So close to the first installment
of the bridge down in this river

we're very fortunate today to discuss
along with us in the hundred year for

introductions are affected by this is
a sign of that in the matter of this

ridiculous series that we're doing for
the three main definition movie for

a valid reason we are.

Seeing you look at
the newsroom we're expanding.

And very powerful right.

For.

Having said that they turned it over to
one of our faculty members from Howard

in what do you.

Think you're wrong I'll settle your down.

On I'm very sorry we have to
get all the older son first.

Being our primary to be here you know
you're both turned out to be and you're.

Really glad that I'm telling you my you
see folk over the years thank you so

much for coming I think down day
the drug will be worth more.

On the pleasure of the.

Girl alone and
Philadelphia during the long run

yeah I'll give you a shameless plug for
no well.

This year the students dear George
is one first off for life and

I'm no fun so I was really surprised.

They were all over the first place where
for the following well I don't want to.

Be part of it she won first place or
was a good.

Project that she was doing on
her own childhood in that sense

well let's just say free ones who are hard
to hate and rely on how far we are about

is with everything she's doing you really
wonder where she gets to do this but

so much of it is about process and
cooperation and

as students at the ages the experience
has just been out there.

When you have partners where
you have a process and

when you understand the ration.

There somewhere.

We were meeting last night and
someone reminded me of

a saying I'm not sure it's a problem.

But it was if you want
to go find go on and

if you want to go far go.

Today you're going to be seen Sunday night
and you're for sale which I found to be

really remarkable I think the work that
she does I think her presentation and

even just that one rouge
regime was just astounding and

I was very much read the take
away from the no mocassins

Philadelphia I won't go so much into
the founder she'll talk about that but

I would love for everyone to think
about writing at such an age

only a few years I'll still put
hundreds of things that she's and

gave him all the same things that we
should really be setting our sights to

I asked my students just a couple
days ago were only thirty or so

I asked them where do they want to get a
draft from now look at me like this right.

Why are we talking about draft
will this really she's looking at

not just what she's doing she's looking at
her future she's looking at the relation.

There were others.

Profit before.

And really for the future.

We'll just your bar call your.

President No trial there's a murder
people on the wall and maybe.

You should go home.

But still to.

Bring the Puerto Rico way over right
love you more often this is just.

So weird to all forms of your own dear for
the result well.

We really are we are richer.

Thank you.

Good afternoon and first I'd like to think
Georgia Tech for welcoming me here and

no law for being grateful.

And most of all I'm very excited to
see all these young architects here so

I thank you all for you all be here
to hear what I have to say and

says share with you about who I am and
what we worked on.

So a little bit about me really quickly.

I actually want to practice is to
my pastors in architecture and

then proceeded to go to
Columbia to my masters

from there started working at
aspects of outside been there for

about eight years now and I'm an associate
there so the reason for this live

aside from the very embarrassing karaoke
picture is to express the culture of our

office that it's a very collaborative one
a very friendly family friendly office and

we also are sustainable firm and not only
did he help in designing the leader for

the nation system but we also
are sustainable at the work office by

double sided printing all the time Steve
reusable bags we do our own composting so

you can see well the partners in
the office composting that's awesome and

every Monday we actually present to one
another different team members because not

the entire team doesn't always get
to travel to present to clients so

this gives the entire
team the opportunity.

To present so one another the office and
anyone to me office to get feedback and

to see what's going on and
get a pulse of the different design ideas.

So this is the team so I wanted to
show this slide because it expresses

that it's anything that I'm presenting up
here I definitely did not do alone it's

a it's a huge effort and it's a global
effort and so what I put by putting

everybody's background flag next to them
is to show where all the building in

a in this context that we're not familiar
with but we bring our own cultural and

sensitivities to that to be as sensitive
and as respectful to other cultures.

So this is technically the party for
this recent Asian through the lens of our

the construction phases I want to express
how we use modify softwares throughout

to help us document and design and
how those softwares also touch base and

inform the very important design
milestones that we try to achieve.

So I am not a software rep nor do I ever
want to be but I want to just give you

a little like sentence Persaud where so
that anyone who's and

familiar with it would just get a sense
of what the software is for for

one we talked a little bit more about it
throughout the presentation so eco tact is

a great tool for climactic analysis and
I say climactic and not only solar because

it's also a value with many aspects not
just solar but it's a very good school.

And also as you can see
on the right hand side

of the screen is the info graphic that's
all the slides of the presentation and

the top five are the software so as we go
through you're going to see the software

which slides in the presentation
this software actually impacted.

So we also used to run on Rhino is
a really great precise modeling tool we

use that a lot for not just designing
iterations in the beginning but for

documentation towards
the end of the project.

Three D. Max is a really great
software that we use for

parametric modeling
meaning we didn't have to.

If we wanted options or variations we
didn't have to continue to copy and

duplicate the fire we can just add and
subtract different parameters and

modifiers to make the changes and

it was also a very useful tool because it
allowed us to do in-house renderings just

get a good sense of the visual about
what he would do and how it was looking.

Rabbit is the main platform in
which we documented the project

it's a great tool where you're able
to no longer draft that model and

while you're modeling your documentation
you're doing that class action elevation

and so when you're working collaboratively
It's great to have one file everyone

can work in so that if a column
moves everybody on the team knows

the problem has moved which
is really really important.

And then Autocad I know what you're
thinking these fancy software thing I

thought of at up there but out of time is
really important because it's the bridge

between all the other softwares In
addition we're modeling it like that but

you don't need to model
too much details and

intricacy because then it makes
the file unusable so Autocad and

Medved has a gentle threshold that we use
when we say to pass a particular scale.

So where are we we are actually
in Saudi Arabia in Riyadh.

In a king of deal of financial district
development somebody used to acronyms

throughout the presentation that's K.F.D.
that's for the King Abdulla and

actually district and Moby which is for
the Museum of the built environment so

forgive me if I keep using the giving So
part of the K.F.C.

development it was actually designed
master planned and he Larson and

it was actually a pretty cool idea that
the hosted one no on street parking or

anywhere in this entire development to
they wanted to be very pedestrian friendly

and they achieve this by two ways
the second level in every building

is connected by a series of skywalks and

the other way is that they actually have a
monorail train that connects all the main

civil buildings throughout the project
there's about MIT and then you're also

seeing that green area highlighted is the
wadi which is one level sucked in from.

