SCI-Arc_FS19_3GAX_Yuan_Lawrence

作品集

SCI-Arc semester: fall 2019

M06C04 袁翰

LAWRENCE YUAN

< 81778181314520

format : pdf - two pages spread

fs2019 gateway protfolio submmision

SCI-ARC

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3GAX PORTFOLIO WORKSHOP

2019 .09 03 - 2019 .12 14

I N S T RUC T O R :

L AW R E N C E _ Y UA N

2019 .01 08 - 2019 .04 14

COO R D I N AT O R :

WK3013 01.5

2018 .09 01 - 2018 .12 14

M.ARCH2 FS2019 PORTFOLIO COURSE WORKS ::: FROM DESIGN STUDIO X APPLIED STUDIES X VISUAL STUDIES X HISTORY THEORIES X LIBERAL ARTS

DIGITAL_MONOGRAPH_MODEL-

PORTFOLIO

STANDARD PORTRAIT 8”X10” FORMAT.

Lawrence Y. “It is meant to help establish within each student an awareness of the role of portfolio in their own development and the essential nature of portfolio culture within the school and discipline.”

SOUTHERN CALIFORNIA INSITUTE OF ARCHITECUTRE

SCI-Arc

< 81778181314520 Lawrence Han Yuan

m.arch 2 2018.09-2020.09

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Lawrence Y.

FS 2019 PORTFOLIO

01. PERSONAL_STATEMENT 02. 2GAX_WORKS #1 computational_morphologies_design _studio_I -curiosities I -curiosities II -X Ray Vision

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#2 advanced_material_and_tectonics: -building envelope design #3 visual_studies_I -the augmented objects #4 theories of contemporary architecture_I -discourse of shape

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TABLE OF CONTENTS. 03. 2GBX_WORKS #1 generative_morphologies_design _studio_II -forms of knowledge #2 visual_studies_I -become the internet #4 theories of contemporary architecture_II -discourse of shape

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Lawrence Y.

FS 2019 PORTFOLIO

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PERSONAL STATEMENT ::

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Lawrence Yuan is a master student currently studying in SCI-Arc’s March 2 program, pursuing advanced studies in architectural practice and new medium in design development.

< 81778181314520 Lawrence Han Yuan

Lawrence Yuan earned a bachelor degree in Ming Chung University, Taiwan 2017, where he learned basic architectural knowledge and design skills. In 2018 he received an offer to come study at SCI-Arc for design technology development.

He worked and studied at an educational community -Design Make Organization as an assistant researcher for design technology and material fabrication. Knowledge and techniques that practice digital-based architectural design, is how he wished to connect digitized designing tools to architecture in SCI-Arc. Lawrence’s interests lie in digital design and advanced fabrication methods.

He enjoys researching ways to practice and rationalize digitized architecture.

He is dedicating to becoming a licensed architect.

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SCI-Arc

Lawrence Y.

< 81778181314520 Lawrence Han Yuan

m.arch 2 2018.09-2020.09

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2GAX 2GBX COUSRE WORKS M.ARCH 2, SOUTHERN_CALIFORNIA INSTITUTE_OF ARCHITECTURE #2018-19 / 6

-architectural structure design -digital methods architecture design

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Lawrence Y.

FS 2019 PORTFOLIO

M06C04 袁翰

CURIOSITIES_ 3D_SCANNING & PHOTOGRAMMETRY_I

SCI-Arc

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2gax_ds1200_gow_&_pita_studio

2018_sep-oct

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2GAX_DS1200_ 2018 / 09 COMPUTATIONAL_ DESIGN _STUDIO_I

INSTRUCTOR: MARCELYN_ GOW & FLORENCIA_PITA

curiosities_3D_Scanning&Photogrammetry_I

IN COLLABORATION WITH: DEEDEE CHUNG

RESIN CAST MODEL #1

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[photogrammetry_bus stop design] by using meshed gernerated from photogrammetry, we are seeking a possible way to scalessly re-implement a form into a program {design order} what we found is interesting about the project is its design order, we used to design first with program then form and then material, but in this, we actually reverse the order, with first form then meterial then program, it actually gives us a lot of time to focuz on complying the form and the material’s characteristic, so new connection will build up, will replace the way we uesd to connect a thing’s function with it’s shape.

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SCI-Arc

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FS 2019 PORTFOLIO

Lawrence Y.

2gax_ds1200_gow_&_pita_studio

2018_sep-oct

MESHES FROM 1ST SCANNING #2

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chunk of photogrammetry water valve

curiosities_3D_Scanning&Photogrammetry_I

{re-examine} adding new material, it helps us re-examine the form, to accept the new composition that was made from those original objects, urethean resin is liquid at the beginning, then gradully cures, and it captures that movement ,blending egdes and bumps, to provide a new interpretation to the object, [photogrammetry_bus stop design] by using meshed gernerated from photogrammetry, we are seeking a possible way to scalessly re-implement a form into a program Photogrammetry is a type of science of calculating measurement from photos, and the photogrammetry software is used in tools like Agisoft, Zephyr, which uses a series of photos which were taken in a certain type of order, then uses the photogrammetry softwares to identify similar points across multiple images.

By using these similar points, the software’s system builds a three-dimensional point cloud, which is then used to generate the same “Topographic maps, Digital terrain models, Meshes, and Orthophotos.

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MESHES FROM 1ST SCANNING #1

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SECOND CAST RE-SCANNED MODEL -

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TEXTURE FROM 2ND RESIN CAST using the first cast model, re-scan it and then cast the resin again / 12

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REFORM_RESHAPE_RESCAN REFORM_RESHAPE & MUTI-RESIN CASTING _RESCAN & MUTI-RESIN CAST

SCI-Arc

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Using bounding box to retrim the meshes to redefine its origianl scale and shape.

curiosities_3D_Scanning&Photogrammetry_I

After 1st casting on the model, we re-scan it and then re-cast it to redefine its original shape’s meaning. we combine the biopolymer gel refrigerator with the but stop, trying to impement “gooeyness” on program too. we image the inner space is for storing food so the gel blends with its outter shell’s form.

