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P R AT T

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GAUD

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INSTITUTE

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CV

I. WORKS T H E F O R E S T

C R I T I C V I T O A C C O N C I P R A T T G A U D

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I N S I D E O U T

C R I T I C H E N T I E L O U W S C H O O L O F A P L

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T H E F L O W C R I T I C S T E P H A N I E B A Y A R D T E A M J O S E A B R E U P AT R I C K G E H L I N G

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P R A T T G A U D

I N W A R D H O U S E

C R I T I C J A M E S S L A D E P R A T T G A U D

II.

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E X P L O R AT I O N S T H E L I V A B L E C I T Y

C R I T I C A L E X A N D R A P R A T T G A U D

BARKER

S U N K E N F O R E S T

C R I T I C S I G N E N I E L S E N P R A T T G A U D

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III. PROFESSIONAL M A L I C A Z A A R C H I T E C T S

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N E W Y O R K , U S A

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YOUNGEUN EMMA JUNG P H O N E E M A I L

917.932.5215 youngeun. jung31@gmail.com

E D U C AT I O N P R AT T I N S T I T U T E P R AT T G A U D

MASTERS IN ARCHITECTURE

05-2017 09-2014

NEW YORK, USA

ARCHIVED “ I N WA R D H O U S E ” CRITIC: JAMES SLADE “ T H E F L O W ” C R I T I C : S T E P H A N I E B AYA R D “ D E TA I L ” C R I T I C : S T E P H E N C H U P R AT T I N S T I T U T E G R A D U AT E A S S I S TA N T TO T H E D E A N G R A D U AT E T E A C H I N G A S S I S TA N T M AT E R I A L S A N D A S S E M B L Y

05-2017 09-2016

12-2016 09-2016

I N S T R U C TO R S : GABRIELLE BRAINARD, STEPHEN CHU FRANK LUPO, BEN MARTINSON

N A A B A C C R E D I TAT I O N A S S I S TA N T

05-2016 03-2015

P R O D U C T I O N FAC I L I T Y M A N AG E R

09-2015 10-2014

NEWCASTLE UNIVERSITY SCHOOL OF APL

BACHELOR OF ARTS WITH HONORS ARCHITECTURAL STUDIES

10-2008 06-2011

NEWCASTLE UPON TYNE, UK

VOLUNTEER WORK L I G H T I N A F R I C A , TA N Z A N I A

4

08-2009


EXPERIENCE CAZA ARCHITECTS

SKILLS 08-2016 05-2016

DESIGN INTERN

3 DS MA X A DOB E A FTEREFFECTS A DOB E IL L US TRATOR A DOB E INDES IG N A DOB E PH OTOS H O P A RC G IS AUTO CA D MA X WEL L RENDER MAYA MICRO S OFT WORD MICRO S OFT EX CEL MICRO S OFT POWERPO INT REVIT RH INOCERO S S KETCH UP Z PRINT

NEW YORK, USA

PROJECTS “MALI” DESIGN RESEARCH CONCEPTUAL DESIGN P R E S E N TAT I O N D R AW I N G S COLLAGE RENDERS

“ O Y S T E R TOW E R ” NEW YORK CITY CODE RESEARCH A N A L Y T I C A L D R AW I N G S

D AV I G N O N M A R T I N ARCHITECTURE + INTERIORS

D I G I TA L

06-2013 04-2012

JUNIOR A R C H I T E C T U R A L A S S I S TA N T

PRODUCTION 3 D PRINTING L A S ER CUTTING

C A L G A R Y, C A N A D A

ANALOG

PROJECTS

H A ND DRA FTING FREEH A ND S KETCH ING MODEL B UIL DING

“YU CLINIC” DESIGN RESEARCH CONCEPTUAL DESIGN CLIENT MEETINGS CONCEPT RENDERS FA B R I C AT I O N D R AW I N G S

AWA R D S A N D P U B L I C AT I O N S NEWCASTLE UNIVERSITY

“RIVER HOUSE”

SCHOOL OF APL I N T E R N AT I O N A L STUDENT SCHOLARSHIP 2008

3D MODELING FA B R I C AT I O N D R AW I N G S

08-2010

SAMOO ARCHITECTS & ENGINEERS INTERN SEOUL, KOREA DESIGN RESEARCH CONCEPT DESIGN P R E S E N TAT I O N PA C K A G E

P R AT T I N S T I T U T E P R AT T G A U D INPROCESS 2017

P R AT T I N S T I T U T E P R AT T G A U D FIRST YEAR P O R T F O L I O AWA R D 2015

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I. WORKS


THE FOREST P R AT T G A U D

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SITE M OTO R G AT E G A R A G E , R O O S E V E LT I S L A N D , NEW YORK

PROGRAM INSTITUTIONAL BUILDING

L OT S I Z E 87,500 SQFT

CRITIC V I TO AC C O N C I

JURY JAMES WINES KRIS KIZAK M A R I A A I O L O VA MARIA SIEIRA

The site is located on the northern side of Roosevelt island, it is the motor garage that currently serves as the only vehicular access point to the island. The garage is directly adjacent to the Roosevelt Island Bridge that connects Roosevelt Island from Queens. I n s p i r e d b y t h e w r i t i n g s o f T. S E l l i o t a n d J o r g e Louis Borges, the motor garage will partly be transformed into an interactive library for the residents and visitors.

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THE LOVE SONG OF J. ALFRED PRUFROCK T. S . E L L I OT

Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question… Oh, do not ask, “What is it?” Let us go and make our visit. In the room the women come and go Talking of Michelangelo. The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep. And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window-panes; There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea. In the room the women come and go Talking of Michelangelo.

