ALICE FANG
Porto, Portugal (2017)
ALICE FANG University of Illinois at Urbana-Champaign B. S. in Architectural Studies, 2018 Minor in Business Administration Rua Morgado de Mateus, 260 apt 41 Sao Paulo, Brazil, 04015-050 afang08@gmail.com +1 (217)898-4595
“Favelas” are slums in Brazilian urban areas where the human right of health and well-being is certainly not achieved. The image of “favelas” has always stuck in my mind growing up in Sao Paulo. Therefore, I always knew that I wanted to intervene to fix this situation. I am currently a junior in Architecture, minoring in Business, at the University of Illinois at Urbana-Champaign (UIUC). Initially, I moved from Brazil to study Actuarial Sciences, following my parents’ recommendation and my interest in sciences. However, I soon realized that being an actuary was not completely fulfilling. What I really want is to impact people’s lives, develop my art, creativity, and fully dive into my passion for invention. Therefore, I made one of the most important decisions in my academic life – to deviate from what my parents want for me, and decided to change my career path, pursuing my dream of becoming an Architect to improve my community.
CONTENT MAKING THE MOST OUT OF THE LEAST Sustainable Urban Restaurant
CULTURAL POINT Live-work Urban Infill
MOVE BACK TO MOVE FORWARD Celebratory Conceptual Installation
WANDERING PATHS Camping Structures
DRAPPUS Abstract Spacial Construct
ARCHITECTURAL GRAPHICAL ANALYSIS Sketches
ARCHITECTURAL PHOTOGRAPHY COMPARISONS Photography
COLORS OF IMPRESSIONISM Painting
MAKING THE MOST OUT OF THE LEAST Urban restaurant in Barcelona PROMPT “Small is beautiful, a study of economics as if people mattered” - Ernst F. Schumacher. The prompt of the project is to design a restaurant in Barcelona, using brick as the main material, in order to give accuracy and modulation to the project.
CONCEPT The concept of the project is to celebrate and challenge the capacity and possibilities of bricks, creating curved elements to define a variety of spaces for human purpose in a sustainable way. The goal is to build the strictly necessary volume, taking advantage of existing base conditions as much as possible. Brick curved walls were used to create the spaces due to its decrease in needed material, its stability, and its ability to create intimate/open spaces. Three spaces with different conditions was resulted through only four structurally independent curved walls. Furthermore, all trees on site and the existing wall were preserved.
TIME
INSTRUCTOR
Study Abroad UPC (ETSAV) Fall 2017 Senior I 16 Weeks
Alejandro Lapunzina, Núria Sabaté Antoni, Raimón Farré, Pérez Mañosas
TEAM Alice Fang Harry Waknine (Swiss) Sofie Jönsson (Sweden)
VIEW FROM SEMI-COVERED SPACE
DESIGN TIMELINE
ITERATION I: DEVELOPMENT OF PRELIMINARY IDEAS
ALICE FANG
SOFIE JÖNSSON
HARRY WAKNINE
ITERATION II: CONCEPT
ITERATION III
(DRAWING MADE BY WAKNINE)
ITERATION VI: FINAL
ITERATION IV: MIDTERM
ITERATION V
WALLS
SPACES POMPEU FABRA LIBRARY LYBRARY EXIT
+20
+26 +2.98
+30
+6.23
LEADING
CLOSING
OPENING
DIRECTING
EMBRACING
CHANNELING +6.31 LLULL STREET
SITE PLAN
+5.98
N
5.76 m
B 10.58 m 14.20 m
8.45 m 5.27 m
10.31 m
6.20 m
10.34 m
10.14 m
17.57 m
A’
A 2.52 m 0.76 m
27.67 m
2.37 m
B’
50.35 m
20.32 m
0.79 m
FLOOR PLAN: GROUND LEVEL
B 4.60 m
HVAC
BOILER ROOM DEEP 6.00 m FREEZE 8.48 m
COLD ROOM 12.61 m 9.55 m
7.83 m
A
5.45 m
SITE AXON (IN COLLABORATION WITH JÖNSSON)
FLOOR PLAN: LOWER LEVEL
B’
DRY STORAGE
A’
ELECTRICITY 30 m
HVAC 25.83 m
19.19 m
FUES BOX
CEILING LIGHT OUTLET
LIGHT FIXTURE, FLOOR MOUNTED
OUTDOOR LIGHT
ENCLOSED CEILING LUMINAIRE
LIGHT FIXTURE, WALL MOUNTED
EMERGENCY EXIT SIGN
OUTLET
SWITCH
SUSPENDED LIGHT
3.59m
1.58 m
VENTILATION
1.58 m 0m
MAIN ELEVATION (NW FACADE ON LLULL ST.)
