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J A Y T S A I

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[ V O L . 1 ] c a n o n

[ CONTENTS ]

All images were produced and edited by Jay Tsai unless otherwise specified.

Venice Glassworks . 01-14 . Arch 563

The Park . 33-38 . Competition

Prague Grand Hotel . 25-32 . Arch 564

NaviGates . 15-24 . Arch 463

Folding Architecture . 45-52 . Arch 464

Burnet Warren School . 53-58 . Arch 364

Masonry Compeittion . 39-44 . Arch 264

Professional Works . 59-64 . Professional

Copyright 2011 by Jay Tsai

Venice GlassworksFactory & Gallery

Venice, Italy | Arch 563

The client for this project is world-renowned glassblower Dale Chihuly. The cli-

ent wanted four glassblowing workshops to house the creation of new works.

Mr. Chihuly also requested that all workshops double as performance spaces

where his studio’s work could be displayed for public viewing. Since the proj-

ect is situated in Venice, a city sensitive to change, the architecture must give

back to the community. As the site is generally empty due to its distance from

tourist attractions, a solution was needed in order to reactivate the site politely.

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Eight Sights in One

San Marco

Grand CanalSanta Maria

La Grazia

San Clemente

Laguna Veneta

San Servolo

San Giorgio

Through a series of mapping and diagramming exercises, I framed eight distinct re-

gions of Venice that I wanted to stitch into a single space. View corridors are used as a

link to weave together a sequence of diverse landmarks and environments. This allows

people to experience both the local site and the broader city in finer detail.

This Page: Schematic Sketch |Trace, Marker jay

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Using yarn as an experimental tool, I continuously iterated to unearth logi-

cal connections within the surrounding context. This exercise allowed me

to identify a clear way of weaving in the region’s pathways, tree lines, local

roads, and waterways so that the structure itself becomes an integrated

part of the city’s ecosystem. The form could therefore be courteous to the

site while contributing to the aesthetic and cultural ambitions of Venice.

Physical Site Lines

Left: Study Model | Chipboard Right: Diagrammatic Models | Chipboard, Yarn

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Left: East-Facing Perspective| Digital Rendering Above: First Floor Plan| Digital Drawing

1. Glassblowing Workshop

3. Equipment Storage4. Maintenance Hall

2. Furnace

5. Public Space

2

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5

3

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A finer look in section reveals the glass-

blowing workshop and its relationship to

the spectators of the show. Visitors are

free to move about the workshops to take

in multiple showings or view the galleries

on the second floor of the corridors.

the Details

Above: Section Model | Digital Rendering Right: Interior View, South-Facing Perspective| Digital Rendering

San MarcoGrand Canal Santa MariaSan Giorgio

Much like a hand, the landscape gently cradles the separate pieces,

interlocking with the view corridors such that a cohesive space is

born. Thresholds are created by passing hard corten steel through

lightly hung polycarbonate ceilings. Users will find themselves glanc-

ing from landmark to live performance as they progress slowly through

the space. If they are in search of a retreat, they can find it up in the

quieter gallery spaces where modest pieces of work will be on display.

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The relationship between water and

hardscape creates an interesting

dynamic with Chihuly’s work. Con-

sidering many of his pieces involve

water as a medium of display, it

seemed appropriate to shift the

eastern four frames over the river.

The importance of the frames are

fully understood when stripped of

their corten steel cladding. These

structures hold important artwork

and equipment in addition to the

spectacular views they frame.

the Galleries

Above: Water Gallery Interior Digital Rendering

Below: Water Gallery Exterior Digital Rendering

Right: Water Gallery, Workshop Detail Digital Rendering

La GraziaSan ClementeLaguna VenetaSan Servolo

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Prague Grand HotelLiving & Observation

Prague, Czech Republic | Arch 564

The Grand Prague Hotel was one of my most challenging projects at NJIT.

The client requested an immense program that included a bar, grand

restaurant, cafe, eight retail spaces, an observation deck, and 48 unique

rooms. The hotel had to engage and promote the streetscape to intro-

duce a new feature that is both profitable and attractive to pedestrians.

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Room Variation

The concept of peeling up the streetscape was a simple

scheme to attract users into the hotel’s retail program. As

the skin begins to peel upwards, it pulls the pavement with

it. This material flows into the tower, integrating native ele-

ments as part of the foundation for the new architecture. The

pleasant slope that is created turns into a public area where

people can view the square from an elevated vantage point.

