Architecture Portfolio

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Demir Purisic

PORTFOLIOSSA-CCNY05

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Demir Purisic

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Above: Model collage

The artist wants isolation but his survival is dependant on exposure. Governor’s island provides a per-fect scenario for the two. Closed off to the public for most of the year the island can provide isolation for the artist to work and exhibit dur-ing the open season. Providing residency requires the implementation of an existing building, a former housing complex for soldiers and their families. The interaction between all of these elements creates opportunity for collaboration and fosters creativity.

Above: Site plan of Building twelve

01THESISFall ‘14 Spring ‘15Critic: Jeremy Edmiston

Art infrastructure, residency and facilities located on Governor’s island1. Architecture2. Sculpture3. Painting4. Music5. Poetry6. Dance7. Cinema

An exercise into the relationship of the old and the new

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Above: Map of Governor’s Island showing old and proposed changes to island

Brick by brick. Analysis of the exist-ing building begins with a tedious exercise of creating a drawing of the built environment. To create the new we must be aware of the old. Our knowledge and understanding of it must be as natural as breath-ing in order to create a wholesome architecture.

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Above: Collage study showing elements of existing building

Top to bottom: Wood model showing programmatic relationship, Wood and concrete model showing relationship with existing buildingWood and acrylic model showing intervention relationships

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The drawing and model become sa-cred tools. The architecture emerges from them, being created simultane-ously; a play of intention and discov-ery.

Above: Elevation showing existing and intervention

The design of the Lehman College Dormitories called for a project that responded to several different scales, from the urban to the hu-man. We approached this need, not by designing an architecture but rather by designing an architectural system that operates seamlessely on all scales.

Above: Elevation showing system ele-ments, panels and structure

02DORMSFall ‘13 Critic: Timothy Collins

Student dormitories for Lehman CollegeIn Collaboration with Diana Zwetzich

Architecture through system

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Above: Map showing neighborhood context

GRADUATEDORMS

PUBLIC PLAZA

UNDER-GRADUATE

DORMS RESERVOIR

Above: Wood model showing building relationship to campus

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CO M M ON USE

PARKRECRE -ATIONAL

GREEN PUBLIC USE

E X I S T I N G C A M P U S U S E

P R O P O S E D C A M P U S

Above from left to right: Existing and proposed campus map, Axonometric showing building location

Above: Plan showing graduate dorms to the South, undergraduate to the West, Stadium seating on the East and institutional to the North

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A structural grid is established on the campus that has the freedom to be expanded as well as diminished ac-cording to the college’s future needs. Within this grid the architecture is born. A system within a system.

Above: Axonometric of system elements

D O U B L E S C O M M U N A L K I T C H E N

O P E N C O M M U N A L F I R E S T A I R A N D C O R N E R C O N D I T I O N

E N T R Y S P A C E

S I N G L E S

At the unit scale the system is most easily altered. Spaces can be changed according to, not only the needs of the school, but even the needs of the students, giving them the ultimate freedom to live in a space of their own. At this human scale, entering students are given options as to which panels they choose to inhabit. The freedom to not only choose the way in which they study but the way in which they live.

Above: Plans of unit variations

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Above from left to right: Plans, sections, elevations of prefab panels, Axonometric of prefab panels

The redesign of the Harlem School for the Arts was a project in which our architectural language had to accomodate varying needs of the school. The needs of the school require a change in the function as well as the physical image. We ap-proached the project with the idea of establishing an architecture for the school that was both progres-sive and iconic.

03HSA Spring ‘13Critic: Adam Hayes

Redesign of the Harlem School of the ArtsIn collaboration with Diana Zwetzich, Ermira Kasapi and Jose Jiminez

Architecture as contrast fosters creativity and innovation

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Above: Collage of design elements

Above: Mural, 8’x12’ mixed media on foam board

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The site is analyzed through a series of visual, auditory and kinesthetic ex-ercises. Working closely with students from the Harlem School of the Arts a mural is created that aids in establish-ing the needs, views and ideas of the organization.

Above: Site analysis map

Existing with theater condition

Remove all but structure

Replace theater with iconic egg

Create �exible �oor plan

Insert interventions accordingly

Provide natural light and ventilation

The school is redesigned with two ideas in mind, one of adaptability and the other of image. The school must be able to adjust and adapt its functions on a daily basis to provide use for all parts of the day and must redefine it’s image to the surrounding neighborhood to create a richer relationship. The contrasting architecture provides the school with both, thereby filling the voids.

Clockwise from top: Plan, Process dia-grams, Detail of pivoting wall system

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Top: Aerial view of HSABottom: Longitudinal section

THE COCOON THE CAVE THE BUBBLES THE COCOON

The redesign of spaces becomes about the perfect balance between functionality and fun. Each inter-vention serves a specific program-matic service and can be moved, added to and taken away from according to the needs of the user.

Bottom: Renderings and diagrams of interventions

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THE COCOON THE CAVE THE BUBBLES THE COCOON

Top: Foam study models of interventions

Provided with the narrative of two ‘clients’ with opposing needs the architect is given the task of creat-ing a single house for the two. The ‘clients’ stem from the same family, one generation apart. Two brothers ask for privacy and distance from their parents who only wish for the family to stay together. A harmony must be reached.

04HOUSE/HOMEFall ‘13Critic: Elisabetta Terragni

A house for two clients.

A home for one family.

