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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EVOLUTIONARY EQUILIBRIUM
1
MOIRE WALL
7
GUND HALL AUXILARY
11
NORTH END ART CENTER
15
PEAPOD COMPONENT
19
URBAN LANDSCAPE
25
MAG-RESIDENCES
31
BEIJING CBD Z10
35
PLOT 16B
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EVOLUTIONARY EQUILIBRIUM
KMRT Houyi
05.2013 b.peng Instructor Cameron Wu
Shelter itself is an organism forming symbiotic relationships with its inhabitants, environment, and innovation. For example, developments in glass transformed modern architectural tectonic, the elevator shattered the typical notion of how high an office building could rise. Where natural evolution is slow and random, the metaphor in architecture moves quickly as designers quickly incorporate new innovation to fuel advantage over the competition. As a result, there is always a threshold of “overevolution” where the new exceeds the optimal and must refit itself as a typological equilibrium. For example, the elevator led to such a rapid change in the New York skyline that laws had to be put in place to maintain an appropriate level of public urban health. The train station situates itself between infrastructure and architecture, providing fluid measureables such as distribution, transfer times; quantifiable variables a genetic algorithm would recognize. Furthermore, qualitative parameters such as monumentality and iconism serve as push back and a secondary way of evaluation. Train stations still serve as major gateways into urban centers. Initial railroad systems ran much less frequently and reliably as today. The physical space of the waiting room played a significant role in one’s travel experience. Technology today has minimized the pragmatic function of a waiting hall. People are fed up to the minute time information, trains run faster, more reliably, and people spend any remaining time waiting in the virtual space of their personal devices. The Kaohsiung train station was designed with the intent of reducing the physical space of the waiting room while maintaining the symbolism of monumentality that these rooms once stood for. The rotated configuration provided the most balance and reduction of transfer times between different platforms. The configuration either totally minimizes the waiting space or disperses it into commercial and circulation space. The fluid animation of trains and people bring the viewer’s attention back into the physical world instead of the virtual. The roof of the station spirals into a vortex making transparent the layout and organization. The formal concept of navigation and way finding add to the monumentality and civic nature of the space. While the configuration itself may have reduced the physical function of the waiting room, the central vortex represents the remaining artifact of iconism and grandeur of the central hall.
KMRT Main Station
10 min radius
pedestrian crossing KMRT (metro) TRA (commuter) THSR (high speed)
KMRT Formosa Boulevard
PLATFORM DISTRIBUTION :: equalize Gaussian curve(s) centered on platform exits points to simulate waiting congestion pt2(xn+1,yn+1)
pt2(xn,yn)
pt2(x,y) pt1(xn+1,yn+1)
vn+1 pt1(xn,yn) vn
4 pt1(x,y)
3 5
TRANSFER DISTANCE:: equalize
2 6
WAITING AREA :: minimize Area in center of track configuration dedicated to circulation and waiting
1
COMMERCIAL AREA :: maximize Area on periphery of track configuration dedicated to retail and amenities
2
1 2 3 4 5 6
1 2 3 4 5 6
123456
1 2 3 4 5 6
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1 2 3 4 5 6
123456
1 2 3 4 5 6
123456
1 2 3 4 5 6
1 2 3 4 5 6
456
1 2 3 4 5 6
1 2 3 4 5 6
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1 2 3 4 5 6
1 2 3 4 5 6
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4
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1 2 3 4 5 6
4 1 2 3 4 5 6 3 5
1 2 3 4 5 6
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1 2 3 4 5 6
1 2 3 4 5 6 5
1 2 3 4 5 6 1 2 3 4 5 6
3 2 1
3 2 6 6 2
4
1
5 6 1
EVOLUTIONARY EQUILIBRIUM
The roof of terminals are integral to one’s ability to navigate the space, as well as contributing to the iconic nature of the building. Once a track configuration was set, different roof forms were created to provide the most transparency as to how the station was organized. The spiral variation provided the most potential by exposing the rotational symmetry of the configuration by forming a vortex over the central node.
ROOF FORM
CONSTRUCTION LINES
TERMINAL
4
θ = 0° θ / 90° = 0.00 When a roof panel is flat, it is completely closed to allow walking as well as continuous material for structural members
ROOF PLAN
θ = 0°
θ = 30° θ / 90° = 0.33 When a roof panel begins to tilt, apertures form to allow light into the terminal
θ = 30° 0 10 20
40 θ = 80° θ / 90° = 0.89 When a roof panel approaches vertical, apertures get larger forming windows to let views out into urban environment
GROUND FLOOR a b c d e f g h
TRA (rail) platform KMRT (metro) platform HSR (high speed) platform entrance entrance roof food court ticketing/information commercial waiting
d a
g
0 10 20
40
a
h
f
e
θ = 80°
c c
b
EVOLUTIONARY EQUILIBRIUM
The central vortex generated from the optimizing configuration of the tracks represents the artifact of the great waiting room. The vortex is deprived of it’s pragmatic function of waiting but instead, is reduced to it’s symbolic function as a civic monument that provides passengers with a navigation tool and an urban spectacle for people walking across the tracks on the roof.
