Undergraduate Portfolio by Alex Cheng

Undergraduate Architecture Portfolio Alexander Cheng

Contents:

Interpretation In Architecture 5th Year Architecture Thesis Fall 2015 - Spring 2016

Mixed-Use Market 4th Year Chicago Studio Spring 2015

The Scale Of The Idea

4th Year Europe Travel Program Fall 2014

Urban Link 3rd Year

Spring 2014

Interpretation In Architecture 5th Year Architecture Thesis Fall 2015 - Spring 2016 Mortality forces us to pass ideas, knowledge, and thought along through talking, writing, drawing, and other available forms of communication and documentation. So the only way we are able to move forward, is by looking backward and learning from what has been done. A good interpretation in architecture is one that not only draws from history, but rather presences past ideas and references those thoughts in the work. A good interpretation makes evident the thinking and knowledge behind the contribution one makes. As Juhani Pallasmaa once wrote, “imagination stems from memory.” In this way, when buildings, spaces, and details are encountered by other people, they are able to understand how the architecture came to be. In one way or another then, architecture is always a collection of conversations with the past. Thus, one’s practice in architecture is one’s interpretation of what they know about making architecture. Practicing architecture is a matter of which conversations one chooses to have with the past, and how one chooses to have those conversations interact to build in the present. But the presence of past ideas does not mean Classical replication. Reproduction of the same forms, techniques, and ways of putting elements of architecture together is not the intent of good interpretation. Instead, good interpretation relies upon the embodied ideas and ways of thinking. Drawing from the past is not about reproducing a 2,000 year old Corinthian column in the present. Instead, it is understanding the way a Greek column was made, what it meant to people, and how it can be drawn upon for something to be useful, be beautiful, be meaningful in the present.

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Alexander Cheng

Transition, n. Pronunciation: /trɑːnˈsɪʒən/ /træn-/ /-ˈsɪʃən/ /-ˈzɪʃən/ Etymology: < Latin transitiōn-em, noun of action < transīre , transit- (see transit v.). 1. 2. 3. 4.

A passing or passage from one condition, action, or (rarely) place, to another; change. Passage in thought, speech, or writing from one subject to another. The passage from an earlier to a later stage of development or formation. Change from an earlier style to a later; a style of intermediate or mixed character.

Interstice, n. Pronunciation: /ɪnˈtɜːstɪs/ /ˈɪntəstɪs/ Forms: Also 16 pl. intersticies. Etymology: < Latin interstitium space between, < *interstit-, participial stem of intersistĕre, < inter between + sistĕre to stand; compare French interstice (14th cent.). 1. An intervening space (usually, empty); esp. a relatively small or narrow space, between things or the parts of a body (freq. in pl., the minute spaces between the ultimate parts of matter); a narrow opening, chink, or crevice. 2. An intervening space of time; an interval between actions. Urban, adj. and n. Pronunciation: Brit./ˈəːb(ə)n/ , U.S. /ˈərbən/ Forms: 16 vrban, 16– urban. Etymology: < classical Latin urbānus (adjective) of, belonging to, or connected with the city (esp. Rome), living in the city, exercising authority, control, supervision, etc., in or over a city, having the style of the city, elegant and sophisticated, (of speakers or writers) polished or elegant in style, smart, witty, (of attitude or demeanour) having a townsman’s assurance, free from embarrassment, (noun) city-dweller < urbs city, large town, city of Rome (probably a loanword) + -ānus -an suffix. Compare French urbain (adjective) relating to, situated or occurring in, or characteristic of, a town or city (c1355 in Middle French in a translation of Livy, subsequently from 1624), that has authority over a town or city (c1355 in Middle French in a translation of Livy, in questeur urbain , after classical Latin quaestor urbānus : see below), courteous, civilized, refined (1378 in Middle French; rare before the 18th cent.), (noun) city-dweller (1762), Spanish urbano (c1250 in sense A. 1a, 15th cent. in sense ‘civilized, refined’), Portuguese urbano (a1595 in sense ‘civilized, refined’, 1702 in sense A. 1a), Italian urbano (14th cent. in sense A. 1a, a1342 in sense ‘civilized, refined’). 1. 2. 3. 4. 5.

Relating to, situated or occurring in, or characteristic of, a town or city, esp. as opposed to the countryside. That constitutes or includes (part of) a town or city. That has authority or jurisdiction over a town or city. That resides in or has property in a town or city. A person who belongs to or lives in a town or city.

Memorable, adj. and n. Pronunciation: Brit. /ˈmɛm(ə)rəbl/ , U.S. /ˈmɛm(ə)rəb(ə)l/ , /ˈmɛmərb(ə)l/ Forms: lME memorrable, lME– memorable. Etymology: < classical Latin memorābilis worthy of remembrance, in post-classical Latin also easy to remember (late 4th or early 5th cent.; late 12th cent. in a British source) < memorāre (see memorate v.) + -bilis -ble suffix. Compare Italian memorabile (14th cent.), Middle French, French mémorable (late 15th cent.), Spanish memorable (probably late 15th cent.), Portuguese memorável (16th cent.). Sense A. 3 appears to be unique to English. With use as noun, compare Italian memorabili literary memorabilia, and French mémorables 1. 2. 3. 4.

Worthy of remembrance or note; worth remembering; not to be forgotten. Easy to remember, able to be remembered; memorizable. Awakening memories of something; reminiscent. A memorable person or thing. Usu. in pl. Cf.

Interpretation Of Meaning We are the architects of our own reality. Shawn Achor, an esteemed researcher on positive psychology tells us that, “We have to recognize that we have control over how we choose to interpret the objective facts in our external world.” Essentially, everyone has the capacity to see the world through their own particular lenses. Everyone is able to see what they want to see and attend to, and what they do not. So in architecture, to make our contributions in our own place and time, we first have to find, gather, and construct the environment of information that we draw from. Time constrains how much we are able to learn and what we are able to do from what we learn. The best one can hope to do then, is to be as aware as possible of all the available knowledge and resources around oneself. To recognize and extract knowledge from the past to use in the present is to stand on the shoulders of those before. This process permits the ongoing construction of collective knowledge in architecture for others to use in their own way.

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Montage Of Knowledge The Concept Of Universal Connection posits that, “Nothing in the world stands by itself. Every object is a link in an endless chain and is thus connected with all the other links. And this chain of the universe has never been broken; it unites all objects and processes in a single whole and thus has a universal character. We cannot move so much as our little finger without “disturbing” the whole universe. The life of the universe, its history lies in an infinite web of connections.” Essentially, everything in the world is connected with something else. In the same vein, drawing from knowledge can span across various disciplines. Arguably in practice, architecture is a compendium of different genres of knowledge, montaged together to form the project.

Alexander Cheng

Superimposition Of Drawing & Writing How do we make space? The relationship between written word and graphic representation is arguably seen as separate from each other in their presentation. So what if making space superimposed semantics and drawing in the same plane of representation? How do we perceive space in drawing when it is just the space, and how does overlaying language on top of corresponding elements of the drawing make it read differently? How does it change the way we understand, and subsequently interpret architecture?