Existing

Prague Grand Hotel

[ 1 ]

[ 2 ]

[ 3 ]

[ 4 ]

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Cross-braced steel tubes free up the atrium and

provide a column-free living space. The resi-

dents are truly exposed to the views of Prague

while in the seclusion of their own space.

the Details

The effects of offsetting the floors

[4] opened more views and com-

munity spaces. A skip-stop elevator

[5] services the duplex apartment

arrangement. Elevators stop at floors

1-5, A, and C. The duplex allows

visitors the ability to have dual views

of the city.

Floor Modules

A B C D C B A A B C D 5 4 3 2 1

48 Unique Units

The body is formed from a cylinder

[1] and is then squeezed [2] to fit

in the city’s context. The cavity is

molded into an hour-glass shape

[3], providing views down to the

reception and up toward the sky. By

slicing and offsetting the shape at

two sections [4], I was able to re-

duce its density and simultaneously

create more unique spaces.

[ 5 ]

Duplex 1-level

Floor B

Floor A

1

1

1

1

Entry Perspective Rendering

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A cafe, bar, and main res-taurant were planned for the pedestrian level. The arms of the base hug ex-isting retail areas and open up to a view of Old Town Square. They also provide a multi-purpose venue for vendors and casual gath-erings. Beneath are eight more retail spaces, per the client’s request.

the Program

A

B

1

3

1

2

4

10 20 40 80

1. Market / Multi-Purpose2. Retail Entry3. Bar / Cafe4. Restaurant5. Reception

4

3

5

1

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the BaseThe ground floor of the tower, which vendors may oc-

cupy, houses a pleasant and profitable journey toward

other amenities, including the restaurant, bar, reception,

and observation space. The mesh exterior incorporates

the natural environment, and light emitted from the core

guides pedestrians to look and travel upwards.

The ground floor of the tower, which vendors may oc-

cupy, houses a pleasant and profitable journey toward

other amenities, including the restaurant, bar, reception,

and observation space. The mesh exterior incorporates

the natural environment, and light emitted from the core

guides pedestrians to look and travel upwards.

Section B

1

3

2

4

1. Retail Space

2. Direct Route to Hotel

3. Market / Vendor Space

4. Viewing Incline

NaviGatesTemporary Installation

Siena, Italy | Arch 463

The Porta Romana is one of the many entryways into Siena. How-

ever, this entry is unsightly despite its importance to the city’s

circulation. Visibility is limited along the meandering paths causing

disoriented travelers to head for the nearest exit. I led my team to

generate a proposal that actively engaged travelers toward the Porta

Romana Gate and reinvigorated the path towards the city’s center.

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This diagram displays every major site

line on the path to the Porta Romana

Gate. It grows evident that there are

common points of intersection. These

shared-view corridors are the starting

point for our installation piece.

Above, Left: Studies | Velum, Newspaper, Trace

Site Line Intersections

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Left: Plan Diagram| Yarn, VelumRight: Installation Perspective| Digital Rendering

The representation on the left depicts each mode of transportation in a different color, taking into consideration the varied speeds at which vehicles may travel. Once all clear site lines were mapped, we were able to further filter out the best possible

vistas for our installation. Between all the diagram- ming and overlays, we were able to successfully select three points that direct the traveler’s eye to the nearest entry (Porta Romana), all while providing them a pleasant, thought-provoking experience.

The representation on the left depicts each mode of transportation in a different color, taking into consideration the varied speeds at which vehicles may travel. Once all clear site lines were mapped, we were able to further filter out the best possible

vistas for our installation. Between all the diagram- ming and overlays, we were able to successfully select three points that direct the traveler’s eye to the nearest entry (Porta Romana), all while providing them a pleasant, thought-provoking experience.

After intense documentation of views, sight lines,

and urban plans, we developed a physical and con-

textual story with the Porta Romana Gate. Dividing

six stainless steel mesh structures into three groups,

we placed them in strategic locations to engage

passersby. These lightweight pieces were abstract

representations of the Porta Romana Gate [5] and

acted as nodes to navigate the route.

the Composition

4

3

2

1

5

6

Aligned together, the structures, which ranged from

8’ to 18’, framed key vistas when observers passed

by them [6]. As they neared the main gate, the final

pieces began to more literally mimic the Porta Romana

Gate, signifying to visitors their entry into Siena.

