Portfolio_2010-13 SCI-Arc. B.Arch Undergaduate Degree Program
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Architecture is an art of interacting spaces with human’s activities. An art is the methods or principles to control and organize a type of craft. By meaning of architecture is an art, architecture should be thoughtful, sensible and communicable. Human’s activities could be diverse according to needs and it might evolve along time. Spaces embrace scale, volume and boundaries. Scale is a relationship between wide and height to human body. Volume is a substance and fill of the amount. Boundary is where things extended to their limit. Spaces and human activities are not a unilateral effect, but deeply influencing the other. It could not be architecture without any of above essential.
Ariel Ip
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Southern California Institute Of Architecture 2010-2014 Located in a quarter-mile long former freight depot in the artist’s district in the heart of Los Angeles, SCI-Arc is distinguished by the vibrant atmosphere of its studios, providing students with a uniquely inspiring environment in which to study Architecture.
Contents 6-17 18-27 28-35 36-45 46-57 58-65
3A Studio Field Operations: Static Architectural Systems 3B Studio Dynamic Architectural Systems: Anabolic, Metabolic, Catabolic
4A Studio City Operations: Architecture in Critical Settings 4B Studio The Imbalancing Act of Entropic Architecture
Japan Studio Culture Study Planning
Thesis SofT
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FALL 2011 3rd Year Fall Semester Instructor_ Gregory Walsh Site_ Los Angeles Memorial Coliseum
3A studio The first studio of the core studio sequence locates the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile. Students consider the uses of precedent and antecedent in their work, while the main investigation examines the impact of structure and material systems on site and building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making.
Design Concepts From technical to cultural, from visual to tactile. this project consider the uses of precedent and antecedent in their work, while the main investigation examines the impact of structure and material systems on site and building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making. It is a renovation of Los Angeles Coliseum, mainly focus on material and structure system for long span structure. Site Content-Los Angeles Coliseum
25 degree Field Rotation
Direct sun light will affect football player’s performance. 25 dergee rotation will prevent direct sun light for football players.
Seating
Typical Seating Original Seat with problematic Sight Line.New seat with improved sight line, maximize good viewing area and minimize bad viewing area. Meanwhile allowed to use existed seating.
Concept Sketch
Sun Study
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Rendering
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Original Field
PTFE Skin
Typical Seating
Direct sun light will affect football player’s performance.
Original Seat with problematic Sight Line.
October noon
Cover with light and translucent PTFE fabric.
Tertiary Structure
Stable structure elements and claming PTFE skin.
Transformed Seat
Rotated Field 25 dergee rotation will prevent direct sun light for football players.
New seat with improved sight line, maximize good viewing area and minimize bad viewing area.
October 3pm
Existing Seat-
Secondary Structure
Horizontal elements joining main structures together.
New Seating Luxury Seating
Luxury Boxes
Luxury Seat
30”
SeatIng Capacity
Sections B
Sections A
+16
Primary Structure
Regular Seat
20”
6’ tube as the most basic element of over all structure.
24” 20”
October 5pm
Tectonic Diagram
B A
B Ground Level Plan
Site Plan
A
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Rendering
Detail Model
Seating amphitheater
Existing concourse Private Seating Circulation
office
Exhibition space
Circulation
Public Program Circulation Program
1’-0”=1/8” Final Model
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SPRING 2012 3rd Year Spring Semester Instructor_ Herwig Baumgartner Site_ Los Angeles Memorial Coliseum
This studio introduces students to the comprehensive development of a buildÂing, from conception to large-scale detail, with an emphasis on the assimilation of building systems. Students examine interrelated systems which are able to both modify the spatial structure of a building, and articulate expectations of their performance structurally, thermally, acoustically and environmentally. Both classes comprise the academic sequence in fulfillment of NAAB condition 13.28, Comprehensive Design, defined as “Ability to produce a comprehensive architectural project based on a building program and site that includes development of programmed spaces demonstratÂing an understanding of structural and environmental systems, building envelop systems, life safety provisions, wall sections and building assemblies and the principles of sustainability.