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Space, Place, & Memory â&#x20AC;&#x153;Built structures, as well as mere remembered architectural images and metaphors, serve as significant memory devices in three different ways: first, they materialize and preserve the course of time and make it visible; second, they concretize remembrance by containing and projecting memories; and third, they stimulate and inspire us to reminisce and imagine. Memory and fantasy, recollection and imagination, are related and they have always a situation and specific content. One who cannot remember can hardly imagine because memory is the soil of the imagination. Memory is also the ground of self-identity; we are what we remember.â&#x20AC;? - Juhani Pallasmaa

Alexander Cheng

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â&#x20AC;&#x153;Time is an expression that all matter exists in a state of constant change. It is the destiny of all material things to change into something other than what they are.â&#x20AC;?

Alexander Cheng

The Interpreter Different forms of representation and projection of space reveal different attributes and elements of architecture to different people. The Interpreter perceives space through a lens that is unique to his or her own experiences and understandings of architecture.

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The Historian The objective Historian understands that essential qualities of architecture echo throughout past civilizations, and are evident in the formation of contemporary space. But the feeling of place resonates with humanityâ&#x20AC;&#x2122;s memory that embodies many millennia of observation, practice, and documentation.

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Stonehenge 2400 BC

Lion’s Gate 1300 BC

Temple of Apollo 700 BC

The most primal expression of structure is erected in trilithons: two upright boulders support a lintel.

The post and lintel takes an architectural leap in function: to lift and support the weight of the wall to form an opening.

The method of construction becomes a question in the erection of massive Greek temples. Monolith uprights are broken down into modulated drums and stacked to form the column.

Temple 550

Weight of vertical load formal qualities of th tapering of the diameter creates an entasis that at of stru

Draisine 1817

Velocipede 1839

Pedal Bicycle 1863

High-Wheel 1869

Starley “Ariel” 1871

The Safety Bicycle 1885

Karl Drais discovers that a vehicle with two aligned wheels can be balanced with little effort. It is the beginning of replacing horses as a means of travel. The frame structure and wheels are constructed from wood. It is propelled by foot to ground contact.

The Velocipede is the first mechanically powered twowheel vehicle. Treadles connect to a crank mounted on the back wheel via a pair of rods. This system parallels a steam locomotive transmission. It positions propelling forces off of the driving wheel.

The original pedal bicycle applies rotational leverage forces of pedaling directly to the front driving wheel. The wooden frame becomes wrought iron. The seat now rests across a thin piece of iron, acting somewhat like a spring to make the ride a little more comfortable.

Eugene Meyer invents the wire-spoke tension wheel, which allows the diameter of the wheel to increase. This multiplies the leveraging power from pedaling even further to increase speed. However, the seat is difficult to access as a result of the bicycle anatomy.

James Starley introduces a trussing dimension to the spokes of the wheel. Solid rubber tires make bumps in the road less jolting. A hollow-steel frame reduces the weight of the bicycle, while making it stronger. Ball bearings in the axle reduce rotational friction.

The bicycle is levelled into an everyday transport tool available to everyone. Power returns to the rear-wheel through a chain drive connected to the pedals, which reduces work. Corners are easier to handle with the pedals now located in a mid-wheel drive position.

Understanding the legacy of making across various disciplines arguably deepens the understanding of architecture. From a deep understanding of building and craft comes meaningful interpretation in contemporary architecture.

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of Hera BC

d expresses itself in the he column. A gradual of each ascending drum ttempts to show the work ucture.

Parthenon 447 BC

Erechtheion 421 BC

Temple of Olympian Zeus 200 AD

The Doric order reveals the moment of force transfer through the column capital. The rounded head of the column grows a wider and rectilinear surface area to accept the overhead load.

The Ionic order provides a base for the moment of load transfer from the column to the stylobate. Thoughts about the proportions of the fluted column refine it into a slenderer shaft with less taper.

Corinthian columns embody the traces of thinking in the marriage of nature and civilization through the flowering capitals, which are most celebratory in the unity of column and beam.

The Racer Early 1900s

Derailleur Bicycle 1925

BMX Bicycle Early 1970s

Mountain Bicycle 1981

City Bicycle 1990s

Recumbent Bicycle Early 2000s

Handlebar form and location is manipulated to alter human form when competing at fast speeds. A lower position forces the rider to hunch forward. While more aerodynamic, it places more force on the wrists and hands. The handle form and material becomes important.

The ability to shift gears allows the user to reduce the amount of force required in steep inclines. Simultaneously gears reduce the frequency of pedal cycles at fast and long straightaways. The bicycle is now able to traverse more diverse topography.

Racing in off-road venues becomes popular. The wheel diameter is reduced for quick maneuvers. The tire gains dimension: in width to increase surface traction, and in thickness to absorb shock from uneven ground. The frame thickens for the same reason.

In rocky climbs, the wheels remain small to make quick turning adjustments. Shock absorbing springs make the ride more tolerable for the rider. A deep yet hollow section makes the frame strong but light. Mud flaps over the wheels decrease spray from wet earth.

The city bike is very pragmatic. Baskets, straps, and flatbeds secure various items. The frame is thin and light for maximum portability. The wheels are larger but thinner for paved, flat streets. Flaps keep flying dirt off of pristine business clothes.

The recumbent bicycle is the fastest bicycle in the world. The riderâ&#x20AC;&#x2122;s positioning forms a smaller frontal profile. The chair seat assumes a laid-back posture, taking pressure off the hands, and distributing it over a larger surface area to the glutes and back.

Alexander Cheng

The Dialogue The memory of architecture is expressed through a dialogue between an artifact of antiquity and a didactic, contemporary elaboration upon that artifact. A space for conversation between the old and the new offers a direct juxtaposition between form, mass, construction, texture, rhythm, and other essences of architecture.

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The Exegetic The memory of architecture becomes a critical discourse and analysis - a commentary on the legacy of material, form, and meaning. Rather than an architectural paraphrasing, the exegetic relationship offers a meaningful contemporary interpretation and projection of building that spurs discussion.

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10'

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31ST ST. NW 1'

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31ST ST. NW

31ST ST. NWChesapeake & Ohio Canal documented for a greater understanding of time, scale, and material quality of place surrounding the site. Existing conditions along the Georgetown, Washington D.C.

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200'

LOCK 4

THOM

LOCK 4

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LOCK 4

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The site in Georgetown is entrenched in history, and its development is intimately connected and draws from the Chesapeake & Ohio Canal that divides it. The site spans the two blocks on either side of Lock #2 along the Chesapeake & Ohio Canal National Historic Park in Georgetown, Washington D.C.

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Alexander Cheng

Can the programs run in parallel with each other through the site? Are the respective working processes of Design, Assembly, and Exhibition one-directional? Does a thin, linear organization provide each program with the essential spaces to function?

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Assembly is often a noisy and raw process. The canal can serve as an existing barrier between the “clean” and “dirty” programs of the project. Should Assembly be separated from Design and Exhibition?

