jay tsai selected works 2007-2012
DESCRIPTION
Undergraduate Portfolio NJITTRANSCRIPT
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[ CONTENTS ]
All images were produced and edited by Jay Tsai unless otherwise specified.
Venice Glassworks . 01-14 . Arch 563
The Park . 33-38 . Competition
Prague Grand Hotel . 25-32 . Arch 564
NaviGates . 15-24 . Arch 463
Folding Architecture . 45-52 . Arch 464
Burnet Warren School . 53-58 . Arch 364
Masonry Compeittion . 39-44 . Arch 264
Professional Works . 59-64 . Professional
Copyright 2011 by Jay Tsai
Venice GlassworksFactory & Gallery
Venice, Italy | Arch 563
The client for this project is world-renowned glassblower Dale Chihuly. The cli-
ent wanted four glassblowing workshops to house the creation of new works.
Mr. Chihuly also requested that all workshops double as performance spaces
where his studio’s work could be displayed for public viewing. Since the proj-
ect is situated in Venice, a city sensitive to change, the architecture must give
back to the community. As the site is generally empty due to its distance from
tourist attractions, a solution was needed in order to reactivate the site politely.
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Eight Sights in One
San Marco
Grand CanalSanta Maria
La Grazia
San Clemente
Laguna Veneta
San Servolo
San Giorgio
Through a series of mapping and diagramming exercises, I framed eight distinct re-
gions of Venice that I wanted to stitch into a single space. View corridors are used as a
link to weave together a sequence of diverse landmarks and environments. This allows
people to experience both the local site and the broader city in finer detail.
This Page: Schematic Sketch |Trace, Marker jay
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Using yarn as an experimental tool, I continuously iterated to unearth logi-
cal connections within the surrounding context. This exercise allowed me
to identify a clear way of weaving in the region’s pathways, tree lines, local
roads, and waterways so that the structure itself becomes an integrated
part of the city’s ecosystem. The form could therefore be courteous to the
site while contributing to the aesthetic and cultural ambitions of Venice.
Physical Site Lines
Left: Study Model | Chipboard Right: Diagrammatic Models | Chipboard, Yarn
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Left: East-Facing Perspective| Digital Rendering Above: First Floor Plan| Digital Drawing
1. Glassblowing Workshop
3. Equipment Storage4. Maintenance Hall
2. Furnace
5. Public Space
2
41
5
3
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A finer look in section reveals the glass-
blowing workshop and its relationship to
the spectators of the show. Visitors are
free to move about the workshops to take
in multiple showings or view the galleries
on the second floor of the corridors.
the Details
Above: Section Model | Digital Rendering Right: Interior View, South-Facing Perspective| Digital Rendering
San MarcoGrand Canal Santa MariaSan Giorgio
Much like a hand, the landscape gently cradles the separate pieces,
interlocking with the view corridors such that a cohesive space is
born. Thresholds are created by passing hard corten steel through
lightly hung polycarbonate ceilings. Users will find themselves glanc-
ing from landmark to live performance as they progress slowly through
the space. If they are in search of a retreat, they can find it up in the
quieter gallery spaces where modest pieces of work will be on display.
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The relationship between water and
hardscape creates an interesting
dynamic with Chihuly’s work. Con-
sidering many of his pieces involve
water as a medium of display, it
seemed appropriate to shift the
eastern four frames over the river.
The importance of the frames are
fully understood when stripped of
their corten steel cladding. These
structures hold important artwork
and equipment in addition to the
spectacular views they frame.
the Galleries
Above: Water Gallery Interior Digital Rendering
Below: Water Gallery Exterior Digital Rendering
Right: Water Gallery, Workshop Detail Digital Rendering
La GraziaSan ClementeLaguna VenetaSan Servolo
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Prague Grand HotelLiving & Observation
Prague, Czech Republic | Arch 564
The Grand Prague Hotel was one of my most challenging projects at NJIT.
The client requested an immense program that included a bar, grand
restaurant, cafe, eight retail spaces, an observation deck, and 48 unique
rooms. The hotel had to engage and promote the streetscape to intro-
duce a new feature that is both profitable and attractive to pedestrians.
