ARCHITECTURE PORTFOLIO SELECTED WORKS
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2015 -2018
HOUSE XL: CO-HOUSING USC Architecture Spring 2017 4501 W Exposition Blvd Los Angeles, CA Instructor: Hunter Knight
ACTOR & SUPPORT
RON FINLEY PROJECT - 10. 2017
HOUSE XLl
The site will be the termination of a city block in the Arts Dis-
trict in LA. The area is currently undergoing mayor urban changes with Michael Maltzan’s 6th street bridge project already in construction, Herzog and De Meuron’s massive high rise proposal and the general tendency in the area towards a denser and higher built landscape. The horizontality of the proposal will react to the future vertical character of the site. The project will revisit the notion of the plinth and will explore new ways of producing permeability and blurring the limit between public and private in the city.
The intention is to ‘finish’ the block and propose a provoc-
ative alternative to the horizontal growth of the DTLA, while maximizing the identity of the Architecture Museum and Archive as a destination. The project will aim to give back a public space to the city. The site is a corner condition facing 7th St and Mateo St with almost identical proportions. One of the challenges will also be to react to the National Biscuit Company Building defining the Northern limit of the site. The site is consolidating as an active hub for new businesses, galleries (ICA LA) and office spaces that are converting old building structures (mostly industrial) into their homes.
AXONMETRIC DRAWING I HOUSE X.L I DIAGRAM IN SECTION I PROJECT SITE PLAN
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The existing train tracks act as the guidelines of the platforms containing several housing plots. These plots are filled by choosing different modules to be brought in and out by trains, keeping the nature of the space highly customizable. The creation of the new metro line allows easy access into the site. The existing train tracks act as the guidelines of the platforms containing several housing plots.
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HOUSE XL
SECTION B I SECTION A I THIRD FLOOR PLAN I FORTH FLOOR PLAN
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HOUSE XL
EXTERIOR BUILDING RENDER WITH STREET VIEW FROM METRO STATION
MODEL PICTURE I EXTERIOR I FACADE DETAIL I MATERIAL STUDY I SITE MODEL EXTERIOR MODEL RENDER
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ROOM SERVICES
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FLEXIABLE-HOUSING USC / LA SALLE FALL 2018 Zona Franca , Barcelona Instructor: Jaime Font
ACTOR & SUPPORT
Group Partner: Renee Gao Barcelona City Development Competition “Zona Franca KnoProSo Housing”
ROOM SERVICES
The project is aimed toward critically incorporating site as
an integral part of architectural design. We call it critical site activation. The project involves the use of a very specific and concrete program, to be inserted into a very large area. The decisions concerning location will condition the design. Sites are not simply available chunks of land, idly waiting to be occupied by building; nor are they inert, dormant spaces, devoid of any other value but that of availability. Rather, sites are complex socio-spatial constructions, already imbued with propensities than can be read, proliferated, redirected or obstructed through architectural proposals. Sites are a very rich source of agency in and of themselves: to put it in Keller Easterling’s terms, sites are“active agents rather than mere properties of areas”.
Site located at west of Barcelona, the Zona Franca, its sec-
tion of the ronda cuts through the largest industrial neighborhood in central Barcelona. Toward the mountain, after the train tracks that connect the port to the railway system, we find the industrial estate La Pedrosa.
The project “Room Services”s focus is to connect Zona
Franca to La Marina del Prat Vermell. This connection is achieved by activating the ronda that separates both zones through an urbanistic transformation wherein housing, parks,and a market, will form a new neighborhood that has the opportunity to grow, evolve, and acclimate to its inhabitants.
Mapping Diagram
MAPPING DIAGRAM I ROOM SERVICES I DIAGRAM IN SECTION I PROCESS DIAGRAM I DESIGN PHASE
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B C
A
D
Oblique Plan
Interior Render
The existing train tracks act as the guidelines of the platforms containing several housing plots. These plots are filled by choosing different modules to be brought in and out by trains, keeping the nature of the space highly customizable. The creation of the new metro line allows easy access into the site. The existing train tracks act as the guidelines of the platforms containing several housing plots.
Mock Up A
Mock Up B
Mock Up C
Mock Up D
OBLIQUE PLAN I ROOM SERVICES I INTERIOR RENDER I MOCK UP SECTION
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3 Units 4 Units
4 Units Assemble
5 Units Assemble
6 Units Assemble
5 Units
3 Units Assemble
6 Units
Variation of Units Arrangement
MODULE AXON I UNIT ARRANGEMENT I ROOM SERVICES I VARIATION OF UNITS TYPE
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Exploded Unit Structure
Module Table
STORY BOOK I CONSTRUCTION COMIC I EXPLODED DIAGRAM I MODULE TABLE I DIMENSION OF MODULE
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HUMAN . MACHINE : MICRO LIVING
USC Architecture Spring 2017 12’x12’ Boundary Box Ins tructor: Hunter Knight
ACTOR & SUPPORT
EXHIBITED + PUBLISHED. ARCHREPORT EXHIBITED + PUBLISHED. ARCHREPORT “BETWEEN FURNITURE AND 9.2017 “BETWEEN FURNITURE ANDBUILDING” BUILDING”
HUMAN . MACHINE
The modern sensibility regarding building systems and
technologies is one of deliberate and often labored concealment. A machine is only noticed through the effects of its malfunction (a room too hot or a pool of water on the floor). This project seeks to bring the apparatuses and interfaces that support domestic functions, comfort and rituals out of the walls and into the home.
