2014-2016
PORTFOLIO BRIAN CHAN
CALIFORNIA POLYTECHNIC STATE UNIVERSITY, SAN LUIS OBISPO
ARCHITECTURE PORTFOLIO
BRIAN CHAN
CALIFORNIA POLYTECHNIC STATE UNIVERSITY, SAN LUIS OBISPO
PROJECTS
San Luis Creek Museum
4
Estero Bay Interpretive Center
16
Motion Studio
30
International Dwelling
34
Design Village
44
Parasite
54
SAN LUIS CREEK MUSEUM SAN LUIS OBISPO, CA
ARCHITECTURE PORTFOLIO
BRIAN CHAN
WINTER 2016 | MEREDITH SATTLER
7
SAN LUIS CREEK MUSEUM SAN LUIS OBISPO, CA
San Luis Obispo has a rich history of it’s Spanish heritage, with the Mission, and the native americans, with the Creek, that lived here. Housed within Mission De Tolosa, are native american artifacts. Ranging from adobe to wall paintings, the museum celebrates the origin of the city.
As well as the Mission, the San luis creek is another major artifact. Running through downtown and Mission plaza, creek attracts families, tourist, and people to enjoy the scenery and views. Acting as a playground for the many fathers and kids, this site is both historic and active. Housing many native american artifacts in the Mission gallery, but hardly ever experienced by the public. Our project called for a space that allowed people to be educated on the culture of the Mission and the Creek.
SITE CONTEXT/LOCAL ATTRACTIONS
Drawing inspiration from the intimacy of the creek “love path”, the project is tight in space to allow for interaction between people but still allowing minimal enclosure space in order to respect the site’s sensitivity. Overall, the building is an expression of the extreme sensitivity and intimacy of the site.
GRAND ST. LOOKING DOWN
ARCHITECTURE PORTFOLIO
RIGHT: FRAME EXPLORATIONS
FAR RIGHT: AXONOMETRIC MAJOR PARTS
BOTTOM RIGHT: FLOOR PLANS
FIRST FLOOR
SECOND FLOOR
THIRD FLOOR
RIGHT: ANALOG BUILDING SECTION
FAR RIGHT: DIGITAL BUILDING SECTION
RIGHT: ANALOG WALL SECTION
FAR RIGHT: DIGITAL WALL SECTION
FAR BOTTOM RIGHT: PERSPECTIVE RENDER
FAR TOP RIGHT: 1/2"=1' WALL SECTION MODEL
BRIAN CHAN
WINTER 2016 | MEREDITH SATTLER
13
1
2 3 4 5
6
7 8 9
1. 2”x6” Beam 2. 2”x6” Joist 3. Cap Sheet 4. Rigid Insulation 5.Metal Drip 6. Double Pane Glass 7. 3” Wood Decking 8. Window Louvre 9. Steel Plate 10. Steel Nut and Bolt
10
Wall Section Throughout 2nd year studio’s, the emphasis was to introduce wall sections so that students could excell by the time they arrive in 3rd year. Wall sections are and will always continue to be a cornerstone of an architect’s duty. This first run at it opened the understanding of materials, sizing, and informed design. Mies van der Rohe’s Farnsworth House was a house designed through the intimate relationship between each details. Eventaully forming a modularity that came to be the subtle beauty of the house. Employing the same strategy as Mies, the project was able to use the wall section as a design tool, not just as a technical drawing. Using gesso spray, I was able to redraw the wall section while having my history on the page. Each stroke, each line, is informed from the past and allows for a rich drawing.
ARCHITECTURE PORTFOLIO
RIGHT: FIRST AXIS MUNDI
Axis Mundi: “Center of the world” Used by Carlo Scarpa, perfected by Marco Frascari, the Axis Mundi drawings are a design tool that is capable of creating spatial relationship between
FAR TOP RIGHT: PROCESS PICTURE
elevation, section, and floor plan. Being the center of the world, the floor plan informs the section drawing and elevation drawings all at once. We become used to drawing elevations and
FAR BOTTOM RIGHT: FINAL AXIS MUNDI
sections as an afterthought when floor plans are finished. With this design tool, every part of the building is brought up together, hence providing a more harmonious design.