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Room Variation
The concept of peeling up the streetscape was a simple
scheme to attract users into the hotel’s retail program. As
the skin begins to peel upwards, it pulls the pavement with
it. This material flows into the tower, integrating native ele-
ments as part of the foundation for the new architecture. The
pleasant slope that is created turns into a public area where
people can view the square from an elevated vantage point.
Existing
Prague Grand Hotel
[ 1 ]
[ 2 ]
[ 3 ]
[ 4 ]
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Cross-braced steel tubes free up the atrium and
provide a column-free living space. The resi-
dents are truly exposed to the views of Prague
while in the seclusion of their own space.
the Details
The effects of offsetting the floors
[4] opened more views and com-
munity spaces. A skip-stop elevator
[5] services the duplex apartment
arrangement. Elevators stop at floors
1-5, A, and C. The duplex allows
visitors the ability to have dual views
of the city.
Floor Modules
A B C D C B A A B C D 5 4 3 2 1
48 Unique Units
The body is formed from a cylinder
[1] and is then squeezed [2] to fit
in the city’s context. The cavity is
molded into an hour-glass shape
[3], providing views down to the
reception and up toward the sky. By
slicing and offsetting the shape at
two sections [4], I was able to re-
duce its density and simultaneously
create more unique spaces.
[ 5 ]
Duplex 1-level
Floor B
Floor A
1
1
1
1
Entry Perspective Rendering
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A cafe, bar, and main res-taurant were planned for the pedestrian level. The arms of the base hug ex-isting retail areas and open up to a view of Old Town Square. They also provide a multi-purpose venue for vendors and casual gath-erings. Beneath are eight more retail spaces, per the client’s request.
the Program
A
B
1
3
1
2
4
10 20 40 80
1. Market / Multi-Purpose2. Retail Entry3. Bar / Cafe4. Restaurant5. Reception
4
3
5
1
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the BaseThe ground floor of the tower, which vendors may oc-
cupy, houses a pleasant and profitable journey toward
other amenities, including the restaurant, bar, reception,
and observation space. The mesh exterior incorporates
the natural environment, and light emitted from the core
guides pedestrians to look and travel upwards.
The ground floor of the tower, which vendors may oc-
cupy, houses a pleasant and profitable journey toward
other amenities, including the restaurant, bar, reception,
and observation space. The mesh exterior incorporates
the natural environment, and light emitted from the core
guides pedestrians to look and travel upwards.
Section B
1
3
2
4
1. Retail Space
2. Direct Route to Hotel
3. Market / Vendor Space
4. Viewing Incline
NaviGatesTemporary Installation
Siena, Italy | Arch 463
The Porta Romana is one of the many entryways into Siena. How-
ever, this entry is unsightly despite its importance to the city’s
circulation. Visibility is limited along the meandering paths causing
disoriented travelers to head for the nearest exit. I led my team to
generate a proposal that actively engaged travelers toward the Porta
Romana Gate and reinvigorated the path towards the city’s center.
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This diagram displays every major site
line on the path to the Porta Romana
Gate. It grows evident that there are
common points of intersection. These
shared-view corridors are the starting
point for our installation piece.
Above, Left: Studies | Velum, Newspaper, Trace
Site Line Intersections
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Left: Plan Diagram| Yarn, VelumRight: Installation Perspective| Digital Rendering
The representation on the left depicts each mode of transportation in a different color, taking into consideration the varied speeds at which vehicles may travel. Once all clear site lines were mapped, we were able to further filter out the best possible
vistas for our installation. Between all the diagram- ming and overlays, we were able to successfully select three points that direct the traveler’s eye to the nearest entry (Porta Romana), all while providing them a pleasant, thought-provoking experience.
The representation on the left depicts each mode of transportation in a different color, taking into consideration the varied speeds at which vehicles may travel. Once all clear site lines were mapped, we were able to further filter out the best possible
vistas for our installation. Between all the diagram- ming and overlays, we were able to successfully select three points that direct the traveler’s eye to the nearest entry (Porta Romana), all while providing them a pleasant, thought-provoking experience.
After intense documentation of views, sight lines,
and urban plans, we developed a physical and con-
textual story with the Porta Romana Gate. Dividing
six stainless steel mesh structures into three groups,
we placed them in strategic locations to engage
passersby. These lightweight pieces were abstract
representations of the Porta Romana Gate [5] and
acted as nodes to navigate the route.
the Composition
4
3
2
1
5
6
Aligned together, the structures, which ranged from
8’ to 18’, framed key vistas when observers passed
by them [6]. As they neared the main gate, the final
pieces began to more literally mimic the Porta Romana
Gate, signifying to visitors their entry into Siena.