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THE LIBRARY OF BABEL JORGE LOUIS BORGES

The universe (which others call the Library) is composed of an indefinite and perhaps infinite number of hexagonal galleries, with vast air shafts between, surrounded by very low railings. From any of the hexagons one can see, interminably, the upper and lower floors. The distribution of the galleries is invariable. Twenty shelves, five long shelves per side, cover all the sides except two; their height, which is the distance from floor to ceiling, scarcely exceeds that of a normal bookcase. One of the free sides leads to a narrow hallway which opens onto another gallery, identical to the first and to all the rest. To the left and right of the hallway there are two very small closets. In the first, one may sleep standing up; in the other, satisfy one’s fecal necessities. Also through here passes a spiral stairway, which sinks abysmally and soars upwards to remote distances. In the hallway there is a mirror which faithfully duplicates all appearances. Men usually infer from this mirror that the Library is not infinite (if it were, why this illusory duplication?); I prefer to dream that its polished surfaces represent and promise the infinite ... Light is provided by some spherical fruit which bear the name of lamps. There are two, transversally placed, in each hexagon. The light they emit is insufficient, incessant. When it was proclaimed that the Library contained all books, the first impression was one of extravagant happiness. All men felt themselves to be the masters of an intact and secret treasure. There was no personal or world problem whose eloquent solution did not exist in some hexagon. The universe was justified, the universe suddenly usurped the unlimited dimensions of hope. At that time a great deal was said about the Vindications: books of apology and prophecy which vindicated for all time the acts of every man in the universe and retained prodigious arcana for his future. Thousands of the greedy abandoned their sweet native hexagons and rushed up the stairways, urged on by the vain intention of finding their Vindication. These pilgrims disputed in the narrow corridors, proferred dark curses, strangled each other on the divine stairways, flung the deceptive books into the air shafts, met their death cast down in a similar fashion by the inhabitants of remote regions. Others went mad ... The Vindications exist (I have seen two which refer to persons of the future, to persons who are perhaps not imaginary) but the searchers did not remember that the possibility of a man’s finding his Vindication, or some treacherous variation thereof, can be computed as zero. At that time it was also hoped that a clarification of humanity’s basic mysteries -- the origin of the Library and of time -- might be found. It is verisimilar that these grave mysteries could be explained in words: if the language of philosophers is not sufficient, the multiform Library will have produced the unprecedented language required, with its vocabularies and grammars. For four centuries now men have exhausted the hexagons ... There are official searchers, inquisitors. I have seen them in the performance of their function: they always arrive extremely tired from their journeys; they speak of a broken stairway which almost killed them; they talk with the librarian of galleries and stairs; sometimes they pick up the nearest volume and leaf through it, looking for infamous words. Obviously, no one expects to discover anything.

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Exploring the stacks. Between the shadow and light One may only find the empty shelves ...

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Fo r e s t o f c o l u m n s . Wa n d e r , ex p l o r e , g e t l o s t i n yo u r own thoughts

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Shadows will come and go Columns will sway and whisper. Plunge. Into the darkness.

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Level 6 pick up the book & enter the park

enter on level 1

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read, write, think & contemplate

find the staircases and descend

vehicle parking flr 1 - 5

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27


INSIDE OUT SCHOOL OF APL

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SITE G AT E S H E A D , TYNE AND WEAR

PROGRAM MONTESSORI SCHOOL

L OT S I Z E 50,000 SQFT

CRITIC HENTIE LOUW

Located in Northeast England, the area of G a t e s h e a d , Ty n e a n d W e a r i s a h i g h l y i m p o v e r i s h e d area that is characterized by large swaths of contaminated industrial land uses. The Montessori School was introduced as a means to enhance the subject area, to encourage growth, and diminish the educational gap between the marginalized district and more established districts nearby.

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‘Places near and far are here, for there is always traffic moving north-south on the road and diagonally overhead in the air.’ Children’s home in Amsterdam, Aldo van Eyck

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Learning space overlooks onto the library and use of natural materials

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Outdoor recreational area Inner-Outer quality


Courtyard space

Extension of nature Framing the view

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A L D O VA N E Y C K Children’s home in Amsterdam

Inspired primarily by Aldo van Eyck’s writing, the Montessori primary school in Gateshead was thought to be a space that allowed a child to shift freely from one space to another. Further study of the traditional Korean architecture, Han-Oak enriched the materiality and hierarchy of spaces. ‘Since the interior street is an intermediary place, I wanted the child’s behavior and movement in it to remain as vigorous as they are outside. ... The child is inside here - the same outside child.’

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A

B

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Site section A

South Elevation B

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38


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CLASSROOM Children will exercises a floor-seating life style influenced by Maria Montessori’s teaching method. Children will play with Montessori materials and engage with nature beyond the classroom.

Model of a typical classroom showing the two rooms seperated by a curtain.