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Alexander Cheng

A site organization of interconnectivity between buildings allows for dialogue and exchange between the various stages of bicycle design and production.

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A Space For Assembly. Through the making of a bicycle, three inextricably connected programs are selected to test the depth of meaning of interpretation in architecture: a Space For Design, a Space For Assembly, and a Space For Exhibition.

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A Space For Exhibition.

A Space For Design.

A Space For Design is a collaborative space. It provides a working boundary for the exchange of ideas between a group of colleagues working within a discipline. It is a curated environment that fosters interconnectivity and interaction to bridge ways of thinking to innovate in design.

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Alexander Cheng

A Space For Assembly exposes the process of physical craft through the bicycle as the substantive vehicle for testing interpretations and new ways of thinking about making. Arguably, theory is nothing without practice. The Space For Assembly is the substance that grounds and further provokes thinking about making.

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A Space For Exhibition is a showcase for the bicycle in all its iterations. It is the space that holds the sum of all collective knowledge about making bicycles, and the consequent efforts to use that knowledge to a contemporary means of utility.

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A Temple For Exhibition “The archetypal ‘temple’ is not a real temple but an idea…the temple stands on a platform that replaces the uneven ground with a controlled surface as a foundation for building. This flat platform…is a starting level (a datum) for the geometric discipline of the temple itself and detaches it from the found world...The temple provides shelter against the weather to protect its content…but its form concedes little to the forces of climate. It stands aloof, prominent in an exposed location... The temple has its own ideal system of proportions within its own fabric. The temple represents a stable centre. Though not responding to other buildings around it, the temple probably does relate, maybe by an axis, to something distant and above the ordinary...Its form is ideal, dictated by geometry and axial symmetry rather than by the spaces needed for a mixture of activities...the ‘temple’ is timeless – belonging equally to the past and the future.” - Simon Unwin

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Walls For Exhibition According to Markus Breitschmid, â&#x20AC;&#x153;Understanding gives a stable ground from which to operate and from which to give meaning to all things.â&#x20AC;? From wide and deep foundations, we are able to build upon what we know. A single wall becomes an exhibition of the knowledge of building. A massive plinth foundation of bedrock embodies the ancient, rich, and voluminous base of collective knowledge in architecture. A wall launches from the plinth with great mass and thickness at the base to hold the weight of the millennia of knowledge it supports. Frame construction springs off of the heavy wall below that allows the wall to use less mass to work structurally. Finally, the wall transitions to sheets of structural glass - a pinnacle example of contemporary materials used in architecture. Through learning and experimentation with the properties of glass and its intersection with other materials, contemporary technology allows transparent material to be its own structure.

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Mixed-Use Market 4th Year Chicago Studio Spring 2015 The project is a mixed-use building in the neighborhood of Jefferson Park along the CTA Blue Line in northwest Chicago, 10 miles from Downtown. The site occupies an irregular wedge-shaped geometry that borders the Metra train line, the Transit Center, and a street intersection. It is an odd, triangular shape in plan that has a rotation that skews it from the grid axes that dominate Chicagoâ&#x20AC;&#x2122;s residential streets. Its proximity to transit makes it a desirable place to develop, and has the potential to make the community a place of hyper-connection + high energy. The mixed-use market engages a working narrative that attempts to reveal the qualities of the project. The project is rapidly developed in a professional office setting in collaboration with real community members as well as architects and urban planners in the city to critique the project.

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CTA STREETS

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GIVENS

SPLIT EXPRESSION

RESIDENTIAL

SITE

THIN PLANS = MORE LIGHT. MORE FLOORS. MUCH TALLER.

ODD GEOMETRY. RESPONSE TO SURROUNDINGS? HOW TO FILL WITH PROGRAM?

EFFECTS OF SCALE

TOO TALL HOUSING 20 FLOORS = OMINOUS + IMPOSING. AGGRESSIVE + UNFRIENDLY. OVERPOWERS MARKET.

TOO SHORT MARKET

MARKET FAT PLANS = LESS LIGHT. FEWER FLOORS. SHORTER HEIGHT.

3 FLOORS = RELATABLE SCALE. RELATABLE SCALE = FRIENDLIER. DWARFED BY TOWER.

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Early massing studies and locating that massing within the surrounding context.

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200'

MONO

OLITHIC EXPRESSION

EFFECTS OF SCALE

LOCAL EXPRESSION

EFFECTS OF SCALE

EFFICIENT MASS

MONOLITHIC FACES

SEPARATION

BROKEN MASSES

SINGLE MASS. PROGRAM DENSITY FILLS SITE. DISSOLVES PROGRAMMATIC SPLIT.

8 FLOORS = VERTICALLY SENSIBLE. LARGE FACES. HORIZONTALLY IMPOSING.

MULTIPLE MASSES. DIVIDED, BUT UNITED. PROGRAM DENSITY FILLS SITE. PLAY BETWEEN PROGRAMS.

8 FLOORS = VERTICALLY CONTROLLED. 9 MASSES = HORIZONTALLY RELATABLE. SUBTRACTIONS FOR PUBLIC SPACE. PROPORTIONALLY SENSIBLE. CONTEXTUALLY RELEVANT.

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WALKING TURBULENCE Undergraduate Portfolio

SHOVELING PARTIALLY REVEALS SIDEWALK

GUST OF WIND - WALK SIDEWAYS

CONE OBSTACLE

MIS-STEP WITHIN EXISTING FOOTPRINT

FULL EXPOSURE TO ELEMENTS

EDGE OF COVER

MISC. PATCH OF ICE

UNDER COVER - SUN EXPOSURE MELTS SNOW

UNDER COVER - SHADE PRESERVES SNOW

SNOW RESIDUE INSIDE TUNNEL

DRY SURFACES INSIDE

Experiential Progression Through Site EXPERIENTIAL PROGRESSION

LINEARProgression PROGRESSION Linear Through Site

Textural GROUNDProgression TEXTUREOf Ground

Sheltered COVER / Exposed Relationship

Difficulty Of Travel Through Site

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RETAIL SIDEWALK

CROSS TIRE TRACKS

TURN CORNER

INTENSE + PROLONGED GUST - WALK BACKWARD

LULL

INTENSE + PROLONGED GUST - WALK BACKWARD

CURBSIDE SNOWBANK

WALKING OUTSIDE TIRE TRACKS

WALKING WITHIN TIRE TRACKS

BENEATH UNDERPASS - WALKING OUTSIDE TIRE TRACKS

BENEATH UNDERPASS - WALKING WITHIN TIRE TRACKS

BENEATH UNDERPASS - WALKING OUTSIDE TIRE TRACKS

CURBSIDE SNOWBANK

BENEATH UNDERPASS (SIDEWALK)

GUST OF WIND - WALK BACKWARDS

GUST OF WIND - COVER FACE

GUST OF WIND - WALK BACKWARDS

GUST OF WIND - COVER FACE

Expectations Touch allows us physical access to information that we come in contact with. This sense validates expectations set by the other four.In this manner of perception, there is a particular expectation about physical contact with the ground that one would have when navigating the site. “What I see is what I should feel beneath my feet. The sidewalk feels rough and dry, so I probably won’t slip on it. The curb is 6 inches above the street, so I should plan to step down 6 inches. Suddenly I feel something different...I shouldn’t step there. Concrete is solid...It should not move when I walk on it.”

