NG

LO C

TE R

IN

SP AC E

SP AC ES

PLANAR SECTIONS

10


FINAL MODEL

CULTURAL MONUMENT

TRANS-FORMATIVE PROFILE

SU BT RA CT ED

RO O

F

ACADEMIC

CO UR TY AR

D

11

CLOISTER ORIGIN


RESULTING INTERIORS

PERSPECTIVE

PERSPECTIVE

PERSPECTIVE

12

051:1 ELACS

PERSPECTIVE

PERSPECTIVE

EUQIL


ACADEMIC

13

O NOITCES

051:1 ELACS

EUQILBO NOITCES

SECTION OBLIQUE

SCALE 1:150

051:1 ELACS

SECTIONAL ACTIVATION

EUQILBO NOITCES


1

14

2

3


4

15

5

1 2 3 4 5

RECEPTION CAFE OVERLOOK GALLERY LIBRARY

ACADEMIC

PROGRAMMED PHYSICAL MODEL


B

CAYUGA Forth Year - Comprehension Studio Prof. Elizabeth Kamell Design and production collaboration with A.Dominguez “Established in 1991, Cayuga Wooden Boatworks began as a small operation, traveling from marina to marina, repairing boats. Now, with the capability to manage several jobs at once, Cayuga Wooden Boatworks offers a full and comprehensive line of quality marine services�. This project curates the expansion of their craft, by introducing more efficient work spaces and developing a boarding-school program.

16


ACADEMIC

17


CONCEPT : PUNCTURE THRESHOLD

CONTINUATION OF CONTEXT

UNITS PLUG INTO WALL

PUNCTURE THRESHOLD

18

GROUND LEVEL


ACADEMIC

19


STEELSAWTOOTH SAWTOOTH ROOFROOF: : STEEL

EXTRUSION SECTION

HEAD WALL FLASH HEAD WALL

FLASH

HEAD WALL FLASH

lLINER FLASHING LINEAR FLASHING

lLINER FLASHING

SUBSTRATE SUBSTRATE

SUBSTRATE

CSI NUMBER 07 13 54 07 - THERMOPLASTIC NUMBER SHEET WATERPROOFING 07 13 54 - THERMOPLASTIC CSI NUMBER 13 54 -CSITHERMOPLASTIC SHEETSHEET WATERPROOFING

PANEL CLIPCLIP FASTENER PANEL FASTENERPANEL CLIP FASTENER

CSI NUMBER 05 41 00 05 - STRUCTURAL NUMBER STUD05FRAMING 41 00 - STRUCTURAL STUD FRAMING CSI NUMBER 41 00CSI -METAL STRUCTURAL METALMETAL STUD FRAMING

FACADE: CORRUGATED STEEL FACADE : CORRUGATED STEEL

SILL SILL SILL CSI NUMBER 08 12 16 - PERIMETER CSI NUMBER ALUMINUM 08 12 16 - PERIMETER TRIM ALUMINUM CSI NUMBER 08 12 16 -TRIM PERIMETER TRIM ALUM. DROP CEILING DROP CEILING DROP CEILING

CSI NUMBER 08 81 00 08 - GLASS GLAZING CSI NUMBER 08GLAZING 81 00 - GLASS GLAZING CSI NUMBER 81 00 - GLASS

TRUSSES STEELSTEEL TRUSSES

I-BEAMS STEELSTEEL I-BEAMS

20

SILL SILL

SILL

CONTINUOUS MR-300 ATTACHMENT SYSTEM FOR MR-300 ATTACHMENT SYSTEM FOR CONTINUOUS MR-300CONTINUOUS ATTACHMENT SYSTEM VERTICAL RAIL SUPPORT

VERTICAL RAIL SUPPORT

VERTICAL SUPPORT RAIL VERTICAL SUPPORT RAIL VERTICAL SUPPORT RAIL VERSAPANEL VERSAPANEL

VERSAPANEL

STEEL I-BEAM STEEL I-BEAM

STEEL I-BEAM

FRAMESYSTEM PANELPANEL FRAME

CASTED STEEL CASTED STEEL PANELS PANELS CASTED STEEL PANELS

DETAIL SECTION DETAIL SECTION SCALE 1:3’’ SCALE 1:3’’

THRESHOLD ENVELOPE


EXTRUSION PERSPECTIVE

ACADEMIC

21


0.63 0.63

WATERPROOFING WATERPROOFING

16.20

SUBSTRATE SUBSTRATE

CSI NUMBER 05 41 00-05 41 00 - STRUCTURAL STUD FRAMING CSI NUMBER

0.63

36.53

STRUCTURAL STUD FRAMING

KINETIC FACADE SYSTEM

VERSAPANEL VERSAPANEL

0.63

0.63

0.63

HARDIE BOARD HARDIE BOARD

0.63

36.53

16.20

METAL FRAME METAL FRAME

ALUMINUM PANELSPANELS ALUMINUM

0.63

0.63

0.63

HARDIE BOARD

0.63

0.63

WATERPROOFING

16.20

16.20

SUBSTRATE

0.63

36.53

CSI NUMBER 05 41 00STRUCTURAL STUD FRAMING

0.63

36.53

GENERATION GENERATION OF ELECTRICITY THROUGH THE HARVESTING OF ELECTRICOF KINETIC ENERGY ITY THROUGH HARVESTING OF KINETIC ENERGY