Thus, we found out that by doing the modeling repetively, we can actually come up with new approaches to the deisgn.

RE-SCALED ARCHITECTURAL ELEMENTS / 14

The origianl idea was to sample architectural elements from the historical building- bradbury building in downtown LA. Because of the plenty of meaningful ornaments in the bradbury building, we were trying to find a way to give new interpretations to these tokens and symbols.

Also, the meshes and forms that we get from phorogrammetry software, have lost their origianl scales and orientation, which provides a possibility for us to redefine the order of the shape, even into larger scale of spaces.

The next step is using resin to cast the photogrammetry generated meshes, by doing this, the form itself will have the second time of deformation.

Moreover, the heat generated when resin is curing would also destroy or melt part of the model, which again shaping the model into another form.

So by the end, the model we have would be reshaped and redefined more than two times, and at this moment, the primitive outline or geometry of the elements are recreated.

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Lawrence Y. 2018_sep-oct

FS 2019 PORTFOLIO

2gax_ds1200_florencia_pita_studio

CURIOSITIES_ 3D_SCANNING & PHOTOGRAMMETRY_II

SCI-Arc

2GAX_DS1200_ 2018 / 09 COMPUTATIONAL_ DESIGN _STUDIO_I

INSTRUCTOR: MARCELYN_ GOW & FLORENCIA_PITA IN COLLABORATION WITH: RICHARD MAPES, OVGU NUROZLER

COMPOSITION & RESIN CAST

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curiosities_3D_Scanning&Photogrammetry_I

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[Tower Design] Replacing The MTA Building {Concept} by scanning facades pieces and building elements from the downtown LA, we are re-composing a new tower-like form, trying to explore a new way of desgning high-rise architectures . In the beginning, we looked for different types of building facades for photogrammetry, and then took away their color but not the texture and strated to retrim them, after doing that, we sliced them into pieces and stacked them so the charecteristics were kept but the new-

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Lawrence Y.

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WATER TRANFER PRINTING TEXTURE

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REMAPPED_TEXREMAPPED_TEXTURE&SP TURE&SPRAY_PAINT- RAY_PAINTING ING

SCI-Arc

composition is created. The last step is to add a new material and texture to the tower, to achieve that, we re-scanned the texture from colored physical model into 3d model, and then project them again onto the tower so that the prints of both physical and virtual would overlap, and to create a new skin for this form. [second time resin cast model] after 1st cast and rescanned, we did a 2nd casting back to the physical model.

Using the physical models’ real texture, to remap bakc onto the 3d meshed, apply onto the tower trying to provide a 3rd time redefinition of the composition.

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FS 2019 PORTFOLIO

Lawrence Y.

UNFOLDED TEXTURE MAP #1

curiosities_3D_Scanning&Photogrammetry_I

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when applyin back the texture we got from physical model to the 3d model, the unfoled map created a new pattern.

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REMAPPED TEXTURE / 20

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Lawrence Y.

AXONOMETRIC BUILDING CHUNK

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3rd time remapped tower composition

2018_sep-oct

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TOWER FLOOR PLAN #1 / 22

{purpose} our aim is to compose a tower from a visually appealing point of view, so the known part is that we are going to sample the facades from dtla, also from the physical texture that the resin gave, and the unknown part is How is this programmed tower going to look like?

How to give different facades a new interpertation as an architectural space? _design strategy} so we made them into shells or chunks while reassembling them with new alignement, and we use them to cut each other to reconstruct layers and depths as possible space for machines to inhabitat and at the same time we realized that we cannot no longer tell which is the exterior facade and interior facade, this ambigiousness was created bcuz of the new seams, edges and continuity of surfaces that we gave, which is very interesting so we feed back this idea into our program.

curiosities_3D_Scanning&Photogrammetry_I

we set the background to next 20 years that the new vehicles are taking places of the buildings and roads, we image this tower as a new data center for future transportation needs, thus, it hosts mainly mechanicals we are trying to think about: How is this programmed tower going to look like?

How to give different facades a new interpertation as architectural space?

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X-RAY VISION_ NARRATIVE_ CITY CONTEXT

SCI-Arc

FS 2019 PORTFOLIO

Lawrence Y.

PERSPECTIVE IMAGE #1 the elongated side view

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2gax_ds1200_sandmeier&lorenzi_studio 2018_oct-nov

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2GAX_DS1200_ 2018 / 09 COMPUTATIONAL_ DESIGN _STUDIO_I

INSTRUCTOR: NATASHA SANDMEIER & ANGELICA LORENZI

X-ray_vision_narrative_city context

IN COLLABORATION WITH: DEEDEE CHUNG

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SCI-Arc

FS 2019 PORTFOLIO

Lawrence Y.

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2gax_ds1200_sandmeier&lorenzi_studio 2018_oct-nov

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X-ray_vision_narrative_city context

{Animated Narratives} Downtown LA city context

PERSPECTIVE IMAGE #2 / 26

{Concept} The appearance of one thing can sometimes be deceptive, different scenes we see of a thing from different time and perspectives may distract us of distinguishing the reality and illusion.

Rialto, the old theater from 20’s is now a retail store which locates in the section mixed with jewelry and fashion shops of Broadway street, its appearance doesn’t tell the story of the current usage, same as the street showing entirely different scenes between day and night.

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Lawrence Y.

2gax_ds1200_sandmeier&lorenzi_studio 2018_oct-nov

SECENE 02 SIDE VIEW #2

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{ side street view , 00 : 00 : 06 :07}

{ street view, 00 : 00 : 03 :12} {Animated Narratives} Downtown LA city context The camera starts walking from the side, makes the viewer initailly have an illustion of its shape and position.

X-ray_vision_narrative_city context

The camera as well shows different direction walking toward the object to emphasize the illusion the camera goes inside the installation to show the compostion of shallow meshes and solid chunk parts.

Imagine a big installation floating above Rialto under sunlight, with a solid massing created by meshes, but only the chunks pieces cast shadows. And the front view of it shows a perfect sphere shape while looking from different perspectives, the actually elongated shape gradually reveals. And when the night falls, without the color from sunlight, the hollowness of the installation mute the Rialto and its surroundings with ambiguity.