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Reality Touch allows us physical access to information that we come in contact with. When the other senses are taken away, touch is all we have to rely on, and reality becomes only what you feel. Visual cues no longer become reliable, and what is seen is not necessarily what should be expected to be felt beneath. “I think this is the sidewalk. I can’t see exactly where it is. Where is the curb? How far down should I step? All of the surfaces are covered in snow and feel the same. The snow is deep. It is hard to know how far down my boot will sink.”

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475’ 225’

215’

375’

115 MICRO UNITS

SITE

15’X15’ | 225 SQ FT EACH

27,187.5 SQ FT

MAXED OUT FOOTPRINT

205’

75’

185’

54 HOUSES = 270 MICROUNITS

145’

46,125 SQ FT

16,125 SQ FT

87,875 SQ FT

1 HOUSE = 5 MICROUNITS TYPICAL RESIDENTIAL BLOCK 25’

25’

19 Urban Area Analysis

Relating the needs of the project to other known programmatic precedents starts to get a sense for necessary square area. The footprints of other markets in Chicago are compared to the site to understand how many floors are necessary to accommodate the program on the irregular wedge-shaped site. Local neighborhoods are broken down and analyzed in plan. Long, narrow bungalows and three-flats dominate the urban plan, and recurring, familiar dimensions become evident.

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25’

Exterior: General Proportions

Exterior:

Proportions

Section: General Proportions

Section:

Typology 1: Dormer Bungalow

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Housing Proportional Analysis To establish familiarity with local architectural paradigms that surrounds the site, case studies are broken down into constituent proportions and dimensions. These ratios can be taken and applied to the project to set up a framework for spatial relationships and making good spaces that share a similar scale to the neighborhood. The study reveals that 25â&#x20AC;&#x2122; is the typical width of most residential buildings in the urban plan of Chicago. This crucial dimension sets in motion the architectural rhythm of the residential block.

Alexander Cheng

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BOOKSTORE

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PLAZA BELOW

B.O.H. (BELOW)

PHARMACY B.O.H.

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Primary nodes of access to the building are recognized in the ground plan. The mapping of human activity reveals the broadest paths of circulation within the building, and connect the transit center to the intersection of W. Ainslie Street and N. Lipps Avenue. Individual retail components of the market flank the circulatory artery of the project. Despite the staggered geometry of the plan, the pattern of human circulation remains curvilinear - moving through space in the most efficient way possible.

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Alexander Cheng

8 8th Floor 8

5 5th Floor

3rd Floor 3

1st Floor 1

7th Floor 7 7

6 6th Floor 6

4 4th Floor 4

3 3

2nd Floor 2

ER V.

OB S

ER V.

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Open Space Towards Train

Core Open To The Sky

Sections reveal a play within a volumetric grid to bring substantial light to the deepest cores of the building.

Undergraduate Portfolio

Alexander Cheng

The building explores the relationships of space experienced through a user narrative.

Undergraduate Portfolio

Alexander Cheng

The way an occupant uses mixed-use space informs the material understanding of the building.

Undergraduate Portfolio

Alexander Cheng

15 Units

14 Units

13 Units

12 Units

11 Units

9 Units

10 Units

10'-0"

11 Units

5'-0" 10'-0"

5'-0" 5'-0"

25'-0"

25'-0" 25'-0"

25'-0"

12 Units

5'-0"

25'-0"

10'-0"

25'-0"

10'-0"

175'-0"

25'-0"

10'-0"

5'-0"

175'-0" 175'-0" 25'-0"

10'-0" 25'-0"

175'-0"

5'-0"

25'-0"

10'-0"

25'-0"

10'-0" 25'-0"

25'-0"

10'-0" 10'-0"

175'-0"

25'-0"

175'-0"

5'-0" 10'-0" 10'-0" 25'-0"

25'-0"

25'-0" 25'-0"

25'-0"

5'-0" 10'-0" 10'-0" 25'-0"

25'-0"

175'-0"

25'-0"

25'-0" 25'-0"

5'-0"

175'-0"

5'-0" 10'-0" 10'-0"25'-0"

10'-0" 10'-0"

25'-0"

5'-0" 10'-0" 10'-0" 25'-0"

10'-0"

5'-0"

25'-0"

175'-0" 25'-0"

25'-0"

175'-0" 25'-0"

25'-0"

175'-0"

25'-0"

10'-0"

25'-0"

175'-0"

Micro-Unit Clustering Within the building’s organizational hierarchy of 25’ gridded squares, the micro-unit can be manipulated within the dimensional parameters. Within each “bar”, the units can be arrayed in various combinations and quantities, creating communal amenity spaces for tenants on each floor. The shifting of units also opens the plan for circulatory space.

Undergraduate Portfolio

10'

25' 25'

25'

10'

25' 10'

10'

10' 12'

25' 25'

25'

10'

25' 10'

10'

Micro-Unit Organization A 25â&#x20AC;&#x2122; x 10â&#x20AC;&#x2122; unit provides 250 square feet of space, and is an appropriate depth for daylighting. The units have to be able to accommodate their individual locations and orientations. Ergo, the glazed wall and the entrance location can flexibly shift in plan.

Alexander Cheng

10'

1/3

10'

13'

12'

11'

10'

2/3

25'

Micro-Unit Proportion At the scale of the micro-unit, a 10’ x 10’ square offers decent height within the unit without feeling overly vertical. It allows the 25’ depth of the unit to be the dominating dimension. Chicago’s 3-flat buildings offer a proportional system of one-third serving, and twothirds served. These proportions are applied to the entrance of the micro-unit to establish visual privacy where it is needed, but also bring light into the space.

Undergraduate Portfolio

10'

20'

19'

18'

17'

16'

15'

14'

10'

20'

25'

Micro-Unit Materiality Brick is an identifying material of classic three-flat housing archetype in Chicago. There is a familiarity of this material associated with housing in the city, and this familiarity is brought to the micro unit. Two-thirds of the facade is framed in reclaimed brick from demolished three-flats. The door is arguably the most heavily used element in the unit, and the choice of material reflects the way a resident would interact with it. A pre-aged steel kickplate at the base protects the threshold from shoe scuffs and kicks when oneâ&#x20AC;&#x2122;s hands arenâ&#x20AC;&#x2122;t available to open the door. One-third of the door contains the handle and the hinge, crafted from enduring brushed steel elements and connections. This third works hard to serve the comings and goings of the resident. The other two-thirds is freed from labor, and can bring play of material to the threshold. Local untreated wood planks bring warmth to the door and play a vertical game of depth. Clerestory windows are divided by familiar proportions, and bring light into the unit, while keeping activities private within.

