GERMAN SENTISHCHEVNYIT MANHATTAN

ARCHITECTUREDESIGNPORTFOLIO

GERMAN SENTISHCHEVNYIT MANHATTAN

THIS PORTFOLIO CONTAINS WORKS FROM MY SOPHMORE TO JUNIOR YEAR STUDIOS AND ENVIRONMENTAL SYSTEMS CLASSES. MY INTUITION DURING THESE SEMESTERS TOLD ME TO DESIGN SOMETHING THAT IS VERY POSSIBLE AND PRACTICAL TO BUILD WHILE MAINTAINING A STRONG CONCEPTUAL IDEA THAT IS DEEPLY TIED TO ITS’ CONTEXT. MAKING THIS PORTFOLIO HELPED ME PUT MY PAST WORK INTO PERSPECTIVE AND FORMULATE A BROADER ARCHITECTURAL LANGUAGE FOR FUTURE PROJECTS AND PRACTICES.

I N T E R V E N T I O N : REACHING INTO THE WATER PLAIN

CENTRAL PARK HAS BEEN THE MAIN GREEN SPACE FOR MILLIONS OF NEW YORKERS FOR AS LONG AS MANHATTAN HAS BEEN A CITY. IT IS A PRESERVED AND CAREFULLY MAINTAINED ESTABLISHMENT AND THERE ARE RESTRICTIONS ON BUILDING PERMANENT STRUCTURES WITHIN THE PARK. THE GOAL OF THE OVERLOOK IS A LIGHTWEIGHT STRUCTURE THAT IS PINNED TO THE GROUND VIA FOUR SUPPORTS.THE SUBSTRUCTURE HAS MINIMAL IMPACT ON THE SITE. THE JOG-GING PATH THAT RUNS ALONG THE RESERVOIR IS CONNECTED TO BOTH THE GROUND LEVEL AND THE UPPER STRUCTURE VIA STAIR AND CREATES A POINT OF IN-TEREST WITHIN THAT TRANSITION.

CENTRAL PARK BIRD OVERLOOK DESIGN I

JOGGING PATH

MAIN PROMENADE

FROM STREET

PROGRAM

MAIN ENTRY PLATFORMMAIN FLOORSECOND TIERTOP TIER

CIRCULATION

ENCLOSURE

LIGHT FRAME

SUBSTRUCTURECURVED WALL IS

TRANSLUCENT

PROGRAM

TOP TIERSECOND TIERMAIN FLOORENTRY PLATFORMGROUND FLOORGALLERY/EXHIBITION

VIEWS

SIMPLICITY

DESPITE THE LIGHTNESS AND SIMPLICITY OF THIS STRUCTURE, THE BUILDING WILL PROVIDE INFORMA-TION KIOSKS, BATHROOMS, FOOD STANDS AND RESTING AREAS. GIFT SHOPS WILL GENERATE ADDITIONAL REVENUE.

CROSS SECTION SECTION WEST

SUBMERGED GALLERY SPACE. WATER ACTS AS A NATURAL LIGHT FIL-TER AND ILLUMINATES THE INTERIOR SPACE THROUGH A REINFORCED GLASS WALL.

CONNECT THE PATHSTHE STRUCTURE IS POSITIONED OVER THE GROUND LEVEL AND RUNNING PATH. A CRISS CROSSED STAIRCASE CONNECTS ALL THREE.

OVERLAPPING SPACESEVERY SPACE HAS VISUAL CONNECTION TO THE SPACE ABOVE AND BELOW IT

SECTIONS THRU RESERVOIR

SPATIAL CONNECTIONS: LINES OF PATH AND SIGHTRIVERSIDE PARK HAS SOME OF THE MOST GRAND MONUMENTS DEDICATED TO NOTED PEOPLE OF THE PAST GENERATIONS. SOME OF THESE MONUMENTS ALSO SERVE AS THE TOMBS. WHILE THESE TOMBS ARE NOT THE MOST WELCOMING STRUCTURES, A SECONDARY STRUCTURE COULD SERVE AS THE WELCOME CENTER, HONORING THE MAIN ESTABLISHMENT. LINES OF SIGHT, CIR-CULATION AND BUILT GEOMETRIES SERVE AS THE AXIS ON WHICH BUILDING ENCLOSURE IS

FORMED BY WAY OF GRADUAL EXTRUSION FROM THE GROUND PLANE.

