BERNARD PENG
Harvard University M.Arch University of Michigan B.S. Arch
BERNARD PENG Harvard University M.Architecture
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University of Michigan B.S. Architecture
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BIFURCATED AGGREGATED RESORT
4
PEAPOD COMPONENT
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NORTH END ARTS CENTER
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MOIRE WALL
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GUND HALL AUXILLARY
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URBAN LANDSCAPE
60
BIFURCATED AGGREGATED RESORT
The site, Marblehead Quarry in Ohio, provided multiple decommisioned, industrial artifacts of the quarry as miners manipulated and exhausted the island’s bedrock. There existed imprompu lakes that glowed with unnatural hues as the water runoff was exposed to different minerals and gasses. The quarry presented a unique topography created entirely by machine, cliffs were formed from dynamite, mounds of waste dirt and sediment formed giant hills within the site. Initial explorations were focused around the fundamentals of biological growth. Emulating the concepts behind bacteria and coral growth, the project utilized an initial host, using bifurcation as means to generate forms and voids rather than cutting them out. The translation of linear forms became our means of digressing through the landscape, pushing, manipulating, and reforming to creating new terrain. Within the structure, the bars contain the aggregate program (offices, hotel rooms, monastery rooms) while the larger, public program resides in the space captured. The program advocates for an interaction of people by implementing a continuous large space that weaves within the bifurcating bars of cellular program and provides a means to extend out into the landscape.
09.2008 b.peng, a.timmer, r.cosgrove Instructor Karl Daubmann
Various forms of models were needed to allow the bifurcation to create space concurrently in plan and in section, to allow this interconnected public space to weave through the structure. Furthermore, facade studies were limited to stone in order to take advantage of the quarry’s rich industrial history. Ultimately, the facade emulated the bifurcation theme by providing for a seemingly ‘random’ truss organization, where some openings were left open as windows and others were infilled with precast concrete to provide solid enclosure. The facade provided an opportunity to highlight the differences between the aggregate private spaces as well as the larger, public intervention.
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BIFURCATED AGGREGATED RESORT
7 Variation of the L-system generates two types of spaces. The linear bars contain the cellular, private programs [offices, hotel rooms, monastery rooms]. The encapsulated space in between houses large public programs [restaurant, labs, lobbies, courtyards] which serves as an uninterrupted spine that weaves through the complex.
BIFURCATED AGGREGATED RESORT
13’0”
10’0”
MECHANICAL
7’0”
CLERESTORY limestone facing double pane window limestone facing
3’0”
VIEWS
0’0”
13’0”
10’0”
MECHANICAL
7’0”
CLERESTORY
double pane window 3’0”
VIEWS precast concrete
0’0”
SIP
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FACADE OPTION 1 Flat panels of limestone layered like thin bricks to dematerialize the building surface, required a full length window to allow similar interior reading FACADE OPTION 2 Precast panels bifurcate to form openings. Best option because it allowed for views and less labor intensive.
BIFURCATED AGGREGATED RESORT
a Truss system of members serves as a permeable wall for the undivided space that contains the larger, public programs.
b Tilable system of prefabricated concrete panels form a structural bar with a span of 24’. The bars contain the cellular programs.
c Column sizing directly relates to the area of a voronoi cell, representing the tributary area. Two columns meet at a point to save on caisons.