Alexander Cheng

Europe Travel Program 4th Year Fall 2014 The intent of the design investigation in Europe is to pursue an individual thesis argument that an idea can take on physical form at multiple scales. By visting and sketching European architecture, the analysis works to establish a personal stance within the profession. Working at different scales in architecture are paramount to the production of a built environment that is intellectualized at all levels. Arguably, the human intellect appreciates discoverable relationships of parts. This gives meaning to the idea of belonging together. In architecture, this principle of organic theory is employed to define a characteristic of a part at many different scales. Three selected examples of architecture support the scale of the idea. Carlo Scarpa’s Fondazione Querini Stampalia Onlus in Venice and Brion Cemetery in Altivole, Hansjoerg Goeritz’s Parliamentary Principality in Liechtenstein, and Aurelio Galfetti’s restoration of Castelgrande in Bellinzona, Switzerland.

Undergraduate Portfolio

Alexander Cheng

Parliamentary Building - Vaduz, Liechtenstein.

Undergraduate Portfolio

Alexander Cheng

Querini Stampalia Onlus - Venice, Italy.

Undergraduate Portfolio

Alexander Cheng

Querini Stampalia Onlus - Venice, Italy.

Undergraduate Portfolio

Alexander Cheng

Urban Link 3rd Year

Spring 2014 Situated in the city of Winston-Salem, North Carolina, the proposed site occupies an area that crosses a highway that partitions the city into North and South. The site is networked with the rest of the city primarily via North-South streets that carry both pedestrian and automobile traffic from Downtown to Old Salem and vice-versa. The city is connected with neighboring regions through Business 40 and Route 52 which run East-West and North-South respectively. The siteâ&#x20AC;&#x2122;s future involves pushing the existing bridge of Business 40 into the ground, creating a physical impasse in movement through the site. Future changes involve construction of retaining walls to keep the highway in place on the sloped land. The urban issue becomes the crossing of the threshold, allowing for the opportunity for an Urban Link to connect a city divided: Old Salem to the South and Downtown Winston to the North. The design intervention for the city explores invisible forces that are made apparent through the Urban Link. It asks how these forces can interact with the existing skeletons of the city to choreograph movement and activity across the site, and establish architectural and social congress in an urban dichotomy. The orchestration of objects to be built are guided by information that is carried by the local winds. Buildings are oriented according to the primary seasonal breezes, to take advantage of passive thermal comfort opportunities. Paths for intense activity are arranged by the microclimatic movements of wind through existing buildings, retaining unqiue spaces and paths that are historic to the site. Finally, the North-South route of connection derives its orientation from the organic bones of Old Salem and the gridded axes of Downtown Winston, merging the two pieces of information to establish symbolic and formal fusion of the city. 68

Undergraduate Portfolio

Alexander Cheng

BB+T Tower

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Carolina Business Interiors Bankruptcy Courthouse

Former Downtown Middle School

Willow’s Bistro (Old Train Depot) The Children’s Museum

Winston Axis Old Salem Strollway

100'

Mixed Business

2000'

500'

200'

1000'

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Business Litigation Personal Injury

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All Points Research

East

North

South

West

Office

Courthouse

Train Depot

Office

Children’s Museum

Existing Conditions Analysis Within the remaining buildings and the rest of the city, there are two primary relationships that establish themselves.. A rigid axis line that splits the BB&T tower and Corpening Plaza in two runs across the site north-south. In contrast, the strollway winds through the site, adding a more organic layer of information to the existing patterns of the city. The gridded-ness of Winston and the promenading notions of Salem combine uniquely on the site, forming a new pattern.

Undergraduate Portfolio

1 mi.

South Boundary

North Boundary

Office 10’

50’

100’

Ponding 200’

Highway

Courthouse

Train Depot

500’

Office

Ponding

1000’

Site Spatial Analysis The site involves a natural valley-like condition to the East and West, and rises gradually from South to North. The proposed changes involve the construction of retaining walls to keep the highway on the sloped land. With the proposed anchoring of Business 40 into the ground, a bowl-like condition occurs to the North of the site, causing serious issues for drainage due to ponding.

Alexander Cheng

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

100'

2000'

500'

1000'

200'

1 mi.

12 pm PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

3 pm

100'

2000'

500'

1000'

200'

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 mi.

3 pm

6 pm

100'

200'

2000'

500'

1000'

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Departure

9 am

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Activity

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 mi.

Existing Conditions Analysis The Old Salem strollway path weaves through the site, beneath the raised highway. The strollway is heavily used by pedestrians moving longitudinally through the site. Multi-modal movement to the north occurs in the morning, and to the south after work.

Undergraduate Portfolio

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Entry

12 pm

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Site SITE SITE

Old Salem RESIDENTIAL RESIDENTIAL RESIDENTIAL RESIDENTIAL

Downtown Winston COMMERCIAL COMMERCIAL COMMERCIAL COMMERCIAL

SITE SITE SITE SITE

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COMMERCIAL COMMERCIAL

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

DENTIAL DENTIAL

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Building Patterns In general, building footprints are larger in winston and smaller in Old Salem. Urban commercial development is gridded and dense in winston, while salem consists of residences scattered on winding streets. It is notable that smaller buildings permit tighter arrangements and organizational relationships. Despite the vast size of the site, it is a small portion of the city’s architectural totality.

Alexander Cheng

WIND WIND SHADOWS WIND SHADOWS WIND WIND SHADOWS WIND SHADOWS WIND SHADOWS SHADOWS WIND SHADOWS SHADOWS WIND SHADOWS WIND WIND SHADOWS SHADOW WIND WIND SHADOWS WIND SHADOWS SHADOWS WIND SHAD WINDWIND SHADOWS WIND WIND WIND SHADOWS SHADOWS WIND SHADOWS WIND WIND SHADOWS WIND SHADOWS SHADOWS SHADOWS SHADOWS WIND WIND SHADOWS SHADOWS WIND SHADOWS WIND WIND SHADOWS SHADOWS WIND SHADOWS S K Y W A Y