EXHAUST FRESH AIR H/C
DOWN
HVAC
UP
DOWN
UP
RAIN WATER COLLECTOR
SPRINKLER
LONGITUDINAL SECTION AA’
DP
S
(IN COLLABORATION WITH JÖNSSON)
DP
BOILER ROOM
W D W
D W
W W D
DW
DP
DP
RAIN WATER COLLECTOR
WATER
W D
D DP
DP
DP
DP DOWNPIPE D DRAIN W WATER
D W
D W
D
W
STRUCTURE Brick: 23.8 x 11.4 x 3.7 cm Catalan brick Ecomanual Levante - Piera Eco Ceramica
Curved brick walls utilizes 70 % less brick than a straight wall. It is also more stable, which resist great lateral and/or compression loads. The walls are composed by two layers of brick, which contains insulation, vapor barrier, and technical void for pipes and electrical chords in between. The benches are an extension of the walls which also contain ventilation tubes for return and supply air. This multi-functionality of brick assembly allows gaining of space for placement of tables and a visually clean space. The mortar joints are thick, which not only creates an expressive texture, but also allows more flexibility in creating curves and less use of bricks. Where the beam rests on the wall, an internal column resists the vertical loads that can be seen on the change on brick pattern. The roof in the cover space has wood panels between the beams. A glass skylight connects the roof to the curved wall which allows sunlight that reveals the texture of the wall. On one side the roof allows penetration of light, on the other side it collects water flowing down the slightly sloped roof, which is later used for watering the trees and green areas.
2
3
4
SEMI-COVERED
5
COVERED
0.57 m
13
6
15
5
1 3.09 m
14
11
3.30 m
12
4
6.82 m
7
4
16
10
9 2.90 m
8 1.10 m
6
0.18 m
8
3
2
1 3
7
1
SECTION DETAIL BB’
CONDITION I DETAIL
(IN COLLABORATION WITH WAKNINE AND JĂ–NSSON)
( IN COLLABORATION WITH WAKNINE)
1. Bricks arranged vertically to support window; 23.8 cm - Catalan brick, 12 mm - metal; frame; 25 mm - double glazing | 2. 0.1 m - roof water collector; Pipe | 3. Sliding glass doors; 25 mm - double glazing; 12 mm - metal frame; Mounted on beam on top; Mounted in mortar on side | 4. 25 mm - double glazing skylight mounted on beam | 5. Light fixtures mounted from beams; Chords running through beams | 6. 23.8 cm - Catalan bricks; 9.6 cm - air gap; 10.05 cm - insulation; 1.2 cm - plywood; 15 cm - insulation; Vapor barrier; 23.8 cm - Catalan brick | 7. 11.09 cm - air return ventilation | 8. 10.38 cm - concrete flooring; Vapor barrier; 10.05 cm - insulation; 20 cm - Concrete Slab
1. Bricks function as columns to support the beams | 2. 4.5 x 2 cm mortar - concave wall Catalan brick | 3. Ventilation running in sitting | 4. Glulam beams varies depth depending on the span | 5.lintel bricks positioned vertically to support more load | 6. Openings that frame views | 7. 6 x 2 cm mortar - convex wall Catalan brick | 8. Double glass skylight | 9. Double layer plywood panels with internal beams | 10. 2 degrees sloped roof | 11. 0.79 x 1.53 m window | 12. 0.79 x 1.58 m window | 13. 15 x 7 cm existing bricks | 14. 2 cm mortar - existing bricks | 15. 5 x 2 cm mortar - straight wall Catalan brick | 16. Pipes - rain collector from roof
CONDITION II DETAIL (IN COLLABORATION WITH WAKNINE)
CULTURAL POINT 3rd Place on the Edward C. Earl Prize PROMPT Increasingly, young professionals want to live in vibrant urban communities with access to work, restaurants, entertainment, recreation, and cultural amenities. The project explores this building type through the design of a small livework, infill building in downtown Champaign, IL.