0.63

VERSAPANEL

PANEL VARIATIONS

0.63

0.63

0.63

0.63

36.53 0.63

0.63

36.53

16.20

16.20

METAL FRAME

0.63 0.63

0.63

0.63

0.63

ALUMINUM PANELS

0.63

22

0.63

HARDIE BOARD

PANEL DESIGNS

0-

HARDIE BOARD HARDIE BOARD


HEAD WALL FLASH lLINER FLASHING

WATERPROOFING INSULATION WATERPROOFING INSULATION

CSI NUMBER 09 22 16 - NON STRUCTURAL METAL FRAMING CSI NUMBER 09 22 16 - NON STRUCTURAL METAL FRAMING

SUBSTRATE SUBSTRATE

PANEL CLIP FASTENER PANEL CLIP FASTENER

VERSAPANEL CSI NUMBER 07 13 54 - THERMOPLASTIC VERSAPANEL

CSI NUMBER 07 13 54 - THERMOPLASTIC SHEET WATERPROOFING

CSI NUMBER 08 12 16 - PERIMETER TRIM ALUM. CSI NUMBER 08 12 16 - PERIMETER TRIM ALUMINUM

FACADE PANEL ELEVATION

HEAD WALL FLASH LINEAR FLASHING

CSI NUMBER 08 81 00 - GLASS GLAZING CSI NUMBER 08 81 00 - GLASS GLAZING

CSI NUMBER05 41 00 - STRUCTURAL METAL STUD FRAMING CSI NUMBER 05 41 00 - STRUCTURAL METAL STUD FRAMING

ALUMINUM PANEL ALUMINUM PANEL

HARDIE BOARD HARDIE BOARD

WOOD STUD WOOD STUD

STEEL I-BEAM STEEL I-BEAM

VERTICAL SUPPORT RAIL VERTICAL SUPPORT RAIL

CONTINUOUS MR-300 ATTACHMENT SYSTEM CONTINUOUS MR-300 ATTACHMENT SYSTEM FOR VERTICAL RAIL SUPPORT

ACADEMIC

23

FACADE SECTION

WALL SECTION SCALE 1:2’’


WRAPPED WALL SECTION

PEAK FLASHING

PEAKPEAK FLASHING FLASHING

PANEL CLIP FASTENER

PANELPANEL CLIPCLIP FASTENER FASTENER

METAL CORREGATED METALCORRUGATED ENCLOSURE CORREGATED METALEXTERIOR ENCLOSURE

SUBSTRATE

SUBSTRATE SUBSTRATE

VERSAPANEL

VERSAPANEL VERSAPANEL

VERTICAL SUPPORT VERTICAL SUPPORT RAIL VERTICAL SUPPORT RAIL RAIL

SECTIONAL ACTIVATION

CSI NUMBER 07 13 54 -SHEET THERMOPLASTIC MBER 07 13 54 - THERMOPLASTIC CSI NUMBER SHEET 07 WATERPROOFING 13 54 - THERMOPLASTIC WATERPROOFING

CONTINUOUS MR-300 ATTACHMENT CONTINUOUS MR-300 ATTACHMENT CONTINUOUS SYSTEM FORMR-300 ATTACHMENT SYSTEM FOR VERTICAL RAIL SUPPORT VERTICAL RAIL SUPPORT SYSTEM FOR VERTICAL RAIL SUPPORT

CSI NUMBER 05 410000 - STRUCTURAL METAL CSI NUMBER 05 41 00 - STRUCTURAL CSI METAL NUMBER STUD 05FRAMING 41 - STRUCTURAL METAL STUD FRAMING

STUD FRAMING

24

STEEL REBAR

STEEL REBAR STEEL REBAR

METAL DECKING STEEEL ANGLE

METAL DECKING METAL DECKING STEEEL ANGLE STEEL ANGLE

STEEL I-BEAM

STEEL I-BEAM STEEL I-BEAM

WOOD STUD

WOOD WOODSTUD STUD

HVAC

HVAC HVAC

HARDIE BOARD

HARDIE BOARD HARDIE BOARD

DETAIL SECTION DETAIL SECTION SCALE 1:3’’ SCALE 1:3’’


30’

12’

ACADEMIC

25


C

EO GREEN-WAY 533 Dr Martin Luther King Jr Blvd, East Orange, NJ Prof. Ted Brown Third Year - Second Semester Located directly on the train line from New York City, the site is designed to “Revitalize the City of East Orange, NJ� - Lester E. Taylor, III (Mayor of East Orange), by completely activating the entirety of the site. I have introduced a new green infrastructure that is to run parallel to the train tracks. Within this area is activities for all generations, varying connections to commercial businesses, fully accessibly and integrated train station, and new lower income housing for residents.

26


ACADEMIC

27


LANDSCAPE AND WATER STRUCTURE

PKWY

LANDSCAPE AS FORM

180

180 180 160

80

180

I-2

200

200 180 200

LANDSCAPE AS INFRASTRUCTURE 200

180

160

LANDSCAPE AS FORM

LANDSCAPE AS FORM

180

LANDSCAPE AS FORM

FORMAL LOGIC

28

LANDSCAPE AS INFRASTRUCTURE LANDSCAPE AS FORM

LANDSCAPE AS INFRASTRUCTURE

LANDSCAPE AS STRIATION LANDSCAPE AS INFRASTRUCTURE


districts built tree

MAPPED LANDSCAPE

Mapped Greens

ACADEMIC

29


CONCEPT MODEL FINAL MODEL

30

SITE PLAN OF GREEN-WAY SITE PLAN Scale 1 : 100


ACADEMIC

31

GROUND LEVEL


32


ACADEMIC

33

AMPHITHEATER : SECTION


34


ACADEMIC

35

TERRACE : SECTION


36


ACADEMIC

37

PEDESTRIAN PATH : SECTION


D

BANDEAU 721 East Twin Palms Drive, Palm Springs, CA Prof. Molly Hunker Second Year - Second Semester The project involved the design of the groundscape, generating the site of our miniature golf course in Palm Springs. We were to incorporate the overall site layout as it relates to mini golf holes, circulation space, future building location(s), mini golf folly locations, water features / pools, “hazards�, proximity and access to the Ace hotel, parking locations, etc.

