JACOB PEEL
Portfolio
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TABLE OF CONTENTS
ACADEMIC WORK
7 WHERE CARS TURN INTO PEOPLE
19 SALTWORKS
29 HOMO(GENEOUS) SAPIENS
33 THE SCALE OF A MILE TO THE MILE
41 VERDANT UMBRA
53 ELEMENTS
59 LIGHT BRICKS
69 GRADIENT SCHOOL
PROFESSIONAL WORK
85 DUNHAM-SIMMONS BARN RENOVATION
95 TEDESCO APARTMENT RENOVATION
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ACADEMIC WORK
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WHERE CARS TURN INTO PEOPLE
CIRCULATION
Shands Hospital, Gainesville, Florida
3 600 square feet
Design Studio Four
Donna Cohen
Spring 2006
Given the prescription to create an intervention that would operate as a “sign” along a portion of the perimeter of an existing parking garage west of Shand’s Hospital at UF, the program developed as a means to blend the phenomenological aspects of moving between the interior and exterior of the garage. Deliberations on this movement involved, among other things, considerations of scale, light, space and time of day.
Using the column spacing at the eastern edge of the existing parking garage, a comparative photographic study was conducted. The purpose of this study was to create a graphic juxtaposition of the interior and the exterior of the garage at both the middle of the day (12 pm) and the middle of the night (12 am).
Using this study, the views out were filtered according to established and prospective points along the edge that can be linked to indicative views in to and out of the garage. The intervention was then draped around these points with the intention of providing for movement between them.
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section
elevation: east
plan: level +10
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exterior view: from east
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exterior view: from south - east corner
exterior view: from north - east corner
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SALTWORKS
TEMPORARY RESIDENCE FOR ARTISTS
Salt Flats, Bonneville, Utah
2 300 square feet
Design Studio Four
Donna Cohen
Spring 2006
Twelve artists will reside in the structure for three months during the summer.
The structure slowly moves south while transversing east and west. Along the way, the artists set pigment to the desert floor and mark it in such a way that at the end of their journey they will have created a work of art that is 47 miles square.
The global coordinate system is used to place the structure on a more appropriate system of measure in the vast space.
Longitude and latitude lines provide the system by which the structure will wander through out the desert while always knowing its exact location.
The work takes place at the intersection of these lines. Specific portions of the overall image must be produced at specific coordinates.
At the end of three months, a satellite will take a picture of the work in its entirety.
With winter comes a heavy rain that covers the surface of the desert. This returns the surface to its original condition so that during next summer another class of artists can produce the next large-scale work of art.
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JUN
JUL
AUG
WEEK 01
N 40D 35M 17S
W 113D 50M 58S
WEEK 00
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WEEK 05
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WEEK 09
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PRINTING PROCESS
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WEEK 02
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W 112D 58M 01S
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WEEK 07
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WEEK 11
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interior view: from north - eastinterior view: from south - east
elevation: west
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elevation: south
plan
prefunction
working area
recreation area
bath
bath
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exterior view: printing
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exterior view: working
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exterior view: entry
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HOMO(GENEOUS) SAPIENS
PROPAGANDA POSTER
Various
A0 poster
Shrinkage Worldwide Competition
Shahneshin Foundation
Summer 2006
Shrinkage Worldwide Award
Shrinkage Worldwide Competition is a design competition that requires participants from all manner of disciplines to identify a growing concern of “shrinkage” in the modern world, and design a poster that would call attention to the concern. The team that generated this submission was Jacob Peel (architecture), Shannon Zandy (science) and Anton Legoo (graphics). It was decided that the focus of the poster would be how the development of communication and transportation technology is resulting in the shrinkage of diversity in the human race. The team was careful not to take a specific position on the subject, and instead approach the idea as a scientist might; that is to say, with an objective eye.
Six microscope slides, each containing a specimen of the human race from the year 2006, were placed in a field of white. The slides are labelled according to ethnicity and sex. The accompanying text at the bottom of the poster was written as if some future scientist were informally presenting the collection to a visiting class of students.
The submission was one of a collection that received the competition’s award, and was included in a travelling exhibition.
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Through out human history, the model that different societies have inherently followed has been one of centralization and relative isolation. Being insulated by a whole host of containing forces, including geography and language barriers, variations have been incubated and differences between cultures have been bred into the populations that belong to them. Simultaneously, human evolution has caused mutations that respond favorably to the natural and artificial forces that act on their respective environments. Out of this situation, a race of human beings was born with a wide spectrum of talents, adaptations, beliefs and perspectives.
As time has moved forward, societies began to branch out and inter-communal commerce connected assorted lands. In the latter day world, the progresses in technologies have sped up this dissemination. The branching out of specific cultures have become permanently intertwined with that of others, and a more dynamic structure for cultural development has been created. The advancement in communications and transportations have facilitated this more that anything else. Cultures are beginning to mix, and along with it, their respective differences. As this trend continues, specificities will fade and homogeny will be the result.
This process has been taking place for decades now and will go on for decades more while still only achieving a negligible effect. The time require for a complete diffusion can only be speculated upon, but the fact that it is happening is definite. So then, what influence will this development have on our identities? What will be the benefits and shortcomings that are sure to result from this happening?