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Above: Model of Eastern facade

A delicate balance is needed for the family to be harmonious. A family whose members seek both privacy and community must strike this balance. How much can we hear or see before we invade the comfort zone of one another?

Middle left: Process diagrams Top: Model with open facade Bottom: Sectional diagram showing visual privacy

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Above: Longitudinal section showing offset floor plates

At which point does architecture become more than just the physical space. At its most primitive, architec-ture provides a shelter, a safe haven from the elements; a house. There must be more to it, architecture becomes a part of the inhabitant, something as natural as a memory, a thought or a feeling; a home.

Middle left: Scan of interior facade Top: Level one planBottom: Level two plan

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Above: Axonometric showing site relationship

A wall separates Gaza strip from Israel. Adjacent to that wall is a 32 mile strip known as the no go zone. At one end of the zone lies a de-stroyed airport. This is the location of our border crossing station.

Above left to right: Map of “No-Go” zone and proposal for the all man’s land, Proposed future map of Gaza and Israel

05BORDERSpring‘14Critic: Alberto Foyo

Border crossing station between Israel and GazaIn collaboration with Muhammad SalehPreliminary group project in collaboration with studio peers*

“At all cost, I have always wanted to avoid the at-titude too often adopted by professional architects and planners: that the community has nothing worth the professionals consideration. That all of its problems can be solved by the importation of the sophisticated urban approach to building. If possible I want to bridge the gulf that separated folk architecture from architect’s architecture.”-Hassan Fathy

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Above: Existing map of Gaza, showing vast difference in agricultural yield

Left to right: Map showing chain of infrastructure locations, Master plan of airport intervention

The airport becomes a focal point for future inhabitants. Surrounding neighborhoods will grow around such an infrastructure.

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Above: Panel of design process, perspectives, plan and elevation

Above: Panoramic view of cloud

06CLOUDFall ‘12 Critic: Domingo Gonzalez

Light as environmentIn collaboration with Diana Zwetzich and Christian Camacho

2,000 cups3 people20 hours

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Located about an under used stair-case the cloud becomes an attrac-tion and encourages the use of the staircase.

Above: Detail showing elements as skin

Clockwise from top: Detail showing over-lap, Installation process, View from rear

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Above: Installation process lasted twenty hours

A rigorous analysis in the formal qualities of architecture. Using a simple gesture of a single twist the private and communal needs of the inhabitants are satisfied.

07TWISTFall ‘11Critic: Arthur Haritos

A garden refuge for six people

How can form answer the needs of the inhabitants?

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Above: Sliver sections at one foot intervals

THREE ADJACENT VOLUMES INSERT PROGRAM PRIVATE VS COMMUNAL

Through the aid of several study models a form is found that satis-fies the needs of the six young inhabitants. The perfect balance of form versus function.

Top from left to right:Wood frame model, Plaster cast of form, Bottom: Diagrams of programmatic function

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Top: Elevation due NorthBottom from left to right: Elevation due West, Elevation due East

The resulting interior spaces come to a climax at the center of the twist. Elements begin to warp and change, floors become walls become stairs become floors beg-ging the question; were they ever a single element to begin with?

From left to right: Wood model diagram of form, exploded axonometric showing interior

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Top: Perspective from third level Bottom: Perspective from entrance

Architecture must become as responsive as our own bodies. It must be able to breathe and respond to its environment without our intervening. A study of thermal bimetals and their implementation in architecture begins to open up worlds of possibilities for future envelopes.

08ENVELOPEFall ‘12Critic: John Murray

A redesign of the envelope of a previous project (Twist)

An analysis into the structure and skin of an envelope, a study of thermal bimetals

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Above: Structure and skin

W i n d

R a i nP a n e l

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C l o s e dS e c t i o n

O p e nS e c t i o n

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Top: Structural twist Bottom: Structure and form

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Above: Exploded elements showing properties

A web of strings is anchored on a grid. Intersecting bamboo rods join the strings through tension while the strings provide compression for the rods. An array of elements in a dance of forces.

09TENSIONSummer ‘13

Art installation on Governor’s IslandIn collaboration and assistance with David JudelsonI had the privelage of working with my former professor David Judelson in aiding him in the design and installation process of this piece during the 2013 Governor’s Island Arts Fair

The balance of forces is an art form in and of itself

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Above: Bamboo rods and string in Ten-sion and Compression

Above: A chain reaction occurs when just one element is touched

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Above: Floating bamboo rods suspended in string

Remont is the art of rebuilding. The art of taking a space and breathing a new life into it. A truly transforma-tive experience both for the space as well as the builder.

Above: Columns and perforated metal wall (Chamber)

10REMONTDecember ‘13 - September ‘14

Project Coordinator

Remont is a contractor specializing in the construction and renovation of interior space. As coordinator my responsibilities included the oversight and management of up to ten workers during the construction process.

ProjectsChamber Gallery NYC - MOS Architects96 Rockwell Penthouse - David Bers Architecture

DISCLAIMER: I was not a part of the design process for these projects. I was a part of the build team. `

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Above: Vaulted ceiling (Chamber)

Above: Interior of bathroom, steel panels, exposed concrete floor (96 Rockwell)

Bottom left: Library and storage, plywood, recycled lumber (96 Rockwell)

Top: Panorama of apartment, open floor plan (96 Rockwell)

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Above: Photograph of vaulted ceiling (Chamber)

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