ESTERO BAY INTERPRETATIVE CENTER CAYUCOS, CA
ARCHITECTURE PORTFOLIO
BRIAN CHAN
FALL 2015 | HOWARD WEISENTHAL
19
ESTERO BAY INTERPRETATIVE CENTER CAYUCOS, CA
The Hearst foundation has donated this land to the state of California to be conserved under the one condition that no development occur. Knowing that, our project called for a building that was both site sensitive and capable of expressing the beauty of the land.
An existing state park along the coast of Central California and the Pacific Coast Highway, Estero Bay offers a beautiful non-developed landscape for visitors to experience nature and sweeping views of the Pacific Ocean. The main object of the project is to attract tourists off the highway turnout onto the park and allow for a greater understanding of the site. The ideation of the design was derived from the truths of the landscape. Using concepts of shift, merging into the ground, and layers, the project was able
SITE MAP
to achieve both form and experience that is beneficial to the understanding of the state park for the visitors.
ESTERO BAY TOWARDS PACIFIC
ARCHITECTURE PORTFOLIO
FAR RIGHT: CONCEPT DIAGRAM
BOTTOM 1: ROOF PLAN
BOTTOM 2: FLOOR PLAN
TOP: LONGITUDINAL SECTION
RIGHT BOTTOM: CHARACTER SKETCH IN GALLERY
FAR RIGHT BOTTOM: CHARACTER SKETCH IN LOBBY
TOP: CROSS SECTION
RIGHT BOTTOM: CHARACTER SKETCH IN COURTYARD
FAR RIGHT BOTTOM: CHARACTER SKETCH IN SIDE ENTRANCE
ARCHITECTURE PORTFOLIO
ALL: 1/4"=1' CONCEPT MODEL
BOTTOM: 1/50"=1' SITE TOPOGRAPHY MODEL
BRIAN CHAN
FALL 2015 | HOWARD WEISENTHAL
29
RIGHT: ANALOG WALL SECTION
FAR RIGHT: DIGITAL BUILDING SECTION
FAR BOTTOM RIGHT: PERSPECTIVE RENDER
Detail: “Wall detail with aferlife” From the very beginning of the project, the idea behind shift and merge were derived from the site. The way that project expressed the language of merging was by making one of the walls come into adjacent walls. Constructing the wall detail, I used OSB and plywood for the concrete formwork. Steel rebar were placed plentifully throughout the concrete in order for it to hold the weight due to the shape. Wooden base was used to hold up the concrete wall detail. Intended to double as a seating, the afterlife purpose of this wall detail has lived up to it’s use. Even after four months of construction, the detail is still being used as a welcomed extra seating in my room whenever there happens to be guests. Also, it makes for a handy spot for putting clothes.
MOTION STUDIO SAN LUIS OBISPO, CA
ARCHITECTURE PORTFOLIO
BRIAN CHAN
SPRING 2015 | HUMBERTO NORMAN
33
MOTION STUDIO SAN LUIS OBISPO, CA
Last project of first year, it pushed the student to recall everything they had learned from the past year to produce a project that addressed circulation, square footage and composition.
Beginning with the stairs as the central design focus, the space becomes radiating from the circulation tower. Facing the evening sun, the project expressed nature by encouraging people to walk outside anytime they used the stairs. By putting one side of the circulation outwards, people are able to experience the beauty of SLO at sunset. Doubling as a lightwell, the circulation tower is clad with glass at the front, top and side elevations. Infilling the three levels with natural lighting, reduces the necessity of artificial lighting.
ABSTRACT SYNTHESIS
With program primarily consisting of dance space, art studio, and student lounge, the building is a celebration of the culture and excitement that exists around the campus.
1/8�=1' BUILDING MODEL
1/4�=1' SECTION MODEL
INTERNATIONAL DWELLING KOBE, HYOGO, JAPAN
ARCHITECTURE PORTFOLIO
BRIAN CHAN
SPRING 2015 | HUMBERTO NORMAN
37
INTERNATIONAL DWELLING KOBE, HYOGO, JAPAN
Research on Tadao Ando's 4x4 House. Project includes research, presentation, recreation of documents, and digital analysis.