Design Concepts Typically museums are horizontal, and they make use of the vast spaces around them to lead up to the museum, forcing the visitors to walk longer and prepare themselves for the art experiences. Having picked up from this tradition we now imply the concept to a vertical museum, hence ‘top heavy’. Museums tend to have their gallery spaces as more private, intimate spaces with a very generic form. In our museum we have the regular generic shape which is occupied by the private programs and then we have introduced a more irregular form in the front part, that houses the public spaces. The public space is situated between the gallery space and irregular space. Program such as the learning center is placed, to enjoy framing art pieces or projections towards the street. The intention of this being, of not only attracting people to the museum but also, ‘take the museum out to the street.’ The architecture is a large art showcase itself.
NYMoCA New York Museum of Contemporary Art
N
SKY
Site Content-New York CityNew museum
Set in new york, built into the grid our museum uses the grid and also strays away from the grid. Typically museums are horizontal, and they make use of the vast spaces around them to lead up to the museum, forcing the visitors to walk longer and preapares themselves for the museum itself. Having picked up from this tradition we now imply the concept to a vertical museum, hence - ‘top heavy’. Museums tend to have their gallery spaces as more private, intimate spaces with a very generic form. In our museum we have the regular generic shape which is occupied by the private programmes and then we have introduced a more irregular form that houses the public spaces.
Norman Foster Sperone Westwater gally
The public space is situated between the streerammes such as the learning center, to enjoy and otherwise, they are used for framing art pieces or projections towards the street. The intention of this being, of not only attracting people to the museum but to also, - ‘take the museum out to the street SoHo
street View
Site Plan
Main View
1/32”=1’-0”
Interior Gallery Cafe
8th Level
Art Showcase Window, opening, aperture, the apertures at the museum are facing toward specific views, New York city line, street level, and even the sky. Each aperture provide space for art projection or hangable installation art just like a 24/7 showcase that could exhibit art to the public audiences.
Interior Gallery EXterior Gallery
7th Level
EXterior Gallery
Interior Gallery
6th Level
Interior Gallery EXterior Gallery 5th Level
Ofce
4th Level
Public and Private Separation
Lobby
3rd Level
Learning Center
Ofce
2nd Level
Ofce 1st Level
Ground Level
Enter from Large Scale Installation Space To be able to stand out amount all the other museums in NYC, a new museum needs a clear selling point and direction, a outstanding characteristic. This museum design with a “bottom light” four level exhibit space on the entry level. This space could be use for large installation pieces or performance art.
UnderGround Level
Intallation Space
Theather
Storage
Storage
Selection Detail Section 1/4”=1’-0”
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Downtown New York
Concept study Models
Skin Morphology
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EXterior Gallery
Midia Center
Interior Gallery
EXterior Gallery
Interior Gallery
Interior Gallery
6th Level
7th Level
5th Level
Lobby
Learning Center Of ce
Of ce
4th Level
2nd Level
3rd Level
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Intallation Space Theather Of ce
1st Level
UnderGround Level
Storage
Ground Level
8th Level 7th Level 6th Level 5th Level 4th Level 3rd Level offi ce Level Underground
Ground Level Exterior Gallery
Learning Center
OďŹƒce
Media Center
Exterior Gallery
Exterior Gallery
Interior Gallery
Interior Gallery
Exterior Gallery
Interior Gallery
Cafe
Interior Gallery
ale LargeSc e onSpac Installati
bby eater Lo
Bo we ry
Envelope
P rog ra m
Str
ee t
Circulation
C ore
S truc tura l Wa l l
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Gallery Cafe
Exterior Gallery Gallery
Gallery Exterior Gallery
- Bathroom
eather Plan
3D Axo
ADA- Top Floor
ADA- Ground Level
Egress- Top Floor
Egress- Ground Level
Gallery
ADA & Egress Axo
8th Level
7th Level
6th Level 5th Level
4th Level
3th Level 2th Level
Ground Level UnderGround Level
ADA- Bathroom
eather Plan
ADA- Top Floor
ADA- Ground Level
Elevation
el
Egress- Top Floor
Egress- Ground Level
ADA
Section
ADA & Egress Axo
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Final Model 1’-0”=1/8”
Final Model 1’-0”=1/4”
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FALL 2012 4th Year Fall Semester Instructor_ Dwayne Oyler Site_ Los Angeles Downtown
4A studio The premise of this studio is that cities and buildings are largely shaped by a dynamic flow of interrelated cultural, social, political, and economic forces. Different cities are chosen by individual studio faculty and used as a basis for student projects. During the course of the term, students test the nature of interfaces between architecture and its various settings within the contemporary city. Individual and varied theoretical assumptions, within the separate design studios, are tested and developed as an integral part of the building design process.