The main level and
it's lined with retail so

at night the weather is quite pleasant and
system promote people walking around

they have this element also part and
it has masterplan features and

the aren't building that you're seeing
highlighted are the eleven buildings that

effects I was hired to work on either
the eleven I work on five of them.

So OK start a project first thing you
gotta do is start doing the research

especially if you're not familiar
with the location and understanding

what's important to them historically
construction wise as well as what

what holes appear in their hearts religion
everything just trying to get to a note

and be sensitive and have a good touch so
whatever we design moving forward.

So we know we're in K.F.C. we know in
Saudi Arabia let's see how it reacts to

the climate so part of the info graphic
you'll see that sometimes the band expands

and I have these little nuggets of goodies
that finance a kind of tell you a bit more

about what the software can do so
since a Saudi Arabia and

I'm one familiar with what the weather
looks like over there you can actually

click on the right hand side of the screen
and select fine weather data and

it's able to go into the U.S.
Department of Energy website and

get any weather data station from any
country all over the world and what's

great about this is easy every airport
has a weather station attached to them so

it's pretty vast in terms of data plus
that data is you given multiple times

so you have two three four different years
of data that you're collaborating with so

you're not make maybe only an hour
fighting just one particular year but

again and so
that gives you not only an average but

the trend of what the average the in
environment is doing there so

we wanted to see the shuttle patterns and

how that was working since it was
a master plan we knew the heights

specifically of the buildings that were
around us so we can do this analysis.

And so not only does it give
us average solar heat game but

it's also use your diffuse light
your in your indirect light

solar radiation cloud cover
rain you can tell which.

It is rain but it was great because we got
to understand the the average temperature

is ninety nine degrees Fahrenheit and
it rains about four inches a year which I

thought was kind of low but actually
when it rains even ratings so it's going

to dump of water all at once with actually
is something that you have to design for.

And the other nugget is in the software
there's a orientation tool

because the Pentagon where you are in
the world does a better access in terms of

orientation to east and west and so
it can actually tell you depending on

your particular location in the world
what's the best degree to have your

project oriented or
your ministrations to be oriented.

Some concept as I would get in their
guides so in the master plan our project

actually falls into two categories it's an
attractor and it has a why the society so

that tractor are the civic buildings
that we talked about previously that

are scattered around and they specifically
are the jewels of the development

therefore it's mandated that they have
a crystal like formation of the second

aspect is that it's against the wadi which
is that public space that we talked about

so the building always has to react and
engage with the wadi as well.

So here's our site plan and as you can see
it's a very orthogonal regular shape of

doing already the R.N.G.
latter element is the monorail track and

then the yellow element
is the actual station so

the station is in our building you can
also see that we're one of the smallest

buildings in the area with thirty three
meters tall so that also pushed the fact

that the project could not just be focused
on the four facades but also the top and

bottom facade was also need to be
designed so it's a six sided building.

And the project is eighty nine
thousand square meters which is

like one hundred thousand square feet.

So this is what the master plan have
pulled out is what the project should look

like and they landscape both
the all the attractiveness and

the wiring to be similar so whenever
you are in a public space of culture.

You could or interest up and
kind of know that so

what you see highlighted in the map
are the various tractors and that can be

high schools aquariums convention centers
just different places of learning and each

monitor all stops at one of those moments
and so when we were doing our analysis and

figuring out the head rooms in the
clearances and fourth floor Heights really

realized that the thirty third three
meters was not enough so we were actually

had to get approval from the client and he
Larsen to allow us to break the forty one

meter height and
to go up to forty meters using.

So we actually did not have an occupant we
had a client that was ready to design and

build it as part of the K. of
the development but no actual client that

would be occupying the building to tell us
I need five classrooms two bathrooms and

a rest and relaxation will so we actually
had to hire an architect to design

our program it's kind of interesting and
so this was they give us the complexity of

a map of how they need to have different
orientations to one another adjacencies

and where certain things can be next to
each other but the biggest take away from

this program diagram is that the exhibit
areas five thousand square meters and

the logistics and back to house the
support space was almost just as big and

I thought of museums a lot and
I never really perceived how much work or

back of house it actually
takes as a creating room and

trading room quarantine room and
it's really intense to see all that it

takes to actually put
a museum have to run well.

So eighty nine thousand square meters
sounds like a bazillion to billion dollars

economic can get your mind wrapped
around how actually big that is so

to do that we did some scale studies
away from two different museums that

were it's similar in scale and it was
you thinking Pede they have thirty five

thousand square meters that's because
that's about the size of our project and

the rest is actually below ground parking
because there's no wants for parking.

OK So this is the best part so
our design process so after the team.

I'd done all this
investigation together and

found all this information culturally
about the site and so on and so

forth the whether we sat down and one of
the senior partners of the firm city or

John Baker who is myself proclaimed best
friend said OK guys you have one week

half on drugs what you want design what
you think will solve it at the end of

the week we're going to pin up I just
want to be friends and models and

some renderings go to town so we actually
sat there and never left and just kind of

had fun and came up with actually
almost fifty different design ideas.

About a month five of us each of us
had five or ten and then the three D.

Maxime were more savvy with the max
actually took the Randalls team files and

did the perspectives in rendering so we
would sit with one another and say OK we

want your camera to be one of the good
global cameras that we all should have and

then the random team so our meeting that
spirals and they were able to close it up

and make sure that the normal point is
the correct way so that it can be through

the president so from the very beginning
we were very much collaborating with one

another and playing to each other's
strengths and weaknesses I could waste

your time by asking you to all the billion
questions about how to close my model and

you could ask me what my vendor settings
are but instead just give me your from

them give you mine and we can make it all
comes together so at the end of the week.

We had everything printed we
were able to fit about three or

two models per time in the three D.
printer which is great and so

we were ready for severe and so we got
up and we each presented to one another

about what we thought was important
supporting images and so on and

so forth and so there said guys you know
Pascal your number one looks a lot like

Carmen's number five interest in your
number two looks a lot like Brian's ten so

what his point was let's read shuffle the
walls and put it according to concepts so

Kate in us the boat thing in designing
this project in these initial mass and

it was taking attitude about how we
want to handle the larger programs so

with the cloud there's a lot of us who
thought it made sense the throat the all

the galley space as high as possible and
have all the.