11 The structural components of the building maintain the language of bifurcation. Three different wall types tackle three conditions: a b c
a
b
c
continuous open public space cellular, private units connection betwen building and landscape
BIFURCATED AGGREGATED RESORT
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11 10 6
9
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8
4 3 1
2
FIRST FLOOR 1 2 3 4 5 6 7 8 9 10 11 12 13
lobby hotel room flex space/conference storage bar kitchen cafeteria monastery room laboratory water testing site library office space auditorium
0 25 50
100
5
13
10
6
9
5 7 4
3
2 1
SECOND FLOOR 1 2 3 4 5 6 7 8 9 10
lobby hotel room garden restaurant flex space/conference courtyard office laboratory library auditorium
0 25 50
100
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BIFURCATED AGGREGATED RESORT
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5
4
3
2
1
THIRD FLOOR 1 2 3 4 5 6
lobby lounge office laboratory auditorium lobby auditorium
0 25 50
100
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1
ROOF PLAN 1 2
entrance chapel 2
0 25 50
100
BIFURCATED AGGREGATED RESORT
17 Models and renderings show relationship between the aggregate bars and the public space that flows throug. The roof canopy fractures according to bifurcation logic, forming channels to shed water.
BIFURCATED AGGREGATED RESORT
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Section through the bar and restaurant. Dining areas occur on multiple levels with the kitchen located below. The aggregate hotel rooms form the space around the restaurant and bar.
PEAPOD COMPONENT
09.2013 b.peng, j.lee, k.lin, c.to, j.xiao Instructor John Nastasi
There are different degrees of mass customization. At one extreme, there exists thousand iterations of the same element, at the other end there exists one element at a thousand minutely different variations. The peapod component tries to combine both extremes, to create one iteration that can accommodate thousands of variable configurations. The design is a double ball and socket joint. The intention is for fabricators to loosen the center tension bolt to allow the connections to rotate, then once confident in the configuration, to tighten the bolt for a rigid connection. Furthermore, the ball joint itself has the ability to accept wide variation of receptors that can accommodate varying thicknesses of sheet material to differing diameters of rods. Different methods of fabrication were experimented with to maximize efficiency of the production of these components. Ultimately, the peapod components were casted out of a liquid plastic, from a silicone mold, generated from a 3D printed positive. The plastic positives do not come out as finished as their 3D printed counterparts, thus varying jigs and methods were constructed and invented to drill, sand, and assemble in an Fordian rigor.
The conception of this joint ultimately allows designers to quickly create different atmospheres through flexibility in joint and panel. A bent plywood was used as the primary module. The flexibility of the plywood veneer added an uncertain, but dynamic spatial potential to the installation. The plywood module, when connected had 2 very different natural states. The module could lie flat in 2D or pinch together in 3D depending on the angle of it’s neighbors’ connections. The material behavior was then fed back into the computer and using optimization programs, attempted to predict the given form based on certain parameters of structural points, rigidity, and own self weight.
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PEAPOD COMPONENT c
a b c d e f g h
ROD/CABLE receptor can receive any cable or rod that is 1/4” diameter
(2) custom cast bronze pod (2) 1-1/4” bronze sphere with 1/4”-20 hole (2) custom cast bronze pea rod/cable (2) custom cast bronze pea plane A (2) custom cast bronze pea plane B (2) 1/4”-20 x 3/4” threaded rod (1) 10 -24 machine screw, washer, nut (4) 3-48 machine screw, washer, nut
a d
PLANE A receptor can accept any plate or planar surface between 0” - 1/4”
b f g e
h PLANE B receptor can accept any plate or planar surface between 0” - 1/4”
h
PEAPOD COMPONENT
OPTION 1 Bent plywood
OPTION 2 Square plate
OPTION 3 Diamond plate
23 Silicone mold was created use as framework to mass produce the peanut component. Jigs, such as the wooden drilling jig, were required for efficient finishing of all the components.
PEAPOD COMPONENT
25 The modules showed 2 natural positions, flat and pinched. Defepnding on the angle of connection, the module manipulated itself between these 2 natural positions, twisting itself spatially to create a new dynamic condition. Optimization programs were used to analyze the behavior and to anticipate the form of the assembly based on connection points.