While avoiding fascination and fetishism with technology
as such Lloyds of London, this project will work through the latent aesthetics of these characters. The Human Machine rests somewhere between furniture and architecture. it is substantial enough to define space and generate atmospheres, yet it is not a building itself.
In this project, I focus are program relationship and pro-
gram adjacency, and how different program combination could possibility create new style of living, even in such small machine. I chose basic form of geometry (rectangle frame ) as module for this project, and apply different/opposite program on opposite side of frame. (such as, toilet vs kitchen, dinning chair vs cloth hanger). By doing this, it will automatic create certain distance between critical program. Furthermore, according to the visitor needs, each module could move based on his/her need. And create even more program adjacency/combination by pushing or pulling the frame along with track.
AXONMETRIC DRAWING I HUMAN . MACHINE I DIAGRAM IN PLAN I FIGURE DRAWING I RENDER INTERIOR DETAIL
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On the other hand, some of the frame doesn’t have specific
program, so it always can be adjust based on the owner/visitor’s need. For example, the flat platform in circle module, it can be three different use based on the position. When the frame push next to the sink, the platform act as siting area for showering. When the frame in the center, it acts as rest area for visitor reading. When the frame moves next to cooking area, it act as table for owner’s
HUMAN . MACHINE
dinning table.
AXONMETRIC DRAWING I HUMAN . MACHINE I DIAGRAM IN PLAN I FIGURE DRAWING I RENDER INTERIOR DETAIL
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HUMAN . MACHINE
1/8’’ = 1’’ - 0’ FRAME DIAGRAM / CONSTRUCTIONS MODEL/ MOVEMENT DIAGRAM
Program Frame adjused based on occupant’s daily need, total four different transfomration.
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PINCH LIMITATION
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STRUCTURE TRANSFORMATION USC Architecture Spring 2017 1917-1921 E 7th St, Los Angeles, CA 90021 Instructor: Maria Esnaola The Pinch Limitation focus is interrogate the long span through the lens of flexibility and programmatic adaptation. It consists of three organizational proposals which investigate the idea of flexibility through the variation of certain plan typologies traditionally associated with exhibition spaces; a.i. the enfilade plan, the multiple corridor plan, the hypostyle plan, the open plan... On the other hand, the structural transformations will also investigate the fifth faรงade in its capacity to introduce and filter differntiated light into spaces.
MAPPING DIAGRAM I ROOM SERVICES I DIAGRAM IN SECTION I PROCESS DIAGRAM I DESIGN PHASE
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GROUND PLAN
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PINCH LIMITATION
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OVER FOLDING
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TRANSFORMATION STUDY USC Architecture Fall 2016 4501 W Exposition Blvd Los Angeles, CA Instructor: Lauren Lynn
OVER-FOLDING
An offshoot of the traditional catalog culture that started
with Bernard Rudolfsky’s Architecture without Architects (1964) reexamined specimens of building considered to be “non-pedigreed” or non-canonical. More forthrightly for our purposes, Reyner Banham’s Los Angeles: The Architecture of Four Ecologies or Venturi, Scott Brown, and Izenour’s Learning from Las Vegas opened the conversation to the value of previously maligned contemporary buildings and strategies, and the vernacular aspects of the city and validated their potential for 50 years of contemporary architecture. Importantly, these observational histories engaged with the fabric of the city itself and the cultural particularities inherent in the places that were needed to produce the architecture of Los Angeles.
Compared to cohesive cities like Paris or New York, Los An-
geles’ morphology is messy. Apart from the geological aspect recognized by Banham, as a whole the city remains primarily illegible. Los Angeles’ rich mythology tells us we are at the end of the settled world. The narrative suggests that over the last 130 years generations of traditionally taught architects from the East Coast and Europe came here to bring civility but then often ended up acting out, testing out, or playing out new typologies of architecture and the living that might go on inside them. Today on the ground, the experience of Los Angeles is punctuated by moments of exuberant form, architect or civilian designed. There is a macro formlessness paired with a micro distinction. The micro distinction in form of a concert hall here, a strip mall, a museum there, a mid-rise skyscraper, a school, an elaborate mansion in a well-kept area–each is surrounded by the formlessness.
FINAL CHOICE AXONMETRIC SITE DRAWING I LOS ANGELES BUILDING ROOF TYPOLOGY STUDY I EXPLODED STUDY
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Following these precedents, peoject will be looking for
form in objects, buildings, parts of buildings, or systems in the city around us that are not typically considered to be architectural relevant form. Using Reyner Banham’s original reading of Los Angeles as a confluence of four “ecosystems” and this project will documenting and collecting them to create a studio-wide Source Book for use during the semester. Through this first project, goal is to resee the landscape of Los Angeles as alive with formal potentials.