Other back of house at the bottom another
group of us have other designs that

actually had the galleries in multiple
spaces so that it felt like it transformed

and had a very nice experience and others
were like that's the hard bit in scope

that really extension made it and
make the building itself the sculpture so

we had three different distinct ideas the
important part about this is when studio

went to does present this project to the
client he didn't present an image of our

picture this is what your product will
look like he said Here are the concepts

and so from a very early on we
talked exclusively in concept so

the client will be able to pick a concept
and see ten variations of what that one

concept can develop and they can be
very different that can make sense.

So to support those physical miles We then
created some diagrams and do the math

that helps So show how we're distributing
those programs in terms of plate form so

that the client can more understand what
we're trying to propose so this one was

the cloud this one was bridge and what was
interesting about this one was that it was

not a series of pancakes that slabs but
how one program melded into the other and

how they occupy double height spaces and
pockets of great gathering spaces and

then here's the cliff time to really live
this one there was no was there the what

I thought was so interesting the reason
why it wasn't selected was because

logistics of all THAT BACK OF HOUSE the
folks talking about each of those sculpted

elements would need its own pour its
own BACK OF HOUSE circulation and

by doing that would turn
the project really inefficient so

it just made sense that this would
include all of the cool anyway.

So this was the scheme the client really
liked the cloud idea thought it was he

thought it would be the first so
he is very intrigued by this idea.

And even though he picked up one
model as the selected design.

I don't think what was the fine was
technically my model I think it was

literally a Frankenstein of all of the
the best of the best of each design but

I want to just highlight the top three
that I think we in the form of the gesture

so the reason why he
picked mine he really.

Really like the way I
went across the wire and

made it a light touch to the other side
and created a second pedestrian walkway

experience experience the lighting
back to the main building and so

when you walked underneath Moby you
wouldn't feel like you were in a tunnel

which you would see or get from some
of the other designs for Bryan's design

even though we all knew the six facade
rule he was the only one who designed

the top of the building by carving
a course skylight in His thing was our.

Prop eight so wide and we're scared of
natural light because it's a museum so

the satellites are the best way to kind of
control the light coming into the space

and he was very emphatic about
having the monorail not be

an aperture on the outside
skin of the building but

actually let's make it go through the
building I was really engaged with it and

then Lucy of his design on the right
was really about how formally it would

feel like the support space was the ground
building up and that the cloud cover is

kind of just slightly meeting so
it's like the mountains meeting the staff.

Going to meetings.

OK so now we're in power we have our
design we know a little bit more about

what we're trying to do and so
the first thing I did is though it is

eco tech to see what it was showing us so
what I ran was a solar axis analysis which

calculated whether the surfaces how
much sun the surface is would engage

it showed us two very important things
one that the plasma actually wasn't so

hot I thought was the ME bright yellow
movie in trouble but actually because

we had the shortest building in that area
we actually had a lot of shading and so

it actually made our closet
little bit more convenient.

Than The second thing that it taught us is
by making the tile section of our building

oversize and talking in the recessed parts
are start talking in the support space

we actually suffocated the space
that we would want more windows and

would want more natural light.

So the nugget is actually in equal taken
months actions in any direction planar or

this way so it's really great for diet.

And in expressing those.

So here's my Frankenstein that
has a little bit of everybody in

them.

So my assignment actually was to.

Study the program.

And give that purpose
a little bit since we

didn't know who were designing tools
like it's whatever I wanted to pay.

But using the guidelines that
the architect had developed for

us I realized what you see on the right
hand side the colorful bar it shows all

the different types of programs and the
black bars of the different floor plans so

according to that map that she gave us
though it couldn't ever be a pancake or

program that the programs
needed to breed in together

to really work a fish efficiently.

And so I thought of studying different
types of galleries and so there's many

types of galleries but these are the two
main ones that I saw occurring over and

over again the grand hall with these
systematic rigorous satellite spaces

that you tuck into and have like a focused
experience or this large container object

experience where you have these more
flexible sizes and shapes and shifting but

you're still coming out of the mean
space to go into a smaller space and so

I challenge that said I want both because
architecture you never can completely

detach yourself from your context and
there's always some understanding of it so

what happens if we have the grand hall but
also have the satellites with them so

that set up our principles not just for
the gallery but for the museum itself and

those principles are museums
Without Walls beyond the White Cube

cultural happenings into your ex here and
presents.

So we started doing different
breakdowns of what that

gallery space is with Intel because it's
permanent and this temporary exhibits and

I was very into I emphasize the fact
that separate galleries need to

be the furthest away because that's what
really brings people in so you've got to

force them to walk through the permit
maybe discover something new each time.

To get to the temporary galleries so
this is what is shown here.

And although this diagram was originally
a circulation background I thought

it was the best diagram to express
to you the different sandwiches and

layers of what our our project was doing
so again you're seeing the galleries on

top a main ticketing area in
the middle adjacent to the too high

two level monorail station underneath
that you're seeing the support space and

then your two you're seeing are two
sidewalk bridges that connects to

the neighboring buildings.

All right so to get to this section
I want to show you our final look and

then express the product
process of how we got there and

so this is the two floor plan the third
and fourth floor of the museum and

you're seeing pink is the gallery
space of mouse Hello.

The fourth floor is the temporary
gallery area that actually connects to

an outdoor terrace because we're building
the Museum of the built environment

in the development of like eighty
buildings all going up at the same time so

therefore it's context is
actually part of the exhibit so

we want the creation of the a space
that was part of that expression so

that's what you see here and so
this little vignette is a moment inside

the terrace where you're seeing the facade
that's a little bit different for it.

And also on this floor
plate is a restaurant.

So how do we get there when we're trying
to design the gallery experience for

the kid what's going to be the the grand
staircase that you always see

the most traditional museums.

Or a of some common space that had
just many different ways of modes

getting in and out so
you can bypass certain exhibits.

Or are a general sense mission that
goes from one area to the next and so

you already know which one I pushed for
but

as we were showing these elements
to our structural engineer

he said you know guys in the two cores at
the end are great but the core that you

have here in the middle that's not where
needs to be it actually needs to be here.

And it actually made sense because.

