MARK EDUARDO HIDEO CHENCHIN | P O R T F O L I O

KANEDA RESIDENCE

Design This simple modern house is intended as a “case study” for a Net-Zero Energy / Carbon Neutral single family residence in a suburban context. The compact 2,250 sq. ft. home (plus unconditioned garage) is located on a one-third acre lot and features an open, fl exible living space, and covered outdoor living area. Anticipates one of the highest LEED-H Platinum ratings by creatively using conventional construction materials and readily available building technologies. Passive solar orientation, exposed thermally massive concrete fl oors, operable exterior shading, highly insulated (closed-cell foam) and sealed envelope, integrated solar thermal system (domestic hot water, radiant slab, pool/heat-exhaust), 6.4kw PV system (expandable to 7.2kw), resource effi cient framing, no gas appliances. ResponsibilitiesConceptual design through Construction Administration. Designer, client and consultant coordination, drawings, detailing, presentation rendering, and building systems research.

Kaneda ResidenceCupertino, CA

• Under construction• Custom Residential • 2,740 sf (255 m2) • 4 bedroom + offi ce • $1.4 million • 2x6 wood construction • Anticipates LEED-H Platinum

Kaneda Residence

constructionential

)4 bedroom + offi ce

constructionLEED-H Platinum

FORT MASON CENTER, PIER 2

Fort Mason, Pier 2Cowell Theater, Event Space, Herbst PavillionSan Francisco, CA

• Scheduled construction in 2010• Adaptive Reuse + Renovation• Cultural / Perfoming Arts• 18,000 sf (1670 m2)• $32 million • Concrete pier, concrete • Structure with steel trusses .• Targeting LEED Gold/Platinum

Design The 1912 Historic Army pier and 1932 addition stands 600 feet long into the San Francisco Bay, with panoramic views of the Golden Gate Bridge, Alcatraz Island and the City. Project includes the renovation of the 500 seat Cowell Theater and lobby, insertion of a new Event/ Performance Space, and Herbst Pavilion exhibition hall. To cognitively clarify the dispersed spaces, I proposed a physical and perceived ‘wrappers’ surrounding the two performing spaces giving each a unique sense of place among the overall shed structure. Smaller elements and secondary spaces receive similar treatments and a rhythmic series of highlighted planes accentuate the progression through building zones.

ResponsibilitiesConceptual Design and Design Development. Generated conceptual design of spaces and organization. Client and Consultant coordination. Design Development focused on theater, lobby, and gallery spaces. accentuate the progression through building zones.

GOLDEN GATE BRIDGE

ALCATRAZ ISLAND

SACRED HEART SCHOOL

Sacred Heart SchoolScience + Student Life CenterAtherton, CA

• Completed Fall 2009• Educational: High School • 44,000 sf (4090 m2) • $25 million • 2 story, steel frame • LEED Platinum rating • San Mateo Sustainable Award

DesignA new mixed-use student center housing a 700 seat Auditorium with glazed window backdrop, Student and Faculty Dining Halls opening to a large wood deck courtyard wrapping around a heritage oak tree, a full commercial kitchen, Science Lab and Classrooms, and Administrative Offices. Exterior red slate tile skin weaves through two dining hall planes, blurring the boundary between indoor and outdoor spaces. Project features a green roof, photo voltaic panels, innovative naturally ventilated displacement air system, aggressive daylighting and integrated shading strategies. ResponsibilitiesDesign Development, Construction Documents, Bidding and Construction Administration assistance. Consultant coordination, building systems, drawings, detailing.

THE NUEVA SCHOOL HILLSIDE LEARNING COMPLEX

The Nueva School Hillside Learning ComplexHillsborough, CA

• Completed Fall 2008 • Educational: K-8 • 21,000 sf (1950 m2) • $12 million• 3 buildings, steel frame• LEED Gold rating • AIA Top Ten Green Projects in US• Honor Award, AIA California Council • Honor Award, AIA San Francisco • Award of Excellence, National AIA Education Facility Design Awards• San Mateo Sustainable Award• Metropolis, Feb 09 • GreenSource, Jul 09 • California Home + Design, May 08 • Contract Magazine, Apr 08

DesignFraming a fl exible plaza and amphitheater, the newlearning complex weaves three buildings (a library, a student center/ dining hall, and a classroom building) into a 33-acre wooded campus. Green roofs and berms blend into the hilltop and restores native bird and butterfl y habitats. Remaining wall planes are glazed to open up to views and daylight. Wood slat screens are milled from trees on site. Student hall doubles as a stage for an outdoor amphitheather.