FLAT ASSEMBLY
PINCHED ASSEMBLY
PEAPOD COMPONENT
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NORTH END ARTS CENTER
The North End Perfoming Arts Center sits at an imperative corner that provides access to the Boston waterfront while looking over historic Charleston. Preintervention, sits a small park, which within a dense urban fabric, provides one of the few pedestrian access points to the Charles River. The intervention maintains the current access by lifting over the current paths that connect pedestrians to the water’s edge, minimizing the area where the building touches ground. The current paths are not orthagonal, showing the intuitive nature of pedestrain walking. The building’s form mediates between these impromptu paths with the geometry required of having functional rooms. The form of the building is generated through a translation and superimposition of significant, pedestrain datums on the site. Through varying the extrusion direction and intersection of these lines, one can (at least in plan) begin to translate lines into different directions The varying of extrusion and intersection of these lines begin to generate the means for enclosing the program required of the building. A concert hall inherently wants to be dark and enclosed, whereas classrooms and offices want to be bright and exposed. The program is a juxtaposition of these elements: light and dark, solid and light.
09.2010 b.peng Instructor Florian Idenburg
The strategy involves a formation of these large structural cores that compartmentalizes and collect the dark programs. These cores not only bring the building to the ground, but provide the structure needed to support the surrounding floorplate for transparent activities. Finally, the structure must accommodate a wide range of occupants at varying times. As an arts center, there are not only performers and staff, but it must also accompany students instructors. The building uses the fluctating floorplate as a means of physical separation but allowing visual connection. The floorplate provides separate circulation for performers, patrons, educators, and park pedestrains; however, the transparency of the building still allows for a visual connection of openness.
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ia str de e p ing ist ex
gh ou hr t s ath np
e sit
NORTH END ARTS CENTER
patrons performers community
31 The massive cores house the opaque programs, the geometry reconfigures the floorplate to regularize the organization of the surrounding transparent programs. The cores provide the required structure for the building.
OPTION 1 Enclose the opaque programs within the thickness of the floorplates
OPTION 2 Enclose the opaque programs within these massive cores to support the transparent programs
NORTH END ARTS CENTER
d
b a g
a
a
c
d e
e f
FIRE STAIR CORE a b
elevator fire stair
THEATER HALL CORE a b c d e f g
theater hall scene shop back of house dance studio dressing room bathrooms elevator
c b
b
MUSIC HALL CORE a b c d e
music hall back of house instrument storage bathrooms fire stair
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NORTH END ARTS CENTER
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PEDESTRIAN structural gems lift the building up, allowing pedestrians access to waterfront underneath
COMMUNITY residents and employees attending classes have separate entrance
PATRONS ticketholders walk are drawn through center of building, providing a view of water
PERFORMERS completely separated from the patrons, they share limited facilities with the school
NORTH END ARTS CENTER
GROUND FLOOR 1 2 3 4 5 6 7 8 9 10
entrance patrons entrance community box office scene shop outdoor/public performance space core A core B core C core D storage/loading
8 4 10
1 5
2 9 7
2 6
SECOND FLOOR 1 2 3 4 5 6 7 8 9 10 11 12 13
theater hall music hall kitchen cafe restaurant core A core B core C core D staff back of house instrument storage student lounge rehersal room
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1
2
13 11
7 10 3
5
6
4
9 12
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THIRD FLOOR 1 2 3 4 5 6 7 8 9 10
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theater hall music hall black box theater classroom restaurant core A core B core C core D lecture hall
1 2 7 4
5
10 9
4
3
6
FOURTH FLOOR/ROOF 1 2 3 4 5
dance studio music hall office core C core D
4
5
5
5 5
1 2
5
NORTH END ARTS CENTER
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MOIRE WALL
03.2008 b.peng, l.knight, m.maxey Instructor Stewart Hicks
The wall installation bases itself on a relationship between deception, sight, and perception. The wall uses concepts similar to that of moire pattern to create agency with user and environment. It captures the experience of nature through vision and human interaction by serving as the extention of a tree on the site. The form of the wall was generated as a projection of the tree’s shadow as it would hit the vertical surface. The tree translates itself in its varying density. As one moves from outside to inside, the mdf pieces begin to breathe, overlapping and reopening to visually alter the sense of density in the wall. Furthermore, the modular elements begin to filter light similar to the translation of shadow and light that occurs when leaves flutter The wall’s relationship with the site and the human body stems from the vertical elements. Playing on visual effects of repititive elements embedded within moire pattern, the wall begins to flutter as one approaches. As one stops moving, the wall also stops moving and visually appears like an impermeable wall because of the offset pieces. As a physical intervention, the wall acts as an agent within the occupants environment, providing a differing environment depending on whether the occupant is moving or standing.