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THE SCALE OF A MILE TO THE MILE
TOURISM
International Drive, Orlando, Florida
N/A
Design Studio Eight
Brendan Macfarlane and Nancy Clark
Spring 2008
International Drive is the thoroughfare that tourism industry in Orlando is mainly structure against. A series of mapping studies were carried out in order to isolate and understand the scale and structure.
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MAP 01
altitude: 4 000 feet
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MAP 02
altitude: 16 000 feet
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MAP 03
altitude: 32 000 feet
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VERDANT UMBRA
COOPERATIVE URBAN GARDEN
Washington Square Park, New York, New York
410 000 square feet
Graduate Design Studio One
William Tilson
FALL 2009
[An] alternative to the lawn is a productive garden…
After three generations have distanced themselves from farming, and farms have become industrial giants cultivating thousands of acres, a new interest in where our food comes from has fostered gardens and small farms that supply food for college kitchens and farmers’ markets. People are devoting parts of their lawns to orchards and vegetable gardens, rediscovering the seasons and which delicacies each one yields.
Diana Balmori,
It is easy to understand that to take on this responsibility of stewardship of the earth, and enter into an activity that requires a closer relationship to the natural environment, one would enter into a position much larger than any offered within the realm generated by human beings. In turn, one may reap a reward in many different aspects of life that has become all too absent in contemporary society.
The psychological benefits of vegetation and gardening have long been espoused; even to simply have within one’s sights on a regular basis the color green is said to positively contribute to a person’s mental health. With the act of plunging one’s hands into earth, intent on sowing a plot of land, a strong connection to the natural environment is established. Through the dedication required to cultivate a garden or orchard, this link is reaffirmed. If one can expect to be a success at such an endeavor, they must pay close attention to the subtle clues given by nature and maintain an acute sense of its happenings.
The sociological factors of this format are designed to encourage an emergent sense of community. As participants exchange information [gardening tips,
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weather, recipes, etc.] and materials [gardening tools, produce, “cup of sugar”, etc.], they become agents contributing to this pleasant development. Perhaps for too long the urban environment has allowed its residents to operate in relative isolation and anonymity, failing to fully take advantage of the benefits that come as a result of a community. This project is meant to provoke a shift in this situation. Toward this end, the project intends to offer a venue by which individuals can come together in cooperation.
In terms of sustainability, this project is two-fold. Firstly, the project aims at reducing much of the detrimental effects of the modern agricultural industry by putting at less of a distance the food supplied to a population, as well as encourage organic practices. Secondly, the project may be able to negate the effects of urban activities. This would require that the format become widely adopted, and many streets and parks allowed to become a productive medium again.
To begin, a collection of shade diagrams were generated using a simulation tool that tracked the sun as it moved across the sky daily, as well as its change in tilt through out the year. One day each month, at three times each day, the shade projected onto the ground was extracted. Initially interested in only the shadows being cast by the structures surrounding Washing Square Park, the collection shadows that were documented were then divorced from the city surface to be considered apart and manipulated before being reintroduced into the urban context.
These thirty-six shade diagrams were combined into a single document in order to understand the aggregate location and size of areas subjected to unvarying shade, unvarying light and varying instances of each in between. This mapping of the light conditions was pixelated as a means to render a grid work of 1600 16 by 16 foot plots, each representative of a unique quantity of light available. This resulting diagram was then superimposed back on to the city. Through this operation, an array of small plots of land was delineated. These small plots would then be distributed to all those residents in the immediate area who might wish to have a piece of land to cultivate. Based on different shade tolerances, plants that would flourish in this climate zone were identified and organized into vegetation groups according to the varying light conditions of each plot. This information might prove helpful to those amateur farmers as they navigate this format of cooperative urban agriculture.
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new york city: map: public parks
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aerial image orientation solar path
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DAY
YEAR
JAN FEB MAR APR MAY JUN
0900
1200
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MONTH
SHADE
TRACE
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JUL AUG SEP OCT NOV DEC
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KEY
Vegetation Class 12
Vegetation Class 11
Vegetation Class 10
Vegetation Class 09
Vegetation Class 08
Vegetation Class 07
Vegetation Class 06
Vegetation Class 05
Vegetation Class 04
Vegetation Class 03
Vegetation Class 02
Vegetation Class 01
high angle view: from south - west
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VEGETATION CLASS DISTRIBUTION
Vegetation Class 12Vegetation Class 11Vegetation Class 10
Vegetation Class 09Vegetation Class 08Vegetation Class 07
Vegetation Class 06Vegetation Class 05Vegetation Class 04
Vegetation Class 03Vegetation Class 02Vegetation Class 01
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low angle view: from north - east
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ELEMENTS
CONCEPT CONSTRUCTOR TOY
N/A
N/A
Phenomenology And Architecture Seminar
Hui Zou
Spring 2010
The notion of Chora has long been an item of philosophical discourse. Various notable minds have extended themselves on the subject and many works have been produced that aim to define this highly elusive topic. One of the first to introduce the notion of a Chora was Plato, who discussed the item in his text Timaeus. In this text, it becomes clear the limitations of language in attempting to present the pertinent pillars. Plato must rely on the capacity of his readers to construct a proper image of the idea from only the fleeting and indirect glimpses he provides. Using Timaeus as the primary reference, this project, Elements, developed as an artifact in attempting to assemble the ideas he presents. In this way, Elements uses a system of construction that came about in synthesizing an understanding of the subject Chora. This project resulted in a toy.