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7 1 9

8

2

5

6

3 FLOORPLAN 1 2 3 4 5 6 7 8 9

Auditorium Classroom (3-6) Classroom (6-9) Classroom (9-11) Courtyard library Offices Bathrooms Upper library Upper deck

4

Classroom

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AT M O S P H E R I C D R AW I N G S ‘Framing the view’

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‘Endless pathway’

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AT M O S P H E R I C D R AW I N G S ‘Hierarchy of learning’

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‘Gathered universe’

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THE FLOW P R AT T G A U D

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SITE VENICE

PROGRAM T H E AT R E

L OT S I Z E 30,000 SQFT

TEAM JOSE ABREU PAT R I C K G E H L I N G

CRITIC S T E P H A N I E B AYA R D AA 64

C O N S U LTA N T S SITE M E TA B R U N Z E M A M e t a B r u n z e m a A r c h i t e c t P. C . FAC A D E GABRIELLE BRAINARD Heintges MECHANICAL ROBERT KEARNS Buro Hpappold STRUCTURAL SARRAH KHAN Agency group

Comprehensive Architectural Practice (CAP) studio emphasizes the comprehensive nature of architectural design. As a team, students are required to design a building proposal, complete from conceptual development, right through to the construction documentation phase. Through rigorous site analysis and research, design development focused primarily on climatic conditions and contextual urban n u a n c e s . F u r t h e r m o re , va r i o u s a s p e c t s o f s u s t a i n a b i l i ty, structure, mechanical systems and building code regulations for specific project types were explored and examined. Situated in Venice, the design of a performance theater will act as a vehicle access point. From the site, visitors and commuters will travel via foot or water transportation. The intention was to introduce the building as an entry platform to Venice with access to an outdoor entertainment area that includes a theater and market space. Natural ventilation is achieved by the strategic positioning of the building envelope, which takes advantage of the northerly winds. Ad d i t i o n a l ly, t h e b u i l d i n g ’ s s o u t h f a c i n g f a c a d e m a x i m i z e s solar exposure.

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possib le PAT H

CONCEPT 1: UP T h r o u g h G o o g l e m a p , t h e s t r e e t s o f Ve n i c e wa s ex p l o r e d i n t h e wo r m ’ s eye view. What was discovered was the friendly interaction between neighbors, the relationship between nature and architecture and the feeling of c o m p r e ss i o n a n d ex p a n s i o n a s t h e b a c k s t r e e t s o f Ve n i c e i n t r o d u c e d m o r e narrowing of the streets or the contrary.

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CONCEPT 2: TWISTED SECTIONS Ta k i n g s e r i e s o f s e c t i o n l i n e s t o c r e a t e a t h r e e - d i m e n s i o n a l m o d e l that demonstrates fluidity, transformity and duality of surfaces.

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PERFORM VENICE

A big part of designing the theater was to make the entertainment m o r e a c c e ss i b l e t o t h e p u b l i c . We r e a l i z e d t h a t a l a r g e p o r t i o n o f the site was dedicated to parking, this meant that the site was busy throughout the day but unused at night. Therefore the intention was to transform the parking lot as an outdoor theater after hours. The surface of the parking lot was treated with grass and reclaimed bricks and parking stalls are oriented softly towards the theater to view the projection at the northern wall of the theater.

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A

B

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FLUID MOVEMENT

I n a m e z o s c a l e , Pe r f o r m V e n i c e r e c a p t u r e s t h e e x p e r i e n c e o f Ve n i c e , t h e f l u i d f o r m o f t h e b u i l d i n g s u g g e s t s c o n t i n u i ty a n d changing condition of the path discovered from the initial site research. The design of the building opens up the plaza for possibilities of engaging local residents and to use the space as an open market space during the summer months.

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GREEN SPACES

GREY WATER TREATMENT

SIDEWALK

DAYLIGHTING CANAL

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OUTDOOR THEATER

RECLAIMED BRICKS

OUTDOOR MARKET


S U S TA I N A B I L I T Y S T R AT E G Y E N V I R O N M E N TA L • • • • •

Using natural ventilation in the market area during the summer months to reduce the use of fossil-fuel Using operable windows in the office space to allow natural ventilation during the summer Grey water is properly collected to be used in bathrooms Reclaimed bricks are used on the ground floor of the building for the reuse of excess materials Pe d e s t r i a n w a l k a n d p a v e m e n t s a r o u n d t h e s i t e u s e s l i g h t - c o l o r , reclaimed open-joint bricks to reduce the urban heat effect and allow drainage. Orientation of the building is adjusted to take advantage of the northern wind, this will allow natural air to flow in from the outside and ventilate the tall lobby space Daylighting of the exiting canal on the south side of the site to create a biodiversity in the area and to facilitate rehabilitation of the urban lagoon ecosystem Site designed for storm water to filter through green infrastructure in order to stream clean water back in to the canal

S O C I O - C U LT U R A L • • •

• •

Pa r t o f t h e e x i s t i n g c a n a l w a s d a y l i g h t e d o n t h e s o u t h o f t h e s i t e f o r model-boating area for the children Designed a forest area for cooler micro-climate and to engage with the neighbors Va s t p o r t i o n o f t h e s i t e wa s p a ve d w i t h r e c l a i m e d l i g h t - c o l o r e d , o p e n joint bricks that can be tranformed as an open theatre space for the visitors and residents Projection screen is installed on the west facade Open market and seating area as well as steps are provided for extra seating to serve the local labor and culture on the weekends

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SITE SECTIONS

Site Section B-B1

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S i t e S e c t i o n A - A1


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E L E VAT I O N S

NORTH ELEVATION

North Elevation

6 0EAST ELEVATION


ARCH TECTS Youngeun Emma Jung NORTH ELEVATION

Fondamenta Cossetti, 8912, 30135 Venizia Italy

Performance Theatre Venice

Jose Abreu Patrick Ghelling

EAST ELEVATION

South Elevation

General Comments

No.