Design Concepts
Site Content-Los Angeles
Site infomation What interested me about in the drawing is the misregistration of lines, so utimilely I am trying to reproduce that in the Architectural from, museum of cartography.
Extract Volume and Surface from informational Lines From the linedrawing a couple of key affects was interested me, as you can see in this drawings, there are moments of overlap, crossing over , misalignment or misregistration. All of the 2D movement can lead to a almost three dimensional reading.
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In this creation of lines, this project was interested in mapping two condition of the city, the first was mapping the topography of the city including my site, which have a dynamic topographic condition. And it is also address the condition of Downtown Los Angeles was uniquely located on a sloping landscape other then most of the city centers was build upon flat lands. The second is the mapping to address the original site function and how it connecting to the city, a parking lot. It shows the linear movement of the cars that move through the parking on site.
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g
fin
o Ro Original Lines
Create relationship between Lines
Shift and Duplicate
Mutiply movement for denseness
ure
uct
Str
re ctu tru the cs m e ati fro d th tem rting eate ssing s y re e s sta cr ro Th ent hich and c ructu t m w s e ele line ctur ary d g u pin y str econ p r s ma ima the Pr by er ov
ary
m
Pri
Simplified Line
ry da on re Sec ructu h St hic
Parking lot movement
Site topographic Lines
Create Relationship Between Simplified Lines
e w ing tur divid es. c uc str e for spa ry da ly us n o st sec mo
Create moments of overlap, crossing over , misalignment or misregistration.
Divided into Zone
Divided into program museum of cartography. Which including some simple programs like indoor gallerys, outdoor gallerys, a Lobby, offices, lecture rooms, mechanical and storage.
ure
uct
Str
e tur e uc str m th ry ry tia it fro nda ty, r e o ali h st t t s ec lle tha d s ion ate ma es ry an ens o cre tial e s lin t a Th was rima 3 dim rth d sp ties. p g fo an ali o in t s t qu ec and men t nn co o on por s sup
ary
it in such a way the line not only moving linear in plan but it happen 3 dimensionality
ti Ter
mechanical/ Storage/ miscellaneous
indoor gallery Lobby
indoor gallery
outdoor gallery
offices/classrooms
outdoor gallery
indoor gallery
Site
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SPRING 2013 4th Year Spring Semester Instructor_ Marcelyn Gow Site_ Los Angeles Department of water & Power Through the design of a research center for the Los Angeles Department of Water and Power (DWP) focusing on the production and distribution of energy in the context of finite natural resources, the studio will explore the development of synthetic architectural systems that are informed by and integrate systems of organic matter. The design of the center should addresses the peculiarities of the mediated groundplane in which it is located, reconsidering the ground as a site for the development of synthetic architectural systems by working through the existing plinth and establishing a new datum or artificial ground. we will examine the complex terrain defined by the interference between nature and the articificiality of its physical support. The design work will seek to cull out and amplify latent environmental and atmospheric performances in the interest of producing an architecturewhich has the capacity to integrate a multiple concept of nature.
Design Concepts
Site Content-Los Angeles DWP
SUSPENDED ANIMATION The water fountains surrounding the DWP, once a symbol of fertility in an otherwise barren desert, are now read as a barometer for the water crisis of recent years. The sights and sounds of gurgling water on this artificial plinth indicate prosperity; their absence means trouble. SUSPENDED ANIMATION plays a strong role in extending these indications to the public. The Research Center itself is read as one large room with several porous and translucent landmarks. The research partners will determine for themselves where to set up offices, research labs, and sanctuaries. The expanding and contracting capillaries within these landmarks, buzzing and whirringlike an intrusive HVAC system, indicate a crisis to be solved. The tension between these two environments, the concern of the public and the responsibility of the private, is made explicit in suspended animation.