We talked a lot about that moment being
the core of circulation so winter

elevators and stairs be there too so you
know sometimes structural engineers can

be designers as well I'll give it to them
so here you can see that we start to ramp

up in the gallery space up through and
then you have your restaurant there and

then you proceed up to
the fourth floor to the terrace.

And so these are acts of the metrics
that we actually developed in rabbit

to show what those spaces would
look start to look like and

you see the relationships between
the spaces and a secondary atrium that was

created the other little nugget that I'm
showing you here are design options so

in beverage you can actually model certain
aspects of your project different ways and

through a series of design options
click them on and off so for

this particular reason we used this design
option to show slash proved to the point

that you can have different types
of gallery exhibits in one space.

And without impeding
the documentation of the set.

And so of course no studies
complete without a model so

we leave the cards as we use Autocad and
look at a three D.

printing to laser credit so this is a good
shot of what the gallery is doing so

even though eighty eight is an American
Disability Act we actually felt that it

was important to take that internationally
and make sure that the the museum was open

for all so we have a series of A.T.M.
rants that takes you up her platform and

actually meanders you through the gallery
space and if you want to bypass it and

you can don't need a wheelchair and
you can take stairs and go straight on and

these moments become those satellite
moments that you get to have a focused

experience but stay within the large
cavity and this main wall here is actually

devised the galley from the monorail
station so we created a Juliet balcony to

call the Juliet gallery where when you're
in this space you can actually go out

into a space about the interests flowing
in the middle of the monorail station and

so in that case you have a nice
little temptation a touch of

a bridge between the two
different programs.

And so here's a section cut you.

To read it to generate and I want to show
this one because it showed the step think

transition of the gallery space as well
as the shift instead height of the two

different sky bridges of course both of
our bridges were completely different

elevations so therefore this also had to
make the adjustment on the ground level

of the second level it also gave us
the opportunity to start sliding

a lot of these back to how thick this that
they're all back and how spaces in so

very discrete areas where
people would not perceive them.

And so this is one of you through
the gallery looking back down towards

the corner seeing the outdoor
terrace on your left hand side.

Monorails So the model is an important
feature that we've embraced that we're

going to take on so that we have the two
star bridges that you insert here to

get through trance tiles and then it has
its own atrium on the platform level and

then we have the main sitting
hall in this zone here.

And so this diagram here that was also cut
and where it shows you how the training

kind of moves through the project and how
that release to the skin in the enclosure.

Do so having those two different A.T.M.
the public atrium and

the monorail atrium only had one glass
wall dividing the two so again nothing

moment of two different programs kind of
merging and having a nod to one another.

So we did some quick studies in rhino and
first kind of testing out

what it would look like and how it would
feel proportionately than three D.

maps team took over and started to make it
look a bit more polished for the clients.

Taking on it and so
you can see the Juliet.

Of the coming in through.

So here you're seeing
one of the sky bridges.

You're seeing that Waddy that
recessed production a walkway

that a secondary circulation that I
had designed in the beginning and

then the monorail train
just leaving the station.

Atrium so
what's interesting about the atrium.

Is there were so many floors and
each one had a different floor for

height things are sloping and slipping and
dipping and sliding every which way so

we wanted to have this experience that you
didn't feel like you were in a mall but

made it part of a sculptural element and
that also was true because it was a very

irregular shape space so the challenge
became our largest span was about

seven point eight leaders
twenty four feet tall.

So the structural engineer wanted to place
columns and columns are totally ruin this

idea of crisscrossing So
instead we were able to embed

some trust along the sides of
the major car truck escalators and

then use the underside ceiling of
each level to kind of mask and

cover and seal it so it looks like
the floor is kind of braiding apart

pulling apart interlocking with one within
one another so struck the engineer happy

most of all I was happy and
that's really all that matters to me so

again here is the physical model that
shows that space against the curtain wall

against that Waddy and having that
relationship it's pretty cool and

then this is how it looks
on from the ground floor.

Second floor.

So in-house rendering showing those
moments and that large glass what

we talked about you see in the turnstile
here in the train in the station.

And then the professional rendering.

Of that space as well.

Auditorium the auditorium
challenge was that you needed to

it's a part of the museum experience but
you want to be able to at the store from

without technically finding a ticket to go
in there and you have seventeen different

ways of getting to this or tram from
the drop off from the main pedestrian will

sorry from the processional bridge
from the atrium from this moment so

the gap or tram could not have a back door
in a lot of ways and it actually forced

a more purple linear geometry which
was cool because it became like the.

Part of the project right in the center
that had a very unique gesture the other

nugget that you see there is departments
now this revolutionized my life guys so

there's won't objects and read that and in
there you can actually assign a department

So let's say you have office
one office to office three but

they're all the partners on the office and
you consult each department what color you

want to buy R.G.B. So what every plant
every selection automatically calls it for

you so traditionally we used to
draw a printed out to P.D.F.

open up illustrator color half
of it illustrated crashes.

And then you start over right in the
leaves you think you look at least some

time in preparation for the presentation
so now you can press print right out of

line fifty nine at night and you're good
to go so Miss is a really great nugget.

So OK for going back only auditorium has
an occupancy of two hundred forty people.

And so these are some of the options
that know who I have come up with and

I actually fell in love with the middle
concept that he came up with because for

me that was the only one that truly
did not have a back to work and

I thought it was really playful
of how it reacts to kind

of the pressures of the slides
compressing at that moment and so

I quickly went through his model into
a three D. Max and created a render and

in this article to wow a crowd out of the
OK Castle you're right so we're going that

way so we're really good and so
we were able to document it in three D.

printing to see how the shot can
actually detach and make it work.

And then this actually the documentation
for the presentation for it all came

straight out of rabbit where we were able
to say OK you come through the front door

and if you're on time for the lecture you
can actually come to the front door by

the stage and find your seat and if you're
late walk up the steps and go back here so

and that's the same is true for both
sides so even though you're coming at two

different approaches you have two ways
of actually entering the main space.

And we also gave the materiality
of wood to bring someone

to this very modern clean sharp.

Feature and here are some action.

Metrics from rabbit and it's really cool
perspective that shows you how that double

door is nestled in so
that experience never peel.

And here's one of the renderings
showing that space.