Revision

Date

1

Concept Design Review

02/11/16

2

Schematic Design Review

03/26/16

3

Final Design Review

05/09/16

Project

Performance Theatre

Date

05/09/16

Sheet

A2.1 0.00

61


A2.1 1

A5

03 .1

01 A3.2

A3

01 .1

2 A2.1

3'-0" A.F.F.

GROUND FLOOR PLAN 62


2 A5.1

A5

03 .1

01 A3.2

1 A5.2

2 A5.2

A3

01 .1

1 A1.01

SECOND FLOOR PLAN 63


A3

01 .1

A5

03 .1

01 A3.2

THIRD FLOOR PLAN 64


A5

03 .1

01 A3.2

A3

01 .1

SLOPE 12' PER FT.

FOURTH FLOOR PLAN 65


ELEVATOR CORE LOBBY BAR/CAFE OBSERVATION DECK

P R O G R A M / C I R C U L AT I O N We wa n t e d t h e b u i l d i n g t o f e e l l i k e a g r a n d e n t r a n c e t o Ve n i c e t h a t c o n n e c t v i s i t o r s t o rest of the city. Therefore the design of the building reflects the natural flow of the visitors.

EGRESS STAIR OFFICES OUTDOOR PLAZA

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THEATRE EGRESS STAIR BACK OF HOUSE LOADING DOCK

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1

FACADE ELEVATION

3

Scale: 1/2" = 1'-0"

E

F

2

DETAIL PLAN

Scale: 1/2" = 1'-0"

S T R U C T U R E D E TA I L S

The building makes use of concrete and steel structural system. The Shear wall defining the theater act like anchors to the building. Structural Steel was implemented in the lobby and circulation to achieve large spans and a feel of lightness.

1. 2. 3. 4. 5. 6. 7. 8.

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Fiber glass insulation Steel stud framing Steel column beyond Glass Storefront window wall Concrete slab on deck Metal hangers GWB interior finish

9. 10. 11. 12. 13. 14. 15. 16.

Steel beam with fire protection Tr a v e r t i n e p a n e l s Metal shelving Horizontal bracing Ve r t i c a l b r a c i n g Horizontal steel section Metal panels with insulation Wa t e r p r o f f m e m b r a n e

DETAIL SECTION Scale: 1/2" = 1'-0"


1 2

3 4

10 11 12 13 5 6

14 15 16 7 8 9

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FAC A D E

The facade of the building consist of a thin travertine panels that were set on a shelf and held back to the main structure. This facade system allowed the space to be softly lit by a natural light and the horizontal travertine strips emphasized the fluid form of the building.

1. Cross Brace Member 2 . H o r i z o n t a l Tr u s s 3. Concrete floor on metal deck 4. Storefront window mullion 5. Sealant for thermal protection 6. Horizontal steel member 7. Stud wall with insulation 8 . Ve r t i c a l b r a c i n g m e m b e r 9. Horizontal bracing member 1 0 . Tr a v e r t i n e 11. Metal shelving

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1 2

3 4 5 6 7

10

8

11

9

71


NSVERSE SECTION

A. TRANSVERSE SECTION

6

72

5

4

3

2

1


T.O.D. 2ND FLOOR ELEV: + 19’ - 0”

STAGE

A 1

ELEV: + 3’ - 0”

GROUND

ELEV: + 0’ - 0” 2

2

1

N

TOP OF PARAPET ELEV: + 74 - 0” T.O.D. ROOF ELEV: + 64 - 0”

T.O.D. 4 TH FLOOR ELEV: + 48 - 0” T.O.D. 4 TH FLOOR ELEV: + 44’ - 0”

T.O.D. 3 RD FLOOR ELEV: + 32’ - 0”

T.O.D. 2 ND FLOOR ELEV: + 19’ - 0”

A2.1 1/8” = 1’

1

STAGE ELEV: + 3’ - 0” GROUND ELEV: + 0’ - 0” 2

2

1

N

73


B. LONGITUDINAL SECTION

2 : LONGITUDINAL SECTION

I

74

J

K

L

M

N


T.O.D. 2ND FLOOR ELEV: + 19’ - 0”

STAGE

1

ELEV: + 3’ - 0”

GROUND

ELEV: + 0’ - 0”

B

2

2

Q

R

TOP OF PARAPET ELEV: + 74 - 0” T.O.D. ROOF ELEV: + 64 - 0”

T.O.D. 4 TH FLOOR ELEV: + 48 - 0” T.O.D. 4 TH FLOOR ELEV: + 44’ - 0”

T.O.D. 3 RD FLOOR ELEV: + 32’ - 0”

A2.1

T.O.D. 2 ND FLOOR ELEV: + 19’ - 0”

1/8” = 1’

STAGE ELEV: + 3’ - 0” GROUND ELEV: + 0’ - 0” 1

P

2

1

N

2

1

O

1

N

S 5.2

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76


77


I N WA R D H O U S E P R AT T G A U D

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SITE SHORE ROAD B AY R I D G E , NEW YORK

PROGRAM MIXED USE RESIDENTIAL

L OT S I Z E 130,000 SQFT

CRITIC JAMES SLADE

The inspiration behind Inward House combines the notion of habitat (residential complex), health (cancer research center), and community (neighborhood community center) under one roof. Studying the socio-political aspects of the subject site, and conducting research in current lifestyle trends and housing revealed various trends pertaining to co-consumption, gige c o n o my, f a r m - t o - t a b l e m ove m e n t , a n d s h a re d c o m m u n a l a n d amenity spaces. The proposed housing complex is part of the 10 year redevelopment plan for Bayridge. Inward House aims to attract young professionals to rejuvenate the current aging population of Bayridge. Inward house will implement coconsumption to reduce energy usage and encourage residents to share commodities, from vehicles to kitchen utensils. The Maggie Center (cancer research center) also located in the building will help to engage the local population by enabling health education, awareness, and encouraging healthy and active lifestyles among the aging demographic.