CONCEPT “Cultural Point� aims to create a cultural space where art is the focal point. Here, art is celebrated as a medium to not only entertain, but mainly to create a sense of community. Moreover, the building also intends to provide contemporary living spaces for the rising number of young adults in Champaign.
TIME
INSTRUCTOR
Spring 2017 Junior II 16 Weeks
David Emmonss
VIEW FROM GALLERY TO ATRIUM
DESIGN TIMELINE ITERATION I: MASSING
ITERATION II: STRUCTURE
ITERATION III: MASSING
ITERATION IV: STRUCTURE
ITERATION V: MASSING
ITERATION VI: SECTION MODEL
ITERATION VII: SECTION MODEL
FEATURES
FEATURES
FEATURES
FEATURES
FEATURES
FEATURES
FEATURES
Distinction of public and private masses based on the heights of the surrounding buildings
Decision to use steel system due to its architectural and design flexibility, cost efficiency, durability, sustainability, safety, and resistance
Circular circulation at public area and linear circulation at private area
1’ X 1’ columns grid of 2 X 4
Determination of vertical circulation considering time of egress
Consolidation of vertical circulation for more economical strategy
NEEDS IMPROVEMENT
Closing of the second floor path
1’ X 1’ columns grid of 2 X 5
Location of vertical circulation is placed diagonally from each other to serve better the egress of people
Columns were matched with walls
Outside path impractical due to harsh weather of Illinois
Not enough columns causing the structure to be instable
Unused spaces were created by inefficient private circulation
Scattered vertical circulation
Missing representation circulation
Too many doors were exposed once entering the atrium
Location of vertical circulation needs to be reconsidered
of
vertical
Moved doors and walls to strategic locations so the atrium looks visually cleaner
Base was made in the woodshop by overlaying pieces of pine wood
Floors/walls were made entirely in acrylic to avoid warping
Floors / walls were made with acrylic, museum board and chipboard
Figure scales created shadows that mimics the experience of visitors in real life
Columns / details were made with wood studs Figure scales / furniture were made in acrylic
NEEDS IMPROVEMENT
NEEDS IMPROVEMENT
Determined the sizes of beams and girders
Straight forward circulations to allow people to egress safely from the building in case of emergencies
NEEDS IMPROVEMENT Wrong use of material (museum board and chipboard) because they warped
CIR
CU
L AT
ION
PRIVATE
PRO
GR
AM
PUBLIC
APARTMENTS (4) LOFTS (4) STUDIOS (4) 1-BEDROOM
GALLERY
LOBBY
ST R
AUCTIONING SPACE ENTERTAINMENT SPACE GATHERING SPACE
UC
TU
RE
OFFICE ATTACHED TO OWNER’S APARTMENT
CIRCULATION CORE STEEL SYSTEM SECTION PERSPECTIVE BB’
LOFTS STUDIOS 1-BEDROOM
6
6
7’ - 10 3/4” 12’ - 11 1/4”
8’ - 7”
D
19’ - 6”
1
8’ - 10”
C
2
19’ - 6”
19’ - 6”
19’ - 6”
B
12’ - 2”
12’ - 2”
12’ - 2”
12’ - 2”
A
B
27’ - 9 3/4”
27’ - 9 3/4”
27’ - 9 3/4”
27’ - 9 3/4”
D
21’ - 4”
3
2
1
8’ - 7”
A’
3
2
8’ - 10”
4
A
A’
3
1
C
4
A
A’
2
5
12’ - 11 1/4”
12’ - 11 1/4”
12’ - 11 1/4”
A
3
A
5
4
A’
6
7’ - 10 3/4”
5
4
B
6
7’ - 10 3/4”
7’ - 10 3/4”
5
A
B
B
B
B
A
21’ - 4”
B
B
1
8’ - 10”
C
8’ - 7”
D
A
21’ - 4”
B
B
8’ - 10”
C
D
N
FLOOR PLAN: 1ST FLOOR
FLOOR PLAN: 2ND FLOOR
FLOOR PLAN: 3RD & 5TH FLOOR
FLOOR PLAN: 4TH & 6TH FLOOR
LIVE - WORK UNIT 68’
54.7’
1
CONNECTION: WORK - PUBLIC
2
CONNECTION: LIVE - WORK
3
INSULATED CONCRETE WALL
4
4 X 12 30% COVERAGE FRITTED GLASS
5
4 ARMS S 3001 EVO SPIDERS
6
CALACATTA MARBLE
44.1’
33.6’
23’
1 2 9.7’
0’
MAIN STREET ELEVATION (NW)
6 13.55’
5
3 10.6’
6 4
10.6’
3 10.6’
2 12.3’
1 10.7’
0
12’
-1
SECTION AA’
4
5
MOVE BACK TO MOVE FORWARD Winner of the design competition PROMPT In 2017, the University of Illinois at UrbanaChampaign celebrates the Sesquicentennial of the University. For 150 years, a creative mix of scholars and teachers have produced innovations, made discoveries, and engaged beyond the walls in ways that have shaped the world. To make the University’s greatest accomplishments more visible, Chancellor Jones supported the Sesquicentennial Design Competition. Interdisciplinary teams of students created designs for campus installations that communicate essential information about the achievements of the University.