Introducing internationally recognized dwellings done by distinguished architects gave the students an understanding of how and what it takes to succeed in the field. The projects researched ranged from large residential homes to small residential homes just like this 4meter by 4meter home done by Tadao Ando. Choosing to research Tadao Ando, at the time I had no idea who he was and what he stood for. After this project, Tadao Ando remains my favorite architect. His respect for nature, light, and space has shaped my
ABSTRACT SYNTHESIS
architectural education and philosophy. This project gives the students a foundation to build upon and build.
DESIGN POSTER
ARCHITECTURE PORTFOLIO
FAR RIGHT: CONCEPT DIAGRAM
Research 10 page (11”x17”) research on the architect, project significance, domesticity, zeitgeist, related technology/art, and drawing documents of the dwelling.
BOTTOM 1: ROOF PLAN
BOTTOM 2: FLOOR PLAN
4x4 HOUSE Street Railway
Akashi Strait
Buildings
Where did this house fit in the designer’s larger career output?
What was the architect’s preparation- education, prior work experience, mentors....
When he designed the 4x4 house,
Tadao Ando had no prior education
he was at this point of his career
in architecture. He is a self-taught
already cemented as one of the
architecture that taught himself
best architects in the world, with
everything in one year by reading
a Pritzker award. He had already
books that architecture students
displayed his commitment in the
read in education. He also
In their careers, what were they noted for? What kinds of breakthroughs?
material of concrete and his style
apprenticed for architects and city
spot in architecture through
Ando’s breakout came when he
his impressive portfolio, which
finished his Azuma House, or Row
boasts the Pritzker Prize, and a
House in the center of Osaka. Noted
large collection of award-winning,
for being completely out of the shell
buildings. In 1991, he exhibited his
from traditional Japanese home
work at the Museum of Modern Art
he still raised praised from his use
where he drew many praise from
of nature to create a “microcosm”
critics. His work has been called
within the house. Ando is also noted
numerous times as extraordinary.
by his preference of the usage of
Ando creates powerful spaces
concrete over wood and paper,
ARCHITECT SIGNIFICANCE Why is this designer worthy of being in the western canon? Tadao Ando has cemented his
with the use of light and enclosed
which is the standard material for
space. His spaces are powerful yet
Japanese homes. Throughout his
restrained, sensual and reserved.
career he has always integrated
Ando is able to combine East and
nature, light and simplicity of form
West styles through purity of plans,
but with the usage of complex
and simplicity. Critic Benjamin
3D circulation that brings you in
Forgey, from the Washington Post
and out of the interior/exterior of
says his work is “timeless and
building. Along with that common
universal.” As architects we strive for
themes that show up are: views,
our buildings to be timeless; Ando
enclosure, underground space, and
has done that.
the use of stairs in his projects.
Where is the architect from, and how does this influence them?
Ando’s love for concrete in his past projects and current projects. Concrete has a sense of cleanliness and weightlessness. His love for simplicity comes from the Japanese culture, Zen.
Born in Osaka Japan, he grew up with his grandmother in Osaka Japan. He grew up across the street from a carpenter and learned many skills in woodcrafting. Growing up he loved the craft of wood and the shapes that came from it. With young eyes, he saw how tree’s grew and how the sunlight affected the way trees grew and the quality of lumber it produced. This affected
with light and nature. What makes
planners, but everytime he did,
this house special is that it aroused
he would be fired for stubborness
the question for him how do you
and temper. He was never a good
create a space to live in, in a 4mx4m
student and preferred to learn
area? The project was also special
outside of class by himself. By 18
because of the recent Hanshin
he began traveling to shrines and
Earthquake that hit. So this project
temples in Nara and Kyoto. Soon
was served to be a monument
he started funding himself for
and rememberance to that time
“study trips” to Europe and the
of history. His house serves as a
U.S.. By traveling he was able to
lightower towards the epicenter of
expose himself and analyze all the
the earthquake; Awaji Island.
buildings of western style.
his architecture sense because he was now exposed to nature, light and the relation between material
Azuma House, Osaka Japan, Tadao Ando, 1975-1976
Birthplace: Osaka, Japan
Previous works
Tadao’s vision for this house was simple and clear.
PROJECT SIGNIFICANCE Traditional Home: Lumber Why is this dwelling significant to the western canon?
moving of screen doors to create the desired space. In the west, there’s a strong sense of openness and a blur
The 4x4 house is special because
of boundaries.