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MOIRE WALL
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MOIRE WALL
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MOIRE WALL
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GUND HALL AUXILLARY
09.2011 b.peng, s.chang, v.baranova Instructor Hanif Kara & Andreas Georgoulias
Architecture today exists inherently as a collaborative process across various disciplines. With the help of students from MIT’s engineering school, an auxillary building would be placed in a courtyard to relieve Gund Hall of its administrative duties, providing offices and gallery space for the architecture department. The program also required for the engineering of a bridge that would connect Gund Hall with that of it’s auxillary building. The building’s gallery organizes itself in accordance to views of the surrounding neighborhood, allowing precise views through the large windows along the gallery procession, which rests on a continuous ramp, pulling visitors in from nearby Kirkland St, winding it’s way up through the displays and ending at a bridge that connects to Gund Hall. Along with winding through the display spaces, the ramp also connects spaces of debate, lounging, and socializing. The openness of the procession ramp allows for impromptu activity, giving easy transition from one activity to the next. The engineering difficulty of the processional ramp is at one point, it suspends above the ground forming a sizeable cantilever. The solution to this problem was to use the roof and facade as a structural seesaw. The facade,
represented by a diagrid of steel tubes, holds the cantilever up, transfering the subsequent forces into the office spaces embedded within the the depth of the roof. At the depth of one story, the structure of the roof acts as the lever of a seesaw, on one side holding up the cantilever, on the other pulling the lever up by attaching to the ground. The facade also acts consciously to its environment. Five different panels infill the diagrid facade. The infill panels are made of an aluminum honeycomb SIP, where the interior of the panel is filled with aerogel to act as thermal agent. The aluminum honeycomb is sliced at 5 different angles to achieve the 5 different transparencies of each panel. The panels are placed accordingly throughout the facade, taking into account directionality, transparency requirements of interior space, and general views.
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GUND HALL AUXILLARY Processional ramp wraps around a central structural core that contains elevators and bathrooms. The ramp starts off of on Kirkland Street, winding it’s way up through the galleries and ending at a bridge that connects the building to Gund Hall.
offices offices to bridge
debate space
bar gallery lobby
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OFFICE FLOOR 1 2 3 4 5 6 7
3 7 1
6
2
1
4
5 3
0
10
20
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office meeting room outdoor balcony elevator/bathroom core bridge to Gund Hall gallery (below) debate space (below)
GUND HALL AUXILLARY
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GUND HALL AUXILLARY
ROOF space frame @ 13 lb/ft
= 44460 lb
office @ 95 lb/ft
= 109930 lb
FACADE cage @ 13 lb/ft
= 105456 lb
RAMP ramp @ 95 lb/ft
= 242526 lb
core @ 150lb/ft
= 1200000 lb
TOTAL
= 1702372 lb
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Having the offices embedded into the roof structure, gives the roof the required depth to act as the lever of a see saw. On the side of the facade that touches the ground, the structural diagrid pulls down on the roof to hold up the cantilever ramp, transfering the load down on to the concrete core fulctrum.
GUND HALL AUXILLARY Unrolled facade shows how the arrangement of the infill panels take into account transparency requirements of both interior program and exterior context. More transparent panels are placed where light and views are needed whereas opaque panels are placed to hide service areas and programs requiring a controlled environment.