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Reference: Plato, Timaeus. trans: Lee, Desmond. (London: Penguin Books, 1965)
Suppose a man modeling geometrical shapes of every kind in gold, and constantly remolding each shape into another. If anyone were to point to one of them and ask what it was, it would be safest to say, if we wanted to tell the truth, that it was gold and not speak of the triangles and other figures as real things, because they would be changing even as we spoke; we should be content if they even admit of a qualitative description with any certainty. The same can be applied to the natural receptacle of all bodies. It can always be called the same because it never alters its characteristics. For it continues to receive all things, and never itself takes a permanent impress from any of these things that enter it.
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Now anything that has come to be must be corporeal, visible and tangible; nothing can be visible without fire, nor tangible without solidity, and nothing can be solid without earth. So god, when he began to put together the body of the universe, made it of fire and earth. But it is not possible to combine two things properly without a third to act as a bond to hold them together. And the best bond is one that creates the closest unity between itself and the terms it is combing; as this is best done by a continued geometrical proportion. For whenever you have three cube or square numbers with a middle term such that the first term is to it as it is to the third term, and conversely what the third term is to the mean the mean is to the first term. Then since the middle becomes the first and last, and similarly the first and last become the middle, it will follow necessarily that all can stand in the same relation to each other, and in so doing achieve unity together.
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There were, before the world came into existence, being, space and becoming, three distinct realities. The nurse of becoming was characterized by the qualities of water and fire, of earth and air, and by the others that go with them, and it visual appearance was therefore varied; but as there was no homogeneity of balance in the forces that filled it, no part of it was in equilibrium, but it swayed unevenly under the impact of their motion, and in turn communicated its motion to them.
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In the first place it is clear to everyone that fire, earth, water and air are bodies, and all bodies are solids. All solids again are bounded by surfaces, and all rectilinear surfaces are composed of triangles.
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We must start our new description of the universe by making a fuller subdivision than we did before; we then distinguished two forms of reality – we must now add a third. Two were enough at an earlier stage, when we postulated on the one hand an intelligible and unchanging model and on the other a visible and changing copy of it. We did not distinguish a third form, considering the two would be enough; but now the argument compels us to try to describe in words a form that is difficult and obscure. What must we suppose its powers and nature to be? In general terms, it is the receptacle, and as it were the nurse of all becoming and change…
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prototype 01: playing
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prototype 02: package: opened
prototype 02: components
prototype 02: package: closed
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LIGHT BRICKS
INTERACTIVE LIGHTING SYSTEM
Uf Architecture Building, Gainesville, Florida
160 square feet
Lighting Design Seminar
Martin Gold And Stan Kaye
Fall 2010
Students in the College of Design, Construction and Planning are regularly asked to pour a significant amount of time and energy into their projects. The areas of study offered in this college have earned a reputation of being some of the more difficult and most time-consuming. The studio becomes the place where a student spends the majority of their time, and a good night’s sleep doesn’t come until the end of a semester. Students take a fair amount of pride in soldiering through such a work load, but at the same time, such a work load needs to be counter balanced and some mode of reprieve is usually sought out. As a result, peripheral and playful activities are introduced, and on any given night, it is common to see footballs, hacky sacks and Frisbees being tossed about in the Atrium of the Architecture Building.
In considering this situation, the distinction between practical and playful is obfuscated. Instead of occupying opposite ends of a polemic, it can be understood that there exists much overlap between practical and playful initiatives. And so, in this building, it is practical to be playful.
The lighting strategy that was suggested stems from these considerations. This scheme was less concerned with addressing the pragmatic issue of appropriately lighting a space, but instead developed from an interest in offering a more playful venue by deploying an interactive system of lighting; lights that are used to play various games.
The interactive lighting system would be located in the south-eastern corner on the second floor of the Architecture Building. Being both out-of-the-way and relatively contained, this location would be ideal for allowing a sort of arcade to be installed without disrupting the building’s normal activities. The section at this location also maintains the arena-like situation with balconies
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looking into the space, which would allow students who are not directly engaged with the interactive lighting system to be included as spectators; watching, rooting or heckling. The importance of this idea is that a good interactive design is not simply about a person and a machine interacting, but should also foster interaction between people. In this area of the building, on-lookers can look on from various levels and an audience can collect within the space.
The array of lights would extend up three floors along the northern brick wall. The running bond pattern of the wall modulates the organization of the array. Each component of the array is dimensioned according to that of a single brick. The idea is not to carve out any of the existing bricks, but to simply provide a new illuminated face to the bricks, and in effect, render those as “Light Bricks”. The attachment of each Light Brick component would be anchored into the vertical mortar joints. These attachments would be minimal and would not jeopardize the structural integrity of the wall.