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G G G G R R R GR G G G O O O RO R R RWINDY ERAGE AVERAGE WINDY AVERAGE WINDY AVERAGE AVERAGE AVERAGE WINDY AVERAGE WINDY AVERAGE AVERAGE WINDY WINDY AVERAGE WINDY WINDY AVERAGE AVERAGE WINDY WINDY AVERAGE WINDY AVERAGE AVERAGE AVERAGE WINDY AVERAGE WINDY AVERAGE AVERAGE WINDY WINDY WINDY WINDY AVERAGE WINDY WINDY WINDY AVERAGE WINDY WINDY WINDY AVERAGEAVERAGE WINDY WINDY AVERAGE AVERAGE AVERAGE WINDY WINDY AVERAGE U U U AVERAGE OU O O WINDY Ground Level Winds O NMPH N AVERAGE AVERAGE WINDY AVERAGE AVERAGE AVERAGE WINDY AVERAGE WINDY AVERAGE WINDY WINDY AVERAGE AVERAGE WINDY AVERAGE WINDY AVERAGE AVERAGE WINDY WINDY AVERAGE WINDY WINDY AVERAGE AVERAGE WINDY WINDY WINDY WINDY WINDY WINDY MPH 20 8 MPH MPH 20 8 8MPH MPH MPH 820 MPH MPH 20 88AVERAGE MPH 8 MPH MPH 20 8 20 MPH MPH MPH 20 8WINDY MPH MPH 820 MPH 8 20 MPH 20 8AVERAGE 8MPH MPH 8 20 MPH MPH 20 8NU20 MPH MPH 8 MPH 20 820 MPH MPH MPH 20 MPH 8AVERAGE MPH MPH 20 MPH 20 MPH 20 8 MPH 8 MPH 20 MPH 20 MPH ERAGE AVERAGE AVERAGE WINDY AVERAGE WINDY AVERAGE WINDY WINDY AVERAGE AVERAGE WINDY WINDY AVERAGE WINDY AVERAGE WINDY AVERAGE WINDY WINDY UN WINDY U U20 8WINDY MPH MPH 8AVERAGE MPH 20 MPH 20 MPH 20 MPH 8 MPH 8 MPH 8 MPH 8 20 MPH MPH 20 MPH 20 MPH 20 MPH 8 MPH AVERAGE WINDY AVERAGE WINDY D D D N N MPH N820 N 820 MPH 8 MPH MPH 8820 MPH MPH 8MPH 20 8MPH MPH MPH MPH 8 20 20 MPH 820 MPH 820 MPH 20 8D20 MPH 8MPH MPH 20 8 20 8MPH MPH MPH MPH MPH 8MPH 20 MPH MPH 820 20 MPH 820 MPH MPH 820 MPH 20MPH MPH 20 20 MPH MPH MPH20 MPH MPH 8 20 8 MPH MPH 820 8MPH MPH MPH MPH 20 8 MPH 820 MPH 8 MPH 8 20 MPH MPH 820 MPH 20 MPH MPH 20 MPH MPH 820 MPH 20 20 MPH 8 MPH MPH 8 MPH MPH D D D D

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WINDY WINDYAVERAGE WINDY WINDYWINDY WINDYWINDY WINDY W AVERAGE AVERAGEAVERAGE AVERAGE AVERAGE AVERAGE AVERAGE AVERAGE AVERAGE WINDY WINDY AVERAGE AVERAGE WINDY WINDY WINDY WINDY WINDY WINDY AVERAGE AVERAGE AVERAGE AVERAGE AVERAGE AVERAGE AVERAGE 20 MPH 20 MPH MPH 20 MPH 2020 MPH MPH 20 MPH MPH WINDY WINDY WINDY WINDY 8 MPH 8 ANNUAL MPH 8ANNUAL MPH 8ANNUAL MPH 88 MPH MPH 820 8 MPH 8AVERAGE MPH AVERAGE AVERAGE ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL AVERAGE AVERAGE AVER 20 MPH 2020 MPH 20 W ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL 8MPH MPH 8AVERAGE MPH 8AVERAGE MPH AVERAGE ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL 20 MPH 20 MPH MPH 20 20 MPH MPH 20MPH MPH 8 ANNUAL MPH 8 MPH 8 ANNUAL MPH 88 MPH MPH 8MPH MPH 8 MPH 8ANNUAL MPH 8 20 MPH ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL 20 MPH 20 MPH 20 ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL 8 MPH 8 MPH 8 20 ANNUAL ANNUAL ANNUAL 8ANNUAL MPH 8 MPH 8 2M ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL 8 MPH ANNUAL ANNUAL ANNUAL

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Spring

Summer

Fall

Winter

Invisible Forces Qualities of the wind and information from the site fuse to form thoughts about how the site functions as a linkage and as a space. The site provides place for the convergence of wind activity. The site provides place for the convergence of people.

Undergraduate Portfolio

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Summer

Winter

Building Patterns To understand the essential nature of on site wind behavior, the summer and winter winds are compared to each other. Cold winds come from the northwest, while warm winds approach from the southwest. Wind directionality becomes a guiding principle for the orientation and organization for architecture.

Alexander Cheng

Axial Order Primary axes of the site establish the lines along which the urban link anchors itself. The strollwayâ&#x20AC;&#x2122;s curvature meets downtownâ&#x20AC;&#x2122;s linearity to form the spine that organizes the site. Building masses are placed as bars between existing program, oriented to the winds of the region, establishing a new urban orientation.

Undergraduate Portfolio

Tower Nodes The ordering of wind towers provide equal spacing for structural support and access points for the skyway to be constructed along the primary lines of travel. New buildings have to shift, yielding to the hierarchy of the second order of organization.

Alexander Cheng

Spatial Boundaries Spatial pockets on the site are a result of the dominance of the prior hierarchies. Recognizing where certain activities can occur, and where others cannot is understood through the sketch.

Undergraduate Portfolio

Lines Of Wind The geometry of wind across the site is the final layer of understanding. Wind carries on in curvaceous ways, and is difficult to capture as something still. Perhaps the architectural imposition becomes less about trying to realize wind itself as a form, but more about wind as a diagram of its movement across the site.

Alexander Cheng

1. Demolish existing buildings.

2. Ground highway and retaining walls.

3. Excavation for thru traffic.

4. Retaining wall against cliff.

5. Erect towers + skyway.

6. Construction of buildings.

7. Connecting paths.

8. Turbines + landscaping.

Sequence Of Building An ordering of events establishes a hierarchy to alter the existing conditions. The project is understood and explored as a serial, stepby-step process, rather than a before and after, which is never the reality.

Undergraduate Portfolio

CORE PROGRAM

NORTH PROGRAM

Indoor Arboretum

CLUB

INDOOR ARBORETUM

ECOLOGICAL WATER TREATMENT

NORTH PROGRAM

Wavedecks

1000’ Biofiltration Center INDOOR ARBORETUM

ECOLOGICAL WATER TREATMENT

CORE PROGRAM

NORTH PROGRAM

Wood Skyway

SOUTH PROGRAM

CORE PROGRAM

Club CLUB

CAFE

INDOOR ARBORETUM

SOUTH PROGRAM

APARTMENTS

ECOLOGICAL WATER TREATMENT

CORE PROGRAM

Cafe CAFE

CLUB

NORTH PROGRAM

INDOOR ARBORETUM

ECOLOGICAL WATER TREATMENT

SOUTH PROGRAM

APARTMENTS

200’

CORE PROGRAM

NORTH PROGRAM

100’ 50’

Apartments SUSTAINABLE MATERIALS RESEARCH

500’

NORTH PROGRAM

CAFE

CLUB

INDOOR ARBORETUM

ECOLOGICAL WATER TREATMENT

Materials Research SUSTAINABLE MATERIALS RESEARCH

APARTMENTS

CLUB

CAFE

INDOOR ARBORETUM

ECOLOGICAL WATER TREATMENT

Site Plan The site plan shows the architectural response to wind. Wavedeck paths diagram microclimatic wind behavior, forming secondary connections to objects on the site. Buildings are bars with large faces oriented to the winds common to the whole city. The primary “breezeway” acts as a spine for all activity on the site, fusing the Strollway and the Downtown axis as the uniting feature of the urban link.