69 panel allows summer sun into lobby
HONEYCOMB SIP - 0.5” polycarbonate sheet - 6” honey comb core filled with aerogel for insulation - 0.5” polycarbonate sheet
Varied transparency is achieved by cutting the extruded aluminum honeycomb at different angles. These angles are determined by sun angles of winter and summer months in Cambridge, MA.
24 panel allows daylight into South offices and views
lobby has clear glazing to allow max daylight
HSS 6x6x0.5
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dark wall for projections
72.5 panel allows diffuse light but limits views
0 panel opens platforms to important views
panel hides parapet and HVAC
opening to bridge
0 deg
72.5 deg
24 deg
90 deg
summer winter 69 deg
GUND HALL AUXILLARY
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URBAN LANDSCAPE
09.2011 b.peng Instructor Shih-Fu Peng & Roisin Heneghan
The tunnels and bridges that connect Manhattan to it’s surrounding neighborhood has created inpenetrable scars within the urban context, prefacing motorist convenience over pedestrian experience. Furthermore, the skyrocketing density of these city has led to a similar increase in real estate cost. The invertion addresses both the need for density by utilizing the infrastructural “wasted space” to create new, innovative public experiences to justify the building of housing and apartments within New York City. The motorist experience of a tunnel ends/begins with a mess of concrete jungle and traffic. While the the Midtown Tunnel attempts to ameliorate this problem by covering the tunnel exits with greenery; however, these “parks” are not accessible to the pedestrian and the tunnel creates a schism within the pedestrian block, forcing people into awkward dead ends or long detours around the isolated block. The stratified proposal introduces an idiosyncratic park on the pedestrian level that blends into housing above. The proposal connects the interruptions of the block created by the infrastructural scar. These connections create diagonal “short cuts” through the isolated block. In doing so, the building’s twisting form highlights what is normally considered the hard, “Manhattan” front street edge to that of the softer, unsystematic, interior alley edge. This larger
bifurcations form a series of large, open courtyards that look down onto the pedestrian level. Within the building’s organization, a medium scale of bifurcation occurs within certain floors to not only break up the facade, but provide semi-public spaces only accessible to residents. At the unit level, bifurcations of the interior courtyard facades provide a shared, semi-private balcony from which to view the park. Throughout the upper floors of the building, weaves a semi-public track. Similar to how the ground provides a new way of experiencing the street, the track provides a network of routes from with to experience the skyline. The ground landscape not only reintegrates the open space of the tunnel back to the main arteries of Lexington Ave, but provides motorists a moment of a reprieve on their commutes. The park topography blends the boundaries of the tunnel and that of the building. This landscape serves as a gateway for drivers, but also unique, pedestrian observation points, creating a friction between the speed of the car and the speed of the person; human and machine move together. During a couple months of the year, the vegetation of the park turn red, emerging a unique red park in the middle of Manhattan that motorists can drive through and pedestrains can experience traffic.
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URBAN LANDSCAPE Current green space on top of Midtown tunnel is inaccessible to pedestrians, creating a 3 block scar that does not allow pedestrians to cross the tunnel. The proposal creates ‘shortcuts’ across this scar by connecting the pedestrian ‘dead ends,’ giving public access to the open space left by the inaccessible by the tunnel.
63 Conceptual model represents the hard/street and soft/interior faces of the surrounding buildings. The proposal disrupts the conventional perception of hard and soft urban edge, bringing these spaces into the building itself.
URBAN LANDSCAPE The proposal creates unusual urban conditions such as a semi-public track through the building. The interior courtyards of the park invite the public into unique interactions with the cars/infrastructure.
TRACK
HOUSING
PARK
ROADS
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URBAN LANDSCAPE
300’
400’
600’
700’
3200’
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URBAN LANDSCAPE
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URBAN LANDSCAPE The park’s topography is generated from the grain of the surrounding roads, blending into the building bases that form the foundation for the housing above. The first level of the building features retail and galleries integrated with the new park and current urban, pedestrain condition.