Each Light Brick in the array is networked together into a microcontroller that handles the input/output signals according to whatever program that has been uploaded onto it. An Arduino platform operates well in this capacity. It was suggested that an application can be developed to allow for a more familiar interface that uses increasingly ubiquitous web enabled devices, such as an iPhone or Android phone. In this way, a person can scroll through the games available to be played and make a selection, at which point the computer would upload the appropriate program to the microcontroller. This application could also be used to display game information -- like game instructions, individual performance, high score histories, etcetera -- using the phone.
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architecture building: section elevation: view looking west
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architecture building: section elevation: view looking north
concept model: front
concept model: sequence
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game: selection game: example: rain catcher
game: selection: web enabled device
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game: example: wall climber game: example: space invader game: example: tunnel runner
game: score: web enabled device
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concept image: view from fourth floor balcony
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GRADIENT SCHOOL
EDUCATIONAL FACILITIES
Cleveland, Ohio
88 000 square feet
2011 Cleveland Design Competition: A New School Vision
Cleveland Urban Design Collaboration, Cleveland State University, Cleveland
Metropolitan School District and Campus International School
Summer 2011
The Gradient School was developed with a particular interest in promoting collaboration between the students and faculty. Traditional planning for educational facilities have placed barriers between ascending levels of education, resulting in compartmentalized academic units. To align with the philosophy of Campus International Schools, the Gradient School employs a strategy that dissolves these divisions in order to encourage the desired exchanges across differing grade level. The spaces allocated to the all grade levels was designed to be a single continuous space.
Rather than mark the movement within the school with distinct gates into ascending levels of education, the path is open and able to accommodate more fluid transfers. Instead of placing partitions separating the classrooms of one grade level from the next, the varying areas are buffered by zones that would be available to the students to share. And so, in addition to a more formal setting in which to receive instruction, students of one grade level can easily intermingle with those of another within a more informal shared space. The shared space becomes a venue for peer-to-peer tutoring and general socializing.
Beyond the connections setup between a grade level to those before and aft, the volume described above was shaped about a spiral as a way to add opportunities for more distant interactions. This form results in an atrium. Along the edge of the atrium, circulation moves unbroken and sloping upward at a rate of one foot over a twenty foot long run. This looping begins to establish spaces that can offer connections to all grade levels not immediately flanking any given grade. In addition, the curving of the class spaces should
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program:
location:
measure:
comp.:
sponsor(s):
term:
summary:
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Jacob Peel
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Portfolio
contribute to acoustically isolating the various classes from one another.
Even as the boundaries between grades are blurred, their assigned areas are codified and proportioned to indicate both academic developments, as well as respond to the physical developments of the students. Shifting colors between grades would impart an ambient identity to each grade level. Also, in an effort to offer spaces tailored to the students, the proportions were gleaned from the average sizes of the students expected to occupy the different areas.
At the base of the atrium, the ground level is articulated to provide areas to accommodate various assemblies and activities. Extending out from the atrium is a more street-like situation. Along this “street” the centers dedicated to specific subjects are placed, as well as the spaces provided for administration and student dining. With the plan for the areas surrounding the site to develop with more density, this organization on the site is intended to blend into the urban condition that can be expected to result.
Of the two city blocks that were made available for this project, the main educational facilities of the proposal are located entirely within one, while the logistical support is located on the other. A bus loop and parking was placed between the existing apartment building and the police headquarters.
graph: average human growth
PORT 073011.indd 71 7/31/2011 10:55:00 AM
72
Jacob Peel
plan: level 01
N
Classroom 01
Administration 02
Media 03
Consumer Science 04
Visual Arts 05
Science & Technology 06
Music 07
Physical Education 08
Student Dining 09
PLAN : KEY
0 3 9 15 27
01
01
01
09
02 03
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73
Portfolio
04 05 06 07
08
PORT 073011.indd 73 7/31/2011 10:55:18 AM
74
Jacob Peel
plan: level 02
Classroom 01
Administration 02
Media 03
Consumer Science 04
Visual Arts 05
Science & Technology 06
Music 07
Physical Education 08
Student Dining 09
PLAN : KEY
0 3 9 15 27
N
01
01 01
01
01
PORT 073011.indd 74 7/31/2011 10:55:27 AM
75
Portfolio
concept image: view at ground level
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76
Jacob Peel
plan: level 03
Classroom 01
Administration 02
Media 03
Consumer Science 04
Visual Arts 05
Science & Technology 06
Music 07
Physical Education 08
Student Dining 09
PLAN : KEY
0 3 9 15 27
N
0101
01
0101
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77
Portfolio
concept image: view at level 03
PORT 073011.indd 77 7/31/2011 10:55:51 AM
78
Jacob Peel
section: looking east
0 3 9 15 27
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Portfolio
high angle view: from north - west
PORT 073011.indd 79 7/31/2011 10:56:05 AM
80
Jacob Peel
concept image: view in atrium
PORT 073011.indd 80 7/31/2011 10:56:14 AM
81
Portfolio
PORT 073011.indd 81 7/31/2011 10:56:21 AM
PORT 073011.indd 82 7/31/2011 10:56:21 AM
PROFESSIONAL WORK
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Jacob Peel
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Portfolio
DUNHAM-SIMMONS BARN RENOVATION
DAVID BERS ARCHITECTURE
Cornwall, Connecticut
2008
project:
architect(s):
location:
date:
PORT 073011.indd 85 7/31/2011 10:56:21 AM
86
Jacob Peel
EQ
UA
L
EQ
UA
LE
QU
AL
15
'-4
"7
'-0
"1
3'-2
"
17'-4" 38'-7"22'-1"
34
'-4
"
23
'-0
"
EQ
UA
L
5'-8
"5
'-8
"8
'-1
"
8'-8"
DN
D2.15
D2.11 D2.12
D2.17 D2.18
D2.13
D2.16
UP
LINE OF DORMER ABOVE, TYP.