And another important feature is since we
didn't have any really orthogonal spaces

we needed a floor pattern and ceiling
pattern that allowed that flexibility so

the floor we created diamond shapes and
I'm sure from the red ribbon the different

renderings you know why we did those them
in patterns on the floor which helped but

for the ceiling we knew that the lunar
kind of calendar was very important and

that astrology was very important for
just part of that culture so

we actually created a grid in the ceiling
and every time they intercepted

that's we placed either a light fixture
and a fuse or a sprinkler and so

that gave the sense of loss for
different variation in a random idea but

it's actually quite rigorous in
terms of the way it's laid out.

And then sixth century with
the movement of the escalator and

also hiding the changes dignus in
we taper the edge of the atrium and

then added a linearly deal like that
ran underneath the escalators as well.

And so here's a really cut through the
project now you're seeing all the major

features you're seeing the other
terrorists the main gallery

the mana room with the train
the order Tori and.

Now the nugget so orient to view So
sometimes you cut a section

because you can cut all the sections
in the world you want the software and

you're not quite sure what you're looking
at you can actually go into three D.

view right click it says Orient and

you can pick any section in
the movie the crop rock boxes and

perspective depth to match your section
which is really great and believes for.

The next aspect is our structural engineer
making it work because we were audacious

then said absolutely not COLLINS We took
that stance for the gallery so that took

a lot of convincing to a lot of people
because in Saudi Arabia there are more for

fish and in construction income concrete
it's what they know they really come.

When and what we were proposing were
fired some steel construction so

we had soon definitely be mindful
of where we're using the steel and

really cool that it was worth it.

So the steel was actually solving two very
important issues first the top part is

the ribs which is the northern section of
the movie that's where the monitor changes

coming in so that still had to hold
out and allow the train to come

through without the basically can't even
for the entire side of the building.

And the other that transitioned over
the wadi was basically a bridge so

it needed to be cantilevered
supported in that regard so

we had two different structural strategies
to support the gallery above there and

the red spacing with
the five point four metres.

And so here's the composite on the look
of what his rubber fall looks like so

we've seen the concrete and
this coming on top.

And so we've convinced the clients ago
with steel we're putting all the steel in

it left design let's make it look good and
let's not hide it so we started really

working more than I guess the structure
and you want to win the trust is making

diagonals go which way but also making
that as I know that's not how it works so

we learn a little more about trust design
but it's actually really great to be able

to create another feature for the
secondary atrium that's within the project

and you can see in the model the laser
cut patterns of the floor finishers.

And so
here's a perspective of that space so

really quick story I know we're running
out of time is so we were we did this

rendering we're modeling everything the
mildest text in real time with beautiful

and then we rendered it sort of the client
Christ like guys your words as Mary so

it's true that there are pick it up and
put it the wrong way was horrible it's

both really funny are you
going to get a kick out of.

That could be carried so there's a section
that's coming through the project

all colored by the partner
it was awesome and

then you're seeing
the facade in the program.

So while each of us have our parts where.

You know I was and programming them from
program to documentation and coronation.

Other parts each person kind of had their
moment that they were focusing on so

we also had the facade well before so
when the facade team Team Lucio went

to go ahead and start working on the site
back a lot of the images that we had told

about cultural and historical architecture
that was there for some of the important

images and the one you on the right you
can tell was a very important factor but

they were definitely clear to see
that carving up space was important

minimal penetrations created a very
beautiful feature inside and

really dark contrast between light and
shadow was another key factor.

So for him to do this study he wanted
to not only study the extreme but

you're awful always have to think about
what that means on the interior as well

and so it's not always the other body
how it looks from the outside but

what that spatial implications would be
and what kind of translation is it a one

to one or is there are variants like
you know how there's a shape here and

that's exactly how it
translates on the interior or

do you have a screen in a different
kind of pattern that's happening.

And so we've created a whole bunch
of these with a test I guess and

the can't climb those guys we have lots of
sand here so a lot of these more intricate

mesh ones could be very problematic
to keep clean and make a look good so

everybody was very unanimous in picking
the design here on the lower right hand

side for a how great it was to handle
the the different angles in the different

conditions and be the way those
formally translated to the interior.

So instead of doing this to Sotheby's on
the entire project thirteen times he did

it to the section then what's become new
which we wanted we applied to the for

building.

So I grabbed it too I got the model and
threw it back into

Ico techniques I want to see whether all
our sculpting and pushing and pulling

had that affected the substrate NG that we
had achieved previously and actually it

showed us something else yeah the kind of
mess of supper in the glass here so what.

It's a do then Ish change the for
pattern in applying to more intense for

a kind of transparent glass and B.
by cancelling the trying both sides

of the of the the first we knew where
was the best location to actually have

those penetrations because it
was against self-feeding itself.

So here's a really cool diagram that was
generated from Rhino which pulled the car

all the different materials in the project
you have the stone base the ramps and

so on and so forth you have the metal
that covered all the movers and

bachata spaces that were tucked in and we
have the transparent glass that we had for

the two picture windows and some of those
details of the ribs of the steel structure

this underside of the ceiling and then the
roof mature we can actually walk on and

then this glass facade sitting on
top of that because this facade is

a curtain wall rain screen system so
that sand and water when it comes can go

through the cracks and go down without
affecting the real building awful.

So we did a model study and what I meant
terms of the shading that it was going

by canceling the triangle and
these are those sandwich of the facade so

you have that five point
four meter spaced.

Rip's you have the secondary structure and

then the tertiary structure that connects
and where you attach your panels to.

The important aspect of it is this with
these windows seem like they're placed in

a very random location but they actually
have to be strategically placed so

not to fall in the same line
of where the ribs are located.

And so there's actually many many types of
panel types but these are the main ones

and the one in the lower left hand corner
was the one that we use for the outdoor

terrace and so we also used our CAD to
do the laser cutting of the project and

create an equal model that glowing light
up and also push the idea of stars and

moving them forward so each of the soft
panels three meters by six meters which

is nine feet by eighteen feet so it's
quite gigantic and sometimes the scale.

Gets lost in such a big project movie
that's what you guys been seeing around

campus So
here you're seeing the outdoor terrace

that starts to blend in the facade kind
of treatments the moments of ministration

in both parts of the gallery
you're seeing the monorail.