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PARK/GROUND FLOOR 0
100
200
400
URBAN LANDSCAPE The building facade differs based on whether it represents the city’s hard/street face or the soft/ interior face. The hard facade of the apartment(s) that look out into the city are flat whereas the facade of the apartment(s) that look interior into the courtyards fluctuate to form balconies and to bounce sunlight into the courtyards.
MANHATTAN SIDE a
c
b
a
b
c
d
d
PARK/COURTYARD SIDE UNIT FIRST FLOOR
UNIT SECOND FLOOR
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TYPICAL FLOOR 0
100
200
400
200
400
ROOF PLAN 0
100
URBAN LANDSCAPE
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BERNARD PENG SOFTWARE CATIA V5/Digital Project V4 Rhino 3D w/Grasshopper [basic C# skills] VRay, Maxwell, 3ds Max AutoCAD Adobe Photoshop, Illustrator, InDesign Microsoft Office
RELATED SKILLS Proficient in multiple 3d modeling programs, both BIM and rendering Experienced in physical modeling skills via hand cutting, woodshop, and fabrication Experienced in using laser cutters, 3d printers, vacuum former, and CNC mill Familiar with production of permitting, engineering, and construction drawings
HONORS/AWARDS Walker Beale Scholarship, Kaohsiung Idea for Action Quarter-Finalist, Arthur Tagge Scholarship, TCAUP Undergraduate Honorable Mention, Angell Scholar, Intramural Tennis Champion
CONTACT bpeng@gsd.harvard.edu 410.370.2059 Home 6923 Newberry Drive Columbia, MD 21044 Current 16 Mossland Street Somerville, MA 02144
Harvard University GSD M.Arch 13 University of Michigan TCAUP B.S. Arch 09
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PROFESSIONAL EXPERIENCE
BLU HOMES 01.10 - 08.12 Junior Designer & CATIA Digital Tools Designer Researched methods of embedding information into CATIA models to further automize modeling and drawing processes Collaborated with 3D consultants to develop online home configurator Aided in the design and BIM model of Element and Evolution product homes Created renderings and marketing materials for the sales department Worked with team to create contract, permitting, and fabrication drawings. COLLABORATOR w/ MONICA PONCE DE LEON 05.09 - 08.09 Research Assistant Documented the history and construction of architectural prefab systems Created drawings, renderings, models, and full scale mockups of such systems TOD WILLIAMS BILLIE TSIEN ARCHITECTS LLP Spring Break Extern Crafted models for various skylight options for an art collection Documented the illuminance condition produced by each skylight option
02.09
05.08 - 08.08 SKIDMORE, OWINGS & MERRILL LLP Summer Intern Crafted both 3-D and physical schematic models for client presentations Produced drawings for PUD submittals EXTRACURRICULAR
GSD 2104 DIGITAL MEDIA TEACHING ASSISTANT 09.10/11/12 Graduate School of Design Introduced parametric modeling via scripting, Grasshopper, and Digital Project Held desk crits to develop and troubleshoot design and modeling problems GSD CATIA/DIGITAL PROJECT WORKSHOP INSTRUCTOR 10.11/12 Graduate School of Design Held 4 workshops over semester teaching Digital Project to interested students Covered modeling, 2d drafting, model structure, BIM tools, and finite analysis Created online tutorials for student use LASER CUTTER TEACHING ASSISTANT 01.11 - present Graduate School of Design Cleaned the school’s laser cutters and fixed routine mechanical problems Held tutorials throughout the year to educate students on the use of machines
PUBLICATIONS
Interdisciplinary Design: New Lessons from Architecture and Engineering, ed. Hanif Kara and Andreas Georgoulias. Barcelona: Actar. 2013. pg 206 - 211