STAIR HALL201
STUDIO APARTMENT205
BALCONY204
DUNHAM STUDIO206
DRAWING STUDIO216
STORAGE214
BATH211
W/C215
KITCHENETTE203
HA
LL
21
0
NEW STAIR AND HANDRAIL
NEW KITCHENETTE ISLAND W/ SINK, GAS RANGE/OVEN, D/W AND UNDER COUNTER REF
2/A321
1/A321
3/A
32
2
2/A
32
2
6/A
32
2
7/A322
1/A322
W2.01
D2.01 D2.04W2.03W2.04 W2.21 W2.20
W2.10W2.09 W2.13 W2.14W2.12W2.11
W2.08
W2.07
W2.06
W2.05
D2.02 D2.03
W2.02 W2.22
W2.15
W2.16
W2.17
W2.18
REF.GASRANGE/OVEN
D/W
5/A
32
2
DN
ST
EP
ST
EP
DOWNSPOUTS
ASSISTANT STUDIO218
ASSISTANT STUDIO219
BATHROOM217
STORAGE212
HA
LL
21
3
DN
D2.22
D2.24
D2.21 D2.23
D2.25
STEP
HVAC
LOFT221
MECH ROOM220
BENCH
6/A
32
2
7/A322
1/A322
5/A
32
2
ENTRY HALL202
LUMACITE CARPORT ROOF BELOW
EXISTING
NEW
KEY
1
A401
1
A126
X
AXXX
NOTES
-- REFER TO ENLARGED PLANS FOR INFORMATION AND DIMENSIONS FOR STAIR HALL, KITCHENETTE, LOFT AND CORE
1
A127
1A
21
6
1A
21
7
4A322
1A
21
6
1A
21
7
4A322
2/A210
2/A
211
1/A
211
1/A210
1 2 3 4 5 6 70
A
B
C
D
E
F
A121
DATE:
SCALE:
Cornwall, CT 06753
TITLE:
NO. SUBMISSION:
DR
AW
ING
DATE:
DAVID BERS ARCHITECTURE
SECOND FLOOR PLAN
3/16" = 1'-0"
Dunham-Simmons Studio44-48 Jewell Street
470 UNION AVE
BROOKLYN, NY
11211
T 718 218 8101
F 718 218 8115
SECOND FLOOR PLANSCALE: 3/16" = 1'-0"2SECOND FLOOR PLAN
SCALE: 3/16" = 1'-0"1
PORT 073011.indd 86 7/31/2011 10:56:22 AM
87
Portfolio
EQ
UA
L
EQ
UA
LE
QU
AL
15
'-4
"7
'-0
"1
3'-2
"
17'-4" 38'-7"22'-1"
34
'-4
"
23
'-0
"
EQ
UA
L
5'-8
"5
'-8
"8
'-1
"
8'-8"
DN
D2.15
D2.11 D2.12
D2.17 D2.18
D2.13
D2.16
UP
LINE OF DORMER ABOVE, TYP.