And the wadi and the main areas here.

Construction documents and I know guys
through school kids my construction

documents but I thought you guys would
like to see how this design ideas got

translated into the to communicate
with the contractor to get those.

People So here's where we were
already this is going to happen so

that it does not like slope surfaces
at all still to this day Kate that

in addition in Madrid there's two types
of walls you can build up basic wall or

per our current law has your grid lines so
that you can do your millions and

you can blast past I was even that would
do that the problem is once we got

to solve this problem of having this slope
surfaces when they connected to the next

block surface it broke like it just
could not resolve in a clean manner

we tried everything we Googled
it then tried it some more and

then we called it asked and the guy who
actually developed the current law for

all of us came over to get me five
minutes out of all this boy sat away for

four hours came back he goes OK badness
rather can't be what you need and

learn from However if you give us the file
we will go back to our desk and we'll

continue to develop the software so that
leader on future way in the future will be

able to do this all I'm told there
was the ball what would we want

to give you that said because the next
time we will least read it potentially

your probably could be on
the start of screen it's.

Not like.

Evolve a client a client
wrote the sign the waiver and

saw software then so that out but
we had this conundrum and

never happened by the way young single
start up with Moby on the law digress I'm.

So we were in a moment where we needed to
document it and our software with handling

it this is where we took Rhino Autocad and

rabbits and document the Poseidon So
first thing we did.

Took it into my no and on back to geometry
make a lot of made it flat took it

into Autocad to start dividing the spaces
again and clear geometries of what we

needed new and design each panel type so
that we knew what kind it needed to be and

then brought it back into a rabbit hole
set it off the face of a math object when

you modify surface so that each triangle
wedge became its own kind of want so

that we were ready to be solved how
the end conditions were meeting so

all we had to do was to be in the correct
place now I think why bring it back to

read it after all that because everybody's
on record all of our consultants are grab

it everybody else on the team is every
bit designing building without having

an enclosure there and for documentation
purposes we actually need to get X.

This little squinting thing here that
you can clearly read are the X. Y. Z.

quantities of each of these major points
because the building is so faceted and

jewels as her master plan so don't yell
at me but that's basically the idea.

And so for some reason the facade required
its own kind of view templates to make

it work accurately so we actually have to
duplicate each plant and create a facade

specific view to the regular floor plan
and then superimpose them on a sheet So

if you actually open our other file none
of our floor plans have the full size

superimposed you actually have it
happening on the sheets of the page.

So here is a good example of where you
can look into your wherever it stops and

where we then transition to
autocad to continue to detail and

this was important because our society
consultant was also heavily in our care.

And then we knew a lot working in
a very really friendly software so

why not use it in our documentation and so

on a lot of throughout
the entire set there's a lot of.

Three vignettes and perspectives that help

translate communicate to
the contractor the design intent.

This is a really good view to show
you how we laid out that grid for

the ceilings that we talked about and all
I have to do with is just to mention it

back to work with mining give them the
start point and then from there they knew

where to place the diffusers and the two
types of my pictures and sprinkles.

And you can also see the floor and
pattern.

And this is one of my favorite things in
the entire set it's a just an elevation

interior elevation of the atrium but with
zero touch up I mean this is just straight

out of a project print you can top
touch any door to the real door knob or

hardware schedule everything's in them
glass types can be out everything's

all live in actually all PATRICK So
it's really really interesting.

And this is more of the construction
document set of where we needed to provide

like the blocks for where the monorail
track was going to be and

it's adjacencies to the project to create
the correct saddle and edge detail.

Lesson learned this project was
actually from two thousand and

ten to two thousand twelve so if I had to
do it all again today what I do different.

First I would use slopes really carefully
it was fun to use always let me

hear this record up there's no problem but
it became very problematic when trying to

document plant or an R.C.P.
or just know how much headroom

Clarence It was very difficult for
our consultants the Catholic cubic volume

because they couldn't quite get a sense
of the size of a lot of the spaces so

I'm not saying no more spokes on just
saying I will be a little more careful for

how often and where I use them the next
thing is I'm consolidate software's five

software is a lot to say use and I know
what you're thinking you have what twenty

install the new machine What's five
no problem but if you can concisely

That's a lot of things to keep up some
more than each other some crap some can do

which you needed to do so you need another
so Autodesk has been developing for

sorry which is a record
plugin that can do a lot.

What people Tech was doing for
us however it doesn't evaluate the walls

that you built you have he have to
create a mass object for it to assess So

it's like I had to build a twice as though
rather prefer to go into eco tech but

I'm sure soon they'll
be able to modify that.

In addition instead of drafting in
autocad you can draft in Rev it and

it actually would be better because
when you're on line weights are always

consistent Cloud's tidying title blocks
are always consistent and when you need to

get information it's actually in one place
it's not another with consolidating and

getting it down the third it's
collaborating with consultants on

the same software and so it's really
problematic if have most of them one and

the other half isn't and the version in
the present makes a difference because if

somebody forgets to down save then a whole
half of the group can't use the file so

that person comes back it's
also really important.

So here's the evolution of Moby through
the different phases and software so

the beginning in concept design
were in Autocad and illustrator for

that schematic we did run on a little
bit of work design development

as you can see we had not yet solved
the facade of the true situation and

then a construction documents we were
much more fancy were all hip with it

everything was tagged
alive to looking good.

So here that all of the evolution
of the model so where it began and

then started implementing more of the of
the features that the other designs to

the touch ups of it and how it finally

ended.

And I came should focus so construction
actually kicks off this year but

the monorail station and
Poles are being located now or their

hopes are started when the track is being
put up right now so that out of the eleven

buildings ten are in construction three
of them are almost done and so we'll see.

I would be well off and
so this my architect is

Moby.

So I have the quick belief
that animation that

way.

So this is an animation that I've pulled
from the client's website that's showing

our site and then I kind of clipped
it to be where we needed to be.

So this is the book A of development that
you're seeing here they have the master

access roads that are on the periphery of
a very small secondary roads only certain

vehicle size can fit mare.

All the style bridges that connects
the different buildings the tractors.

The monorail that connects all
those attractors the wadi.

You know and
off plus there are parking below grade.

Yet but it's a it's a huge develop with
a lot of people and they all got cars so

I put them somewhere it's pretty
cool the way they solved it.