Artificial Plinth The plinth’s water circulates above and below the plinth on a daily basis, through several internal capillaries and straight into the masses of the Research Center below.
Casting Technique The Dome are produce by the minimum mold and use casting to maximum the variety of shapes.
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Short Section
Final Model
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“IT IS AN INFINITE SPHERE, THE CENTER OF WHICH IS EVERYWHERE, THE CIRCUMFERENCE NOWHERE.” -BLAISE PASCAL
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“...I AM VERY INTERESTED IN THE OTHER NATURE, THE ARTIFICIAL WORLD OF CHEMISTRY, ELECTRONICS, AND INFORMATION THAT SURROUNDS US. AND EXTENSIVE AND INTRUSIVE NATURE, IN WHICH MAN IS IMMERSED LIKE A FISH IN THE SEA...” -ANDREA BRANZI
AXONOMETRIC
Floor Plan
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Final Model
“THE PROVOCATION IN USING THE IMAGES OF THE BUBBLE RESIDES IN THE FACT OF REPRESENTING A VAGUE SPHERE WITH TWO OR MORE POINTS OF FOCALIZATION, SO THAT WE ABANDON THE CENTRIST IDEAOLOGY WITH THE MENTAL IMAGE OF ITSELF.” -PETER SLOTERDIJK SECTION
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SUMMER
2013
Tokyo Study-Aboard Summer Semester Instructor_ John Bohn Site_ Tsukiji Fish Market, Tokyo
The Japan study program introduces students to the architectural and cultural vibrancy of the contemporary Japanese city. The three-month program consists of a design studio and a seminar led by SCI-Arc faculty, and specialized travel seminars and workshops taught by Japanese faculty from leading institutions such as the University of Tokyo, Kyoto Seika University, Keio University, and Hosei University. In addition to formal coursework, the program includes excursions to areas of specific interest in Tokyo and its surroundings. Students will also attend lectures, openings, and exhibitions related to topics highlighted in the current program.
Design Concepts
Site Content-Tsukiji fish market- Tokyo
We attempt to synthesize competing agendas under a grand vision and propose a specific master plan strategy for the Tsukiji Fish Market in Tokyo. The remainder of the studio will be spent designing a structure on the site of the Tsukiji Fish Market that articulates resilient 21st century urban master plan coastal strategies. The interstitial spaces are as important as the volume of program, providing each unit with its own individual facade while allowing different degrees of wind, water, and sunlight to enter or exit. In this approach everything will decay independently based on material use and elemental placement. The interstitial spaces is also where plant growth thrives. In that sense the program volumes act as moldings for the plant growth. Overtime the program materials will dissipate but the volumes will remain. The building is alive and elements of it will die one by one, unit by unit, leaf by leaf allowing room for new life new beginnings.
The City of Decay and Growth We are proposing subtle destruction, slow decay, the nuances of change. Our building is more delicate than it appears.
Master Plan from the Existing City Gird We are using the logic of previous successful precedents of circulation(tokyo station, Ginza station, Roppongi Station) and structure (A-bomb Dome, concrete structures that survive tsunami’s) so we can focus of subtleties of material growth and decay.
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TOKYO
Roppongi commercial and housing Slower meandering paths that generate successful shopping environments along with more intimate spaces at the scale of the body.
GINZA
Ginza event space
SHIODOME
design strategy to move many bodies qiuckly.
PASSENGERS PER DAY
Tokyo scale product.
YEAR OPENED
TSUKIJISHIJO
TSUKISHIMA
KOKKAIGIJIDOMAE
ROPPONGI LEGEND Commercial/Business 2 mins boundary 5 mins boundary 8 mins boundary
Public spcae Green Space Park Main street
AZABUJUBAN
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Volume Boolean Method Volumn and Circulation Morphology
Structure Boolean Method
Olympics Market/Event venue type
Event/Housing
Fish market type
Green Spaces
Event/Housing Housing type
Concept Drawing of the CityScape
TSIKIJI MARKET OUTER MARKET PRODUCE MARKET PARK SPACE HOUSING HOTEL PARKING OLYMPIC SEATING RETAIL/ENTERTAINMENT SHRINE
Program Diagrams
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Master Plan Growth and Decay Renderings
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Master Plan Growth and Decay in Axo Chunk Scale
Long Section
Speed
Fast Mid Slow Circulation Diagrams
Fish Market Housing /Hotel Structure Water
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THESIS
2014 SofT Undergraduate Spring Semester Advisor_ Florencia Pita Site_ SCI_Arc
The intent of the undergraduate Thesis Studio is for students to demonstrate proficiency in mak足ing proposals for buildings that integrate knowledge from the principal disciplines represented within the program. Building Design, History, Theory and Humanities, Technology, and Visual Studies weigh into the execution of a synthetic work of ar足chitecture. Students work with a committee consisting of representative mem足bers of each academic discipline, and design a project from proposals developed in the prior semester.