ResponsibilitiesCo-managed and oversaw project from Schematic Design, Design Development through Construction Documents, Construction Administration assistance. Consultant coordination, drawings, detailing. Coordinated and detailed complex geometries(compound curved roof, elliptical roof).

SUN

24% SOLAR POWERED

REUSE

HARVEST TREES REMOVED FROM SITE

RAIN

CELEBRATE STORMS/ MANAGE STORM WATER

FAUNA

BIRD/ BEE/ BUTTERFLY HABITAT

ENERGY

>69% BELOW TYPICAL U.S. SCHOOL

RECYCLE

25% RECYCLED CONTENT

FLORA

CALIFORNIA GRASSLAND HABITAT

LAND

CONNECTIONS TO SITE

WIND

NATURAL VENTILATION

WATER

50% REDUCTION IN WATER USE

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1 PHOTO VOLTAIC PANELS 2 CROSS VENTILATION 3 RADIANT HEATING 4 SUMMER SUN ANGLE 5 GREEN ROOF 6 MECHANICAL VENTILATION 7 CEILING FAN

0 10 2010STREET FACADE

235 BERRY STREET

235 Berry Street Condominiums San Francisco, CA

• Completed 2005• Mid-rise Residential • 194,500 sf (18,000 m2) • $34 million• 7 stories, 75 ft. (22.8 m) tall• 100 units • 1:1 pkg, 2 levels above grade• Bolted steel moment frame, prefabricated exterior wall panels, concrete podium .

Design Formerly a freeway ramp site adjoining an estuary, the redevelopment brings transit oriented high-density housing, along a new esplanade, near the new ball-park and downtown, while retaining a neighborhood atmosphere. Recessed 2 story townhouses conceal a concrete garage podium, on which 1, 2, and 3-bedroom units frame a south-facing courtyard linked to Channel Creek. The multi-layered façade components are disguised by contrasting material fi nishes: integral fi ber cement rain screen cladding; green slate stone tiles, horizontal zinc panels; cement plaster; and full-height glazing. Vertical circulation and corridors are expressed, provide daylight and break down massing.

ResponsibilitiesConstruction Documents, Construction Administration assistance. Prior to construction, the client elected to switch the structural steel stud framing for a new proprietary bolted steel moment frame system (ConXtech). Spearheaded an interim phase to coordinate all consultants and drawings with structural subcontractor to incorporate the new structural system.

Structural SystemA new proprietary bolted steel moment frame structural system (ConXtech) was selected. The upper levels above the concrete parking podium is a prefabricated steel structure and wall panel system. The steel post and beam system is based on a proprietary moment connection consisting of shop welded sleeves which allows for a rapid (temporary) on-site erection. The connections are then bolted together while other steel and structure is installed. The exterior wall panels, (also prefabricated and sit on proprietary tracts and slip attachments) are erected by crane. Special care had to be taken to accommodate unique requirements and retain design intent.

375 FREMONT RESIDENCES

375 Fremont StreetRincon Hill, San Francisco, CA

• Unbuilt• High Rise Residential• 340,900 sf (31,670 m2)• $52 million • 30 stories, 300 ft. (94.5 m) tall • 250 units • 1:1 pkg, 5 levels underground • Concrete super-structure

Design Rincon Hill, next to the future Transbay Terminal, is a mix of underutilized industrial and commercial structures, and has long held the potential for redevelopment as the residential counter balance to the fi nancial district, offering a dense urban community, while completing the iconic skyline to the Bay Bridge. The tower, with strong vertical lines and alternating balconies sits on a 5-story podium housing public spaces and generous amenities for owners. Project balances maximizing the development potential with cost prohibitive structural systems and site constraints. Early studies of twisting tower while maintaining a relatively simple structural system and low construction costs. ResponsibilitiesDeveloper feasibility study, Planning through Schematic Design. Experienced fi rst hand the contentious nature of San Francisco city politics and the planning process: working with city planners, private developers, property attorneys, and environmental consultants while zoning regulations and parcels were up for redevelopment.