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mixed use high density housing program study

C O N N E C T I V I T Y - C O R E L AT I O N S H I P

Circulation/ C o n n e c t i o nhigh

density housing

Commercial Unit

High Density Housing

commercial unit circulation/ connection

alternating network connection

Alternating Network Connection

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loop connection

Loop Connection

central connection

Central Connection


CONSUMPTION / CYCLE

PATH-WAY-FINDING

PATH-WAY-FINDING

Pa t h - W a y - F i n d i n g

PROGRAM / VISUAL PERMIABILITY

P r o g r a m - V i s u a l Pe r m e a b i l i t y

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MAGGIE’S CENTER FOR CANCER RESEARCH

The defining characteristics of a Maggie’s center is the act of sharing stories about cancer around the kitchen table. In Maggie’s center, kitchen and dining room are communal areas where stories are shared between the patients as well as doctors and families of patients. This ‘dine-in’ support area promotes openness about cancer and comforts the patients.

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3rd ave

4th ave

101st street

sho

re

roa

d

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Section

Cross

A - A’

Section

Unit B

Entry

Unit A

Unit

Unit A

Unit B

A - A’

Sleeping

Bathing

Unit A

Sleeping

Unit B

Wo r k i n g

Bathing

OFFICETEL

Officetel is a housing type originated from Korea where the initial intent largely concerned the working individuals. These type of building typically consist of residential and commercial units, and it is designed to be partially self-contained buildings, such occupants can live and work in the same building to minimize the commute time. Officetel parcels are typically around 50 to 100 sqmt; basic furnishings are usually included with an officetel lease and often includes built-in furniture.

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b

BATHE

t

i un

SL

it

un

a

BATHE

WO

EE

P

RK

P

EE

SL

RK

WO

WORK / SLEEP

In response to the growing concept of gig-economy, this project looks ahead to the future development of Bayridge area where spaces are dedicated for working individuals. The organization of the space within unit follows a notion that the i n h a b i t a n t s e i t h e r c h o o s e t o Wo r k o r S l e e p . Further kitchen area is omitted from the individual units to encourage collaborative consumption.

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Unit C

dn

dn

Level 3

Level 3

Wo r k i n g / B a t h i n g

Wo r k i n g / B a t h i n g

Unit A

Unit C

Level 2 Sleeping

Level 2 Sleeping

dn

dn

up

Unit B

Unit D

Level 2

Level 2

Sleeping

Sleeping

up

Unit A

Unit B

Level 1 Wo r k i n g / B a t h i n g

Level 1 Wo r k i n g / B a t h i n g up

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Unit D

up


UNITS

Each unit There are Both type users can

is split into 2 different levels; a space for working or sleeping. 2 different units stacked and mirrored to make up a module. of modules are accessible on the unit’s lower level, where the choose to work or climb the stairs to the floor above to sleep.

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Ty p i c a l

FL 2 3 4 Residential

UP

UP

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Ty p i c a l

FL 5 6 7 Residential

UP

UP

91


92


VERTICAL LIVING

A high percentage of single, working individuals maintain themselves by a prepared meal or dining out. Thus incorporating shared kitchens is an attempt to enhance the quality of life of working individuals where collaborative consumption makes cooking more efficient and also promotes a healthier lifestyle. Further the produce that will be used to prepare a meal can be obtained from the vertical gardens. The vertical gardens also provide a soft landscape within the building and the lushness of these green features will further promote positive and healthy lifestyle to the residents. In shared kitchens, the residents are able to communicate with their neighbors and exchange information in a similar manner to the Maggie’s Center for cancer research.

93


Residential Block Maggie’s Center A N ATO M Y O F T H E B U I L D I N G

The lower stack on the ground floor serves main circulation to the residential floors above. The ground floor houses Maggie’s Center where the visitors can come to dine and research about cancer.

94


Residential Block Maggie’s Center

VERTICAL GARDENS

The green blocks are used as a resting/meditation/living space for the residents. Highlighted below in green are the green walls where they grow produces for the residents.

95


WA L L S E C T I O N U P P E R F L O O R S

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WA L L S E C T I O N L O W E R F L O O R S


I N T. M E D . F L O O R D E TA I L

O V E R H A N G D E TA I L

F O U N D AT I O N D E TA I L

97


a-a’

b-b’

S e c t i o n A - A’

98


a-a’

b-b’

Section B-B’

99


100


101


102


I I . E X P L O R AT I O N S

103


T H E L I VA B L E C I T Y P R AT T I N S T I T U T E

104


TO P I C CRITICAL GEOGRAPHY

TEAM JOSE ABREU T I A N Y U YA N G

CRITIC ALEXANDRA BARKER A L I H A N P O L AT

What type of urban characteristics does Manhattan possess that would qualify it as the ideal place to live? Is there a particular set of characteristics that can be measured, studied, quantified, and observed throughout the City that could possible shed light on the question at hand? To u n d e r s t a n d t h e n o t i o n o f t h e i d e a l c i t y , f i v e u r b a n attributes of Manhattan were examined that are to b e c o n s i d e re d v i t a l t o t h e d a i ly l i ve s o f N ew Yo r k e rs ; The Subway; Schools; Park Spaces; Grocery Stores and Hospitals.