2
3
4
1
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The ParkCar Park Tower
Hong Kong, China | Competition | 2011
The objective was to design an iconic parking tower in Hong Kong. The inte-
rior needed to also include a cafe, reception lounge, performance area, and
multi-purpose space. But with only two weeks to start and finish the competi-
tion, I needed to construct a simple yet comprehensive solution. By focus-
ing on common issues that parking garages face, such as poor lighting and
uninviting atmosphere, I devised a clean design in response.
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Taking into account the existing
public park across the street
from the project site, the new
Park acts as an extension of the
green space. The staggered,
well-ventilated parking levels
allow for the growth of veg-
etation. The gardened stairwell
invites visitors to interact with
the tower while enjoying native
plants from Hong Kong. It ends
with the performance space as
well as a 360-degree view of
the city.
Extensions
Left: Aerial View | Digital Rendering
Site Plan
Typical Parking Layout
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Proposed Design
Exoskeleton
The cavity of the honeycomb endoskeleton sup-
ports various functions: way-finding through
graphic signage, natural air filtering via green
walls, and LED screens for video projections. In
essence, the building becomes a living structure.
the Interior
Perspective of Parking Level
Perspective of Interior Entry
Each of the four platforms has its own el-
evator for the users’ convenience. Though
connected, each section has its own unique
and attractive quality. As a group, they cre-
ate an interactive space. Users are encour-
aged to explore the intricate and intertwin-
ing paths, thereby limiting elevator use and
saving energy.
The organic form makes for an iconic mark
on the waterfront. Though the matrix com-
position creates a strong exoskeleton, there
is still a need for an endoskeleton in order to
create a column-free space.
the Exterior
Tiered Parking Module.
Masonry CompetitionMontessori School
Jersey City, New Jersey | Arch 264 | First Place
This competition was separated into two phases. The first phase was an individ-
ual project that focused on creating a Montessori school in Jersey City. Students
were asked to devise an innovative school using masonry as the key building ele-
ment. One design from each of NJIT’s eight studio teams were selected to com-
pete against each other. In the second phase, each studio developed a physical
mockup, digital presentation, and presentation board for the final competition.
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Timber strips settle into the facde as
it wraps down from the ceiling.
Joints carry a visual continuity with
toys enjoyed by Montessori kids.
Physical model of the design be-
fore construction
My studio team selected my project to
submit to the final competition. My original
design catered to the use of masonry and
tectonics as a progressive learning tool for
children. By showcasing the possibilities
of materials, i.e. wood, students can see
it evolve in the school to suit many differ-
ent functions; frames, skylights, railings,
shelves, seating, and flooring. This gives
kids the idea that every material can serve
multiple uses, helping them think outside
the box.
I was inspired by a child’s fascination with
the cardboard packaging rather than the
contents within. The masonry facade of the
school captures this rather common experi-
ence. It is both a shelter and an interac-
tive learning tool. After investigation on the
pedagogy of Montessori schools, our team
ascertained the best methods to teach
children through architecture.
the Competition
Children interacting with the “math”
wall, while using the steps as desks.
1. Mockup Extraction
Facade Math Wall Language Wall Sensorial Wall
Montessori School
1
3 6
5
4
2. Math Wall
3. Language Wall
4. Common Space
5. 2nd Grade Classroom
7. Language
6. Auditorium
2
Interior Rendering of First Grade Class3-D Section Cut of the School
1 23
4
5
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Folding ArchitectureKnotville
Brooklyn, New York | Arch 464
At the beginning of Arch 464, our professor assigned each of us words
related to folding—‘pleat,’ ‘bend,’ ‘twist,’ ‘pull,’ ‘press,’ to name a few.
My words were ‘press’ and ‘knot.’ The task was to explore the pos-
sibilities of each and conceptualize them through architecture. The site
was to be in a city environment, so a secondary investigation into urban
planning and its specific challenges needed to be addressed as well.