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SCENE 01 INTERIOR VIEW < 81778181314520 Lawrence Han Yuan

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FS 2019 PORTFOLIO

Lawrence Y.

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PERSPECTIVE IMAGE #3

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using both meshes and solid chunks to increase the difference on shadows

PERSPECTIVE IMAGE #3 / 30

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GLAZING PANELS CHUNK ISOMETRIC VIEW { transformed facade chunck isometric diagram}

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BUILDING_ ENVELOPE_ TRANSFORMATION -

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2GAX_AS3302_ 2018 / 09 ADVANCED_MATERIALS_ AND_TECTONICS

INSTRUCTOR: MAXI_SPINA_& RANDY_JEFFERSON

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IN COLLABORATION WITH: XIN LIU, GIAOYUE ZHAO, ZEPENG GAO

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Building_Envelope_Transformation

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03 A1 01. glass railing with handrail 02. steel framed system 03. aluminum railing mullion with rubber gaskets 04. plank flooring 05. w18 i-beam hor secondary structure

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06. 8’’ poured concrete slab 07. MTL decking 08. channel molding 09. single panel unitized curtain wall system 10. drywall grid system

11. drop act ceiling with tiebacks 12. gypsum board 13. steel cables 14. aluminum ventilation tubes 15. glass louver blade

16. UV resistant acrylic sheetings 17. vertical fin support columns

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Lawrence Y.

FS 2019 PORTFOLIO

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2gax_as3302_spina_&_jefferson

LOUVER BLADE TRANSFORMATION #1

[Envelope/ Facade System Design] Elbphilharmonie Hamburg Design Development The Elbphilharmonie Hamburg has gained its recognition from its glazing façade’s delicate curved glass, pre-fabrication process and the precision of tectonic components. At the same time, the heavily weighted glasses and their responding structures restrict not only the size but also the curvature of glass panels and the possibilities of openings. Over-budget has also been an issue of using a massive amount of glass panels.

Therefore, our aim is to keep the translucence and wavy feature of the original façade while increasing the degree of protrusion and to parametrically control panels from design, rationalization, fabrication to construction and give variants to facade’s transparency to correspond with a variety of interior functions.

Plexiglass or so-called acrylic sheeting is chosen as a lightweight and flexible material to achieve the transformation. The plexiglass windows have 17 times the impact strength than that of traditional glass, which means stronger self-supporting ability. In addition, it is preferably flexible so we then create a comprehensive design strategy to control shadow transition effects by making glasses into louver blades then rotating them in response to different exterior conditions or interior spaces.

We create various semi-outdoor spaces with the exactly performed twisted louver blades, the weather will not limit openings anymore.

Moreover, the original façade aesthetic relying on chrome dots coating now can as well be continued and developed along with the acrylic glass patterns. The design strategy also allows us to fabricate the glass panels efficiently, by repeating modules with different patterns, both construction and visual effect can be accomplished methodically.

Also, by giving spaces between slabs and the façade structures, vertical space continuity is increased, as well as ventilation and control over glazing in this doubled layer window façade system.

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Building_Envelope_Transformation

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PARAMETRIC CONTROL STRATEGY #1 / 34

a. {aperture and pattern combinations} continuity across different facade units b. {rationalization and optimazation of vertical panels} panels at the facade units

c. {rationalization and optimazation of vertical panels} optimized exact same panels for mass production d. {parametrical control} single unit

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03 A2

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CURVED ACRYLIC FACADE PANELS TYPE A / 36

01. cage structure with standoffs for acrylic panels 02. vertical fin support columns 03. connector slots 04. support columns connector

05. aluminum glass mullion with rubber{ facade type a Isometric gaskets view, 02. steel framed system Inclination 45°} 03. UV resistant acrylic sheeting

CURVED ARCRYLIC FACADE PANELS TYPE B

01. connector slots 02. vertical fin support columns 03. glass railing with aluminum handrail 04. horizontal steel sub-frames

05. steel attachment with hollow aluminum blade holders 06. glass louver blades 07. gradient chromatic dots 08. steel grabbers

{ facade type b Isometric view, Inclination 45°}

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SCI-Arc

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using frame substructure, sealed glass facade

using sealed glass facade, louver panels’ connectors.

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FACADE PANELS DETAILED DIAGRAM

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FACADE PANELS DETAILED DIAGRAM #1,2

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{ SE Isometric view, Inclination 45°}

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{ SE Isometric view, Inclination 45°}

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{ SE Isometric view, Inclination 45°}

{ SE Isometric view, Inclination 45°}

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01. aluminum glass mullion with rubber gaskets 02. vertical fin support columns 03. connector slots 04. aluminum glass mullion with rubber 05. sill inlay 06. weather seal 07. glass louver blade 08. aluminum glass mullion with rubber gaskets 09. sill inlay 10. weather seal 11. steel profiles 12. solid security bar 13. steel attachment with hollow aluminum blade holders / 38

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01. connector slots 02. aluminum glass mullion with rubber gaskets 03. glass railing with handrail 04. steel profiles 05. solid security bar 06. steel attachment with hollow aluminum blade holders 07. gradient chromatic dots 08. glass louver blade 09. vertical fin support columns 10. aluminum glass mullion with rubber gaskets 11. connectors slots 12. steel profiles 13. support columns connector 14. sill inlay 15. weather seal < 81778181314520 Lawrence Han Yuan

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2018_sep-dec

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SCI-Arc

Lawrence Y.

FS 2019 PORTFOLIO

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2gax_as3302_spina_&_jefferson

2018_sep-dec

M.2 18_2GA/BX

m.arch 2 2018.09-2020.09

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Building_Envelope_Transformation

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FACADE PANELS EXPLODED DIAGRAM #1 / 40

01. UV resistant acrylic sheeting 02. glass louver blades 03. steel attachment & profiles with hollow aluminum blade holders 04. cage structure with standoffs for acrylic panels

05. oak wood plank flooring 06. steel framed flooring system with w18 i-beam secondary structure

{ exploded assembly diagram Inclination 45°}

03 A9

01. prefabrication in factory 02. assembly for meta components 03. construction in site

FABRICATION WORKFLOW DIAGRAM #1

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Lawrence Y.