How did the project address the emerging issues of ‘dwelling’ within the cultural context?
the house is sitting on a 4mx4m land and carries similarities of
Tadao Ando has always been an
western architecture in terms of
advocate that the experience of the
material, and philosophies. Le
dwelling is not tied into the size of
Courbusier is a well known architect
the dwelling. In this residence, he
that displays control over light in
is able to prove that philosophy
his projects, something that Tadao
by creating a “magical experience”
Ando has seem to take note of
by using the walls of 4th floor to
4x4 House
The project contains innovation[s] in what respect? Material? Spatial? Program?
created a simple, yet clear dwelling that served the program it was meant to be served as well as
and be influenced by. Contrasting
frame the wide view over the ocean
Japanese architecture, Ando chooses
and island of Awaji, the site of the
concrete as his primary material. A
earthquake. Serving as a symbol,
The parameters in which Tadao
Earthquake. Tadao’s vision was to
material that is common amongst
and panoramic view Ando elevates
Ando could operate in was limiting
create a “light tower” that could be
western architects. But the thing
the viewer and pulls him into the
in it itself, a 4x4 land area. Tadao
seen from the Awaji Island. In 2005,
that separates him from western
sea by pushing the 4th floor out.
understood that the building he
with the construction of a replicate
was constructing couldn’t be overly
4x4 house adjacent to it, Tadao
elaborate. Even if given the option
was able to achieve his vision to a
however, he still wouldn’t do that
certain degree by giving the space
regardless, but given the size, he
the feel of a gateway out to sea.
is his use of enclosed spaces with
Innovation: Concrete
the use of walls. Something that the Japanese has always done. The ability to change a floor plan by the
DOMESTICITY Who was the client? How did the client choose the architect? The client happened to be a graduate student of the University of Tokyo with architecture studies. He is a concrete contractor that
he was already working around the area.
How does the design acknowledge the owner’s subsequent contributions vs how much did the owners assign to the architect
worked around the region and wanted a
Osaka
home that was easy to commute to office.
As far as the client goes, he wanted a
Given the circumstances it was a good client
residence close to his workplace that spoke
for Tadao because of the similar language
in the similar language as Tadao. Being a
spoken between the two. The client has a
concrete contractor, the house being made
family of four including himself, his wife,
out of concrete and Tadao’s style it was a
and two children. Ando selected this project
matchmade in heaven. The owners entered
from a magazine called Brutus that asked for
into the pool of applications that asked
suggestions for Tadao. Intrigued by the idea
Tadao to choose a project to do. In this sense,
of designing a home for a family of four on a
they were going to Tadao for what Tadao
4 meter x 4 meter site. After visiting the site,
does, not going to Tadao and telling him
Tadao agreed to the project, and at the time
what they want.
acting as a symbol to the Hanshin
“...the client happened to be a former architecture student with postgraduate degrees from University of Tokyo in building methods, who now owns a contractor’s office, ready to work on this house for oneself.” Tokyo University
What was the nature of relationship with the client over the design and afterward?
adjacent to the house. With changes to the material, wood, and the interior circulation and layout it was essentially the same house.
The client chose this location because of it’s proximity to his workplace, wishing to spend
The nature of the design process was pretty
as much time as possible with his family. As
much at Tadao’s discretion. The project was
for interests, and attitude it generally seemed
selected by Tadao from a pool of applicants.
like a good project because of the lack of
With all the power of design at Tadao’s
complaint documented in the following years
fingertips he was able to create exactly what
after the completion of this project.
he had envisioned. It also helped too, the fact, that the client had post-graduate studies
Also, the client has said that when Ando
in the field of Architecture from University
proposed the 4-story concrete tower, he was
of Tokyo. In fact the design was so good that
surprised. It was so simple and it looked
soon after Tadao was approached by another
completely different from what he had
client to do the exact same mirror house
expected from Ando’s work.
Tokyo
Ability to trap and hold light to engage the space
ZEITGEIST Cultural attitudes, afflictions, and actions that exemplify the condition in which the designer worked.
What were the client’s particular attitudes, interests or needs?