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After exploring nearly a hundred different
ways to tie a knot, I began to develop
my own variation of the square knot. This
knot, which is typically used for sailing
purposes, can easily collapse and come
apart. For this reason, it is not meant to
be used for safety purposes. But what
intrigued me was the knot’s ability to
naturally unravel and expand from a
once contracted form. When tied, the
square knot creates spaces which are
self-protected and untouched.
By taking away the strengths of the square
knot, I began to address its weaknesses.
Channeling the word ‘press,’ I created
a series of interlocking strips that could
expand and form a rigid grid, or collapse
into a single flat piece. By combining
the strongest properties of both states, I
created a module with great architectural
possibilities.
Several materials were considered,
including wood, paper, neoprene,
rubber, plastic, cloth, PVC, poly-
carbonate, cardboard, chipboard,
metal, and canvas. In the end,
polycarbonate was the only material
that possessed properties that were
rigid enough to withstand extreme
bends, cuts, and perforations while
still maintaining its integrity. PVC was
more rigid but less flexible, which
made it ideal for the core locking
mechanism.
[ Folding ]
Left: Phyiscal Model| Plywood
[ ]
Above Center: Laser cutout lines create one module of the reinvented square not.
Above Left: Three views of the assembled knot in its contracted form. Materials used were PVC (black) and polycarbonate.
Bottom Left: Three views of the assembled knot in its expanded form. Materials used were PVC (black) and polycarbonate.
The simple act of pushing together
the ends of the square knot allow it
to lock and maintain its shape.
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AA
AB
As it currently exists, a skyscraper is
typically erected independent of its neighbor.
This contributes to an incremental burden
on the land upon which it is erected instead
of creating a synergy with the existing sur-
roundings. Life external to the structure is
negatively impacted when natural sunlight
and clean airflow are obstructed. The fluidity
of the environment suffers as movement must
accommodate the structural intrusion, often
resulting in heavy traffic congestion. Internally,
walls, ground, and ceiling are defined as a
constant, expending energy even after its
inhabitants have vacated its premises.
Knotville functions as an organism
that is highly responsive to the interactions
exerted upon it. As the human lung draws in
air, the muscular walls expand the organ then
contracts once the air is expelled. Similarly,
Knotville behaves in a way such that the
building itself condenses through the inter-
twining of its units when they are unoccupied.
As such, space is tailored to the demands of
the individual in a way that optimizes its utility.
Knotville recognizes the integrity
of the space it occupies and incorporates
the functional dexterity of a standard square
knot. The square knot is considered one of
the simplest knots for adjoining two ropes,
creating a stable, centralized core and loose,
malleable ends. Manipulated into a massive
series of repetitive components, Knotville
develops into an entity that ties and unravels
as a single module. Its simple pattern inher-
ently supports continuous expansion. The
detangling of square knot components will
be based on a meticulous evaluation of its
designated program.
Responsive to the demands of
its environment, Knotville is geometrically
designed to maximize the absorption of solar
and wind energy. More significantly, the build-
ing moves and adapts to the entering and
exiting of its occupants through sensors and
weight detection. Adjacent structural “knots”
engage in a logical contract-and-release:
when people exit. The knot tightens as the
space is no longer engaged. Their migration,
in effect, unravels the adjacent knot, opening
up the space according to the programmed
demands of the activity it is hosting. The
concept of stacking and sprawling are heavily
incorporated in order to alleviate exhaustion
attributable to stationary, vacant buildings,
while simultaneously leveraging momentum
to coordinate an ideal ratio for structure-to-
environment efficiency.
The rigidity of what can be referred to
as the modern skyscraper poses po-
tentially damaging environmental and
economic restrictions. Historically, ver-
tical expansion has been regarded as
the remedy for development in a highly
dense environment confined by limited
expansion opportunities. Its fixed struc-
ture, however, offers few alternatives for
achieving a more streamlined, energy-
efficient territory.
the LIVINGKNOTVILLE
A written abstract for the reinvented
square knot.