CAVIN FAMILY TRAVELING FELLOWSHIP COMPETITION

Federal Border Crossing FaciltyJacumba, CA, Mexico Border

• Cavin Family Traveling Fellowship• Design Competition: Winner

• 49,500 sf (4600 m2)• http://mchenchin.blogspot.com• presented at PechaKucha SF

Competition Design A 5-day charette challenged entrants to rethink a land port of entry. Solution touched upon political/social contrast from how the US greeted their ancestors, from the growing isolationism attitudes of today, and proposed to merge the ‘solar power plant’ and ‘port of entry’ typologies, to create a welcoming space for drivers and pedestrians on a more monumental scale. Exterior canopy provides refuge from the elements, reminiscent of airports/ train terminals. The large solar power array (integrating thin-fi lm ‘modules’ with translucent mesh canopies) is scaleable to regional power needs capable of producing megawatts of power. Set of pedestrian/staff bridges, thermally massive buildings (with evaporative cooling wind scoops), and earth berms frame/ bookend the facility, alluding to a gate or threshold and the symbolic passage from one culture to another.

POWER GENERATIONMerge solar power plan + port of entry typology. Flexible, thin fi lm technology broadens the uses of solar photovoltaics. Panels can also be traditional silicon modules. Possible to generate approximately 1.5 MW of power.

SHADETranslucent fabric blocks the harsh sun and creates a sense of place. Large canopy provides masses of people and cars with a monumentally welcoming experience, reminiscent of grand train and airport terminals.

STRUCTUREModular grid of structure allows most fl exibility. If power plant is not feasible, solar canopy can be scaled back to provide for facility alone.

BUILDINGS AND BRIDGESThermally massive buildings, earth berms, and “brown” roofs reduce diurnal temperature swings. Wind catching towers with evaporative cooling. Bridges and decks above for grand perspectives.

TRAFFIC + PEDESTRIANSTraffi c and cargo check elements can be reconfi gured and expanded in phases. Berm and site walls frame a ‘threshold’ and provide sense of entry at pedestrian mural and public art walls.

SOLAR TRACKING MODULESIndividual modules of simple columns (similar to light posts and telephone poles) frame canvas sheets with fl exible edges. System of cables allow tensile structure and PV’s to track sun’s path. Constantly moving orientation of canvas orchestrates a dynamic play of light and shadow as the day progresses. Morray of hard shadows from pv’s and dappled light from canvas delightfully moves over the buildings and ground.

06/21

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06/21 15:00

AZIMUTH: -103.1

ALTITUDE: 60.2

HSA: 73.9

VSA: 82.6

3:00 PM12:00 PM

3a GALLERY EXHIBIT: CAMP RECONSIDERED

3a Gallery Exhibit: CAMP [Contemporary Art Museum at the Presidio] ReconsideredSan Francisco, CANovember 2008

Don and Doris Fisher, founders of GAP, arguably possess one of the most extraordinary private collections of modern art. A gift to the city of San Francisco, their new museum, the Contemporary Art Museum at the Presidio, or CAMP, selected a site in the historic and picturesque Presidio Park. As with many new large modern projects proposed in this particular city, the project quickly became a stalemate between proponents and the public review process. 3a Gallery asked 10 architects:

“to provide conceptual site plan alternatives to what is currently before the public. These conceptual ideas for the 100,000 square foot museum will be on display for one month and will be the topic of a panel discussion midway through the exhibition. The intent of the collective display is not to provide realistic fi nal design alternatives to the current proposed project, nor is it to comment on the current proposed project, but rather the exhibit is shaped to propose alternates on a conceptual level that pose as many polemical questions regarding the museum program and its siting in a National Park as they do possible concrete solutions and alternatives.”

Together, with another associate of LMS Architects, we analyzed city and the Presidio park master plans, generated conceptual ideas, lead design charrettes and produced three siting schemes refl ecting the unique and potential benefi ts of the Contemporary Art Museum.

Presidio Park Background:The current master plan aims to turn main parade grounds (asphalt parking lot) back into formal grassed lawns fl anked by the historical brick barracks. Doyle Drive, stretch of highway 101, is need of seismic retrofi tting and will be sunk under a berm to connect the parade grounds to the Crissy Field and the San Francisco bay. The site selected by the Presidio Trust and the Fishers sits atop of the parade grounds. Public opposition argued that the design and siting was grossly out of scale and was demolish-ing one of the historically preserved structures.

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SITE 1: PALACE OF FINE ARTSIncorporates adaptive re-use of iconic Bernard Maybeck exposition. Mirrors the diagram creating a new façade along the back side of the curved bar, and placing an abstracted folly in a re-created landscape on top of below-grade parking.

