michael schechner portfolio

MICHAEL SCHECHNER

ARCHITECTURAL DESIGN

Education:Champlain Valley Union High-SchoolClass of 2013Pratt Institute Under-graduate ArchitectureClass of 2018

Skills:3D : Rhinoceros 5 + t-splines+ evolute tools Sketchup

2D : Rhinoceros 5 Hand Drafting Sketching

Additional SkillsVray, MaxwellAdobe Illustrator, Photoshop, Indesign and Lightroom, Model Making, Laser-cutting, 3D-PrintingPhotographyGrasshopper for Rhino (beginner) Revit (beginner)

Michael Schechnermschechn@pratt.edu802-922-6611

CONTENT

Architectural Design:

Design 101 Folly

Design 102 Semiotics

Design 201 Cut-Outs

Design 202 Line-Types

Design 301 Cocoons

Multi-Media and Representation:

Technics 101 Tectonics

Representation 101 Transformations

Representation 102 Analysis

Representation 201 Communication

DESIGN 101 FOLLY

PROFESSOR LAPSHAN FONG

A folly is defined as a structure without a purpose. The 101 semester consisted of constructing a 9x9 square-grid and deconstructing it based on geometric rule-sets. This model was created by extruding shapes from the 9x9 square-grid in an axo-nometric drawing. Splitting the shapes on a new layer, constructing them physi-cally. Then rearranging with an “every-other face gets glued” rule-set to create a model inherently ordered, but which appears disordered and chaotic.

DESIGN 102 SEMIOTICS

PROFESSOR DUKS KOSCHITZ

A continuation of rule-set model-making, the 201 midterm models were scale-less and based on solid and void space-making.

The model on the left was formed by subtracting orthogo-nal shapes out of a cube, skewing the cube and constructing the void as a solid.

The model on the right was created by laying out a series of squares in the space, then joining them to form a multitude of interesecting shapes.

As a result of a combination of the midterm models, the final project was designed for two occupants. An extrovert, living above the street, the other reclusive, living below grade. The two forms are intersected to create a mixed residence, with a shared space in the center. The form is punctured by a series of communal box-spaces for lounging. The structure is held up by a grid-frame, marking the original grid used to generate the intersecting forms.

DESIGN 201 CUT-OUTS

PROFESSOR EVA PEREZ DE VEGA

The library project began by studying the movement and space needed in a library.

The diagrams show the move-ments observed in a research setting - reaching for a book below, reaching for a book above and sitting down (from left to right). The blue diagrams show the main parts of the body as a connected line. The black diagrams show the space the body takes up.

B1

A research assemblage based on the continuity of movement of the body (from the previous page). The assemblage is designed to maximize views, and is formed by continuous strips which are cut-out and folded to form stairs, shelving, seats and tables.

Expanding on the idea of maximiz-ing views and continuity of space, the library is formed by a series of cut-outs which are derived from approaching views on the street. This allowes the community to ex-perience more of the surrounding park, street and sky than a normal box-building condition would. The interior spaces are formed by continuous strips which maximize light and limit distractions, draw-ing the user towards the windows providing views of the city and immediate park-scape.

DESIGN 202 LINE-TYPES

PROFESSOR LIVIO DIMITRIU

Wave Hill is a center for the conservation of plants and wildlife. We were prompted to design an academy for the arts to be situated adjacent to the historically preserved Wave Hill mansion. The academy includes residency studios, classrooms, a presentation space and a scultpure and art exhibition area. The plan follows a linear program, with the retaining wall of the building creating a secondary space which undulates back with a series of line-types to create a sculpture exhibiton space, reflecting sunlight at a different intensity with each consecutive space.

DESIGN 301 COCOONS

PROFESSOR LEONARD LEUNGPARTNER STEPHEN SMOLKO II

Prompted to design a student dormitory for undergraduate students at Pratt Institute, the plot given is a corner condition on a busy (Myrtle Ave.) intersec-tion in the heart of Clinton Hill, Brooklyn.

Using tent caterpillars and silk worms as a base for research and the formation of a flexible analogue system, we began exploring the connection and deformation of one, two, three, and six planes (left). Our interest in tent caterpillar nests was drawn by the architectural features of a cocoon, mediating environmental factors such as light, temperature, and sound.

The cocoon is used for individual work spaces in each of the dorm units, allowing roommates to enjoy a private work space while sharing living spaces. The system was explored at different scales, and the cocoon was used as a mediator of program-matic dichotomies. In the unit scale, a seperator of living and working, at the floor scale, a seperator of individuality, and community, and at the building scale a mediator of the larger Pratt community and the smaller building community.

At the top right, a sectional model shows the largest cocoon space, seperating the larger and smaller Pratt communities. At the bottom of the cocoon, a living machine biofiltration system (shown in section on the next page) recycles water for use in the greenhouse and rooftop vegetable plots as well as toilets and laundry facilities. At the top of the cocoon, the system adjusts to include solar panels powering the living machine pumps and grow lamps needed to boost growth in winter and night-time.

On the bottom, a figure stands in the balcony space between the two cocoon work rooms. The glass line at the balcony spaces is pushed back to reveal the work rooms to onlookers from the street.

Shown in section on the next page, the medium cocoon scale is used for individual floor kitchen and dining rooms. To foster a sense of family within the dormi-tory, students are encouraged to participate in communal garden-ing where they can grow food to cook and eat with friends on their floor. The building becomes a closed system where the food grown, eaten and processed is then recycled into the living machine to repeat the cycle.

arch. 301 . 08 professor leonard leung stephen smolko ii . michael schechner pratt institute block 07

west interior facade

east facade (grand st.)

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section a a’

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arch. 301 . 08 professor leonard leung stephen smolko ii . michael schechner pratt institute block 05

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section a a’

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arch. 301 . 08 professor leonard leung stephen smolko ii . michael schechner pratt institute block 06

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section b

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Perspective looking outside from within the Quad unit. Shown are two work rooms with one student studying inside. On the right the double height space allows for some play with the cocoon system, with a stair wrapping the light filled self sup-ported fiberglass-panel, noded aluminum tube system.

TECHNICS 101 TECTONICS

PROFESSOR ZACK JOSLOWPARTNER MARTIN ORR

On the right, a wooden splint and 3d printed attachment latch onto the mayline to stabilize the user’s arm while drafting. The finger pulled level changes the angle and holds the arm in the desired position.

On the left, a tensegrity system with elastic bands is fitted in-between the user’s arm and body to cushion the arm while drafting for long periods.

REPRESENTATION 101 TRANSFORMATIONS

PROFESSOR SCOTT SORRENSON

Starting with a thrown set of cubes, the cubes were drawn in orthographic views and translated into an axonometric format.

Shown on the top right, the angle at which points are pulled in elevation allows the cube to rotate in space. This successive auxillary technique was used by stone masons to visualize complex cuts.

REPRESENTATION 102 ANALYSIS

PROFESSOR FARZAM YAZDANSETA

Studying and constructing Eisen-man’s unrealized House X, we were asked to explore techniques of revealing multiple interior views from one perspective.

REPRESENTATION 201 COMMUNICATION

PROFESSOR EVAN TRIBUS

Tasked with modeling and advertising a store-bought item, I bought a box of tic-tac mints.

On the right, the advert depicts an ‘explosion of flavor’, with one tic-tac being cut in half, revealing the minty interior and sugary exterior coat.

On the left, the advert depicts a mint leaf, made out of tic-tac pixels.

Inspired by the work of 15th century painter and illustrator Hieronymus Bosch, and the filtration masks of Plague era doctors, this diptych depicts a shadowy figure roaming through a section of the architecture studios at Pratt.