Right: Perspective | Digital Rendering
Above: Plan | CAD Drawing
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A detailed view of two stacked square knots
- Large Increase in entry space to accommodate entering occupants
- Wind and solar gains torward more populated areas
- Slight decrease in size- Slight increase in entry space- Neutral knot formation
- Increase in height and width- Decrease in sprawl- Slight increase in wind and solar gain
- Decrease in height and width due to exiting occupants- Large increase in entry space to accommodate exiting oc- cupants
Section A
Section B
Burnet Warren SchoolK-8 Education Space
Newark, New Jersey| Arch 564
A steep slope and busy urban context brought an immediate challenge to this
project. The school, which is programmed for kindergarten through eighth grade,
needed to be an environment students wanted to be in while also maximizing their
ability to learn. I decided to integrate the beauty of the natural landscape directly
into the school, marrying the idea of recess with study. The building screens out the
noisy and harsh views of the street with natural light that enters from above.
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The school’s mass is broken up to fit seamlessly within
the given context. This makes it less daunting for kids as
they enter. The stainless steel mesh exterior blocks off
distractions but lets in natural light. When the kids enter the
school, they are immersed in a bright, warm atmosphere.
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A B
F
The school is organized in the following
manner: Sections A-B, which are multi-
leveled, are for the 5th-8th grades; Sec-
tions D-E are for K-4th grades, on one
level and directly adjacent to all facilities;
Section C houses the cafeteria, com-
mon spaces, and elective courses.
the Sections
A
B
C
D
E
C D E
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Professional Work2009-2011
New York, New York | Professional
The presented body of work is selected from my tenure at SBLM Architects
and Ginseng Chicken Architects, both located in New York. The projects
from SBLM have either been built or are curently under construction. Design,
visualization, and techincal drawings were all completed by myself. The two
projects from Ginseng Chicken are competition proposals. I was respon-
sible for facade design, some interior design, and visualization for both.
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The drawing on the left displays the RCP of the lighting plan I devised. Fluorescent
light battens are connected by a snaking metal conduit, which minimizes the need
for junction boxes, and in turn become a positive aesthetic while lowering the price
for the space. Acoustical tiles are also placed at a diagonal which reflect onto the
floor to create the tile pattern.
I was the lead designer on this project, which comprised roughly 15,000 sqft. This
three-floor youth treatment facility was on a very tight budget, so I devised some eco-
nomical solutions without compromising its aesthetic. For example, the graphics on the
walls were custom designed by myself to save the costs of hiring outside consultants.
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Youth Treatment FacilityBronx, New York | SBLM | ( Under Construction )
Left: 3rd Floor RCP CD | SBLM Architects
Right: 3rd Floor Perspective Digital Rendering SBLM Architects
[Burlington] Flagship Office
Bronx, New York | SBLM | ( Completed )
This was my first built work. The CEO of Burlington
wanted to revamp the image and feel of their flag-
ship office. The goal was to create a fashionable and
modern look. As a concept, I envisioned a stripping
away of layers to progressively reveal the store’s key
products. By the time the reception is reached, the
wall has been pared down to glass. At this point, man-
nequins and entry doors are revealed.
This project was also on an ex-
tremely tight budget. I was again
charged as lead designer for this
14,000 sqft space. As this was
a very large community room, I
wanted to develop a space that
warmly enveloped the users inside.
I aimed to produce a powerful,
welcoming interior feel, and the
clients jumped at the opportunity
to execute. In the end they spent
extra money for a design they felt
would greatly enhance their users’
rehabilitation.
[Horizons] Counseling Center
Smithtown, New York | SBLM | ( Under Construction )
Left: Community Room| Digital Rendering Above: RCP Drawing| Construction Document
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Inspired by Arvo Part’s musical style, this project sought to capture the concepts of random
access and formal purity. The former denotes Arvo Part’s exploration of music in the absence
of linearity and hierarchical structure. Each space is distinct and independent. Users would
therefore be able to access any space without having to traverse a predefined program. The
latter was achieved by creating a structure in the purest form - a geomtric cube.
[St. Paul's Church] Performance Hall
Rakvere, Estonia | Competition | Ginseng Chicken
Interior Perspective| Digital Rendering Exterior Perspective| Digital Rendering
The program called for three
separate buildings that would
house art, architecture, and
design. Though unique in
their own right, these con-
centrations are, at their core,
interconnected, which is re-
flected in the singular platform
from which each building is
rooted.Interior Perspective| Digital Rendering
[NMAAD] National Museum of Art, Architecture, and Design
Oslo, Norway | Competition | Ginseng Chicken
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V O L . 1
C A N O N
9 0 8 . 6 2 5 . 7 0 3 [email protected]