U.S.GRANT TOMB MEMORIAL - RIVERSIDE PARK, NYC DESIGN I

EARLY CONCEPTUAL STUDIES PROGRAMMATIC MODEL

LONG SECTIONS

AXONOMETRIC MODEL

U.S.G. TOMB

EARTH WORK

FLOORS

EXTRUDED WALLS

ROOF CANOPY

CROSS SECTIONS

GROUND PLAN

LIGHT STUDYINDIRECT SUN-LIGHT ENTERS SPACES LIKE THE LIBRARY AND ARCHIVES

FINDING SACRED P R O P O R T I O N :SHIFTING CA D’ORO

IN THE HEART OF VENICE IS LIKE A GOLD MINE FOR OLD TRADITIONS IN ARCHITECTURE, EACH FACADE HAS AN UNFOLDING STORY OF EXPRESSION BEHIND IT. SUBTLE SHIFTS IN GEOMETRIES OFFSET THE ELEVATIONS FROM BEING COMPLETELY SYMMETRICAL, WHILE EXPRESSING A CERTAIN PROPORTION BY WAY OF WHICH THE WHOLE BUILDING IS DESIGNED. THOUGH MANY OF THE BUILDINGS IN VENICE LOOK VERY SIMILAR, AFTER MANY ITERATIONS OF GEOMETRICAL STUDIES, DIFFERENT LANGUAGES BEGIN TO SET APART EVERY BUILDING.

V E N I C E - I T A L Y FACADE DESIGN-II

DIRECTIONALITY PROPORTION PROPORTIONAL SHIFTSSYNTHESIS

FOUND DEFINITIONS OF SHIFT, PROPORTION AND DIRECTIONALITY ARE TRANSLATED INTO A

DESIGN LANGUAGE THAT IS EMPLOYED IN BOTH PLAN AND ELEVATION. THE DOMINANT VERTICAL VOLUME OF THE FACADE, CONTAINS STAIRS AND SHIFTS AROUND TO CHANGE PROGRAM OF

THE BUILDING.

A MATERIAL STUDY WAS ALSO CONDUCTED TO HELP PRODUCE THE EFFECT OF DIRECTIONALITY THROUGH LINEAR AND GRID FINISHES. THE FINAL MODEL WAS MADE USING WOOD AND IMPRINTED PLASTER, USING TEXTURES FROM THE STUDY.

S P A T I A L G R A D I E N T : PROGRESSION OF A SINGLE SPACE

CONCEPT IS THE IDEA OF TAKING THE SHOPPING FLOOR AND THE PRIVATE PRODUCTION PART OF THE BUILDING AND YING-YANGING THE SPACES. THE RESULT IS A NEGATIVE SPACE WHICH IS THE RETAIL PART OF THE BUILDING WHILE THE SHIFTING VOLUMES CONTAIN THE SUPPORTING DESIGN AND PRODUCTION OFFICES. THE SINGLE SHOPPING SPACE IS THEN TURNED INTO A GRADIENT THAT GOES FROM PUBLIC TO EXCLUSIVE RETAIL AREAS. THE MULTI-COLOR GRADIENT ON THE DIAGRAM REPRESENTS THE DIFFERENT FUNCTIONS THAT ARE CONNECTED SEQUENTIALLY TO OPTIMIZE PRODUCTION.

LOWER WEST SIDE FASION HQ DESIGN II

M A T E R I A L I T Y & F U N C T I O NIN ORDER TO BETTER UNDERSTAND WHAT KIND OF SKIN THE BUILDING IS GOING TO HAVE, A SERIES OF DISPLAY STANDS WERE PRODUCED, USING DIF-FERENT MATERIALS FOR TRANSPARENT, TRANSLUCENT AND OPAQUE QUALITIES. THE IDEA WAS TO RUN A LEADER (COAT-HANGER WIRE) TO CREATE THE GRAND GUESTURE, AND THEN FOLD METAL MESH INTO FRAMED VIEWS THROUGH THE LEADER. BLACK AND WHITE VINYLS ACT AS THE OPAQUE SKIN, WHILE STILL RETAINING THE TEXTURE OF THE TRANSPARENT MESH THEY SANDWITCH.

AREAL VIEW FROM WEST-SOUTH WITH RECENTLY OPENED HIGH-LINE PARK AND STANDARD HOTEL. UPPER FLOORS HAVE DIRECT VISUAL CONNECTION WITH THE PARK AND THE HUDSON RIVER.