Project two focused on the different views and perspective
of my object. In my First drawing which is the one with different axonometric drawings., I examined the proportional relationship between the roof and its base. In drawing two, I combined different views of the object to generate new forms and examine these new proportions of roof and base. In drawing three, I was interested in the relationship between area and the surface area of the transformed object, so I unfolded each iteration of the transformed ob-
OVER-FOLDING
ject to compare unfolded area to the volume area.
AXONMETRIC DRAWING I HUMAN . MACHINE I TRANSFORMATION DRAWING I PROPORTION STUDY
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The design of the single family house has over the last cen-
tury been a testing ground for radical ideas about living. Mies van der Rohe proposing an entirely open floor plan to a culture accustomed to living in a warren of small rooms and hallways. In order to do this he designed not only the house but the furniture and thus the method of living in those spaces. The project focus are reframe and rethink what is needed to live in 2015. The goal here is not the design of your dream house but a rigorous conceptualization of the dwelling and working space as a site for contemporary life, form as an inducer of fun tion, and the occupation of a unique urban site as it’s location.
Project 3 used a similar strategy to end the form. I used
various views from project 2, and combined them in plan view. Those overlapping plans allow for semi-exterior space between each program elements. Furthermore, the overlapping forms create a series interior-exterior- interior experiences. On the other hand, unfolded garden walls around the perimeter of the house block the car light, noise, and the visual movement from entering the space. From the exterior of the building, the walls are opaque. On the inside, most of interior walls are made of glass to promote
OVER-FOLDING
openness in an otherwise protected or closed space.
FLOOR PLAN DRAWING I HUMAN . MACHINE I
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OVER-FOLDING
E.L (16’-00’’)
E.L (08’-00’’)
E.L (4’-06’’)
E.L (2’-06’’)
SECTION A
E.L (16’-00’’)
E.L (10’-00’’)
E.L (04’-00’’)
E.L (02’-00’’)
SECTION B
SECTION ELEVATION DRAWING I OVER FOLDING I SECTION A. B I
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HUMAN . MACHINE
Close up Interior view / Exterior view w. Site Info
SITE WITH EXTERIOR SHOT / INTERIOR DETAIL / STREET VIEW / EXPLODED MODEL
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VIA_FLAMINIA
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MAPING TRANSFORMATION Intern Project - Eisenman Architects Rome , Italy Mentor : Peter Eisenman ACTOR & SUPPORT
Major Designer with Peter Eisenman (Oversee & Design)
The idea of Rome as a historical and religious city should be liberated from its traditional place and history and from its systems of relations and significations. This process assembles the “repressed text” in a fiction that could represent Rome as a “symbolic city.” The rhetorical figures are fictitious; while the elements of the context seem to be in their original position, they in fact, are not. Origin and destination are perceived simultaneously, while the movement towards the destination is transformed in a return to the origin. The perception from a single point of all the elements of the linear and temporal progression reorganized in scale and distance, dislocates the relationship between space and time. The meaning of space and time is freed from any singular symbolic representation: the definition of time as linear or circular and of space as static or dynamic, no longer hold any meaning in the traditional sense. In this way, there is a negation of the signifying system (the cultural structure) of form, without denying form itself. Signification is in the relationship: architecture is between the signs.
VIA_FAMALIA
Project for Rome, the political city, attempts just such an in-
vention. The idea of Rome as a historical and religious city should be liberated from its traditional place and history and from its systems of relations and significations. This includes the dislocation of a historical-teleological interpretation of its elements, so that its figures can be read rhetorically. In our project, this dislocation is obtained through a process of superpositioning rhetorical figures, from which, in the context itself, a “repressed text” is revealed. This text proposes the Via Flaminia as a palimpsest, proposing alternate meanings which also belong to the place by virtue of their pre-existence, however latent, within the context. Traditionally, an urban axis like the Via Farnesina represented a linear progression in time – a continuous and indifferent movement between two (or more) significant points, and with a hierarchical relation between them. By means of the specific superpositions in our project, the elements of such an axial progression are continually dislocated, appearing together at different scales, and in a different order. The result is a dislocation in both space and time. With the incorporation of the Piazza del Popolo, assembled with elements that are disparate yet analogous to the original, next to the church of San Andrea dal Vignola, the two figures simultaneously occupy both their origin and their destination. At the same time, the movement along via Flaminia (departing from Ponte Milvio towards Piazza del Popolo) signifies a return to an origin (the superimposition of Ponte Milvio). This process assembles the “repressed text” in a fiction that could represent Rome as a “symbolic city.”
CITY STUDY I VIA_FLAMINIA I VARIATION OF TRANSFORMATION I
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Timlokli@usc.edu +1 626 328 6773