38


ACADEMIC

39


MOONRISE BY ANSEL ADAMS

Planar

Divisions derived from forms

Planar

Divisions derived from forms

Interruptions made to the planer

40 Planar

IMAGE ANALYSIS

Proudly a man of the West, Ansel Adams strived to S Interruptions made to the planer RIE the purity of what exists while attempting capture R to DA OU N U NT O O B C intensify our perception of the West. Often sources of visual interaction become a more reliable source compared to text. After being exposed to a visual representation, such is transformed into becoming the knowledge on the specific. Most of the knowledge that we obtain is through observation and interaction. Ansel Interruptions made to the planer Forms derived creating spacial sequence Adams wants the people to see his work as a tool to understand the West. Through his work he developed a highly complex “zone system” of controlling and relating. Ansel used adjustments to the exposure and developDivisions derived from forms

The work that I studied was “Moonrise”. It was Forms derived creating spacial sequence captured passing through Hernandez, New Mexico as ES UR G I the sun was beginning toF set. The lighting during the time of this photograph allowed Ansel Adams to then enhance the photograph to emphasize the zones during production. Besides the physical zones that appeared on site, I worked to build off the zones that Adams had strived to create. Loosely based off the “Rule of Thirds”, Image of the West_Features their consists a black sky, white clouds, and a gray landscape. However, if the tones were to become physical components on the site, it would additionally divide !"#$%%&'#()"* ++ the landscape, introducing moments of containment Ansel Adams, 1941 Stephanie White


Compressor

Elevation

Section

Plan

mountains MOUNTAINS

41 natural NATURAL

builtBUILT

Image of the West_Ground to Object Relationship Diagram

SECTION

Ansel Adams, 1941 Stephanie White

ACADEMIC

Plan

FALSE PERCEPTION

on

Ground to Object Relationship Diagram

Ansel Adams, 1941 Stephanie White

Compressor

Image of the West_Form

Ansel Adams, 1941 Stephanie White

FALSE SECTION AS A RESULT OF PERCEPTION

Section

PLAN

mountains

natural

built


Act 3 - Diagram Stephanie White

L

N

E

P

A

The work that I stu captured passing thr beginning to set. Thr was captured there i used several techniqu of the image. The la the image consist of tially dividing the pl converted to divide m in and around the b expanding from left to enhance the exper bands begin to expa including the golf co form of the striation engage further with t

SI

T

BANDEAU Act 3 - Diagram Stephanie White

DIVISIONS OF LINEAR MOMENTS divisions of linear moments

perception through alt

The work that I studied was “Moonrise” by Ansel Adams. It was captured passing through Hernandez, New Mexico as the sun was beginning to set. Through the nature of the photo and the scene that was captured there is multiple layers that are presented. Ansel Adams used several techniques to enhance the photo and amplify the contrast of the image. The layers, become sections of the image. The sections of the image consist of the built, the natural, and the atmosphere, essentially dividing the planer element of the site. The bands have been converted to divide my site, yet altering in scale. The golf course exists in and around the building components. The bands span across the site expanding from left to right. Compressing the bands in the beginning is to enhance the experience of perspective. As the course continues the bands begin to expand. The bands have inhabited multiple functions, PERCEPTION including the golf course, a canopy, and the building. Manipulating the THROUGH perceptionALTERATIONS through alterations form of the striations creates perspective and allows for the user to engage further with the site.

BANDEAU Act 3 - Diagram Stephanie White The work that I studied was “Moonrise” by Ansel Adams. It was

captured BA Npassing D through E AHernandez, U New Mexico as the sun wasdivisions of linear moments beginning to set. Through the nature of the photo and the scene that was captured there is multiple layers that are presented. Ansel Adams

Act 3 - Diagram used several techniques to enhance the photo and amplify the contrast Stephanie WhiteThe layers, become sections of the image. The sections of of the image. the image consist of the built, the natural, and the atmosphere, essentially dividing the planer element of the site. The bands have been

BANDEAU Act 3 - Diagram Stephanie White The work that I studied was “Moonrise” by Ansel Adams. It was captured passing through Hernandez, New Mexico as the sun was beginning to set. Through the nature of the photo and the scene that was captured there is multiple layers that are presented. Ansel Adams used several techniques to enhance the photo and amplify the contrast of the image. The layers, become sections of the image. The sections of the image consist of the built, the natural, and the atmosphere, essentially dividing the planer element of the site. The bands have been converted to divide my site, yet altering in scale. The golf course exists in and around the building components. The bands span across the site expanding from left to right. Compressing the bands in the beginning is to enhance the experience of perspective. As the course continues the bands begin to expand. The bands have inhabited multiple functions, including the golf course, a canopy, and the building. Manipulating the form of the striations creates perspective and allows for the user to engage further with the site.