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2018_sep-oct

THE AUGMENTED OBJECTS -

SCI-Arc

2gax_vs4200_rehm_&_cadioli

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M.2 18_2GA/BX

INSTRUCTOR: M. CASEY RHEM & ANDREA CADIOLI IN COLLABORATION WITH: DEEDEE CHUNG & ZIYU XU

ANAGLYPH VOXELATED OBJECT

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“Anaglyph is a type of 3D image generated from two photographs taken apart, and the center distance typically between human eyes. The Red color field of the left photo is combined with that of the right photo in such a way as to create the illusion of depth.”

The_augmented_objects

m.arch 2 2018.09-2020.09

2GAX_VS4200_ 2018 /09 VISUAL_STUDIES_I

{Concept} using pixelated 3d model from photogrammetry, playing with different resolition forms to compose a bouquet of lowers . using AR software to overlap animation/image onto the physical model, to create a new visual interpretation of 3d objects.

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PHOTOGRAMMETRY FLOWER #1

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scanning a bouquet of flowers into 3d meshes, then reposition them into a new composition

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[photogrammetry_forms_extracting] by using meshed gernerated from photogrammetry, we are trying to extract forms from exsited obejcts, and then reshape them. {voxelating} the photogrammetry software would blend the edges from the origianl form, or divides it into several chunks, so how to keep and what to keep from the original shape that will help maintain its feature become important to us.

Therefore, by remeshing the flower meshes seperately, we first assign differnt groups to different parts such as stems, pedals and leafs, and then use differnt resolutions of voxelization to create a new flower composition.

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The_augmented_objects

PHOTOGRAMMETRY FLOWER #2

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2gax_vs4200_rehm_&_cadioli

2018_sep-oct

Lawrence Han Yuan

ANAGLYPH_VOXELATED ANAGLYPH_ ANAGLYPH OBJECT_ VOXELATED OBJECT_ OBJECT-

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Lawrence Han Yuan

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ANAGLYPH ANIMATION SCENE

[animated anaglyph voxelated effect ] we are trying to create a loop of animation that keeps truning the object around to show the anaglyph effect on differnt edges or sufaces of the model.

Also, by doing this, we can choose the part of the chunk that we want to emphasize on, and then increase the anaglyph effect to it so that when viewing the object through the animation on the application on smartphones, the optical effect would be able to control in order to focus on the things that we want to show.

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AUGMENTED REALITY APPLICATION / 48

The_augmented_objects

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2gax_vs4200_rehm_&_cadioli

2018_sep-oct

EXTENDED IMAGE PATTERN

Createing an smartphone application of AR showing the layers of flowers, compositions, texture and animation.

The animation shows the assembly view of the compostion with inner textured faces of the origianl flower image.

The projected flower image also creates a extended lines pattern, which is later being applied to the background image and the bottom image .

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DISCOURSE OF SHAPE _

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2GAX_HT2200_ 2018 / 09 THEORIES OF CONTEMPORARY ARCHITECTURE I

INSTRUCTOR: MARCELYN GOW & TIMOTHY IVISION

discourse_of_shape

FROM AND LOGIC / 50

The Importance Of Architecture Working With Shape Under Contemporary ContextIn this essay, I would like to discuss the necessity of working with shapes as an architectural designer. As an SCI-Arc student, working with shapes is normal than usual, however, no matter from others or from ourselves, we continued to question the validity of the role that forms and shapes play when designing. This always leads me to deeply thinking of how to establish a “right” design logic, sometimes even limit the development of

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design. Looking back at the deficiency of previous studies, I realized that the background of the cases I sampled was not being inspected, and the issue that I wanted to talk about was not focused. And by means of the opened debate during the History and Theories with the class, this essay will focus on the article of Hans Tursack’s “The Problem With Shape” to address my opinion of practicing shape-wise design methods and also new conclusions I got after discussion in class. (Tursack 1)

discourse_of_shape

This essay will be discussing the relation with shape and architecture based on the questions deliberated during the class, the following two paragraphs will start the debate on the question: “The Problem with Shape” Hans Tursack says that “The practitioners of shape need to self-consciously reposition themselves within a newly constructed polemic, or – better – be done with it altogether.” Imagine you are one of the practitioners of shape that Tursack is referring to and that you are writing a response to his text in the forthcoming issue of Log. Outline what this newly constructed polemic might be. Articulate your position in defense of working with shapes in the contemporary context.” (Tursack 49)

And the next two paragraphs will content my opinion based on the question: “Do you agree with Hans Tursack that working with shape reflects a skepticism regarding “architecture’s ability to communicate complex concepts through visual constructs”? What other means does architecture use to communicate ideas? Does the fact that we are becoming increasingly immersed in digital, visual imagery change architecture’s capacity to communicate concepts? If so, how can we respond to this change? (Tursack 53) The final section will conclude the skepticism, giving answers to three key themes of first whether working with shapes or not, next, the effect of the new medium of architecture to communicate and then the future sense of an architectural student.

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FORMS & SHPAES_ THEORIES FORMS & SHPAES_ & NARRATIVES & NARRATIVES

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Shape always reflects its contemporary society or people’s memory of a general agreement, so architects either have to be as Tusak mentioned that reposition themselves as a response to the environment, or have to be always persistent onto one system. Therefore, the author of the article “The problem of shape” cast doubts to the “shape practitioner” based on the former point of view and trying to question what’s behind architects shapewise design logic. The first question is responding to Hans Tursack’s discourse over the practitioners of shape need to self-consciously reposition themselves within a newly constructed polemic.

Tursack described a situation of practitioners dealing with a polemic that shows hollowness and unintellectual operations, and I think that this so-called newly constructed polemic is the high popularizing rate of the internet. For instance, 80 percent of our daily routine has to be operated through using the internet, from tax paying, reporting to tipping the vendor on street, from attending meetings and transferring confidential files while working to video chatting or watching live streaming with friends at home.