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MOIRE WALL 03.2008 b.peng, m.maxey, l.knight 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 extension 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 repetitive 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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GUND HALL AUXILARY 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 auxiliary 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 auxiliary 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, transferring the subsequent forces into the office spaces embedded within 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.
offices offices to bridge
debate space
gallery bar
lobby
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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 structural 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, using the central core as a fulcrum to transfer the load to the ground.
GUND HALL AUXILARY
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 that require a controlled environment.
dark wall for projections
69° panel allows summer sun into lobby
24° panel allows daylight into South offices and views
lobby has clear glazing to allow max daylight
72.5° panel allows diffuse light but limits views
90° 72.5° 69°
0°
24° 24°
0°
69°
72.5°
90°
0° panel opens platforms to important views
opening to bridge
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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
NORTH END ARTS CENTER 09.2010 b.peng Instructor Florian Idenburg
The North End Perfoming Arts Center sits at an imperative corner that provides access to the Boston waterfront while looking over historic Charleston. Pre-intervention, 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 is 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 transparent. 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.
patrons performers community
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The massive structural 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.
PEDESTRIAN structural gems lift the building up, allowing pedestrians access to waterfront underneath a c
b e
d MUSIC HALL CORE
COMMUNITY residents and employees attending classes have separate entrance
a b c d e
music hall back of house instrument storage bathrooms fire stair
d
PATRONS ticketholders walk are drawn through center of building, providing a view of water
c a
g THEATER HALL CORE e a b c d e f g
theater hall scene shop back of house dance studio dressing room bathrooms elevator
b f
PERFORMERS completely separated from the patrons, they share limited facilities with the school
b
FIRE STAIR CORE a b
elevator fire stair
a
NORTH END ARTS CENTER
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GROUND FLOOR a b c d e f g h i
0 10 20
entrance patrons entrance community box office scene shop outdoor performance space core A core B core C core D
g d a e
b h
i
SECOND FLOOR
40 a b c d e f g h i j k l m
0 10 20
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
g m j i
h j e
c
c f
b
a
f
d
l
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PEAPOD COMPONENT 05.2013 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 a b c d e f g h
c
(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
ROD/CABLE receptor can receive any cable or rod that is 1/4” diameter
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
Silicone mold was created to use as framework for mass producing the peanut component. Devices, such as the wooden drilling jig, were developed for efficient finishing of all the components.
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PEAPOD COMPONENT
The modules showed 2 natural positions, flat and pinched. Depending 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.
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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 create impenetrable scars within the urban context, prefacing motorist convenience over pedestrian experience. Furthermore, the skyrocketing density of the city has led to an increase in real estate cost. The intervention 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 web of concrete jungle and traffic. While the Midtown Tunnel attempts to ameliorate this problem by covering the tunnel exits with greenery, these “parks” are not accessible to the people 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 street 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 pedestrians can experience traffic.
1 identify vehicular infrastructure, the result is terra firma to construct foundations
2 vehicular infrastructure disrupts pedestrian paths creating dead ends to the block
3 connect dead end locations with corners of site to create shortcuts to the existing park
4 create public spaces along major roads to create sense of openess
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URBAN LANDSCAPE
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.
TRACK
HOUSING
PARK
ROADS
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The proposal creates unusual urban conditions such as large canyon-like courtyards in the middle of the city. The interior courtyards of the park invite the public into unique interactions with the cars/infrastructure.
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.
GROUND LEVEL 0
TYPICAL LEVEL
ROOF LEVEL
100
200
400
30
BERNARD PENG
Harvard University GSD M.Arch 13 University of Michigan TCAUP B.S. Arch 09
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
PUBLICATIONS Interdisciplinary Design, Hanif Kara. Actar 2013 Function of Style, Farshid Moussavi, Actar 2015
CONTACT bpeng@gsd.harvard.edu 410.370.2059 Home 6923 Newberry Drive Columbia, MD 21044 Current 1030 N Dearborn St Apt 709 Chicago, IL 60610
PROFESSIONAL EXPERIENCE
SOM 09.13 - present Junior Designer :: Blackbox Rationalized complex geometries, making them easier to 3d print, panelize, and document for contractor and construction purposes. Use parametric tools to explore different formal variations, panelization techniques, as well as analyze for certain performative/sustainable criteria. Coordinated between in house MEP and structural engineers . Supervised work of outside fabricators, model makers, and rendering companies. Assembled presentation packages. FARSHID MOUSSAVI ARCHITECTURE 06.13 - 09.13 Research Assistant :: FunctionLAB Developed conceptual narrative for how formal strategies prevalent in significant pieces of contemporary architecture contribute to typological performance. Created graphic diagrams and renderings to reinforce this narrative for future publication, Function of Style. 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
EXTRACURRICULAR
02.09
09.10/11/12 GRADUATE SCHOOL OF DESIGN Teaching Assistant :: GSD 2104 Digital Media Introduced parametric modeling via scripting, Grasshopper, and Digital Project Held desk crits to develop and troubleshoot design and modeling problems GRADUATE SCHOOL OF DESIGN Workshop Instructor :: Catia & Digital Project 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
10.11/12