BANDEAU Act 3 - Diagram Stephanie White divisions of linear moments

The work that I studied was “Moonrise” by Ansel Adams. It was captured passing through Hernandez, New Mexico as the sun was beginning to set. Through the nature of the photo and the scene that was captured there is multiple layers that are presented. Ansel Adams used several techniques to enhance the photo and amplify the contrast of the image. The layers, become sections of the image. The sections of the image consist of the built, the natural, and the atmosphere, essendivisions of linear momentstially dividing the planer element perception through alterations of the site. The bands have been converted to divide my site, yet altering in scale. The golf course exists in and around the building components. The bands span across the site expanding from left to right. Compressing the bands in the beginning is to enhance the experience of perspective. As the course continues the bands begin to expand. The bands have inhabited multiple functions, ORIGINAL including the golf course, a canopy, and the building. Manipulating the form of the striations creates perspective and allows for the user to engage further with the site.

The converted work that I studied wasyet“Moonrise” byThe Ansel It was to divide my site, altering in scale. golf Adams. course exists captured through Hernandez, Newbands Mexico as thethesunsitewas in andpassing around the building components. The span across expanding fromThrough left to right. the beginning beginning to set. theCompressing nature of the thebands photoinand the sceneisthat enhance the experience of perspective. As are the course continues the Adams was tocaptured there is multiple layers that presented. Ansel bands begin to expand. The bands have inhabited multiple functions, usedincluding several techniques to enhance the photo and amplify the contrast the golf course, a canopy, and the building. Manipulating the of the image. layers, become sections the for image. Theto sections of form of theThe striations creates perspective andofallows the user the image of the built, the natural, and the atmosphere, essenengage consist further with the site. tially dividing the planer element of the site. The bands have been converted to divide my site, yet altering in scale. The golf course exists in and around the building components. The bands span across the site expanding from left to right. Compressing the bands in the beginning is to enhance the experience of perspective. As the course continues the bands begin to expand. The bandsperception have inhabited multiple functions, through alterations including the golf course, a canopy, and the building. Manipulating the form of the striations creates perspective and allows for the user to engage further with the site.

COMPRESSION TOcompression EXPANSION to expansion

compression to expansion

FORMAL LOGIC

42

built

built compression to expansion

divisions of linear moments

perception through alterations

built

INTERIOR

natural

MANIPULATION OF BAND

compression to expansion

natural

EXTERIOR built

perception through alterations

compression to expansion

CREATING SPACES

natural


SITE PLAN

E

L

M

O

D

Golf Hole

15

16

14

17

Divits for Diffuclty

18

13

12

Entertainment Center

11

Canopy

10

9

8

7 Main Entrance

5 6

Mini Golf Clubhouse

43

4 2

3

ACADEMIC

1

North

SITE PLAN OBLIQUE Scale: 1/16” = 1’-0”


1

restaurant

5

3

6

8

START

7

covered golf hole

locker rooms

condensed

44 SECTION

9

canopy

4

ON

-0�

2

condensed

3

START

restaurant

1

2

10


light penetration 11

12

pottery studio

restaurant

14

avvvkitchen

15

END 16 18

17

45

ACADEMIC

theatre


LOCKER ROOM PLAN (BASEMENT)

Key Desk

Offices Main Entrances

Lobby

COMPRESSED EARTH

GROUND LEVEL

CANOPY

EARTH DIVIDER

DIVOTS FOR GO

Cafe

kup

THEATRE Golf Store

START OF COURSE

Lounge

OFFICES

CLUB PICK-UP LOUNGE CAFE

KEY DESK

GOLF STORE

Key

46

LOBBY

skin application

circulation path

MAIN ENTRANCES

Key KEY skin application SKIN APPLICATION circulation path CIRCULATION PATH cut dirt DIRT CUT golf holes HOLES GOLF identity of locker rooms IDENTITY OF LOCKER ROOM

EARTH DIVIDER FROM STREET


E

OLF HOLES

IO

R

ENTRANCE FOR POTTERY STUDIO

EXTERIOR PERSPECTIVE

RESTAURANT

X

R TE

IN

T

I ER

OR

POTTERY STUDIO

RESTAURANT ENTRANCE

RETAINING EARTH INTERIOR PERSPECTIVE

ACADEMIC

47


INTERNSHIPS SUMMER 2015 + 2016 + 2017 sekou cooke STUDIO TEN Arquitectos Curb Gardner Creative Group The past three summers were spent immersed in the architecture field, working one on one with practicing architects. During this time I was exposed to varying scaled projects, interior and exterior focuses, individualized and grouped organizations, and different stages of a project including, proposals, zoning, and site visits, etc.

48

Ave. Collins

Washington Ave.

Drexel Ave.

F


PROFESSIONAL

49


50

[SUMMER 2016] NEW YORK CITY


PROFESSIONAL

51


ITERATIONS 52

ITERATIONS EXPLORING THE CELLAR PORTION OF AN ON GOING PROJECT, REVISITING THE POTION SURROUNDING THE MIKYEH.


ENTRANCE SPACE SEAT OPTIONS:

SCENARIO ALTERATIONS

PLAN LAYOUT:

POTENTIAL SEATING OPTIONS AND ALTERATIONS FOR THE ENTRANCE OF GLASS ENCLOSED TRANSITIONAL SPACE.