2

3

4

1

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The ParkCar Park Tower

Hong Kong, China | Competition | 2011

The objective was to design an iconic parking tower in Hong Kong. The inte-

rior needed to also include a cafe, reception lounge, performance area, and

multi-purpose space. But with only two weeks to start and finish the competi-

tion, I needed to construct a simple yet comprehensive solution. By focus-

ing on common issues that parking garages face, such as poor lighting and

uninviting atmosphere, I devised a clean design in response.

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Taking into account the existing

public park across the street

from the project site, the new

Park acts as an extension of the

green space. The staggered,

well-ventilated parking levels

allow for the growth of veg-

etation. The gardened stairwell

invites visitors to interact with

the tower while enjoying native

plants from Hong Kong. It ends

with the performance space as

well as a 360-degree view of

the city.

Extensions

Left: Aerial View | Digital Rendering

Site Plan

Typical Parking Layout

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Proposed Design

Exoskeleton

The cavity of the honeycomb endoskeleton sup-

ports various functions: way-finding through

graphic signage, natural air filtering via green

walls, and LED screens for video projections. In

essence, the building becomes a living structure.

the Interior

Perspective of Parking Level

Perspective of Interior Entry

Each of the four platforms has its own el-

evator for the users’ convenience. Though

connected, each section has its own unique

and attractive quality. As a group, they cre-

ate an interactive space. Users are encour-

aged to explore the intricate and intertwin-

ing paths, thereby limiting elevator use and

saving energy.

The organic form makes for an iconic mark

on the waterfront. Though the matrix com-

position creates a strong exoskeleton, there

is still a need for an endoskeleton in order to

create a column-free space.

the Exterior

Tiered Parking Module.

Masonry CompetitionMontessori School

Jersey City, New Jersey | Arch 264 | First Place

This competition was separated into two phases. The first phase was an individ-

ual project that focused on creating a Montessori school in Jersey City. Students

were asked to devise an innovative school using masonry as the key building ele-

ment. One design from each of NJIT’s eight studio teams were selected to com-

pete against each other. In the second phase, each studio developed a physical

mockup, digital presentation, and presentation board for the final competition.

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Timber strips settle into the facde as

it wraps down from the ceiling.

Joints carry a visual continuity with

toys enjoyed by Montessori kids.

Physical model of the design be-

fore construction

My studio team selected my project to

submit to the final competition. My original

design catered to the use of masonry and

tectonics as a progressive learning tool for

children. By showcasing the possibilities

of materials, i.e. wood, students can see

it evolve in the school to suit many differ-

ent functions; frames, skylights, railings,

shelves, seating, and flooring. This gives

kids the idea that every material can serve

multiple uses, helping them think outside

the box.

I was inspired by a child’s fascination with

the cardboard packaging rather than the

contents within. The masonry facade of the

school captures this rather common experi-

ence. It is both a shelter and an interac-

tive learning tool. After investigation on the

pedagogy of Montessori schools, our team

ascertained the best methods to teach

children through architecture.

the Competition

Children interacting with the “math”

wall, while using the steps as desks.

1. Mockup Extraction

Facade Math Wall Language Wall Sensorial Wall

Montessori School

1

3 6

5

4

2. Math Wall

3. Language Wall

4. Common Space

5. 2nd Grade Classroom

7. Language

6. Auditorium

2

Interior Rendering of First Grade Class3-D Section Cut of the School

1 23

4

5

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Folding ArchitectureKnotville

Brooklyn, New York | Arch 464

At the beginning of Arch 464, our professor assigned each of us words

related to folding—‘pleat,’ ‘bend,’ ‘twist,’ ‘pull,’ ‘press,’ to name a few.

My words were ‘press’ and ‘knot.’ The task was to explore the pos-

sibilities of each and conceptualize them through architecture. The site

was to be in a city environment, so a secondary investigation into urban

planning and its specific challenges needed to be addressed as well.