TEAM WORK Although each member was responsible for certain parts of the project, everything was made in collaboration for better results. Scheduled and facilitated group meetings Created the concept of Past-Present-Future Modeled the design in Rhino Made video of “Allegro Lights” in Premier Pro Produced PowerPoint presentation Generated drawings and renders
“WHAT THE WORLD AWAITS” - LOOKING NORTH
TIME
INSTRUCTOR
Spring 2017 Junior II 7 Weeks
Jessica Henson
TEAM Alice Fang (Team Captain), Sierra Heckman (Architecture) Reynaldo de Leon Jr. (Community Health)
150 YEARS OF EXCELLENCE
CONCEPT Move Back to Move Forward connects past, present, and future. Our audience will engage in an experience that honors UIUC’s accomplishments in the past, inspiring them in the present to build upon these achievements in the future. Ultimately, these future achievements become part of the past, forming the cycle of past - present - CONTINUE future. THE LEGACY
The proposal is located in UIUC’s geographical center to represent the “Heart of Campus.” - the South Quad
INSPIRATION AND MOTIVATION
PAST
PRESENT
FUTURE
NORTH QUAD
Because the students cross the south quad diagonally, our intervention follows their natural walking path
BARDEEN QUADRANGLE
STAINS OF WHITE OAK
MAIN QUAD
(NATIVE VEGETATION)
PAST PRESENT FUTURE
SOUTH QUAD
N
SITE PLAN (DRAWING MADE BY SIERRA HECKMAN)
FLOOR PLAN (DRAWING MADE BY SIERRA HECKMAN)
The proposal is placed at the heart of campus for visitors to experience a meaningful reflection of the past-presentfuture cycle
THE LOOKING GLASS
ECOLOGICAL AND INNOVATIVE HISTORY RED OAK Native vegetation Height 80-90 ft
BIG BLUESTEM Original and native vegetation Height 6-8 ft
8’-0” 5’-5” 3’-0”
Frosted and clear glass represent past, present, and future. As individuals look at the frosted glass (past), they face an unclear image of themselves. The visitor then reaches the present, where transparent glass clearly reflects the individual. These images symbolize the process of selfrealization that they are capable of reaching the level of success of past figures of UIUC. Finally, in the future, the looking glass is shorter, allowing the viewer to see “what the world awaits.”
Light projection at night towards the frosted looking glass displays the accomplishments of UIUC in the past 150 years to celebrate the school’s success in innovative technology. Because the information is light projected, the inscriptions can be easily changed or edited.
WEST ELEVATION (DRAWING MADE BY SIERRA HECKMAN)
ALLEGRO LIGHTS Allegro lights is a synthesis of musical and luminous performance. Visitors enjoy the celebratory ambiance of dazzling lights and music during UIUC events such as the school’s anniversary, welcome week, and Mom’s/Dad’s weekend.
WANDERING PATHS Nominated for the Edward C. Earl Prize PROMPT Kickapoo State Recreation receives one million visitors every year to take advantage of the scenery and outdoor activities the park has to offer. The park currently does not have any permanent structures for overnight camping and seeks long-stay opportunities for park visitors. The student is asked to design a small Campground facility for Kickapoo: a site plan to include 6-8 sleeping structures and a meeting house with functional facilities, taking into consideration ADA Standards.