Alexander Cheng

Skyway The skyway is constructed with light wood planks that form the walking surface, covering black steel pratt trusses beneath. Metal screens clad the sides of the skyway, acting as wind barriers in the cold, but is permeable enough to permit views. Dynamic activities are located in a lowered boulevard in the center of the structure. Bio-layers hold 2 lines of grass to either side of the boulevard, providing a friendly and calm place to sit and rest. Finally, elevated decks above the lines of grass rise above the perforated screens, exposing the individual to strong upper level breezes to keep cool in the hotter months. 2 lines of power-producing vertical-axis wind turbines flank the highway. They serve as icons for a new urban model for the city to all who pass through.

Undergraduate Portfolio

Steel W-Section Steel Rings & Turbines

Air Grill

Suction Tube Airspace Elevator Spiral Stair

Turbine & Shaft Compression Ring

High winds.

Exhaust.

20’

50’

100’

1’

5’

10’

Breeze at ground level.

Suction from tube.

Wind Towers 6 wind towers are spaced evenly across the proposed skyway for support and are the access points for the raised path. Each tower is fixed with thousands of mini-vertical-axis turbines, providing electric power for the site. The turbines create a dynamic experience when climbing the tower stairs. The towers also perform as microclimatic machines. On hot days, strong breezes at high altitudes will pass through the grill at the top of each tower, creating a zone of low pressure on the leeward side. High pressure will occur at the bottom of the tower, drawing hot air at the ground level up through a tube in the tower and out at the top. This provides a breeze via suction at ground level where thermal comfort is most needed in the park.

Alexander Cheng

Looking up from the bottom of the wind tower.

Approaching the tower beneath the wood skyway.

Ascending the tower spiral stair.

Wind Tower Qualities Beneath the skyway, a pedestrian would hear and see the activity of the path overhead in light and shadow through the slatted wood surface. Fast moving skateboarders exiting wavedecks would cross through the path of travel occasionally, bringing more intense motion to the scene. Trees line the path, filtering light from above. Standing at the base of a wind tower waiting for the elevator to descend, one sees the forever ascending stair, the vast darkness of the tube that carries air from the sky to the ground, and the blur of light and foliage surrounding the tower through the radial array of vertical turbines.

Undergraduate Portfolio

North Elevation

Plan with structure overlay

Building Relationships The form of the two buildings is derived from the winds carving away at the rectangular mass, forming exterior entrance overhangs that mark the beginning and end of each space. Two wavedeck paths pass through the complex, again carving through the mass to the old train depot just North. By carving, a green space is formed as a by-product in the center of the rectangle, for use as a lunch spot or other assembly activity. A thick wall on the West side of the apartment building shields both it and the research center from the winter elements. A wood screen on the North facade of the research center delineates the entrance breezeway into the space. Cantilevering I-beams hold up a double-roof.

Alexander Cheng

TENSION CABLE AND COLUMN CONNECTION

WOOD SLAT TO METAL CLIP CONNECTION

TENSION CABLE AND COLUMN CONNECTION TENSION CABLE AND COLUMN CONNECTION TENSION CABLE AND COLUMN CONNECTION

WOOD SLAT TO METAL CLIP CONNECTION WOOD SLAT TO METAL CLIP CONNECTIONWOOD SLAT TO METAL CLIP CONNECTION

5’ 10 ’

20’

5’ 1 0’ 20’

5’ 10 ’

20’

50’

20’ 50’

SPRING OPERATION SUMMER OPERATION SPRING OPERATION SPRING OPERATION SUMMER OPERATION SUMMER OPERATION WINTER OPERATION WINTER OPERATION WINTER OPERATION INTERIOR OPEN, EXTERIOR OPEN INTERIOR SHUT, EXTERIOR SHUT INTERIOR OPEN, EXTERIOR INTERIOR OPEN OPEN, EXTERIOR OPEN INTERIOR SHUT, EXTERIOR SHUT INTERIOR SHUT, EXTERIOR SHUT INTERIOR OPEN, EXTERIOR SHUT INTERIOR OPEN, EXTERIOR INTERIOR SHUT OPEN, EXTERIOR SHUT

SPRING OPERATION INTERIOR OPEN, EXTERIOR OPEN

SUMMER OPERATION INTERIOR SHUT, EXTERIOR SHUT

WINTER OPERATION INTERIOR OPEN, EXTERIOR SHUT

Summer

Spring & Fall

Winter

Building Deconstruction

1” TENSION CABLE ANCHOR TO END OF STEEL BEAM AND FOUNDATION 1” TENSION CABLE ANCHOR TO END OF 1” TENSION STEEL BEAM CABLE ANDANCHOR FOUNDATION TO END OF STEEL BEAM AND FOUNDATION

WOOD RAFTERS TO SUPPORT SQUARE SLATS WOOD RAFTERS TO SUPPORT SQUARE WOOD SLATS RAFTERS TO SUPPORT SQUARE SLATS GLASS CLIPS TO HOLD GLASS ROOF PLANE GLASS CLIPS TO HOLD GLASS ROOF PLANE GLASS CLIPS TO HOLD GLASS ROOF PLANE 18” STEEL I-BEAM TAPERING TO 6”

18” STEEL I-BEAM TAPERING TO 6”

The design of the buildings on site will follow a passive model specific to the microclimate of the site. The long sides are membraneous, operable, double glazed facades. A semi-transparent layer of treated wood-shavings insulation between glazings provides a high R-value, and brings softly diffused light into the space. Facing southwest, these facades receive prominent gulf breezes for natural ventilation. The shorter facades will be constructed of dense, shielding materials like concrete and stone, and will face northwest to brace against winter winds.

OPERABLE METAL VENT W/ RUBBER GASKET OPERABLE METAL VENT W/ RUBBER GASKET OPERABLE METAL VENT W/ RUBBER GASKET

2” PRECAST CONCRETE SHELL TO WRAP AROUND OVERHANG 2” PRECAST CONCRETE SHELL TO WRAP 2” AROUND PRECAST OVERHANG CONCRETE SHELL TO WRAP AROUND OVERHANG

WOOD DECKING WOOD DECKING ON ROOF SHEATHING WOOD ON VAPOR DECKING BARRIER ON ROOF SHEATHING ON VAPOR BARRIERON ROOF SHEATHING ON VAPOR BARRIER 8” FIBERGLASS INSULATION

CORRUGATED METAL DECKING 8” STEEL TRUSS

HUNG 2X6 WHITE OAK PLANKS

8” FIBERGLASS INSULATION

CORRUGATED METAL DECKING

8” FIBERGLASS INSULATION

8’ CENTER TILT WINDOW

CORRUGATED METAL DECKING

8’ CENTER TILT WINDOW

3” THICK BLACK PAINTED STEEL (TYP.) VERTICAL TRUCTURAL MULLION (BEHIND) (TYP.) 3” THICK BLACK PAINTED STEEL VERTICAL 3” THICK TRUCTURAL BLACKMULLION PAINTED (BEHIND) STEEL VERTICAL (TYP.) TRUCTURAL MULLION (BEHIND)