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After exploring nearly a hundred different

ways to tie a knot, I began to develop

my own variation of the square knot. This

knot, which is typically used for sailing

purposes, can easily collapse and come

apart. For this reason, it is not meant to

be used for safety purposes. But what

intrigued me was the knot’s ability to

naturally unravel and expand from a

once contracted form. When tied, the

square knot creates spaces which are

self-protected and untouched.

By taking away the strengths of the square

knot, I began to address its weaknesses.

Channeling the word ‘press,’ I created

a series of interlocking strips that could

expand and form a rigid grid, or collapse

into a single flat piece. By combining

the strongest properties of both states, I

created a module with great architectural

possibilities.

Several materials were considered,

including wood, paper, neoprene,

rubber, plastic, cloth, PVC, poly-

carbonate, cardboard, chipboard,

metal, and canvas. In the end,

polycarbonate was the only material

that possessed properties that were

rigid enough to withstand extreme

bends, cuts, and perforations while

still maintaining its integrity. PVC was

more rigid but less flexible, which

made it ideal for the core locking

mechanism.

[ Folding ]

Left: Phyiscal Model| Plywood

[ ]

Above Center: Laser cutout lines create one module of the reinvented square not.

Above Left: Three views of the assembled knot in its contracted form. Materials used were PVC (black) and polycarbonate.

Bottom Left: Three views of the assembled knot in its expanded form. Materials used were PVC (black) and polycarbonate.

The simple act of pushing together

the ends of the square knot allow it

to lock and maintain its shape.

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AA

AB

As it currently exists, a skyscraper is

typically erected independent of its neighbor.

This contributes to an incremental burden

on the land upon which it is erected instead

of creating a synergy with the existing sur-

roundings. Life external to the structure is

negatively impacted when natural sunlight

and clean airflow are obstructed. The fluidity

of the environment suffers as movement must

accommodate the structural intrusion, often

resulting in heavy traffic congestion. Internally,

walls, ground, and ceiling are defined as a

constant, expending energy even after its

inhabitants have vacated its premises.

Knotville functions as an organism

that is highly responsive to the interactions

exerted upon it. As the human lung draws in

air, the muscular walls expand the organ then

contracts once the air is expelled. Similarly,

Knotville behaves in a way such that the

building itself condenses through the inter-

twining of its units when they are unoccupied.

As such, space is tailored to the demands of

the individual in a way that optimizes its utility.

Knotville recognizes the integrity

of the space it occupies and incorporates

the functional dexterity of a standard square

knot. The square knot is considered one of

the simplest knots for adjoining two ropes,

creating a stable, centralized core and loose,

malleable ends. Manipulated into a massive

series of repetitive components, Knotville

develops into an entity that ties and unravels

as a single module. Its simple pattern inher-

ently supports continuous expansion. The

detangling of square knot components will

be based on a meticulous evaluation of its

designated program.

Responsive to the demands of

its environment, Knotville is geometrically

designed to maximize the absorption of solar

and wind energy. More significantly, the build-

ing moves and adapts to the entering and

exiting of its occupants through sensors and

weight detection. Adjacent structural “knots”

engage in a logical contract-and-release:

when people exit. The knot tightens as the

space is no longer engaged. Their migration,

in effect, unravels the adjacent knot, opening

up the space according to the programmed

demands of the activity it is hosting. The

concept of stacking and sprawling are heavily

incorporated in order to alleviate exhaustion

attributable to stationary, vacant buildings,

while simultaneously leveraging momentum

to coordinate an ideal ratio for structure-to-

environment efficiency.

The rigidity of what can be referred to

as the modern skyscraper poses po-

tentially damaging environmental and

economic restrictions. Historically, ver-

tical expansion has been regarded as

the remedy for development in a highly

dense environment confined by limited

expansion opportunities. Its fixed struc-

ture, however, offers few alternatives for

achieving a more streamlined, energy-

efficient territory.

the LIVINGKNOTVILLE

A written abstract for the reinvented

square knot.