WALK-THROUGH SEQUENCE

C O N N E C T I N GSOUND AND MIND

THE HUMAN EAR IS A COMPLEX YET BEAUTIFUL DEVICE THAT WE ARE BORN WITH,THE EAR DRUM, THE SEMI-CIRCULAR CANALS, MALLEUS, THE COCH-LEA ARE VITAL OGRANS THAT ALLOW US TO HEAR. THE IDEA IS- A PLACE OF MUSIC NEEDS TO BE A WELCOMING STRUCTURE TO INVITE THE PUBLIC LIKE THE OUTER EAR CATCHING SOUNDWAVES. THE TRANSITIONAL SPACE BETWEEN TWO MODES OF THE BUILDING IS TO BE A WINDING STAIR WHICH RE-SEMBLES THE CANALS WHICH SEND THE VIBRATIONS TO THE COCHLEA. THE EAR DRUM IS WHAT PICKS UP AND TRANSMITS THE SOUND VIBRATIONS- RESEN-BLED BY THE CONCERT HALLS. THE INSTITUTIONAL SPACE PARALLELLS THE COCHLEA AS THE DEVICE USED TO BREAK DOWN THE SOUND AND SEND IT TO THE BRAIN TO LEARN.

DESIGN III

HISTORIC PART OF NEW YORKREDHOOK BROOKLYN IS AN UPCOMING AREA IN THE PROCESS OF GENTRIFICATION. HOUSING ARTISTS, MIDDLE AND UPPER CLASS CITIZENS. IT IS LOCATED ACROSS THE THE EAST RIVER NEAR THE TIP OF MANHATTAN AND IS EASILY ACCESSIBLE BY PUBLIC TRANSPORT AND WATER TAXI. MOST BUILDINGS ARE OLD AND ARE BUILT FROM RED BLICK WITCH ARCHED WINDOWS AND DOORWAYS. THE SOME STREETS STILL RETAIN COBBLESTONE PAVING,

B U I L D I N G P R O G R A M

THE IDEA IS TO CREATE A TRANSITIONAL SPACE BETWEEN INSTITUTIONAL SPACE AND PERFORMANCE SPACE, WHILE KEEPING THE CLASSROOMS AND OFFICES PRIVATE. THE RESULT IS THE TWO STACKED HALLS THAT REPRESENT THE SOUND AND A CLEAN, TINTED RECTANGULAR VOLUME WHICH REPRESENTS

THE MIND.

GREEN ROOF

REHERSAL SPACE

CLASSROOMS

OFFICE

S

RESTAURANT

STEPPED PUBLIC SPACE

MAJOR AND MINOR MUSIC HALLS

EGRESS DIAGRAM

SUSTAINABILITY BY DESIGNTHE WEDGE HOUSE

ONE OF THE MOST CHALLENGING ASPECTS OF ARCHITECTURE IS DESIGNING A SUSTAINABLE HOUSE OR BUILDING. MANY MODERN HOUSES AND BUILDINGS ARE DESIGNED USING COOKIE-CUTTER METHODS THAT ARE NOT SUSTAINABLE. THE IDEA BEHIND THE WEDGE HOUSE WAS TO USE TRADITIONAL AND MODERN STUSTAINABLE TECHNIQUES TOGETHER TO CREATE INTERESTING SPACES AND MAINTAIN VISUAL APPEAL. RAMAPO NEW JERSEY - ENVIRONMENTAL SYSTEMS

TRANSLUCENT CONCRETE

TRANSLUCENT AGGROGATE IS MIXED IN WITH CONCRETE TO ALLOW LIGHT AND COLOR TO PIERCE THE SOLID SLABS AND ALLOW NATURAL LIGHT AND MAINTAIN

INSLUTAING PROPERTIES.

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Breakfast1.1

Kitchen

Bedroom1

BR2

Bedroom2

Bedroom3

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O R I E N T A T I O N

THE HOUSE IS WEDGED ON A SLIGHT INCLINE AND THE SOUTHSIDE OPENS ITS GLAZED FACADES TO THE SUN WHILE THE NORTH SIDE IS PROTECTED BY

MASSIVE TRANSLUCENT CONCRETE WALLS.EACH FLOOR STEPS BACK ACCORDING TO A RATIO OF 1/2 TO CREATE OUTDOOR SPACES FOR EVERYONE.

N

SUN STOPS AT THE CIL

ADJUSTABLE BRIDGES

THE STRUCTURAL CONCEPT OF THIS BRIDGE MIMICS THE WAY A SHOE IS TIED.A SINGLE CABLE TIES THE MAIN SUPPORT TO THE PATH. THIS CABLE CAN BE TIGHTENED OR SLACKED TO ACHIEVE DESIRED STRUCTURAL STABILITY. THESE SHOE-LACE CABLES CROSS EACHOTHER TO DECREASE DEFLECTION IN THE X-AXIS.

STATICS AND STEEL DESIGN