So more than seventy percent of the ball
is already in construction right now.

And if they're using any.

More weeks so what they did was actually
in demand that we did model from

every different architect in
the entire development and

made their own master promotional
animation that highlighted it.

And then added that.

Her done for

a.

I.

Yet only.

It was

probably.

All that new questions are right
a little easier to play when you do.

That with them over World War.

I actually.

Remember the museum says it is
the Guggenheim in the city just because

everybody goes mad at the architecture
being so damn good that they think

it takes away from the art like stepping
art game up so I really like the idea of

pushing architecture to be its own
special piece and so that was one of the.

Museums that did that and
in the Guggenheim is actually a continuous

circulation math as well which is really
fun and certain artists use that to engage

with it so I'm really hoping that
the art artists also get inspired and

design their installation
accordingly to the.

Amount guys will be shocked yes.

Right.

It was for the facade.

Because we can document the design and
document the facade in by that because it

kept breaking as a family we actually
modeled the facade in rhino and

then hosted it as an important
mass inside of rabbit so

that we cut plans in sections
it could help design it so

actually if you want to modify
the facade you have to go out into Rhino

change of mind to find out and then
update the link for it to generate parts

of.

It was.

So hard so the client was a contract.

So that makes That's why I'm saying I
don't have the actual occupant so and

rarity in life he said unlimited
budget go to town have fun

did you not see much I missed
a lot that was not the little

barrier close we were able to have as
much fun as we wanted with the project so

that was a different kind of
architect contracted by now and

then just in general but
we did share a lot of art for

that matter files back and forth but
we did also submit the conventional

documentation a certain client meeting
needs to take place in Dubai so

the women women of the team could
participate in those meetings and

we would say Get my the subgroup so that
I'll be able to travel to Saudi Arabia to

oversee construction so the construction
technically starts soon so

I don't have too much more to talk
about hard dynamic has developed but so

far all of the budget is the great best
relationship I've ever had with the.

Yes.

Oversight role.

Who OK so
I did not master any of that thought.

I'm fairly still no rhino which I think is
to my detriment right is becoming really

really big especially in New York so
I need to get to know that I want to live

better at three D. Max I've done really
well at Columbia when I got my master's

Autocad was do work experience in school.

Eco tech are really good at the office
because it's really intuitive so

I would say depending on how much you
need to get stuff done maybe a year

left it had the steepest learning curve
out of all of your really bad for

a long time before you really get good.

Yes.

Well we needed to use mass objects for
us to be able to host those facades

though it's a soft pieces we actually
had to create a mass object select

the surface and then you know like model
face by face that's how we selected it

I still think massing Obviously it's
because I'm an avid twenty fourteen

I think they're still a little too finicky
for my taste I can go back to this polo

point a guy that I start over I think
it's a little could I think three D.

modeling sculpting are still much better
done in my no and three D. man for

sure but yeah I know they're
developing it they're not there at.

All.

Yes So another one of the projects in
this in the developments called for

eleven that we did and
it happened we needed to use graphite for

and battle mode to help script are that
the sun is going to be designed so

that it will be through the.

Yes It's actually was mandated that
we all installed it at the office and

start to get more familiar with.

The whole lot.

And also you can read and render now
in rabbit which is crazy because then

I think the set the camera in what way and
as people move things around

that render it automatically updates to
what we're setting up so there's a lot

that's happening and I'm still I'm faster
in one profession to the max but there

are moments where there's a threshold for
I can stay and never to do this or

I need to jump out of that so all software
is are always going to develop and

have more things that they can do just
kind of like what what the tool can do at

the time and what you need to do
kind of make it happen together.

For you.

It's very hard.

Yes So two parts the thirty
three is what they gave us but

then we wanted the two
levels of gallery space and

we want the guys with the feel brand so
we pushed for actually.

He caught it but there was another
building too close to the project I

was already at forty five meters and they
wanted us to stay in the to be the lowest

in that area so that's a push just a forty
one so that was our buffer we're like

OK we want twenty five or
we'll settle for forty one and I said.

Yes.

All of them so
the contractor that was S.P.D..

They were our They were our client was
the militia like they were great I think

the main leadership was a very
revolutionary thinker in terms of women on

my teams no problem and what can we
do to push the design and when it

came to showing him office and second we
have three concepts What do you think he's

like on the quantity you're the architect
What's your design thinking well.

One hundred dollars one room down the wall
we go alone no one thought it was great

that they respected us as a profession and
did not was not using us as their hands

to do what they wanted but the say you are
the expert in design you take ownership of

that and I'll just let you know what I eat
and what I think you need to be mindful of

there was a great player missions so far.

Yes.

Please.

Sure.

So that's the team.

Well that's the team so
it was a large group and not too large.

Really it was Lucile that's the facade
I know Bizzle auditorium Brian

stark knows he's going
to let me know who is.

Oratorial Bryan was the gallery.

Of row did the second tower Tower did
the matron so that was the cause.

Or group of people who got dispersed
in the show reading and so on and so

forth in terms of the faith in
the project moved very quickly for.

The most the docking station
was done in a year and

then picking up things later
on time made it to your mark.

At most between places maybe for
five months we really intense.

I don't sleep much that's a.

Problem for me.

It was never really completely open open
twenty four hours a day that was part

of the other reason why the galleys needed
to be about because you have to have so

much of the building be open twenty four
hours right so it was like either below

that skyrocket level or I'm above it so
our doors couldn't ever be locked so

only the door to the gallery property is
what really locks so all that's open so

at any point I mean go from the building
on the top all the way down.

But it's all lined with retail.

Yes.

They're good they're going to come
back they're going to come there

they've got priced the project has a price
now which is actually a pretty low and

we thought we all had a guesstimate by how
much we thought this project would cost

and in Saudi Arabia this
project is actually.

Two hundred thirty million dollars.

Such that give us some I did not
look at the facade drawings there.

That's just live.

But so I'm sure that they're going
need a lot more information especially

since we gave them the X. Y. Z. Quintus to
place the Qantas surfaces there's going to

be a lot more documentation that's going
to need to have been throughout structured

ministration to complete that task of.

QUESTION Yes.

Right so right now so after mobile.

I worked on this fifth crossing bridge
in Dubai just because based on that get.