These changes taking place swiftly in the past ten years have already drastically transformed the way we think and behave, and in addition, our understanding toward society orenvironment have also shifted along with the new medium.

discourse_of_shape

This essay will be discussing the relation with shape and architecture based on the questions deliberated during the class, the following two paragraphs will start the debate on the question: “The Problem with Shape” Hans Tursack says that “The practitioners of shape need to self-consciously reposition themselves within a newly constructed polemic, or – better – be done with it altogether.” Imagine you are one of the practitioners of shape that Tursack is referring to and that you are writing a response to his text in the forthcoming issue of Log. Outline what this newly constructed polemic might be. Articulate your position in defense of working with shapes in the contemporary context.” (Tursack 49)

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ORDER & PROCESS OF DESIGN -

SCI-Arc

And the next two paragraphs will content my opinion based on the question: “Do you agree with Hans Tursack that working with shape reflects a skepticism regarding “architecture’s ability to communicate complex concepts through visual constructs”? What other means does architecture use to communicate ideas? Does the fact that we are becoming increasingly immersed in digital, visual imagery change architecture’s capacity to communicate concepts? If so, how can we respond to this change? (Tursack 53)

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The final section will conclude the skepticism, giving answers to three key themes of first whether working with shapes or not, next, the effect of the new medium of architecture to communicate and then the future sense of an architectural student.

Thus, it can be seen that shape is not only representing visual appealing aspect or none-context formalism in today’s architectural design. There are actually several things that cannot be dined are the advantages brought to architecture realm by “Shape”. Take “Icon”, or “Iconize” for instance, using icon when conveying ideas is pro-people and easily to reinterpret.

The famous architecture firm BIG is a practitioner of 2D-visualizing and iconizing. They use a lot of these simplifying methods to either draw attention or build connections between people who have different backgrounds when reading their architecture design. Although many architecture professionals do not agree with this seemed design-depreciating promoting methods, the BIG’s design actually gained more awareness from unprofessional people, which is a deprofessionalization movement helping the society to frequently receive readable architecture information.

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FORMS OF KNOWLEDGE: ATLANTA LIBRARY _

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2GAX_DS1201_ 2019 / 01 GENERATIVE MORPHOLOGIES DESIGN STUDIO

INSTRUCTOR: ELEAN MANFERDINI

forms_of_knowledge

IN COLLABORATION WITH: KSHITIJ BHENDE

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FUTURE _LIBRARY_DIGITIZED FUTURE _LIBRARY_ DATA_& NO_BOOKS DIGITIZED DATA_& NO_BOOKS

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SW ELEVATION :1/16"=1'-0"

{concept} The primary purpose of a library is to store and exchange information through a medium to the user.

A space where large amount of information is stored and the user can absorb and exchange information.

Because the books are being replaced by new technologies, the future of the library will not consist of any books anymore. Instead, the user will obtain knowledge through different means of virtual and interactive medium.

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SW ELEVATION #1 / 58

This library is focusing on implementing new possible techonologies on information searching and display.

Starting from future library patrons’ personal data, the library would obtain personal information through biometrical sensing machines, afterwards, the results of searching will be more percise and will be able to respond to physical reactions with the help of new techonologies.

For instance, the neuroscience can detect and measure even our emotion. Biometric technology has always been regarded as the highlight of data confidentiality, such as the fingerprint recognition, iris recognition, we will soon be using these techniques for digital analytics.

The display of any kind of information in this library will be using holography screens instead of monitors, so the working interface would shift from desk and computers into larger rooms and walls. This library will consist of a NW huge collection of holographic displayed objects, materials ELEVATION :1/16"=1'-0" and textures. The user will actually get to experience the aesthetic, materiality and the scale of the respective object or the data.

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CUTAWAY AXONOMETRIC

INTERIOR CHUNKS.

forms_of_knowledge

INTERIOR CHUNKS #1,2

Moreover, the library will have miscellaneous features of photogrammetry and 3D printing objects. Because the technique of reproducing subjects is mature enough for people to study on the replica, so in the library, shops and fabrication section would provide equipments for variety of materials and textures to research.

The form is derived considering the server room acting as the cerebrum of the library. The rest of the spaces are designed and placed depending on the location of the server room.

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The lbrary is a space where a huge amount of information is stored and the user can absorb and exchange information.

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INTERIOR CHUNKS.

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2019_jan-apr

AA’ SECTION #1

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DIGITAL REPOSITORY #1

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SECTION :1/16"=1'-0" / 62

Since the building will consist of no books and entirely dependent on computers and screens, the building is discouraged from natural light directly entering into the building. The materials of the building will consist of a combination of dark tinted glass and opaque materials like marble. The glass will have a subtle texture over it to control the natural light and make the building more of a softer lighting style.

Holography is a photographic technique that records the light scattered from an object and then presents it as three-dimensional. The Library will consist of a huge collection of holographic displayed objects, materials and textures, in order to simulate and display the information.

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GROUND FLOOR PLA :1/16"=1'-

The library space can be classified into Satellite Control Center, Holographic Projection space, Biometric Space and Photogrammetry.

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7TH FLOOR PLAN #1

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BECOME THE INTERNET _

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2gbx_vs4201_jovanovic_&_lorenzi

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2GAX_VS4201_ 2019 / 01 VISUAL STUDIES_II

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INSTRUCTOR: DAMJAN JOVANOVIC & ANGELICA LORENZI

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[concept] this project is aiming at using exisited objects as units for a cluster of objects, trying to composite a new relation between form and its meaning. become_the_internet

COMPOSITION & TEXTURE MAP / 68

we assigned different genres of objects into the unity platform, and then trying to reconnect and combine them into a larger scale of body. After that, we were applying new materials onto this larger form. Also, we were trying to control the “randomness” of the cluster, because we set up factors for the objects to show up randomly, but at the same time we set up and adjust certain boundaries for it.