Thesis Statment
This thesis is part analog, part digital, and part material research. Although the efforts of contemporary architecture and technology have attempted to be much softer, this softness has only been applied visually or to shells/membranes in form. This thesis is about literal softness. It is intentionally openended, as a set of explorations into the size, shape and color of softness. It begins with soft “built-ins� and then moves through scale changes to the tile and the pattern. Using polyurethane foam, that can be cast in shape with color, or with color applied, this thesis seeks the irregular structures of soft materials in order to form aggregated wholes – walls, surfaces and interiors that will delight the eye and the touch. Exploring the various shapes that the cast foam offers new tectonics of softness.
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My thesis title is Soft, with a capital letter T, to emphasize the sense of touch. This thesis is an openended material speculation which centers on literal softness, by using polyurethane foam that can be cast in shape with color, or with color applied; this thesis seeks the irregular structures of soft materials in order to form aggregated wholes – walls, surfaces and interiors that will delight the eyes and the touch. Softness is available as a way to make solid form both visual and textile, it could create what hardness could do, like making bricks and tiles. In comparison to a lot of recent architectural projects, for example, Elena Manferdini’s MoCA installation, rather having complete control from the digital to material form, this thesis is embedded in what the materiality will do. With the foam material neither the brick or the tiles have to be rectangular, because the soft shape doesn’t have a certain pattern, the material agonizes over being constrained in the given form, it extends and escapes naturally beyond the mold. This creates unexpected textures, bubbles and puffs. In other words, the geometry of any one part cannot be completely modeled and predicted digitally.
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The aggregation of wholes from these parts is a logical next step. At one time, I imagined softness as a continuous entity, like a built-in, but more investigation into larger-scaled soft elements revealed how they were actually aggregates and assemblies of smaller pieces. Initial experiments with the foam material brought forth the lobed form, because an orthogonal shape would not remain flat. I had to cut the rectangle in addition, as opposed to the lobed form which popped right out of the mold. Any time, I met a resistance like that, it yielded information. In this case, the module of the foam wanted to be rounded. Space, forms and shapes could be revealed in different proportion and scales, but the physical senses couldn’t, therefore, this project attempted to create a piece work with one to one human scale. By stacking foam pieces together, (point to the puff wall) just like brick’s tectonic, to demonstrate Soft material is capable to be part of architectural element, the wall, a divider. This act of stacking and fitting the pieces together began to yield more information. Each piece here was casted with the same amount of raw foam material, same technique same base pattern, and same amount of pigments applied. But still, the variety of the outcome is speaking for the mutinous characteristic of foam. Foam expended by absorbing the surrounding atmosphere, the growth is natural and nonartificial. This thesis delights in this aspect of the materiality. Each piece has two colors, mixed from two types of foam. Each piece has a base color and a secondary color but the spread of the colors was unpredictable. Some came out more pink, others more orange. So, I began modeling an assembly logic based not on pieces fitting together but on their color gradient, so that the overall effect was one of moving from color to color across the wall. This also enhances the human experience of touching and perceiving.
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Unlike traditional rigid building material, foams are able to directly interact with human body. It could be apply architecturally with infinite possibility. This openended material speculation speaks to a more interactive culture we live in and allows for a new tectonics of softness.
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Philosophy is a rationalized poem Poem is a living philosophy The shelter between poem and philosophy, is Architecture.
- Ariel Ip
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Ariel h. Ip www.arielip.com +1.626.463.3539 ariel.ip029@gmail.com