And then from there I worked
on the of a building in

Montreal an office building in
archaeology and now I'm currently and

then I work for the of the Iraqi Villa and
I should by John I mean even though I've

been back John was in the Gospel so that
was great getting to know that culture and

then now I'm working in Boston on the
seventeenth floor spec of office building

and what I learned with spectators
means that you don't have a plan a main

headquarters West like I'm designing for
G.E. or Coca-Cola Coca-Cola that you guys

have done here it's like it's an open
Korn shell and people come in and

say yeah I want this space and then they
design it for themselves with the me tell

me to use a podium that is
what I'm working currently.

Yes.

So almost all of our product team
had a New York representative and

part of the team was always in New York so
we had coronation meetings every Tuesday

we're used to prints up all the floor
plans put it up on the wall and

have all the consultants together go
through everything and if we made a change

I had them sign it to make sure that
everybody was clear legal and what So

that was actually quite easy was
we continually rigorously met and

were able to have the overlap
between structure and the F.P.

building where you don't have your usual
major conflicts civil was really what site

we were given a lot of the information
as part of the master plan

they were really critical when it came to
the monorail and locating the building and

the engine was five complete against to
where the monorail be needed to be so

it was fine everybody communication
was easy it just took time

because of certain times people were away
and they didn't have time to talk back

to their team maintain before they can
give us a direct feedback or information.

You know

we.

Were.

Kind of sought after spot at the time
was three different studios and

I was an intern in
the international studio which is

why a lot of my work is over overseas.

And our partner in charge of this
studio in this city is John Baker and

his position was I've got
it now it's your time so

whenever a new partner came along and
you on the.

Size or the pressures everybody on
the team you all we all got our

tribute right we're all here good so
everybody come up with something and

improve it's having He was like yes that's
right I had to sell it you know get up

there express why what I was thinking made
sense or why I thought What Noble was that

he made sense that's not necessarily
true for the entire office of so

I'm now recently pushed
into the service studio.

And I think they work a little different
but I came in was a part of so

many design so I'm not quite sure to
answer that one hundred percent but

in the project I want to say the way he
set it up I don't think it was necessary

in internal competition but just it gave
us the opportunity to be the designer and

I love the fact that nobody
ever had me an acting or

transparent set model that's why I
really love that fact that it was like

what I think I can make solve
this problem this issue.

And that gives you a different type of
attitude when you're working late and

you're coming up with stuff and
working you know to make it come together.

Yes.

It actually taught us both
that those in the beginning.

There's a weather station tool that
pulled out that if mission for you and

it tells you the averages and it tells you
that it is not just like in the year but

it actually can tell you per month and
per time of day so

I can actually see when the peaks
of sun peaks are happening so

if like if you're designing for a school
where there's a particular time of

that I care about I can actually
still work so polite localise that

research those moments so that's when we
saw I was like There's no rain is flat

that's what the background taught me
that there's not much meaning but

it just said that it does get four
inches but when it does it comes using.

More.

That was also me that's when we designed
the facade to be a race frame so

that the water and sand which would
also be an issue could go through and

not get clogged up with anything original.

The design of the crystal were going
to be really high powered white marble

facade but a nice way to spawn
shimmers that make people blind anyway

my goodness look they've got the fine from
any lesson in this part of the vision they

really want to be a glass kind of building
and so therefore it actually made sense to

make it full mainstream
current was building.

The slope the fact that all of our
forty fourth Street kept changing.

They weren't my I think they are Web It
was a little slower than I was to

develop because anybody has their
own different type of record and

so to structure it's a completely
different software so

actually desktop was a little more behind
ours and so for them to model docs doing

more complex young tree and bending was
a little harder for them and so for them

part of the major issues was understanding
how much C.F.M. cubic feet per unit

they needed in a particular space because
they can fire calculate if biometrically.

And the structural issues with the ribs
and trying to keep the space as large

as possible we were not conceding in
terms of the floor to floor height so

then trying to sneak through and
get underneath certain ducts underneath

certain major structural
members to make certain spaces.

As everybody was in two thousand.

And ten twelve maybe ten of them.

The are now much better now much better
but at that time it was really going

well that's what they talk and
I'm kind of.

Yes.

Congress raises here.

In rabbit definitely the department
because usually it was me that was

covering the plant sections ultimately
anyway so just anything that a lot of my

time to just be more focused at
the fine work the happier I was.

Yes.

Every Monday.

We got there was on Friday looked
at what they changed updated hours

by the end of Monday night I was there.

And then our nation meetings
on the following Tuesday.

And then follow up calls on Friday morning
it's a lot of there's a lot of all

collaboration guys so I know it's going to
get to work on our own thing for us and

it's awesome and
we don't have we're by anybody but

when you get into the working environment
you're collaborating with everyone so

I just get really used to like
sharing in communicating quickly and

efficiently.

Because this entire roll of this entire
row I've got no passion the one question

anybody on the street.

Know.

I was that good I am not telling yes.

Just.

Because.

You

know.

Yes So definitely we it's been developing
a different type of consultant

now a media consultant.

That actually has a ball that when
we walk by it actually activates or

generates as you walk by in the product to
them to the boss and actually has that we

have elevator caps that are completely on
the monitors Samsung monitors in there so

you know instead of that like corny
asquare of the temperature in the news

like now you're kind of surrounded
by it which could be interesting so

yeah there's definitely a lot more
more to having technology integrated

within the experience but
very local public spaces so

far but I'm also more in developer wood so

I haven't done too many personal homes
to see it applied in that regard.

Yes.

Or.

No I think we're there right so in my
firm that's about two hundred architects

you're looking at the only minority
architect in the office at Columbia U.

where the a looking at the only
minority master's student and

at practice five was enough I
was graduated very excited.

In my years in my year so
there's always we're always aware but

we were there be there were good we know
our stuff and our protection of matter

WHAT you are how you do it you got to be
good at it for you to survive you can't.

Kind of have to be in Tara texture so once
you open your mouth to start talking or

once you start from what you
can do nobody has showed me or

anybody that I can perceive a type of
issues because you know what you're

doing and and I actually thought I would
experience that more Saudi Arabia and

not not at all because we can answer these
questions we can design these projects

there's a reason you came
over here to secure this.

Thank you so much.