105


T H E L I VA B L E C I T Y

Ave r a g e s p e e d o f a p e r s o n wa l k i n g i s a b o u t 3 . 1 m l / h r. This means that (3.1mil/hr)x(1 hr/60s) = 0.05 mil/min. To m e a s u r e t h e i d e a l d i s t a n c e f o r t h e l i v a b l e c i t y p r o j e c t , we used 0.05 mil/hr as a guideline to draw the boundaries.

The five features were graded using point system by answering the guiding questions: 1 . D o e s t h e f e a t u r e s e r v e a l l p u b l i c ? [ Ye s - 2 / N o - 1 ] 2. How frequent is the feature served in a week? [1-7] 3 . D o e s t h e f e a t u r e h a v e t o b e c l o s e t o t h e u s e r s ? [ Ye s - 2 / N o - 1 ]

Category

Total Score

1

2 12

S U B WAY

1

2

SCHOOL

3 9

1

2

PA R K

3

3

9

1

2

GROCERY

12

1

2

H O S P I TA L

3

3

8

B U I L D I N G F O OT P R I N T

1 min2 0.05 mil0

106

min .10 mil0

3 min4 .15 mil0

min .20 mil


S U B WAY S

SCHOOL

Subway stations are densely located between 8th ave a n d Pa r k a v e , M a n h a t t a n . I t i s m o r e d e n s e l y l o c a t e d on the southern part of the city than the northern part of Manhattan.

Lower Eastside and East Harlem is more populated with schools and it is less populated in Hells kitchen, Midtown and East village. (Between 42th and 59th street)

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T H E L I VA B L E C I T Y

The distance to hospital is 5 times greater as the frequency of the need is comparatively less. Therefore the average distance for hospital is determined as 0.25 mil/min.

PA R K

1 min2 0.25 mil0

108

min .50 mil0

3 min4 .75 mil1

min .0 mil

There are consistent parks that are large and small throughout Manhattan, however there are less park spaces available in Hells kitchen and Midtown.


GROCERY

H O S P I TA L

Grocery stores are easily found in Manhattan (size larger than 10,000sf) however it is most dense in lower Manhattan in Chinatown and Little Italy.

Hospitals are concentrated in Upper East Side, Medical city and Stuyvesant street.

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T H E L I VA B L E C I T Y

Further study of the property taxation report showed that the property taxation have high price peaks near the water boundaries, even though there are less amenities available. A possible reason for this is the waterfront view, having a view towards the river might have a higher impact on the real estate value than having the amenities near by. Also the waterfront view would have more impact on the property value for residences than an office building.

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The molding and vacuum form of the property taxation data

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The 3d printed model of the amenities in Manhattan

112


Ultimately, the study of livable city is marginalized to middle-low income households, where the lifestyle generally requires access to amenities without personal vehicle access and the study was helpful in an overall understanding of housing price trends in Manhattan.

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SUNKEN FOREST P R AT T I N S T I T U T E

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TO P I C URBAN DESIGN AND PLANNING

CRITIC SIGNE NIELSEN

Hudson Square is currently a under-utilized and neglected public park located on Sixth Avenue between Broome and Spring Street in Manhattan. The design intention behind this proposal is to enhance the atmosphere of the space for daily use among residents and v i s i t o rs . Ad d i t i o n a l ly, t h e ove r a c h i n g g o a l o f t h i s p ro j e c t was to make this park respond better to current vehicular traffic patterns in the area, promoting a pedestrian focused environment. The creation of green streets and open spaces is a key strategy to establish strong neighborhood connections, i d e n t i ty, a n d s e n s e o f p l a c e .

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HUDSON SQUARE

SITE

116

SOHO AREA


There are limited areas of open/green spaces in the district of SoHo due to its high density and function as a shopping and entertainment quarter. The location of Hudson's Square (marked by satellite map) illustrates its potential to become a popular green space that could serve pedestrian connectivity to and from SoHo. T h e i d e a t o c o n n e c t H u d s o n S q u a r e t o Tr u m p P l a z a i s t o e n c o u r a g e p e o p l e t o t r a v e l between SoHo and Hudson Square for food, entertainment and recreation. Engaging with the local community and expanding the SoHo area to Hudson Square will boost retail business and establish safer streets due to the notion of "eyes on the street" enabled by an increase in pedestrian activity and flow.

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SITE BACKGROUND

S TAT U E O F T H E L I B E R ATO R S J O S É G E R VA S I O A R T I G A S

Jose Gervasio Artigas is one of the major figure of Latine American countries. His sculpture ove r l o o k t h e Ave n u e o f t h e A m e r i c a s i n H u d s o n square, which was one of several wedged shaped p u b l i c p l a z a s c r e a t e d w h e n S i x t h Ave n u e wa s extended South of Carmine Street in the 1920s. T h e s t r e e t wa s r e n a m e d Ave n u e o f A m e r i c a i n 1945 at the suggestion of Mayor Fiorello H. L a G u a r d i a , t o h o n o r Pa n - A m e r i c a n i d e a l s a n d principles.

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C U R R E N T S TAT E

Currently, there are benches placed in an unorganized manner and poor condition, creating an undesirable place to hangout. There is a public school located close to the Hudson square but there are no distinctive features at the square to accommodate high school students.

The idea behind the design of Hudson Square is an urban park. Since there are abundance of existing tress on site that are in a good condition, the design will maximize the use of existing greens and the concentrated lush of green will appeal to the pedestrians entering the site from the Spring street entrance.