Enhances the original building by providing a façade to the neglected western wall, and solves current defi ciencies through the intervention of a modern structure.

Creates a new public space and entry point to the Presidio, and becomes a hub between Crissy Field, the Marina Green, and the Presidio.

SITE 2: MAIN BLUFFBlurs the line between building, landscape, and path. Disappears from the perspective of the Main Post by sinking into the bluff and continuing the landscape across its roof, maintaining historic character of parade grounds. Acts as a landmark from the perspective of Crissy Field by presenting a monumental façade and a welcoming terraced stair that engages the street. Acts as a node connecting the formality of the Main Parade Ground to the energy and movement of Crissy Field. Opens up sweeping views from the Main Parade Ground by screening the roadway and bringing the Bay closer visually. A catalyst to kick-start the Doyle Drive project and the intensification of development along the waterfont promenade helping meet the Park’s goal of fiscal independence by 2013.

SITE 3: PARADE EDGEAdopts the basic footprints and massing of the barracks buildings to provide scale and rhythm while strengthening the eastern edge of the Main Parade Ground. Incorporates passages at grade between the masses to facilitate circulation between the Old and Main Parade Grounds. Incorporates a colonnade to mirror the articulation of the porticoes on the original barracks. Uses courtyards to capture outdoor space and break down the mass. Combines the multiplicity of repeated forms with the singularity of a unified roof. .

SCHOOL WORK + OTHER THINGS

PORTLAND CHILDREN’S MUSEUMTHESIS PROJECT

One of the main goals of the Portland Children’s Museum it nurture ‘creativity’, not only in the visual arts, but in terms of critical thinking and problem solving in everyday life and activities. My background research on the subject focused on the varied modes of learning (visual, tactile, auditory, interactive, etc.) and the myriad of variations that make each person unique. Also, creativity can be abstracted to the practice of taking a known solution out of its context and applying it to another, unrelated problem. My thesis proposed

to facilitate this process of analyzing, moving, and adapting solutions, while providing varied activities and spaces to appeal to each child’s innate learning preferences.

Interlocking Chambers:Unique volumes or “chambers” house the different programmatic activities: exhibits, hands-on workshop, kid’s cafe, performance theater, library, outdoor garden, and play areas. Each chamber would have its own spatial character,

so one can understand what activity/mode of learning you are participating in. Delicately balancing this concentration, would be a mixture of visual, cognitive, and kinetic understandings that there are other activities (and other modes of learning) adjacent to the space you are in. Physically interlocking these ‘chambers’ and activities (via openings, distinguishing each space’s form + materiality, and various circulation paths) allows one to move freely between them, taking the creative process and applying it to another activity/mode of learning.

Connection to city fabric:To extend this idea of blending spaces together I chose the rich and dense context of Portland’s south park blocks and cultural district. A series of linked atriums tie the chambers together while linking the three lively streetscapes to the program. The redeveloping neighborhood and new light-rail line on the west, and green space and other family activities to the east, provided an urban extension, interlocking more public ‘chambers’ and activities.

WOOD SPOON2002

Among other things, I enjoy cooking and woodworking. Unlikely companions, the two provide a hands-on creative process of making that allows for critical planning and at the same time ad-hoc exploration.

This spoon addresses the following:

cleanliness - weighted back end and fi nger stop under handle allows spoon to rest on table with the cup portion of spoon (and the food it’s touched) elevated from any fl at surface.

function - the tapered edge of the cup is similar to a Stir Fry Spatula, allowing a sharper edge to cut and separate with, while retaining a depressed topography to ladle or serve with.

ergonomics - successive spoons developed fairer curves from original drawings. Weighted ends balance just behind the fi nger guard and marry to the shape of one’s hand.

Getting to know the process: the inherent characteristics, grain, texture, color, smell of the wood; what tools to use; trade methodolgyies and skills, is not unlike the process of architecture. Understanding the materiality and production of building, its variations and nuances, I feel, provide one with a broader palette to draw from and experiment with.

SIDE TABLEUNBUILT

Furniture design and fabrication is an evolving interest, complementing architecture and focusing on fi ner levels of detail.

The structure of this cabinet is delineated separate from the carcass allowing overall lines of each element to be perceived. Further distinction is accomplished by slightly curving and recessing the vertical planes from the top and bottom diaphragms.

Pin, mortise, and fi nger joints will be expressed and will allow for clean juxtapositions.