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RANDOMNESS_ORDERLESS_ RANDOMNESS_ORD AIMLESS & DESIGNLESS AIMLESS & DESIGNLESS

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2gbx_vs4201_jovanovic_&_lorenzi

2019_jan-apr

DEFINE AND SELECT

In this excersice, I was trying to use the theme of “Religous” to find objects that are related to it, and then apply texture maps that are with a entirely different meaning, such as meat, vegetables, food production, animals skins, etc.

become_the_internet

ASSEMBLY OF RANDOMNESS / 70

Not only the color and the pattern, I also use the texture maps’ depth to emphasize the contrast between the meaning behind the obejcts themselves, and the perception that we usually have towards these meaty texture.

By doing this, I was trying to address the idea of this course “become the internet”, which is saying the things we see from surface in the internet, are usually not what they really are.

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COMPOSITION SCREENSHOTS #1

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PROCESS OF MAKING #1 / 72

[texture mapping] first we apply a new texture with new tiles’ pattern or mapping methods to the objects we selected, and then adjust the optical effect and other aesthetics. {re-compositionig} we use rotate, scale, move, to set up the first round of position, and then use the camera to do the second round of perspective adjusment.

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PHENOMENOLOGYAND ARCHITECTURAL EDUCATION

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2GAX_HT2201_ 2019 / 01 THEORIES OF CONTEMPORARY ARCHITECTURE II

phenomenology_and_architectural_education

INSTRUCTOR: ERIK GHENOIU & MARKO ICEV

PHENOMENOLOGICAL DESIGN LOGIC / 74

The main reason of Edmund Husserl’s proposal is to understand the real “function” of the architecture and try to consider aesthetics and individual psychological needs to architectural design. And trying to strike a balance between meeting design needs and achieving social consensus. Phenomenology was also used as a way to solve the problems of the Positivism at the time, which means phenomenology was standing on the basis of opposition in the positivism - Introspection, a previous way for architectural design when it talks to aesthetics, to help architects self-observe to put forward more than just artistic criticism.

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However, when such subjective and objective design needs hoping to be solved by phenomenology, “There are as many phenomenologies as there are phenomenologists, and the only thing in common is that their findings are based in Husserl”(Spiegelberg 1960). This is the moment when the purpose of the whole discussion began to blur. Thus, if consensus becomes something that people can easily claim, would all the theory basis become a means for something else? Would it become something deceptive rather than revealing?

As an architectural student, it is common to hear people talking about design ideas with subjective opinions of goals, and they also can easily provoke debates that focusing on who is right or wrong, however, without a certain degree of understanding of the problems behind the design, people tend to subjectively rationalize the design hypothesis without a theoretical basis. Does this “Imaginary Invalid” design method mean we do not need to solve problems, nor need a standard for architecture? Does architectural education we have now encourage this kind of self-deception design logic and way of thinking?

This phenomenon of architectural students projecting their own emotions, and making up stories to explain their logic is the result of the “Ponzi Scheme”(Ponzi Scheme 2019) in architecture education. In this paper, I will discuss my concern about architectural education’s current problem.

What is the “Ponzi Scheme”? Its main feature is to use the money from the newcomers to feed the last group of newcomers, but not creating new value. Thus, the Ponzi Scheme in architectural education, take the off-campus software workshop program, for example, is actually people who have software skills that are not needed by the market telling students that learning this software will be very profitable for them, which make them pay for the courses, and once those who were tricked realized that it’s not true, they begin a new cycle of lying to the next group of people.

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THE “UNKNOWABLE” FUTURE

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There are many institutions or software companies hold software training workshops from 10 days to a year, providing the latest software skill courses. Claiming to upgrade techniques mainly for students. However, the real purpose of these programs is to help students apply for good schools, and after getting into good schools, these “skills” do not create opportunities for student, so they eventually back to join the training systems, reentering the cycle. However, if the architecture market needs these skills, why do students who have those skills from those top schools struggle to find related jobs and come back?

This cycle has created such an impact on architectural education, leading students to believe that architectural design is to not discern good or bad as if there is no standard for architectural design. And If there is no generally accepted standard, the authority will be the one that defines it. Moreover, if there is no standard in architecture, is it just metaphysics?

“Architectural Education is Changing: Let’s Hope the Profession Can Keep Up”(Bernstein 2009) an article by Phil Bernstein, indicates the same concern as this essay addressed, saying that the “unknowable” future professional skills will not help students be prepared for their own practices to survive in the future. This once again states the concern towards solving problems before problems even exist. We all want to be Master of architecture, and we all want to take the short cut, and these things create our educational environment, and then eventually bad result comes back to us.

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CONTEXT OF FORM_ SERIALVISION OFARCHITECTURE

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3GAX_DS4000_ 2019 / 09 VERTICAL_STUDIO _

context_of_form:_serial vision of architecture

INSTRUCTOR: COY HOWARD

BATH HOUSE COMPOSITION #1

[bath house design] base on the design logic of the cycle of “place form” - “episodic promenade” - “ sensory spaces” - “tactile intimacy” by Coy Howard, we were designing a public bath house in Los Angeles city trying to build interaction between architecture and the site from transforming the existing architectural elements.

The 4 steps that Coy proposed has set a series of criteria for all of us to examine and rethink throughout all phases, to explore and define the “interestingness” of space, and to respond to the site and the surrounding objects.

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context_of_form:_serial vision of architecture

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EXTRACTING EXISTING ARCHITECTRUAL ELEMENTS -

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SMALL SCLAE COMPOSITION #1&2 / 82

{5 qualities of interestingness in architecture} while trying to amplify the qualities that the site brings, and to praise the factors in form that are critical to the site, Coy establishes five qualities that define the architecture to be interesting: mystery, curiosity, manifoldness, suggestivity and continuity. These qualities form a guideline for the architecture to transmutate into a new form while using the already exisited elements to shape the spaces.

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context_of_form:_serial vision of architecture

m.arch 2 2018.09-2020.09

3gax_ds4000_howard

In the stage “tactile intimacy”, I was exploring the also the material and texture from the site and the exisiting buildings, trying to extract the sense of old and used qualities from stucco, concrerte, stone and bricks, and then paint them on the building that I created, trying to adapt it to the site.