CONCEPT “To wander is to be alive” – Roman Payne. The goal of this project is to provide a relaxing and healthy experience by providing a space where visitors can admire and spend time in nature. Wandering paths refers to the walking path that induces people to spend more time in nature due to its nonlinear shape. The path leads to a bridge that not only serves as a connector of privatepublic space, but it also allows the visitor to stand at a unique spot where he/she can enjoy the breathtaking landscape of the park. Finally, the the fire pit symbolizes “the heart of the camping”, where visitors gather as a community.
ENTRANCE TO THE MEETING ROOM
TIME
INSTRUCTOR
Fall 2016 Junior I 10 Weeks
Grant Mosey4
N
ECTIO
INTERVENTION
CONN
TE & PRIVA
IC
PUBL
IBILIT
EXISTING SITE
RE
ST
RO
OM
SS ACCE
TREE
SITE PLAN
ITY
DENS
G TOPO
N
Y
Y RAPH
INSPIRATION: IMMERSION IN NATURE To make the visitor feel immersed in nature, the language of the complex mimics the trees. This language gives unity to the entire complex where sitting surface becomes a sleeping surface, which becomes an eating surface, which also becomes a walking surface.
B
A
A’
B’
CABIN: FLOOR PLAN
CABIN: SECTION AA’
CABIN: SECTION BB’
CABIN: ELEVATION
SITE SECTION LOOKING NE
B A’
A
MEETING ROOM: FLOOR PLAN
B’
MEETING ROOM: SECTION AA’
MEETING ROOM: SECTION BB’
DRAPPUS Abstract Spatial Construct DRAPPERY
PROMPT
Movement Lightness Flow
Students need to investigate form and space through digital and physical modeling. The project needs to use elemental architectural components, such as lines, planes, and volumes, to create multi-level habitable spaces. The students are also required to think about how circulation, enclosures, and semi-enclosures can leverage conceptual ideas about space and form.
HUMAN BODY Structure Verticality Creation of shape
CONCEPT The project is inspired by the sewing technique Drapery, which creates folds and woven patterns of loose-hanging clothing on the body. Drappus is my representation of drapery. The columns symbolize the human body which is wrapped around by the fabric, here represented by the white curvy structure. The curves are the main element of the project, because it reflects the movement, flow and lightness of this technique.
TIME
INSTRUCTOR
Spring 2015 Sophomore I 4 Weeks
Andrea Berry David Emmons4 Months
TEACHING ASSISTANT Glenn Frank Months
ARCHITECTURAL GRAPHICAL ANALYSIS Sketching
Traveling has always been a passion of mine. It improves me as an architect by exposing me to rich diversity of architecture and its impact on people and on the environment. Currently, I am in a 1-year study abroad program in Barcelona, where I have the privilege to visit new cities. These cities were depicted through a series of architectural analytical sketching.
ARCHITECTURAL PHOTOGRAPHY COMPARISONS
3
Photography
1
5
2
6
7
During the same study abroad program, I have also taken pictures to record and analyze cities and its architecture. Visiting a variety of buildings allowed me to make comparisons between their architecture. These comparisons showed me how architecture is timeless where the same architectural elements can be used in different style of architecture and in different time period.
4
8
9
10
11
[1. Ruins d’Empúries, Costa Brava, Spain 2. Terminal do Porto dos Leixões, Porto, Portugal] [3. Château Comtal, Carcassone, France 4. Terminal do Porto dos Leixões, Porto, Portugal] [5. Ruins d’Empúries, Costa Brava, Spain 6. Musée du Louvre, Paris, France] [7. Saint Chapelle, Paris, France 8. Saint Paul Hospital, Barcelona] [9. Casa da Música, Porto, Portugal 10. CCCB, Barcelona 11. Musée du Louvre, Paris, France]
COLORS OF IMPRESSIONISM Acrylic on canvas
During summer break of 2016, I taught myself how to paint! The series of paintings are an exploration of the impressionism style based on Claude’s Monet’s paintings. The exploration also include how the colors influence the paintings to create a certain feeling to the viewer and the fine line between tradition technique and spontaneity in the strokes. Painting requires notions similar to Architecture, such as element composition, color composition, and background/mi-ground/front-ground. PRIMARY SEED
IMPRESSION OF SPRING
Based on Claude Monet’s “Flowers on the Bank of Seine near Vetheuil” (1880)
Published work in Montage Magazine (2016) Based on Claude Monet’s “Antibes seen from Salis Gardens” (1888)