Right: Perspective | Digital Rendering

Above: Plan | CAD Drawing

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A detailed view of two stacked square knots

- Large Increase in entry space to accommodate entering occupants

- Wind and solar gains torward more populated areas

- Slight decrease in size- Slight increase in entry space- Neutral knot formation

- Increase in height and width- Decrease in sprawl- Slight increase in wind and solar gain

- Decrease in height and width due to exiting occupants- Large increase in entry space to accommodate exiting oc- cupants

Section A

Section B

Burnet Warren SchoolK-8 Education Space

Newark, New Jersey| Arch 564

A steep slope and busy urban context brought an immediate challenge to this

project. The school, which is programmed for kindergarten through eighth grade,

needed to be an environment students wanted to be in while also maximizing their

ability to learn. I decided to integrate the beauty of the natural landscape directly

into the school, marrying the idea of recess with study. The building screens out the

noisy and harsh views of the street with natural light that enters from above.

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The school’s mass is broken up to fit seamlessly within

the given context. This makes it less daunting for kids as

they enter. The stainless steel mesh exterior blocks off

distractions but lets in natural light. When the kids enter the

school, they are immersed in a bright, warm atmosphere.

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A B

F

The school is organized in the following

manner: Sections A-B, which are multi-

leveled, are for the 5th-8th grades; Sec-

tions D-E are for K-4th grades, on one

level and directly adjacent to all facilities;

Section C houses the cafeteria, com-

mon spaces, and elective courses.

the Sections

A

B

C

D

E

C D E

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Professional Work2009-2011

New York, New York | Professional

The presented body of work is selected from my tenure at SBLM Architects

and Ginseng Chicken Architects, both located in New York. The projects

from SBLM have either been built or are curently under construction. Design,

visualization, and techincal drawings were all completed by myself. The two

projects from Ginseng Chicken are competition proposals. I was respon-

sible for facade design, some interior design, and visualization for both.

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The drawing on the left displays the RCP of the lighting plan I devised. Fluorescent

light battens are connected by a snaking metal conduit, which minimizes the need

for junction boxes, and in turn become a positive aesthetic while lowering the price

for the space. Acoustical tiles are also placed at a diagonal which reflect onto the

floor to create the tile pattern.

I was the lead designer on this project, which comprised roughly 15,000 sqft. This

three-floor youth treatment facility was on a very tight budget, so I devised some eco-

nomical solutions without compromising its aesthetic. For example, the graphics on the

walls were custom designed by myself to save the costs of hiring outside consultants.

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Youth Treatment FacilityBronx, New York | SBLM | ( Under Construction )

Left: 3rd Floor RCP CD | SBLM Architects

Right: 3rd Floor Perspective Digital Rendering SBLM Architects

[Burlington] Flagship Office

Bronx, New York | SBLM | ( Completed )

This was my first built work. The CEO of Burlington

wanted to revamp the image and feel of their flag-

ship office. The goal was to create a fashionable and

modern look. As a concept, I envisioned a stripping

away of layers to progressively reveal the store’s key

products. By the time the reception is reached, the

wall has been pared down to glass. At this point, man-

nequins and entry doors are revealed.

This project was also on an ex-

tremely tight budget. I was again

charged as lead designer for this

14,000 sqft space. As this was

a very large community room, I

wanted to develop a space that

warmly enveloped the users inside.

I aimed to produce a powerful,

welcoming interior feel, and the

clients jumped at the opportunity

to execute. In the end they spent

extra money for a design they felt

would greatly enhance their users’

rehabilitation.

[Horizons] Counseling Center

Smithtown, New York | SBLM | ( Under Construction )

Left: Community Room| Digital Rendering Above: RCP Drawing| Construction Document

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Inspired by Arvo Part’s musical style, this project sought to capture the concepts of random

access and formal purity. The former denotes Arvo Part’s exploration of music in the absence

of linearity and hierarchical structure. Each space is distinct and independent. Users would

therefore be able to access any space without having to traverse a predefined program. The

latter was achieved by creating a structure in the purest form - a geomtric cube.

[St. Paul's Church] Performance Hall

Rakvere, Estonia | Competition | Ginseng Chicken

Interior Perspective| Digital Rendering Exterior Perspective| Digital Rendering

The program called for three

separate buildings that would

house art, architecture, and

design. Though unique in

their own right, these con-

centrations are, at their core,

interconnected, which is re-

flected in the singular platform

from which each building is

rooted.Interior Perspective| Digital Rendering

[NMAAD] National Museum of Art, Architecture, and Design

Oslo, Norway | Competition | Ginseng Chicken

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V O L . 1

C A N O N

9 0 8 . 6 2 5 . 7 0 3 6JayTsai87@gmail.com