PLAN LAYOUT:

NYPL

SEAT OPTIONS:

BENCH PER 2 PANELS

TEN Arquitectos

PROFESSIONAL

53

NYPL

BENCH PER PANEL

TEN Arquitectos


3

2 SIGHT-LINES

1

1

2

3

54

STREET VIEW PERSPECTIVES

4

Design Architect:

Architect of Record:

TEN ARQUITECTOS

BIENENFELD ARCHITECTURE

1

1

Owner/Developer: YOUNGWOO & ASSOCIATES

2

3

2

1

217 W. 18TH ST

1

3


4

3

TREET 3

New York, New York August 05, 2016 3

Sightline 4

4 SIGHT LINES INVESTIGATION, UNDERSTANDING THE IMPACT THE INTERVENTION WOULD HAVE ON THE HISTORIC SITE.

PROFESSIONAL

55


MIAMI HISTORIC CORRIDOR

SOUNDSCAPE PARK LINCOLN ROAD DISTRICT MASTERPLAN

150’

150’

105’ 180’

0.25

0.5

mi

mi

ESPANOLA WAY FLAMINGO PARK SOUTH BEACH

PEDESTRIAN TRAFFIC SITE GREEN SPACE LINCOLN ROAD DISTRICT MASTER PLAN TALL BUILDINGS

56

CONTEXT HEIGHT REQUIREMENTS

420 LINCOLN RD, MIAMI

TEN ARQUITECTOS 06.30.16

SITE ANALYSIS

150’ 200’

150’

200’

150’ 200’

50’

150’ 200’

150’ 50’

150’

Hotel 300’

150’ 100’

100’

150’

50’

55’ 50’

150’

Hotel 300’ 100’

100’

50’

150’

50’

33’ 50’

55’

80’ 50’ 50’

50’

35’

35’

30’

420 LINCOLN RD, MIAMI

MAX. HEIGHTS AROUND SITE

TEN ARQUITECTOS 06.30.16


SITE ZONING

LINCOLN ROAD

SETBACK 20’

Collins

Ave.

Washington Ave.

Drexel Ave.

SITE PLAN DIAGRAM

Lincoln Rd.

50’

+50’

DREXEL AVE

ISOMETRIC DIAGRAM SETBACK

+100’

SIDEWALK 20’ 100’

WA S

WASHINGTON AVE

+50’

16th Street

HIN

50’

LN

O INC

AD RO

GT ON

AV E

L

50

SETBACK 20’

50

100’

50’

DR

+50’

50’

25

57

LA VE TH

WASHINGTON AVE

16

ET

RE

ST

25’

16TH STREET

PROFESSIONAL

EXE

SECTION DIAGRAM A

B

B

A

420 LINCOLN RD, MIAMI

ZON


PROGRAM

ICE

LN

RD

OFF

SHI

NG

LI

N

C

O

WA

MM

ERC

IAL

1

CO

L

ST

ICA

TH

HAN

AVE

6

MEC

TON

DRE

RES

IDE

NTI

420 LINCOLN RD, MIAMI

AVE

AL TEN ARQUITECTOS 06.30.16

RD LN C

O

WA

420 LINCOLN RD, MIAMI

EXISTING PEDESTRIAN TRAFFIC

XEL

NG

TON

AVE

TH 6

TH

1

6 1

DRE

SHI

ST

AVE

N

TON

ST

NG

LI

LN

RD

SHI

LI

N

C

O

WA

INTRODUCED ACCESS

PROGRAM DISTRIBUTION

MAIN ACCESS

58

XEL

DRE

AVE

TEN ARQUITECTOS 06.30.16

420 LINCOLN RD, MIAMI

PROPOSED PEDESTRIAN TRAFFIC

XEL

AVE

TEN ARQUITECTOS 06.30.16


DISTRICT MAPPING

50’ MAX. HEIGHT

COLLIN S

28’ (FLAT ROOF)

AVE.

WASHINGTON AVE.

FAR = 2.0

17th STREET 80’ MAX. HEIGHT 75’ MAX. HEIGHT 50’ MAX. HEIGHT RESIDENTIAL = 2.5 FAR

LINCOLN ROAD LOT AREA ≤ 45,000 SQFT = 2.25 FAR LOT AREA ≥ 45,000 SQFT = 2.75 FAR

CITY CENTER AREA 2.75 FAR 100’ MAX. HEIGHT

16th STREET

RS SINGLE FAMILY RESIDENTIAL RO RESIDENTIAL OFFICE

50’ MAX. HEIGHT

RM-1 RESIDENTIAL MULTIFAMILY, LOW INT

50’MAX. HEIGHT

FLAMINGO PARK LOCAL HISTORICAL DISTRICT 35’ MAX. HEIGHT

1.0 FAR

RM-2 RESIDENTIAL MULTIFAMILY, MED INT

0.75 FAR 50’MAX. HEIGHT 1.5 FAR

1.5 FAR

RM-3 RESIDENTIAL MULTIFAMILY, HIGH INT

33’ MAX. HEIGHT

DREXEL AVE.