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PRECEDENT STUDY

VANKE CHONGQING XIJIU PLAZA ASPECT Studios The plaza encourages engagement and activity between people within the community, those from different age groups with different interests, resulting in a dynamic, memorable and innovative urban space. I was interested in different type of seating where it is a continuous loop of seating area, allowing for people to sit on the steps, which reminded me of the stoops in N e w Yo r k .

120


PLACE LAZARE GOUJON In Situ Architectes Paysagistes The idea of central seating with a focal point was interesting to me. This arrangement could be incorporated with a large tree as a center point for Hudson Square.

121


BIG IDEA 1 Connecting Hudson Square to Soho:

Using Spring street as the main entrance to the site, the main goal is to bring in the tourists and residents to the Hudson square. Since there are not many green spaces around Soho, making an urban forest would attract people to Hudson square.

BIG IDEA 2 C o n n e c t i n g H u d s o n s q u a r e t o Tr u m p h o t e l p l a z a :

Dominick Street could potentially turn into a great restaurant s t r i p a n d i t c o u l d c o n n e c t t h e g r e e n s p a c e p r o v i d e d i n Tr u m p p l a z a to Hudson square/. During the summer, vendors on Dominick street can provide an outdoor seating and it would make the street more lively and safe to walk.

BIG IDEA 3 Creating a division within the space:

It is particularly difficult to mix high school students with the businessmen who may be coming to Hudson square to have lunch. Instead of trying to assimilate the two different user groups, the new design distinguishes two separate spaces for them. Northern portion of the site is dedicated more towards the general working public and tourists while the Southern portion of the site is mainly dedicated to the high school students.

BIG IDEA 4 Creating a node for Dominick Street:

Jose Artigas monument will be moved to the newly paved little sixth street to interrupt the flow of the traffic, making a node to turn to Dominick street.

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SU RFAC E T REATM EN T TYPE 1

SU RFAC E T REATM EN T TYPE 2

N

SPRI

ET

TREE NG S

TRE ME S

NICK DOMI EET STR

BROO

S URFAC E T REAT MENT T YPE 1

T

SURFACE TREATM EN T TYPE 2

r ti g a s Jose A S ta tu e

SIXTH AVENUE

SU RFAC E T REATM EN T TYPE 1

SU RFAC E T REATM EN T TYPE 2

N

SPRI

E

T NG S

TRE ME S

NICK DOMI EET STR

BROO

123


Pe d e s t r i a n w a l k w a y r e d e s i g n e d w i t h a recycled brick to reduce surface heating and allow to act as a pervious pavement

3

Using grassy softscape to integrate the pavement to the urban forest

4

Row seating for users that are spontaneously surrounded by trees and lights

5

‘Sunken forest’ seating area

6

Raised platform using pervious pavement to reduce surface heating

7

Citi-bike relocation

8

Jose Artigas statue relocation

9

Original pedestrian path kept as is

10

Additional lighting added for the night time activities`

Bike-friendly path is proposed as there seem to be a disconnected bike path from Hudson square to the areas surrounding the site.

ET

2

TRE ME S

Bike-friendly path

BROO

1

1 2

4 3

There is an additional p e d e s t r i a n wa l k way, t h i s p a t h was created for residents to enjoy the site after hours and additional street lights were provided to promote safety. This pathway will be paved with reclaimed bricks for surface heating reduction during the summer months.

124


N

Dominick street was decided to be closed off at the end of the street to allow for quieter path, potentially allowing restaurants that could spill out to the street.

SPRI

NICK DOMI EET STR

TREE NG S

9

7

10

T

8

5

6

SIXTH AVENUE

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126


III. PROFESSIONAL

127


MALI CAZA ARCHITECTS

128


TYPE COMPETITION

PROGRAM CONTEMPORARY ART GALLERY

TEAM CARLOS ARNAIZ LAURA DEL PINO VA L E N T I N A M E L O N I JUN DENG

The design for the new contemporary art wing in Lima exemplifies the expanding role of art institution in contemporary urban culture. MALI is today a museum, community center, educational platform and event space. The project embraces this programmatic diversity by imagining a form that establishes an explicit relationship with Lima’s architectural past. The design for the new MALI employs a playful twist on the modernist idea of repetition. Instead of the early industrial methods of molds and stamps, the entry offers an idea of formal iteration that aerates and folds MALI’s lace-like Palatial Italianate façade into a cluster of closely packed cylinders whose walls form a coiling arched structure. Like a spiraling Roman aqueduct, the walls tease out the potential of non-hierarchical space through radial symmetry. The design imagines the original Exposition palace with its 7-meter high peristyle hall of slender French castiron columns transformed into a flexible state-of-thea r t e x h i b i t i o n s p a c e . Pe r u ’ s 1 9 t h c e n t u r y E n l i g h t e n m e n t ambitions of progress as embodied in the structures of the 1872 Exposition are thereby venerated by a stripping down of architecture. We propose consolidating the exhibition spaces in the historic MALI building so that visitors can move from contemporary installation on the 1st floor to historic artifacts on the 2nd floor. The art experience is given a clear identity through its association with one seamless passage through the Exposition Palace.

