BENITA LILY CHENG
architecture portfolio B E N I TA L I LY C H E N G Washington University in St. Louis benitalilyc@wustl.edu
TA B L E O F CONTENTS
ACADEMIC WORK P h o t o g r a p h i c Te x t u re s Patterns and Phenomena P h e n o m e n a Te c t o n i c S t u d y Woodlands Researcher Observation Deck Kindergarten Movement and Furniture Studies Kindergarten Project Villa Savoye Case Studies Community Pool and Recreation Center Live Work Show Firenze Cinematheque R TA - o f f i c e F u z h o u S k y s c r a p e r P r o p o s a l
PERSONAL WORK Sketches Jewelry Design
FA L L 2 0 0 9 PHOTOGRAPHIC TEXTURES
Texture is defined as the quality given to an object by the interrelationship of its elements. In this exploration of texture, I designed a model based on the textural depths perceived from photographic enlargements of a natural stone block (previous page). The overlapping layers of the model reveal the series of topographies created by the line study of the photograph.
FALL 2010 PAT T E R N S A N D P H E N O M E N A
In this study of natural phenomena, I examined the process of decay in woodland trees. On the preceding page, the series of drawings depict the textural change of bark as a tree decays. The 3D representation above reflects the continuous cycle of growth and decay in the form of a sphere with an outer skin of wood pieces that gradually fall away, as the bark on a decayed tree. The fallen pieces build the continued growth of the sphere on the other side, just as nutrients from decayed bark lead to new growth in the soil.
FALL 2010 PHENOMENA TECTONIC STUDY
The tectonic study on the left follows the idea of the tree falling and decaying into the ground through its graduated shape curved towards the earth. Made of Corten steel that gives off an appearance of rust over time, this material will reflect the decay of trees in the forest over time through its own natural process of metal decay. Window slits cut along the surface direct the observer’s view towards different sites of decay throughout the forest as they walk along the pathway.
FALL 2010 W O O D L A N D S R E S E A R C H E R OBSERVATION DECK
This observation platform is designed for three researchers in the woodlands area of the Washington University Tyson Research Center. It is located against a sloping hill, so that decay can be studied from all sides: at eye level, ground level along the pathway, and down into the creek below. The structure is based on a pathway that contains three sections, each successively more enclosed, to reflect the similar change in decaying tree bark. It contains steel core columns supporting fallen tree trunks that will exhibit decay over time. A roof garden allows observers to see decay from above the hill down onto the structure below.
SPRING 2011 KINDERGARTEN FURNITURE STUDIES AND DESIGN
This origami-inspired chair was designed based on the mapping of kindergarteners’ movement throughout the course of a school day. The chair’s multiple folds and pockets thus create an interactive furniture and storage space
FA L L 2 0 1 1 C A S E S T U D Y : V I L L A S AV O Y E , L E C O R B U S I E R
FA L L 2 0 1 1 C A R O N D E L E T PA R K C O M M U N I T Y P O O L P R O J E C T PERSPECTIVE AND TECTONIC DRAWING STUDIES
This pool and recreation complex in Carondelet Park is designed as a port of connection to the surrounding landscape, while simultaneously providing a retreat from the physical conditions of St. Louis’ unpredictable weather. The organizational layout of the complex is based on a series of ellipses that provide a 360 viewpoint to the surrounding while providing a direction of view towards the lake. The facade is mostly glass to provide a full view of the surroundings, with the main facade directed out towards the lake, so that swimmers can view the lake alongside the pool.
FA L L 2 0 1 1 L I V E . W O R K . S H O W. ARTIST URBAN RESIDENCE STUDIO AND GALLERY
This living space studio and gallery located on Locust Street is designed for a painter and sculptor working in St. Louis. It is designed as a series of interlocking spaces that link from private living area to the most public gallery space. The interlocking spaces serve as transitions as one can enter from the public side on the north into the gallery space, and follow through the semi-public gallery space, kitchen, living room and roof garden into the studio spaces and bedrooms on the south side. The spaces and roof above are designed to enhance natural lighting within the narrow site.
SPRING 2012 F I R E N Z E C I N E M AT H E Q U E FLORENCE CINEMA AND FILM ARCHIVE
PLAN LEGEND: 1. Lobby & Ticketing 2. Cafe 3. Archives 4. Retail 5. Cinema 6. Terrace 4 4
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N Level -1 Floor Plan 1/16”=1’-0”
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Level 3 Floor Plan 1/16”=1’-0”
Level 2 Floor Plan 1/16”=1’-0”
Ground Floor Plan 1/16”=1’-0”
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Cinemateca Archivio Firenze
South Elevation 1/16”=1’-0”
West Elevation 1/16”=1’-0”
West Section 1/16”=1’-0”
North Section 1/16”=1’-0”
Based in Florence, Italy, this cinema and film archive center is located in Piazza del Carmine, a plaza that currently stands as a parking lot facing an old church. In this project I incorporated the idea of film watching as the new agent for public gathering, versus Sunday church gatherings in the past. I designed a semi-open public space centered around four movie theaters, with shopping and a cafe on the ground level, and the more private film archive and rooftop cafe on the third level. This layout makes the public space accessible to everyone, and a center of congregation for children, couples, and families. Its placing within the piazza is so that all streets have access to the center, with the main axis along the road pointing towards the church, acknowledging the past and the present forms of public gathering and community interaction
SUMMER 2012 FUZHOU SKYSCRAPER PROPOSAL RTA-OFFICE WITH ALEXANDRU MUNTEAN
This competition entry was done for a publishing company based in Fuzhou, China. Our design concept involved the building itself reflecting stacks of books, with the incorporation of window screens made up of chinese characters, to help filter sunlight throughout the year, as well as reflect the words that go into the publishing company’s works. I helped create the 3D Rhino model, to achieve a structural stacking of the layers, as well as compiled the Chinese characters and made the texture for the window screens.
S U M M E R / FA L L 2 0 1 1 WIRE BEADED JEWELRY DESIGN
SPRING 2010 RENGA--連歌