40’ MAX. HEIGHT

TOWNHOUSE RESIDENTIAL CD-1 COMMERCIAL, LOW INT CD-2 COMMERCIAL, MED INT CD-3 COMMERCIAL, HIGH INT

28’ (FLAT ROOF)

MXE MIXED USE ENTERTAINMENT

FLAMINGO PARK

CCC CONVENTION CENTER DISTRICT I1 URBAN LIGHT INDUSTRIAL GU CIVIC AND GOVERNMENT USE

420 LINCOLN LINCOLN RD, RD, MIAMI MIAMI 420

TEN ARQUITECTOS ARQUITECTOS 06.30.16 06.27.16

OFFICIAL ZONING

HISTORICAL DISTRICTS

DISTRICTMAP MAX.OF HEIGHTS AND OFFICIAL ZONING THE CITY OF FAR MIAMI BEACH

PROFESSIONAL

59

RS SINGLE FAMILY RESIDENTIAL RO RESIDENTIAL OFFICE RM-1 RESIDENTIAL MULTIFAMILY, LOW INT RM-2 RESIDENTIAL MULTIFAMILY, MED INT RM-3 RESIDENTIAL MULTIFAMILY, HIGH INT TOWNHOUSE RESIDENTIAL MUSEUM HISTORIC DISTRICT

CD-1 COMMERCIAL, LOW INT

PALM VIEW HISTORIC DISTRICT

CD-2 COMMERCIAL, MED INT

FLAMINGO PARK HISTORIC DISTRICT

CD-3 COMMERCIAL, HIGH INT

ESPANOLA WAY HISTORIC DISTRICT

MXE MIXED USE ENTERTAINMENT

OCEAN DRIVE HISTORIC DISTRICT

CCC CONVENTION CENTER DISTRICT

COLLINS WATERFRONT HISTORIC DISTRICT

I1 URBAN LIGHT INDUSTRIAL

21ST STREET RECREATION CENTER HISTORIC DISTRICT

420 LINCOLN RD, MIAMI

GU CIVIC AND GOVERNMENT USE

HISTORICAL DISTRICTS

TEN ARQUITECTOS 06.30.16

420 LINCOLN RD, MIAMI

OFFICIAL ZONING MAP OF THE CITY OF MIAMI BEACH

TEN ARQUITECTOS 06.30.16


ADJACENT LANDMARKS

60 KEY HISTORICAL DISTRICTS INDIVIDUAL LANDMARKS INTERIOR LANDMARKS SITE

Design Architect:

Architect of Record:

TEN ARQUITECTOS

BIENENFELD ARCHITECTURE

Owner/Developer: YOUNGWOO & ASSOCIATES

217 W. 18TH STREET

New York, New York August 05, 2016

Chelse


140 West 18th Street Stable (current)

2

original

136 West 18th Street Stable (current)

original

3

130-132 West 18th Street Stables (current)

original

1

128 West 18th Street Stable (current)

2

original

126 West 18th Street Stable (current)

3

original

Church of the Holy Communion (current)

original

3

1

2

3

1

2

KEY

KEY HISTORICAL DISTRICTS

HISTORICAL DISTRICTS

INDIVIDUAL LANDMARKS

INDIVIDUAL LANDMARKS

INTERIOR LANDMARKS

INTERIOR LANDMARKS

SITE

SITE

HISTORICAL FOCUS AREA

HISTORICAL FOCUS AREA

Design Architect:

Architect of Record:

TEN ARQUITECTOS

BIENENFELD ARCHITECTURE

1

Owner/Developer: YOUNGWOO & ASSOCIATES

145 8th Avenue House (current)

original

217 W. 18TH STREET

2

New York, New York August 05, 2016

145 8th Avenue House (current)

Individual Landmarks

original

Design Architect:

Architect of Record:

TEN ARQUITECTOS

BIENENFELD ARCHITECTURE

1

Owner/Developer: YOUNGWOO & ASSOCIATES

New York Savings Bank (current)

original

217 W. 18TH STREET

2

New York County National Bank (current)

New York, New York August 05, 2016

original

Individual Landmarks

3

241 W 14th St. (current)

original

1

2

1

61

2 3

KEY

KEY

HISTORICAL DISTRICTS

HISTORICAL DISTRICTS

INDIVIDUAL LANDMARKS

INDIVIDUAL LANDMARKS

INTERIOR LANDMARKS

INTERIOR LANDMARKS

SITE

SITE

HISTORICAL FOCUS AREA

HISTORICAL FOCUS AREA

Design Architect:

Architect of Record:

TEN ARQUITECTOS

BIENENFELD ARCHITECTURE

Owner/Developer: YOUNGWOO & ASSOCIATES

217 W. 18TH STREET

New York, New York August 05, 2016

Individual Landmarks

Design Architect:

Architect of Record:

TEN ARQUITECTOS

BIENENFELD ARCHITECTURE

Owner/Developer: YOUNGWOO & ASSOCIATES

217 W. 18TH STREET

New York, New York August 05, 2016

Individual Landmarks

PROFESSIONAL

ADJACENT LANDMARKS

1


62

sekou cooke STUDIO [SUMMER 2015] SYRACUSE, NY


PROFESSIONAL

63


PROJECT SCOPE

MATERIAL DETAILS 64 RESULTANT OF A FURNITURE SEMINAR, EXPLORING HOW TO DESIGN FURNITURE FROM TRANSLATING THE LANGUAGE OF A BUILDING. THE INTERNSHIP INVOLVED, PRODUCING THE PHYSICAL PIECES THAT WERE DESIGNED BY STUDENT G. BOYAJIAN.