STAIR HALL201
STUDIO APARTMENT205
BALCONY204
DUNHAM STUDIO206
DRAWING STUDIO216
STORAGE214
BATH211
W/C215
KITCHENETTE203
HA
LL
21
0
NEW STAIR AND HANDRAIL
NEW KITCHENETTE ISLAND W/ SINK, GAS RANGE/OVEN, D/W AND UNDER COUNTER REF
2/A321
1/A321
3/A
32
2
2/A
32
2
6/A
32
2
7/A322
1/A322
W2.01
D2.01 D2.04W2.03W2.04 W2.21 W2.20
W2.10W2.09 W2.13 W2.14W2.12W2.11
W2.08
W2.07
W2.06
W2.05
D2.02 D2.03
W2.02 W2.22
W2.15
W2.16
W2.17
W2.18
REF.GASRANGE/OVEN
D/W
5/A
32
2
DN
ST
EP
ST
EP
DOWNSPOUTS
ASSISTANT STUDIO218
ASSISTANT STUDIO219
BATHROOM217
STORAGE212
HA
LL
21
3
DN
D2.22
D2.24
D2.21 D2.23
D2.25
STEP
HVAC
LOFT221
MECH ROOM220
BENCH
6/A
32
2
7/A322
1/A322
5/A
32
2
ENTRY HALL202
LUMACITE CARPORT ROOF BELOW
EXISTING
NEW
KEY
1
A401
1
A126
X
AXXX
NOTES
-- REFER TO ENLARGED PLANS FOR INFORMATION AND DIMENSIONS FOR STAIR HALL, KITCHENETTE, LOFT AND CORE
1
A127
1A
21
6
1A
21
7
4A322
1A
21
6
1A
21
7
4A322
2/A210
2/A
211
1/A
211
1/A210
1 2 3 4 5 6 70
A
B
C
D
E
F
A121
DATE:
SCALE:
Cornwall, CT 06753
TITLE:
NO. SUBMISSION:
DR
AW
ING
DATE:
DAVID BERS ARCHITECTURE
SECOND FLOOR PLAN
3/16" = 1'-0"
Dunham-Simmons Studio44-48 Jewell Street
470 UNION AVE
BROOKLYN, NY
11211
T 718 218 8101
F 718 218 8115
SECOND FLOOR PLANSCALE: 3/16" = 1'-0"2SECOND FLOOR PLAN
SCALE: 3/16" = 1'-0"1
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88
Jacob Peel
3'-0
"9
'-11
"9
'-6
"9
'-11
"3
'-0
"
AREA OF NEW STRUCT AUGMENTATION AREA OF DISCONTINUOUS TRUSS STR AREA OF NEW STRUCT AUGMENTATION
EDGE OF DRAWING STUDIO CEILING
EDGE OF WATER CLOSET CEILING
EDGE OF STORAGE ROOM CEILING
EDGE OF STORAGEROOM CEILING
MECHANICAL CHASE
EDGE OF BATHROOMCEILING
OPEN ABOVE OPEN ABOVE
EDGE OF CEILING OVER BENCH
BATHROOM CLG.
10'-0" AFF
STORAGE CLG.
10'-0" AFF
BENCH CLG.
10'-0" AFF
DRAWING STUDIO CLG.
8'-0" AFF
WATER CLOSET CLG.
8'-0" AFF
STORAGE CLG.
8'-0" AFF
CE
ILIN
G S
LO
PIN
G U
PC
EIL
ING
SL
OP
ING
UP
NEW PLYWOOD CEILING
FLAT CEILING HIEGHT
8'-0" AFF
W2.24
LINE OF PARTITIONS BELOW
LINE OF STAIR, BELOW
EXISTING DORMERDORMER CLG.
8'-0" AFF
SLOPED WALL(SEE SECTION)
LINE OF NEW PLYWOOD CEILING(SEE SECTION)
LINE OF EXISTING ROOF ABOVE
SLOPED WALL(SEE SECTION)
LINE OF SPRING POINT IN NEWPLYWOOD CEILING
DORMER CLG.
8'-0" AFF
DORMER CLG.
8'-0" AFF
FLAT CEILING HIEGHT
17'-7" AFF
NEW DORMER W/ OFFSET SKYLIGHT
W2.23 W2.25
EXISTING
NEW
PLYWOOD
KEY
NOTES
-- REFER TO ENLARGED PLANS FOR INFORMATION AND DIMENSIONS FOR STAIR HALL, KITCHENETTE, LOFT AND CORE
1A
21
6
1A
21
7
4A322
1A
21
6
1A
21
7
4A322
2/A210
2/A
211
1/A
211
1/A210
1 2 3 4 5 6 70
A
B
C
D
E
F
A123
DATE:
SCALE:
Cornwall, CT 06753
TITLE:
NO. SUBMISSION:
DR
AW
ING
DATE:
DAVID BERS ARCHITECTURE
SECOND FLOOR REFLECTED CEILING PLAN
3/16" = 1'-0"
Dunham-Simmons Studio44-48 Jewell Street
470 UNION AVE
BROOKLYN, NY
11211
T 718 218 8101
F 718 218 8115
SECOND FLOOR REFLECTED CEILING PLANSCALE: 3/16" = 1'-0"2SECOND FLOOR REFLECTED CEILING PLAN
SCALE: 3/16" = 1'-0"1
PORT 073011.indd 88 7/31/2011 10:56:24 AM
89
Portfolio
3'-0
"9
'-11
"9
'-6
"9
'-11
"3
'-0
"
AREA OF NEW STRUCT AUGMENTATION AREA OF DISCONTINUOUS TRUSS STR AREA OF NEW STRUCT AUGMENTATION
EDGE OF DRAWING STUDIO CEILING
EDGE OF WATER CLOSET CEILING
EDGE OF STORAGE ROOM CEILING
EDGE OF STORAGEROOM CEILING
MECHANICAL CHASE
EDGE OF BATHROOMCEILING
OPEN ABOVE OPEN ABOVE
EDGE OF CEILING OVER BENCH
BATHROOM CLG.
10'-0" AFF
STORAGE CLG.
10'-0" AFF
BENCH CLG.
10'-0" AFF
DRAWING STUDIO CLG.
8'-0" AFF
WATER CLOSET CLG.
8'-0" AFF
STORAGE CLG.
