HUNG, JUI CHENG portfolio 2015-2018

H U N G ,

S E L E C T E D

J U I

W O R K S

C H E N G

P O R T F O L I O

2 0 1 5 - 2 0 1 8

HUNG, JUI CHENG Southern California Institute of Architecture M.Arch II 236. S. Los Angeles St. #B220 Los Angeles, California, 90012 +1 513 400 6483 juicheng0401@gmail.com https://www.behance.net/juicheng Š2019 All rights reserved. No part of this book may be reproduced in any form without permission of copyright owner.

H U N G ,

S E L E C T E D

J U I

W O R K S

C H E N G

P O R T F O L I O

2 0 1 5 - 2 0 1 8

Juicheng Hung is an architecture designer and an amateur animator. He is currently pursuing his M.Arch 2 degree at SCI-Arc. He started to interest in animation during his undergraduate. However, he still has a huge passion for architectural design and theories. So he decided to stay in architecture school and learned animation software on his own.

In 2018, he received an offer from SCI-Arc. He spends his time here seeking multiple potentials to combine his skills and interests into one thing.

Project Apollo Curiosities Flow : Calligraphy National Palace Museum(GuGong) Hard surface modeling Visual Identity for ADA Awards Tectonics & Materials

01 11 17 23 29 33 39

1

Project at SCI-Arc Fall 2018 Instructor: Natasha Sandmeier Partners: Linzi Ai, Priyanka Mrajani Tools: Maya, C4D, Octane Render

The world we currently live in is one in which perfection is expected, documented and commented upon. It’s a world in which control is paramount and one in which we no longer have time nor patience to wait for nature to deliver what we can apply with a filter and a few photoshop operations. Space, experience and beauty, all fundamental qualities of architecture, have been stripped away, leaving us with merely an image. Where we can control everything from the weather to traffic, from construction to technology; “The Architect” controls sunsets.

In this room and world, it is “The Architect” who tries to playing god, delivers these environments, effects and aesthetics. While the world is scaled down and transferred on the control table, it also becomes a part of interior space in architecture. The architect transforms the microclimate and introduces aspects of atmosphere to his surroundings, simultaneously using them to control the real world. In such condition, our definition to virtuality and reality is blurred, there is no boundary between virtuality and reality in this case anymore.

2

Project Apollo

During the sunset making process, the environment in the room changes gradually simultaneously. The fog keeps coming out from the nozzle, the artificial light and natural light becomes more colorful, and the sun itself also becomes warmer and warmer.

The second half of the animation is the highlight of it. When the sunset comes out from the control table, the environmental condition is perfect for it.

The tempo of the animation and background music also changed.

In the end, the machine goes error and all the colors and fog fade away. The sun falls from the control table and broken, fragments sprinkle on the floor.

3

movie barcode

4

5

Project Apollo

still frames

6

7

8

9

10

11

Project at SCI-Arc Fall 2018 Instructor: Marcelyn Gow Partners: Linzi Ai, Priyanka Mrajani Rendering: Juicheng Hung Tools: Zbrush, Rhino, C4D, Octane Render

In Chicago Architecture Biennial 2015, Japanese architect Sou Fujimoto created a series of installations by using everyday objects. In these objects, the existing forms are reconsidered carefully and turned into different scales to become parts of architecture.

The main idea behind the Curiosities is similar to Sou’s exhibition. By taking architectural elements and de-familiarize them to an extent where we still know their origin but have a different function to it which they might not be directly associated with.

Started the project by 3D scanning the Westin Bonaventure Hotel in Los Angeles, deconstructed and rearranged them in 1:1 scale, we design a new type of flower shop. The project got its basic form by combining parts of stairs, core, sofa and corner together. After obtaining the basic form, this project extracted informations from the geometry again to create frames and landscape.

One of the key ideas is how informations are gained and lost during this process, or how it even creates a sense of false information by embracing errors or glitches.

Taking the limitations and uncontrollable factors of the softwares as an advantage is also a concept.

12

13

scaned objects

Curiosities

renderings

14

15

Curiosities

physcial model

16

17

Project at Tamkang University Spring 2015 Instructor: Yingchang Yu Designer: Juicheng Hung Tools: Maya, Mental Ray

Chinese calligraphy is not only based on Chinese charaters, it is also one kind of kinetic art in three-dimension space.However, it was limited in traditional tools of writing calligraphy, and it could only be expressed in two space dimension.

The project is organized in three layers, first level is the imitation of stroke elements in the characters. By using the mothods of “ particle ”to record the handwriting and powerfulness in calligraphy. It allows the strokes shown in threedimension space.

Second level, in Chinese philology, several strokes consist of the compositionof a character. After influenced by the personal emotions into the Chinese composition,it will finally turned into a components in three-dimension space.

Lastly, it is the depiction. Imagined a creature under the depiction of the component.

The Chinese calligrphy has inpired me as the respectable creature “ dragon”.After further transform into abstract depiction, it is decribed as an architecture.Just as the way people depicted the abstract emotions for calligraphy by writing it into an article.