PROFESSIONAL

65

COMPLETED PIECES


66

CURB GARDNER CREATIVE GROUP [SUMMER 2017] NEW YORK CITY + DETROIT


PROFESSIONAL

67


9'-4 1/2"

10'-8"

3'-0"

6'-3 1/4"

16'-5 1/2"

3'-

BOULE [EVENT] DETROIT

0"

21 /2" " 8'0

3'-

0"

2" "

8'-

10'-0"

1/

11 '-

6

0"5 '-0

8'-

68


PROFESSIONAL

69


11'-0 3/4"

13'-0"

3'-3"

3'-0 3/4"

PRESS

9'-11 1/2"

10'-8 3/4"

18'-8"

B

D

E

14'-0 3/4"

A

11'-7"

3'-3" 12'-9 1/2"

WOMEN WC

3'-3"

15'-5"

F

MEN WC

3'-3"

EP

T EA

EP

DR

AN

-0"

12'

/4"

6'-6"

C

6'-

5'-8 3/4"

13

7'-3 1/2"

5'-0 1/4"

11'-6 3/4"

ST

33'-2 1/2"

3'-3 1/2"

6'-11 1/2"

14'-5 1/2"

70 11'-8 1/4"

3'-2 3/4"

11'-7 1/2"

10'-9"

CURB GARDNER CREATIVE GROUP AISHA MCSHAW FASHION SHOW [EVENT] AISHA MCSHAW - TEA ROOM PLAN

4'-0 3/4"

09.06.17 NEW YORK CITY

CURB GARDNER CREATIVE GROUP AISHA MCSHAW - RECEPTION PLAN 08.10.17

8'-0"

14'-1 3/4"

5'-11 1/4" BAR

6'-0"

FLORAL AND FOOD STATION


PROFESSIONAL

71


72

CHARLES H. WRIGHT GALA [EVENT] DETROIT


PROFESSIONAL

73


!

74 DNER CREATIVE GROUP

MOTOWN MUSEUM EXPANSION GALA [EVENT] DETROIT

!


75 DANCING “DANCINGININTHE THESTREET STREET”- PERSPECTIVE

PROFESSIONAL

C


LINED WITH WHITE DRAPES LINED WITH WHITE DRAPES

MOWTOWN SIGN (GOLD MOWTOWN LETTERS) SIGN (GOLD LETTERS) WHITE DRYWALL

WHITE DRYWALL

BLACK AND WHITE IMAGE BLACK WALLS AND WHITE IMAGE WALLS

Y REPLICA

WHITE TUFTED OTTOMAN WHITE TUFTED OTTOMAN

REGISTRATION TEAM REGISTRATION TEAM

RATION

REGISTRATION TABLESREGISTRATION TABLES

76 REGISTRATION TENT

B

REGISTRATION TENT REGISTRATION - OBLIQUE TENT - OBLIQUE

B

SCALE: 1/4’’ = 1’0’’

SCALE: 1/4’’ = 1’0’’

MOTOWN MUSEUM EXPANSION GALA [EVENT] DETROIT


LEAR LOUNGE LEAR AFTER PARTY LOUNGE

DINING TABLE SILVER

COFFEE TABLE MOMENT

WHITE IKEA SHELF

8FT BANQUET BAR STOOL POLISHED STAINLESS

GELATO COCKTAIL TABLE

BLACK DINER STOOLS

OTTOMAN LANCASTER TUFTED SILVER

TABLE RONDO BLACK

SMALL ROUND

MIDDLE CHAIR IMAGINATION

6FT BANQUET

DANCE BOXES

CHAIR PRINCTON BLACK

LEATHER DAYBED

SOFA IMAGINATION BLACK

! !

77

EN TR

27

23

22

16

PROFESSIONAL

CURB GARDNER CREATIVE GROUP

A

N CE

LAUNCH PARTY


DANCE FLOOR

STAGE

78 DINNER TENT B

DOOR 20FT

DINING TENT - OBLIQUE

MOTOWN MUSEUM EXPANSION GALA [EVENT] DETROIT

DOOR 20FT

DOOR 20FT


PROFESSIONAL

79


2'-4"

11'-6"

166∞

128

5'-

9"

146

15

'-0

3'-

103∞

"

6"

TECHNOLOGY 315 SQ.FT

R57'-8"

4' x 6'

6'-

0"

TABLE

6'-8

"

6∞

6∞

11'8

8'-0" 4"

"

1'-11"

∞ 115

0"

CEILING @ 8FT

CEILING @ 8FT

READ 285 SQ.FT

'-1

R78'-4"

NOTES 2"

3'-4"

4"

2''X4'' CUT OUT FOR CHARGER CORDS

4"

4"

4"

2'-10"

2"

31

1'-11"

4'' LEG BELOW TABLE TOP SURFACE

8'-0"

3'-9

"

4"

1'-11"

1'-11"

2'-10"

7'-4"

7'-4"

4"

4"

SCALE 1/8'' = 1' 0''

History

CHARLES H. WRIGHT CHILDREN’S LIBRARY [INTERIOR DESIGN]

7'-4" 6"

8'-0"

7'-4"

9"

71

8'-0"

1'-3"

4"

1'-3"

4"2'-10" 4"

8' LOW MAPLE TABLE - PLAN 8' LOW MAPLE TABLE - PLAN SCALE 1/8'' = 1' 0''

SCALE 1/8'' = 1' 0''

2"

4"

4" 4"

DETROIT

4"

8' LOW MAPLE TABLE - PLAN

1'-11"

4"

WHOLE TABLE IN MAPLE

80

7'-4"

9" 2"

4"

2"

3'-4" 2"

4"

14'-

4'' LEG BELOW TABLE TOP SURFACE

4"

WHOLE TABLE IN MAPLE

2''X4'' CUT OUT FOR CHARGER CORDS

4"

1'-11"