8” STEEL TRUSS

HUNG 2X6 WHITE OAK PLANKS

1” TENSION CABLE ANCHOR TO END OF STEEL BEAM AND FOUNDATION

6” PLANKS LIGHT BIRCH PRIVACY SCREEN 6” PLANKS LIGHT BIRCH PRIVACY SCREEN 6” PLANKS LIGHT BIRCH PRIVACY SCREEN

3” FURRING STRIPS TO SUPPORTWHITE HORIZONTAL 2X4 TO SUPPORT VERTICAL WHITE OAK RAINSCREEN 3” FURRING STRIPS TO SUPPORT HORIZONTAL 3” FURRING 2X4 TO STRIPS SUPPORT TO SUPPORT VERTICAL HORIZONTAL WHITE OAK 2X4 RAINSCREEN TO SUPPORT VERTICAL OAK RAINSCREEN

CRADLE-TO-CRADLE WOOD SHAVINGS INSULATION IN RESIN ENCLOSURE CRADLE-TO-CRADLE 6” TREATED WOOD CRADLE-TO-CRADLE SHAVINGS INSULATION 6” TREATED IN RESIN WOOD ENCLOSURE SHAVINGS INSULATION6”INTREATED RESIN ENCLOSURE

1” AIRSPACE W/ VAPOR BARRIER BEHIND 1” AIRSPACE W/ VAPOR BARRIER BEHIND 1” AIRSPACE W/ VAPOR BARRIER BEHIND

INTERIOR 1” DOUBLE PANE GLASS W/ INTERIOR REFLECTIVE COAT INTERIOR 1” DOUBLE PANE GLASS W/ INTERIOR INTERIOR REFLECTIVE 1” DOUBLE PANE COATGLASS W/ INTERIOR REFLECTIVE COAT

WOOD RAFTERS TO SUPPORT SQUARE SLATS

6” WOOD SHAVING INSULATION

1’ SQUARE COLUMN W/ CROSS TENSION CABLES / 14” AIRSPACE 1’ SQUARE W-SECTION COLUMN W/ CROSS 1’ SQUARE TENSION W-SECTION CABLES COLUMN / 14” AIRSPACE W/ CROSS TENSION W-SECTION CABLES / 14” AIRSPACE

GLASS CLIPS TO HOLD GLASS ROOF PLANE

6” WOOD SHAVING INSULATION

INTERIOR SHEATHING TO RECEIVE 6” VERTICAL WHITE OAK PLANKS INTERIOR SHEATHING TO RECEIVE 6” VERTICAL INTERIORWHITE SHEATHING OAK PLANKS TO RECEIVE 6” VERTICAL WHITE OAK PLANKS

EXTERIOR 1” DOUBLE PANE GLASS W/ AIRSPACE DESICCANT EXTERIOR 1” DOUBLE PANE GLASS W/ EXTERIOR AIRSPACE1” DESICCANT DOUBLE PANE GLASS W/ AIRSPACE DESICCANT

18” STEEL I-BEAM TAPERING TODOUBLE 6” DOUBLE SKIN SOUTH WALL DETAIL (ABOVE) DOUBLE SKIN SOUTH WALL DETAIL (ABOVE) SKIN SOUTH WALL DETAIL (ABOVE)

OPERABLE WINDOW PULLEY MECHANISM OPERABLE WINDOW PULLEY MECHANISM OPERABLE WINDOW PULLEY MECHANISM

OPERABLE METAL VENTAWNING W/ RUBBER GASKET EXTERIOR OUTWARD HINGED AWNING WINDOWS EXTERIOR OUTWARD HINGED EXTERIOR WINDOWS OUTWARD HINGED AWNING WINDOWS

2” PRECAST CONCRETE SHELL TO WRAP AROUND OVERHANG

INTERIOR INWARD HINGED HOPPER WINDOWS INTERIOR INWARD HINGED HOPPER WINDOWS INTERIOR INWARD HINGED HOPPER WINDOWS

WOOD DECKING ON ROOF SHEATHING ON VAPOR BARRIER

PRECAST CONCRETE INCLINE FOR WIND INTAKE ACCELERATION PRECAST CONCRETE INCLINE FOR WIND PRECAST INTAKECONCRETE ACCELERATION INCLINE FOR WIND INTAKE ACCELERATION

8” FIBERGLASS INSULATION

STEEL PLATE BOLTED TO CONCRETE FOUNDATION STEEL PLATE BOLTED TO CONCRETE FOUNDATION STEEL PLATE BOLTED TO CONCRETE FOUNDATION

8’ CENTER TILT WINDOW

CORRUGATED METAL DECKING

ON&GRADE FOUNDATION TO WOOD FLOOR & RADIANT HEATING SYSTEM SLAB ON GRADE FOUNDATION TO WOOD SLAB FLOOR ON GRADE & RADIANT FOUNDATION HEATING TOSYSTEM WOODSLAB FLOOR RADIANT HEATING SYSTEM

3” THICK BLACK PAINTED STEEL VERTICAL TRUCTURAL MULLION (BEHIND) (TYP.)

8” STEEL TRUSS

6” PLANKS LIGHT BIRCH PRIVACY SCREEN

HUNG 2X6 WHITE OAK PLANKS

5’

10’

20’ 5’

10’

Undergraduate Portfolio

20’ 5’

10’

CRADLE-TO-CRADLE 6” TREATED WOOD SHAVINGS INSULATION IN RESIN ENCLOSURE INTERIOR 1” DOUBLE PANE GLASS W/ INTERIOR REFLECTIVE COAT

1’ SQUARE W-SECTION COLUMN W/ CROSS TENSION CABLES / 14” AIRSPACE

50’ 20’

50’

3” FURRING STRIPS TO SUPPORT HORIZONTAL 2X4 TO SUPPORT VERTICAL WHITE OAK RAINSCREEN

SUSTAINABLE MATERIALS RESEARCH SUSTAINABLE MATERIALS RESEARCH SUSTAINABLE MATERIALS RESEARCH 1” AIRSPACE W/ VAPOR BARRIER BEHIND 6” WOOD SHAVING INSULATION INTERIOR SHEATHING TO RECEIVE 6” VERTICAL WHITE OAK PLANKS

Brushed steel forms elegant detail connections and main structure for the architecture.

Glass provides transparency for views and the breezes through hinged window frames.

Metal mesh is visually porous, but acts as a physical barrier to cut harsh winds.

Board-formed concrete acts as massive, shielding construction material whose surface texture ties back to rough, aged wood.

Medium-stained wood planks are visually approachable and sensorily pleasing at the touch. Use for walking surfaces.

Wood shavings insulation is treated to prevent disintegration and decay. A way to utilize what is typically waste as a building material.

Grass planted on the skyway forms space to stay and rest. Provides an energetic, seasonal texture to the site.

Marble tile to form small plazas where paths meet, or near the threshold of a building.

Deciduous canopies filter sunlight to provide shade along the walkway and offer vibrant change with seasons.

Material Qualities The array of materials used for the urban link come together in their functional and experiential aspirations.

Alexander Cheng