8'-0" AFF
CE
ILIN
G S
LO
PIN
G U
PC
EIL
ING
SL
OP
ING
UP
NEW PLYWOOD CEILING
FLAT CEILING HIEGHT
8'-0" AFF
W2.24
LINE OF PARTITIONS BELOW
LINE OF STAIR, BELOW
EXISTING DORMERDORMER CLG.
8'-0" AFF
SLOPED WALL(SEE SECTION)
LINE OF NEW PLYWOOD CEILING(SEE SECTION)
LINE OF EXISTING ROOF ABOVE
SLOPED WALL(SEE SECTION)
LINE OF SPRING POINT IN NEWPLYWOOD CEILING
DORMER CLG.
8'-0" AFF
DORMER CLG.
8'-0" AFF
FLAT CEILING HIEGHT
17'-7" AFF
NEW DORMER W/ OFFSET SKYLIGHT
W2.23 W2.25
EXISTING
NEW
PLYWOOD
KEY
NOTES
-- REFER TO ENLARGED PLANS FOR INFORMATION AND DIMENSIONS FOR STAIR HALL, KITCHENETTE, LOFT AND CORE
1A
21
6
1A
21
7
4A322
1A
21
6
1A
21
7
4A322
2/A210
2/A
211
1/A
211
1/A210
1 2 3 4 5 6 70
A
B
C
D
E
F
A123
DATE:
SCALE:
Cornwall, CT 06753
TITLE:
NO. SUBMISSION:
DR
AW
ING
DATE:
DAVID BERS ARCHITECTURE
SECOND FLOOR REFLECTED CEILING PLAN
3/16" = 1'-0"
Dunham-Simmons Studio44-48 Jewell Street
470 UNION AVE
BROOKLYN, NY
11211
T 718 218 8101
F 718 218 8115
SECOND FLOOR REFLECTED CEILING PLANSCALE: 3/16" = 1'-0"2SECOND FLOOR REFLECTED CEILING PLAN
SCALE: 3/16" = 1'-0"1
PORT 073011.indd 89 7/31/2011 10:56:25 AM
90
Jacob Peel
W2.11W2.10W2.09 W2.13 W2.14W2.12
W2.24W2.23 W2.25
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
B.O. RIDGE
31'-0"
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
B.O. RIDGE
31'-0"
D2.01D2.04 W2.03 W2.04W2.21W2.20
B-C PINE PLYWOOD SHEATHING, TYP.
B-C PINE PLYWOOD SHEATHING, TYP.
INTERIOR ELEVATION LOOKING EASTSCALE: 1/4" = 1'-0"1
INTERIOR ELEVATION LOOKING WESTSCALE: 1/4" = 1'-0"2
A321
DATE:
SCALE:
Cornwall, CT 06753
TITLE:
NO. SUBMISSION:
DR
AW
ING
DATE:
DAVID BERS ARCHITECTURE
SECOND FLOOR INTERIOR ELEVATIONS
1/4" = 1'-0"
Dunham-Simmons Studio44-48 Jewell Street
470 UNION AVE
BROOKLYN, NY
11211
T 718 218 8101
F 718 218 8115
GWB
PLYWOOD
SIDING
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Portfolio
W2.11W2.10W2.09 W2.13 W2.14W2.12
W2.24W2.23 W2.25
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
B.O. RIDGE
31'-0"
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
B.O. RIDGE
31'-0"
D2.01D2.04 W2.03 W2.04W2.21W2.20
B-C PINE PLYWOOD SHEATHING, TYP.
B-C PINE PLYWOOD SHEATHING, TYP.
INTERIOR ELEVATION LOOKING EASTSCALE: 1/4" = 1'-0"1
INTERIOR ELEVATION LOOKING WESTSCALE: 1/4" = 1'-0"2
A321
DATE:
SCALE:
Cornwall, CT 06753
TITLE:
NO. SUBMISSION:
DR
AW
ING
DATE:
DAVID BERS ARCHITECTURE
SECOND FLOOR INTERIOR ELEVATIONS
1/4" = 1'-0"
Dunham-Simmons Studio44-48 Jewell Street
470 UNION AVE
BROOKLYN, NY
11211
T 718 218 8101
F 718 218 8115
GWB
PLYWOOD
SIDING
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Jacob Peel
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
D2.15D2.16
D2.22
B.O. RIDGE
31'-0"
MECH F.F.
21'-1 1/2"
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
B.O. RIDGE
31'-0"
MECH F.F.
21'-1 1/2"
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
B.O. RIDGE
31'-0"
MECH F.F.
21'-1 1/2"
D2.03 W2.08W2.07W2.06W2.05 D2.02
D2.11D2.17
D2.21D2.24
D2.12 D2.18
D2.23 D2.25
RETURN AIR GRILL
TRACK SUPPORTED FROM ABOVE
TRACK MOUNTED TO WALL SURFACE
WALL CONTINUES TO INSIDE OF SKYLIGHT DORMER
TRACK CONTINUES TO INSIDE OF SKYLIGHT DORMER
D2.16D2.15
B-C PINE PLYWOOD SHEATHING, TYP.