4'' LEG BELOW TABLE TOP SURFACE

3'-4"

2''X4'' CUT OUT FOR CHARGER CORDS

N

2'-1

"

4"

NOTES

NOTES

4"

4"

22'-4"

8'-0"

34

21'-8"

4"

WHOLE TABLE IN MAPLE

FLOOR

FLOOR 4"

4"

8' LOW MAPLE TABLE - LONG ELEVATION 8' LOW MAPLE TABLE - LONG ELEVATION SCALE 1/8'' = 1' 0''

SCALE 1/8'' = 1' 0''

4"


1

FOLDED PANTSFOLDED PANTS

1

MASTER BEDROOM - LEFT CLOSET

MASTER BEDROOM - RIGHT CLOSET

2

SCALE: 1/8’’ = 1’0’’

MASTER BEDROOM - LEFT CLOSET

SCALE: 1/8’’ = 1’0’’

2

SCALE: 1/8’’ = 1’0’’

MASTER BEDROOM - RIGHT CLOSET SCALE: 1/8’’ = 1’0’’

HANGING BAR HANGING BAR

ACCESS TO PANELS ACCESS TO PANELS

SHELVES FOR SHELVES FOR LARGE ARTICLES LARGE ARTICLES

HANGING BAR HANGING BAR

ACCESS TO PANELS ACCESS TO PANELS

SHELVES FOR SHELVES FOR LARGE ARTICLES LARGE ARTICLES SHELVES FOR SHELVES FOR FOLDED SHIRTS FOLDED SHIRTS

FOLDED PANTSFOLDED PANTS LONG ARTICLES LONG ARTICLES

HANGING BAR HANGING BAR SHOES

SHOES

SHOES SHOES LONG ARTICLES LONG ARTICLES

SHELVES FOR SHELVES FOR UNDERGARMENTS UNDERGARMENTS DRAWERS FOLDED SHIRTS FOLDED SHIRTS DRAWERS

SLIDING HANGINGSHOE BAR SLIDING HANGINGSHOE BAR COMPARTMENTCOMPARTMENT SHOES

SHOES

SHOES

SHOES

SOUND COMPARTMENT SOUND COMPARTMENT UNDERGARMENTS UNDERGARMENTS DRAWERS DRAWERS

SHOES

SHOES

SHOES

SHOES

SHOES

SHOES

SHOES

1

MASTERMASTER BEDROOM BEDROOM - LEFT CLOSET - LEFT CLOSET

1

SCALE: 1/8’’ SCALE: = 1’0’’ 1/8’’ = 1’0’’

MASTERMASTER BEDROOM BEDROOM - LEFT CLOSET - LEFT CLOSET

1

SCALE: 1/8’’ SCALE: = 1’0’’ 1/8’’ = 1’0’’

CLIENT MASTER CLOSET [INTERIOR DESIGN]

SHOES

SOUND COMPARTMENT SOUND COMPARTMENT

SHOES

1

NEW YORK CITY

SHOES

2 2

MASTERMASTER BEDROOM BEDROOM - RIGHT CLOSET - RIGHT CLOSET

2

SCALE: 1/8’’ SCALE: = 1’0’’ 1/8’’ = 1’0’’

MASTERMASTER BEDROOM BEDROOM - RIGHT CLOSET - RIGHT CLOSET

2

SCALE: 1/8’’ SCALE: = 1’0’’ 1/8’’ = 1’0’’

SHOES

81 PROFESSIONAL

SHOES

SLIDING SHOE SLIDING SHOE COMPARTMENTCOMPARTMENT


B GARDNER CREATIVE GROUP HARTSFIELD HEATED FLOOR

BASEMENT HEATED FLOOR LAYOUT OPTIONS

CURB GARDNER CREATIVE GROUP HARTSFIELD HEATED FLOOR

CURB GARDNER CREATIVE GROUP HARTSFIELD HEATED FLOOR

82 A

A

340 SQFT HEATED FLOOR

340 SQFT HEATED FLOOR SCALE 1/8’’ = 1’ 0’’

B

298 SQFT 340 SQFT HEATED HEATED FLOOR FLOOR

A

SCALESCALE 1/8’’ = 1’1/8’’ 0’’ = 1’ 0’’

SCALE 1/8’’ = 1’ 0’’

CLIENT HEATED FLOOR SYSTEM [INTERIOR DESIGN] DETROIT

B

B

298 SQFT HEATED FLOOR

298 SQFT HEATED FLOOR SCALE 1/8’’ = 1’ 0’’

SCALE 1/8’’ = 1’ 0’’


CUSTOM TROFF OPTIONS

6"

10"

10"

5"

6"

1'-4 1/2"

7"

9 1/2"

6 1/2"

10"

1'-9 1/2"

5"

3" 3"

10"

10"

1'-0 1/2"

8"

5"

2'-3 1/2"

5'-1 1/4"

10"

11 3/4"

9 1/2"

5" 1'-4 1/2" 6"

2'-3 1/2"

3" 3"

10"

1'-9 1/2"

6"

1'-9 1/2" 10"

6"

10"

1'-0 1/2"

10"

10"

2'-3 1/2"

10"

1'-0 1/2"

1'-9 1/2" 6"

1'-0 1/2"

6"

CLIENT TROFF DESIGNS [INTERIOR DESIGN] DETROIT

83 PROFESSIONAL

2'-3 1/2"


STEPHANIE WHITE SEWHIT.SW@GMAIL.COM 201.245.7846


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