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EXTERIOR PERSPECTIVE #1

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INTERIOR PERSPECTIVE : HOT BATH

context_of_form:_serial vision of architecture

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3gax_ds4000_howard

using stairs and height difference to continute the language from outside the building .

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TOP VIEW PLAN #1

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This bath house tries to connect to the site not only by circulation, also by extending the main architecual element : stairs.

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context_of_form:_serial vision of architecture

SMALL COMPOSITION #3&4 the hieght difference are being used to bridge different spaces and different materials, to create an overlapping state that has both old and new architecture living in, also using different scales of stair to reshape the junction between segments, trying to blend the landscape and building together, and to make them as an aperture through the entire building.

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COMPOUND FABRICATION: ROBOTLAB DIGITAL DESIGN

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3GAX_AS2763_01 2019 / 09 AI ASSEMBLIES _

INSTRUCTOR: M. CASEY RHEM

compound_fabrication:_robotlab_digital_design

IN COLLABORATION WITH: HARI DESHPANDE, YASH MEHTA, YI LIN TSAI

AI ASSEMBLED MODEL #1 / 90

{design order} what we found is interesting about the project is its design order, we used to design first with program then form and then material, but in this, we actually reverse the order, with first form then meterial then program, it actually gives us a lot of time to focuz on complying the form and the material’s characteristic, so new connection will build up, will replace the way we uesd to connect a thing’s function with it’s shape.

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INTERLOCKING STRUCTURAL PANNELS

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INPUT MODELS FOR RASGAN #1,2,3,4

after panelized this 3d object in rhino & grasshopper, we divided panels within a 500mm2 box to match robot arm’s max reach.

the first step is to use architectural models as inputs for RASgan, to generate pixelated and recomposed outputs M06C04 袁翰

AXONOMETRIC 3D VIEW #1

ASSEMBLY AXONOMETRIC VIEW 1

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compound_fabrication:_robotlab_digital_design

2D NUERAL NETWORK TEXTURE STUDIES

FEA STRUCTURAL ANALYSIS

ASSEMBLY AXONOMETRIC VIEW 2 Lawrence Yuan Yash Mehta Hari Deshpande Yi Lin Tsai

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CYCLEGAN OUT PUT CYCLEGAN OUT PUT :: NEW :: NEW YORK CITY YORK CITY BUILDING FACA BUILDING FACADE < 81778181314520 Lawrence Han Yuan

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compound_fabrication:_robotlab_digital_design

RASGAN OUTPUTS #1&2 so we’ve put nearly 1000 architectural models as inputs samples for rasgan to generate these outputs 3d objects, and we picked 4 most shpaed and keeping the most architectural details out of the samples pool, for the next step which is the panelization. These outputs not only are reformed, they also are fusing different type of architectural elements form the various selection that we chose.

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AI ASSEMBLED PHYSICAL MODEL #1 bricks size: 300mm x 900mm ; 300mm x 1800mm material: medium-density fibreboard

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GLOSSARY FOR A NEW WHOLE EARTH

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3GAX_HT2532_01 2019 / 09 HISTORY AND THEORIES _

glossary_for_a_new_whole_earth

INSTRUCTOR: SANFORD KWINTER

CURRENT ARCHITECTURAL PEDAGOGY / 98

{Topic of Research} Standards In Current Architectural Pedagogy of Higher Education In California: Description: In this research I would be discussing the standards that schools set for students, and how these digitized designing tools creating further effects, in respect of future professional career.

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01. Log of Notes

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Topic 1 Between Design And Digital: Bridging The Gaps In Architectural Education / Shelby Doyle, Nick Senske -Much of architectural education today is what Bruner calls “folk pedagogy”, guided by implicit assumptions but not connected with educational theory or evidence beyond one’s experiences (Bruner, 1996).

-Digital design is a term in common use, however its definition is unclear. One the one hand, there is very little architectural work today which does not use the computer in some capacity, and yet there are also designs which consciously engage in digital aesthetics and processes.

-The very existence of the category of digital design is problematic because it implies two cultural silos in architecture: those who are digital and those who are not. This outlook potentially limits students’ educational and professional development.

-By perpetuating the myth of the digital native, architectural education is missing the opportunity to establish strong pedagogical foundations from which future digital advancements will emerge.

-A key reason for the confusion surrounding digital design instruction in the university setting is a misunderstanding of its educational value as a set of skills beyond technical skilling. One of the most significant changes made by educational research has been to redefine the goals of learning.

Topic 2 Architecture Schools Are Failing. This Designer Is Calling For A Revolution / Peter Zellner -Fundamentally, architecture is a social art. It has political and socioeconomic impacts. What saddens me is so many of my talented students are out in the world and they’re paying down their loans, and they haven’t found an opportunity to find their own voices, let alone start their own businesses or practices and studios.

- I’m most interested in trying to understand how young individuals can become autonomous as quickly as possible, can become self-supporting as quickly as possible, and can execute their dreams as quickly as possible.

-As a result, we don’t have an idea of partnership–intellectual and even philosophical–between student and teacher. What we have is really kind of a model in miniature of what the profession does itself.

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Topic 3 It Is Emphatically Not The Job Of Architecture Education To Mimic Practice” / Sean Griffiths -And those of us who educate architects are narcissistic egoists pursuing idiosyncratic research projects unrelated to reality, for whom students are nothing but an endless stream of guinea pigs forced to pay to be experimented upon.

-And this, as one educator I spoke to put it, is precisely what current education needs to challenge. While experimental methods still proliferate – and importantly, these remain valuable for the development of young architects who also, by the way, happen to thoroughly enjoy them – it is profoundly misleading to suggest that they solely define architecture education today.

-Characteristic of many of the current pedagogies available across a wide variety of schools is an expansion of the architecture field to embrace a host of approaches that critique the idea of the architecture of the one per cent and offer alternatives to it.

-Workloads are shared and the focus is less on nurturing the “genius” of the individual designer and more on collaboration and outreach into real communities outside of the academy.