18

Flow : Calligraphy

no. 1_01

no. 1_02

no. 1_03

no. 1_05

no. 1_06

no. 1_07n

o. 1_08

no. 1_10n

o. 1_11n

o. 1_12

no. 1_14

no. 1_15

no. 1_16

o. 1_18

no. 1_19n

o. 1_20

no. 1_09

no. 1_13

no. 1_17n

no. 1_21

19

no. 1_22

no. 1_04

These are common components in Chinese. A lot of Chinese characters can be composed by using these components.

chinese components

20

Flow : Calligraphy

21

renderings

22

23

Project at Tamkang University Spring 2016 Instructor: ChenCheng Chen Designer: Juicheng Hung Tools: Maya, RealFlow, Mental Ray

Chinese culture believes that: objects are limited in form, but concepts in our brain are infinite without boundary. Chinese landscape painting is a kind of art based on this thinking. It use the flow of water and ink on paper, make people feel the lives inside the painting through dynamics. In other words, Instead of a realistic scenery, Chinese landscape paintings are trying to express life of nature, and bring these notions into people’s mind where they can build imagination spaces on their own.

This project extracts six elements and spirits from Chinese landscape paintings. First, in 2-dimensional space, I analyzed motions and skills in Chinese landscape paintings. Second, with the help of animating software, I represented them in 3-dimensional space, developing six prototypes of spaces.

The program is a new type of palace museum. By using modern technologies to make a representation of Chinese ancient painting, it transfers museum itself into a part of exhibition, developing a new way we can exhibit antiques nowadays. Through the unique interior spaces, antiques are able to combine with the museum, make visitors experience more. For instance, the exhibit room of ancient mirrors are covered with distracted walls and reflected materials. And the exhibit room of jades diffusion the color of jades, make people feel that they are in one of them.

To me, the value of Chinese landscape painting is not about precise drawing techniques, but how to control the flow of water and ink, they reserve the dynamics of nature and lives on a static paper. Similar with this half-controlled condition, in the making process of this museum, I designed a series of movements to make architecture grow by itself, instead of designed every single details precisely. With the assistance of computer, I can revise between the result and the process, obtain a ideal outcome.

After all, like the lives that Chinese landscape painting want to convey, the point of this museum is not about the form of it, but the concepts it can provoke in people’s mind.

24

National Palace Museum

These six concept models are converted from six elements I extracted from Chinese landscape painting. Each of it is either a drawing movement of the hand or a conceptual idea in Chinese landscape painting.

25

concept models

26

National Palace Museum

27

physcial models

28

29

Spring 2018 Solo Production by Juicheng Hung Tools: Rhino, Octane Render

Gundam is a Japanese cartoon and toy I am obsessed with when I was a child.

By the age of 15, the approximate number of Gundam models I have is over 60.

However, the college life of architecture students is too busy so I stop to build and collect the models.

The interesting thing is, after 5 years away from this hobby and 5 years of training in architecture school, I started to have the sense of aesthetic and see Gundam in a way I never had before. The way it composes machine elements, hard surfaces, and curves, to perform human body aesthetic fascinate me a lot.

As architects use hand sketch to study the space, I thought it might also work to study object by modeling it in software. Also, I found that playing just with physical models cannot satisfy me anymore after learning software. Therefore, I built one of the models I have by using Rhino.

This model was built before 1 month I got to Los Angeles and started my master degree. I did not finish the all model because of the deficiency of time, but I hope someday I can bring it up again and finish it.

30

Hard Surface Modeling

31

screenshots of 3D model

32

33

Spring 2018 Client: Jr.Gang Architectural Lab Creative & Concept: Juicheng Hung, Chunchang Tsai Modeling & Render: Juicheng Hung Tools: Maya, Arnold Render

ADA is an architecture award in Taiwan.

For advertising their 2018 exhibition, the client asked us to design the animated visual identity with a concept of “scripting architecture�. Implicitly we should forget about stereotype in every architectural elements, carefully rethinking about their meaning and function. Like the concept of Morse Code, using the meaningless symbol(rectangle and circle) to assemble into amounts of meaningful words.

To correspond the client’s thinking, we design the visual identity as a unstopped architecture factory. Abstracting the architecture into cuboid and cylinder, which can be blended into the Morse Code. In the animated poster, when the Morse Code is working, the architecture will change simultaneously in response to, reassembling into another form. In this, architecture is not static, architectural elements are not being defined, everything can be keep changing and reassemble.

34

35

still frames of animated poster and logo

Visual Identity for ADA Awards

posters

36

37

38

b1 B1

a cm 260

a1 39

Project in SCI-Arc Fall 2018 Instructors: Randy Jefferson, Maxi Spina Partners: Housheng Wang, Kaiyin Lin Tools: Rhino

Tectonics & Materials is a class I had in SCI-Arc. Required us to do a research of the building, figured out how it works in tectonic way and in details, and modeled it in Rhino. Here is part of the syllabus: The class paired areas of investigation and speculation are Tectonics -predominantly building envelopes- and Performance -largely consisting of technical, technological, cultural and environmental dimensions. Working in groups throughout the entire semester, students analyze and document a Precedent in order to formulate a series of hypotheses in an attempt to construct a number of interrelated tectonic conjectures. In scrutinizing building assemblies, the class will attempt be required to position construction analysis so as to produce both technical knowledge and critical awareness of embedded cultural habits. The class will thus seek out an alternative understanding of the Tectonic –one that not only mirrors the realm of construction – materials, methods, sequences, tolerances, etc.- but also embraces architectural processes of expression, encompassing issues of geometry and technique; posture and character; etc.

40

41

Tectonics & Materials

drawings

42