T&G SIDING
A322
DATE:
SCALE:
Cornwall, CT 06753
TITLE:
NO. SUBMISSION:
DR
AW
ING
DATE:
DAVID BERS ARCHITECTURE
SECOND FLOOR INTERIOR ELEVATIONS
1/4" = 1'-0"
Dunham-Simmons Studio44-48 Jewell Street
470 UNION AVE
BROOKLYN, NY
11211
T 718 218 8101
F 718 218 8115
ENTRY HALL LOOKING WESTSCALE: 1/4" = 1'-0"1
LOFT SECTION LOOKING EASTSCALE: 1/4" = 1'-0"4
DRAWING STUDIO LOOKING EASTSCALE: 1/4" = 1'-0"7
DUNHAM STUDIO LOOKING NORTHSCALE: 1/4" = 1'-0"2
DUNHAM STUDIO LOOKING SOUTHSCALE: 1/4" = 1'-0"5
STUDIO APARTMENT LOOKING SOUTHSCALE: 1/4" = 1'-0"3
STUDIO APARTMENT LOOKING NORTHSCALE: 1/4" = 1'-0"6
GWB
PLYWOOD
SIDING
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93
Portfolio
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
D2.15D2.16
D2.22
B.O. RIDGE
31'-0"
MECH F.F.
21'-1 1/2"
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
B.O. RIDGE
31'-0"
MECH F.F.
21'-1 1/2"
STUDIO F.F.
10'-5"
LOFT FLOOR F.F.
19'-1 1/2"
CLG HGT
28'-0"
B.O. RIDGE
31'-0"
MECH F.F.
21'-1 1/2"
D2.03 W2.08W2.07W2.06W2.05 D2.02
D2.11D2.17
D2.21D2.24
D2.12 D2.18
D2.23 D2.25
RETURN AIR GRILL
TRACK SUPPORTED FROM ABOVE
TRACK MOUNTED TO WALL SURFACE
WALL CONTINUES TO INSIDE OF SKYLIGHT DORMER
TRACK CONTINUES TO INSIDE OF SKYLIGHT DORMER
D2.16D2.15
B-C PINE PLYWOOD SHEATHING, TYP.
T&G SIDING
A322
DATE:
SCALE:
Cornwall, CT 06753
TITLE:
NO. SUBMISSION:
DR
AW
ING
DATE:
DAVID BERS ARCHITECTURE
SECOND FLOOR INTERIOR ELEVATIONS
1/4" = 1'-0"
Dunham-Simmons Studio44-48 Jewell Street
470 UNION AVE
BROOKLYN, NY
11211
T 718 218 8101
F 718 218 8115
ENTRY HALL LOOKING WESTSCALE: 1/4" = 1'-0"1
LOFT SECTION LOOKING EASTSCALE: 1/4" = 1'-0"4
DRAWING STUDIO LOOKING EASTSCALE: 1/4" = 1'-0"7
DUNHAM STUDIO LOOKING NORTHSCALE: 1/4" = 1'-0"2
DUNHAM STUDIO LOOKING SOUTHSCALE: 1/4" = 1'-0"5
STUDIO APARTMENT LOOKING SOUTHSCALE: 1/4" = 1'-0"3
STUDIO APARTMENT LOOKING NORTHSCALE: 1/4" = 1'-0"6
GWB
PLYWOOD
SIDING
PORT 073011.indd 93 7/31/2011 10:56:28 AM
94
Jacob Peel
PORT 073011.indd 94 7/31/2011 10:56:28 AM
95
Portfolio
TEDESCO APARTMENT RENOVATION
ARMSTRONG + COHEN ARCHITECTURE
New York, New York
2009
project:
architect(s):
location:
date:
PORT 073011.indd 95 7/31/2011 10:56:28 AM
96
Jacob Peel
PORT 073011.indd 96 7/31/2011 10:56:32 AM
97
Portfolio
PORT 073011.indd 97 7/31/2011 10:56:35 AM
98
Jacob Peel
PORT 073011.indd 98 7/31/2011 10:56:40 AM
99
Portfolio
PORT 073011.indd 99 7/31/2011 10:56:43 AM
100
Jacob Peel
PORT 073011.indd 100 7/31/2011 10:56:47 AM
101
Portfolio
PORT 073011.indd 101 7/31/2011 10:56:50 AM
102
Jacob Peel
PORT 073011.indd 102 7/31/2011 10:56:53 AM
103
Portfolio
PORT 073011.indd 103 7/31/2011 10:56:56 AM
104
Jacob Peel
PORT 073011.indd 104 7/31/2011 10:57:00 AM
105
Portfolio
PORT 073011.indd 105 7/31/2011 10:57:04 AM
106
Jacob Peel
PORT 073011.indd 106 7/31/2011 10:57:07 AM
107
Portfolio
PORT 073011.indd 107 7/31/2011 10:57:09 AM
108
Jacob Peel
PORT 073011.indd 108 7/31/2011 10:57:14 AM
109
Portfolio
PORT 073011.indd 109 7/31/2011 10:57:18 AM
110
Jacob Peel
PORT 073011.indd 110 7/31/2011 10:57:20 AM
111
Portfolio
PORT 073011.indd 111 7/31/2011 10:57:21 AM
112
Jacob Peel
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113
Portfolio
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End
August 2011
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