-Can the astonishing range of skills that students now possess on graduating, skills that few current practitioners can match, open doors in other disciplines for those who have benefited from modern architecture education?

-It is emphatically not the job of architecture education to mimic practice and generate workers for the profession in its present mode. The task of architecture education is to carry out experimental research, to critique practice and provide the tools, skills and attitudes needed to reinvent it.

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TOPIC 4 BY DR. LEVENT KARA

Topic 4 A Critical Look At The Digital Technologies In Architectural Education: When, Where, And How? / Dr. Levent Kara -It is only through a strong background of spatio-temporal experience and tectonic construction that these tools can find their full potentials as tools for thinking rather than just tools of limited making of preordained geometries.

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Topic 5 Innovate or Perish: New Technologies and Architecture’s Future / David Celanto -The absence of substantive feedback loops (loops evident in product-design but absent in architecture) prohibits in-depth analysis, adaptation, and evolution of our work.

-A lack of economies of scale because of one-off production prohibits architects from fully integrating new technologies.

-To increase its desirability and market share, architectures need to harness emerging technologies and tap more deeply into consumer desires, using both plurality and branding in product delivery methods.

Topic 6 Current Discussions on Digital Sketching in the Early Stages of Architectural Design in Education / P. Heidari , Ç. Polatoğlu

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-It seems that, the conservatism and anxiety of instructors toward using digital tools in teaching is natural because, the senior instructors have not „grown up‟with computers which makes them have unfavorable attitudes toward computers.

Topic 7 Architecture Enters the Age of Post-Digital Drawing Sam Jacob -Digital culture, up to now at least, has categorized drawings as either technical or illustrative, as building information or money shot. But in doing so, the drawing’s role as an exploratory, inquiring design tool has diminished.

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Topic 8 Exploring Architectural Education in the Digital Age / Ava Fatah gen. Schieck

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-“architecture may try to incorporate them in a way that imitates the technical education in other fields, thereby turning its back on the tradition of the architectural studio. Or, out of a wish to remain true to a certain view of that tradition – and to the image of the architect….architecture may turn its back on the rising demands for technical education” -We should be aware of potential educational risk Christie and Ferdos (2004) noted that when one seeks to improve Section 21: Research, Education and Practice 2 - eCAADe 26 867 learning using digital media, the potential for a radically different, more innovative pedagogy has to be explored in addition to the fundamental questions that are asked within the traditional education -“Good pedagogy can inform and be supported by good IT. Poor pedagogy can subvert the very point of using good IT. A combination of bad pedagogy and bad IT is a disaster for the future of students’ learning in general and architecture in particular” -Among these is the possibility that some of the means of representing and communicating knowledge that are particular to architecture may be lost or, conversely, that the potential of new technologies may not be fully developed.

Topic 9 A Digital Architecture For Education: Technology Transformation From Inside Out / Matthew Lynch

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- Yet you, like I, will most probably know fellow educators that profoundly disagree with this notion, who rather believe that technology is superfluous in education and how young people learn.

Suffice to say that technology in education has been divisive.

-I believe too, that schools, colleges and universities have no other option but to embrace the technological future and that to remain competitive and endure, they will need to engage with technology, change and adapt.

-Schools, colleges and universities that recognise this can empower the young people in their care with digital technology, and those that don’t will in time be seen to be out of touch with how young people want to learn and the reality of a jobs market that is increasingly digital and technological.

-Educators and institutions that are unconscious to the potential of technology run the risk of being viewed as esoteric and out of touch.

Topic 10 Architectural Education Is Broken—here’s How To Fix It / Peter Zellner -Baldessari and other notable L.A. art educators like Michael Asher upended these traditions by teaching what is now known as post-studio art practice. Post-studio art teaching was conceived of as a model of art-academics that inverted the relationship between what is taught, if it is taught at all, and what is practiced.

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DESIGN, DEVELOPMENT, AND DOCUMENTATION

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3GAX_AS3222_01 2019 / 09 DESIGN DEVELOPMENT _

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INSTRUCTOR: HERWIG BAUMGARTNER & BRIAN ZAMORA IN COLLABORATION WITH: GIOVANNA LIMA, HOU SHENG WANG, JUI CHENG HUNG, LAWRENCE YUAN, LINZI AI, OVGU NUROZLER, PIN CHIH LIAO, SALEH JAMSHEER, YIFAN WANG

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ATLANTA LIBRARY #V2

{description} This course focuses on construction systems, building technology, the use of materials, and system integration. The course comprises a review of basic construction methods, analysis of building codes including occupancy and life-safety issues, the design of structural and mechanical systems, and the basic principles of sustainable design. Studio projects from the previous semester are developed, focusing on the detailed design of a zone of the building in terms of the resolution of its structural system and of a building envelope using three-dimensional modeling as well as drafting. Drawings at various scales are produced to introduce students to the language and standards of details, wall sections, and overall building representations, culminating in a comprehensive package of drawings. The course also introduces students to the basics of cost control including life-cycle costs. Students receive the Emerging Professional’s Companion along with updated Intern Development Program (IDP) information.

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CONSTRUCTION METHOD & STURCTUAL MATERIALS

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TECTONICS & SUBSTRUCTURE #1

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ELEVATORS #1

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SUSTAINABLE STRATEGIES #1 PV PANELS

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VENTILATION & MECHANICAL SYSTEM

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袁翰 _ 作品集

3GAX PORTFOLIO WORKSHOP

( 1 ) X X X-X X X-X X X X l awre n c e h a ny ua n @ g m a il.co m l awre n c e _ y ua n @ s c i a rc.edu

STANDARD PORTRAIT 8”X10” FORMAT.

LAWRENCE HAN YUAN PORTFOLIO DIGITAL_MONOGRAPH_MODEL SOUTHERN CALIFORNIA INSITUTE OF ARCHITECUTRE

2018 .09 01 - 2018 .12 14

Lo s A n g e l e s , Ca l i fo r n ia, U SA

2019 .01 08 - 2019 .04 19 2019 .09 03 - 2019 .12 14

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format : pdf - two pages spread

fs2019 gateway protfolio submmision