129


Exposition palace

Pe e l i n g t h e o l d s k i n

Reappraise the face

Tu r n i n g i n t o a n e w

Marking a cluster

Creating the new MALI

2

130


8

9

6.00

10

6.00

11

6.00

12

6.00

13

6.00

14

6.00

15

6.00

16

6.00

R0.5 0

0 R0.5

0 R0.5

2.50

2.50

R1.00

3.00

1.09

2.38

1.10

1.48

R0.50

R0.50

A

0

12.00

R1.0

15.00

6.00

6.00

0 R5.8

B

3.46

6.00 12.00

12.00

0 R1.0

6.00

R0.50

R0.50

R0.50

R1.00

12.00

12.00

4.37

R5.83

R1.00

R5.83

R5.83

R1.00

20

6.00

0

11.00

19

6.00

0 R5.8

2.50

R0.50

3.00

6.00

1.50

144°

R1.0

2.90

12.00

6.00

R0.50

R0.50

2.90

0

R0.50

R0.50

6.00

R2.8

0

0

0

R2.8

R2.8

R2.8

0

0

0

R2.8

R2.8

R2.8

0

0

R0.50

R2.8

R2.8

12.00

6.00 1.30

18

6.00 12.00

2.53

0 R5.8

R5.8

6.00

1.73

17

6.00

12.00

14.62

0

6.00

3.31

15.00

3.40

12.00

R1.00

R4.00 R5.00

21.00

R1.41 R6.00

0.06

0 R5.8

0 R5.8

R9.00

12.00

0

D

R5.8

2.33

6.38

11.60

2.90

2.90

11.00

6.00

R12.00

R8.00

6.00

R7.00

3.00

D

12.00

Roof structure distribution

6.00

12.00

R3.00

4.87

27.00

12.00

3.00

2.98

12.00

6.21

18.32

R1.00

0.95

18.31

6.00

C 2.86

4.36

R1.0

6.00

0.97

2.16

0

R1.0

2.30

4.79

3.00

0

C

R10.0

6.00 0

6.27

6.00

1.47

21.78

2.80

1.53

1.54

E

R1.00

2.86

2.86

1.30

2.86

R15.0

1.27

3.40

2.86

15.00

00

R14.

R0.50

R2.80

6.00

00

R2.80

1.47

6.00

R13.

6.00

.00

6.00

R12

R0.50

6.00

R1.00

00

R0.50

6.00

0

0

0

0

0 R0.5

0 R0.5

R2.8

R2.8

R2.8

R2.8

3.00

12.00

12.00

R11.

E

0

F

F 2.77 R0.50

0 0 R5.8

0

6.00

1 R5.61

17.86

R5.61

R5.6

R5.6 1

1

1

R5.6

6.00

R5.6

R5.61

R5.61

3.17

R1.0

R5.8

90°

11.61

90°

11.61

3.31 0.39

9.00

2.56

3.20

6.00

G 5.80

12.00

0.39

6.00

0.39

8.78

8.78

8.78

0

R0.50

0 8.78

8.78

R1.0

R0.5

8.78

0 8.78

H

H 24.00

18.00 R15.0

4

6.00

5

6.00

6

6.00

7

6.00

8

6.00

9

6.00

10

6.00

11

6.00

12

6.00

13

6.00

14

6.00

15

6.00

16

6.00

17

6.00

18

6.00

19

20

Green roof slope

Module 1 Module 2 Module 3

Module 4

Module 5 Module 6

Module 10

3

6.00

Module 2

2

6.00

Module 3

1

6.00

Module 7 Module 8 Module 9

Ty p i c a l Exposition bay

Module 10

Module 4

6.00

Module 11

Diameter 2.5m

Module 12

Ty p i c a l module

Module 5

6.00

0.39

R0.5

0.45

11.61

2.58

90°

90°

5.60

8.78

11.80

Module 1

G

2.56

3.14

R1.00

0 R0.5

3.15 R1.00

R1.00

3.04

5.80

Module 7 Module 6

7 6.00

167°

6.00

2.83

Module 8

6 6.00

1.30

R0.50

6.00

1.70

Module 9

5 6.00

8.15

6.00

1.36

Module 11

4 6.00

6.00

2.83

Module 12

3 6.00

3.00

0 R0.5

6.00

2 6.00

11.00

3.50

1

A

B

Diameter 2.5m

Inspired by the arches from Exposition palace, the new building transforms the facade into a cluster of closely packed cylinders whose form a coiling arched structure

131


Green roof strategy to reduce heating during the summer Hot air entering

Refrigerant / water

Concrete core cooling

Light-well to enhance lighting in the basement

Adiabetic ventilation system and natural light strategy Perforated ventilation wells to allow natural ventilation

Cross ventilation through the ground floor space by passing the auditorium

132

Evaporation and cross ventilation strategy

Cool air exiting


9 AM: ART DELIVERY

9 AM: ART DELIVERY

Museum access 3

Back door service entry 3

Ticket/ Reception

Pa r k i n g a c c e ss

2

1 3

3

2

1

1 2

Subway access

Pa r k i n g a c c e ss

1 2

9 AM: ART DELIVERY

9 AM: ART DELIVERY 2

1

1

Ceremony Access

2

Pa r k i n g access 1

1 3

1

1

Access Northern classroom

3

Southern classroom

Spill-out space

133


Top of Canopy + 5. 50 m

Boom of Canopy + 4. 00 m

Ground level 0. 00 m

First Basement - 4. 00 m

Second Basement - 8. 00 m

Top of Canopy (Cafe) + 5. 50 m

Boom of Canopy (Cafe) + 4. 00 m

Top of Canopy + 5. 50 m Boom of Canopy + 4. 00 m

Ground level 0. 00 m

First Basement - 4. 00 m

Second Basement - 8. 00 m

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135


136


137


138


139


140


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Youngeun Emma Jung Portfolio  

Pratt Institute Master of Architecture 2017

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