Were there socio-political events that impacted the population at that time? At the time that he was commissioned to start
At the time that Tadao started his office, there
working on the 4x4 House, he had already
were many that told him that the road to
been working in the area around Kobe and
success or the mold was to start in Tokyo. He
Awaji island due to the destruction from the
wrote his own chapter and opened his office
Great Hanshin Earthquake in 1995. It was
in his hometown of Osaka, Japan. This proved
an earthquake that measured a 6.8 on the
to be a good choice becasue in the future
moment magnitude scale. The lost of life as
years he would work on numerous projects
a result of the earthquake was estimated to
around the region. The fact that he was able
be around 6,500, with about 4,600 of them
to express himself outside of the city and
from Kobe. The earthquake was Japan’s
still achieve success shows that he was brave
worst earthquake at the time after the Great
and confident in his ability. Along with his
Kano Earthquake in 1923. As a result of this
preference of concrete opposed to wood and
earthquake, much of the population lost faith
paper, he was able to carve his own road in a
in the prevention and early warning system
culture that dictated that the key to success
in place, after a long history of disaster to the
was through points a, b and c.
nation. Tadao took this as an oppurtunity to create a symbol to the people.
The damage caused from the earthquake was estimated at around ten trillion yen, which is $100 billion. This was 2.5% of Japan’s GDP at the time.
RELATED TECHNOLOGY & ART Identify a technology or art that was contemporary with your house, or preceeded it. Can you make a linkage between the process or way of thinking that is present in this prior art in your architect/architecture?
done in his portfolio always includes his preferred material in concrete. It gives his art a sense of weightlessness and simplicity, all the same time making it timeless and universal. Along with materiallity, Tadao has always incorporated light/shadow, underground space, and stairs into his
This building was constructed in 2003, and
projects. With 4x4 house, he incorporated
after a long career in Japan, Tadao had
underground space, to serve as a basement.
already established his art with concrete,
Light and shadow he was able to control the
steel, and glass. Every project that Tadao has
flow of light towards the top of the tower, and
Brutus Magazine
ARCHITECTURE PORTFOLIO
BOTTOM: BEACHSIDE RENDER
Diagrams Tadao Ando’s site was a meager footprint but offered the chance for something creative. Dealing with a footprint of 4meters x 4meters Ando was able to build a space that fit all
BOTTOM RIGHT: STREETSIDE RENDER
the necessities for a family of four while providing architectural experience. One of the reasons why Ando chose this project from the vast options he had, was because of it’s relatively small size. He
RIGHT BUILDING DIAGRAMS
wondered how a family could possibly live in such a small space. Adjacent to the Akashi strait and overlooking the horizon, Ando uses 4 blocks for each program space, with the last offset towards the sea. The purpose was to create a “floating” experience with the sea coming underneath the frame vision.
LIMITED LAND SPACE Minimal floor programming
BRIAN CHAN
SPRING 2015 | HUMBERTO NORMAN
41
VIEWS. Residing besides the beach, the desirable views of the building open up in that direction. The building is more private in the back. DIVISION OF SPACE. Circulation pushed to the left side of the building, and program space on the right. Provides efficient use of space. PROGRAM. Ando places most of the living space above the first floor. The living room is the top most floor overlooking the ocean. CIRCULATION. The path of the circulation is achieved with a circulation tower. Ease of 4th
movement between floors. 3rd
4 meters x 4 meters = 172 square feet
2nd
Ground
basement
TOP: INTERIOR 4TH FLOOR
BOTTOM LONGITUDINAL SECTION
TOP: INTERIOR 3RD FLOOR
BOTTOM: CROSS SECTION
DESIGN VILLAGE SAN LUIS OBISPO, CA
ARCHITECTURE PORTFOLIO
BRIAN CHAN
SPRING 2015 | HUMBERTO NORMAN
DESIGN VILLAGE SAN LUIS OBISPO, CA
In collaboration with Jerry Luong, Monica Mendoza, Fernando Astiazaran and Chris Carbajal. Cal Poly's challenging inhabitable shelter competition is both an academic project and contest to competitors.
Given 4 weeks from concept to realization, the process involved
ideation,
permitting,
construction,
and
transportation. One of the main tasks of design village was to provide a transportable shelter that can adjust to the slope, climate and nature of Cal Poly's Architecture Village. The intensity of the 2 mile hike up hill from our college to the canyon called for a shelter that could be carried lightly and efficiently. We proposed a shelter that could accomodate all our private needs as well as encouraging conversation between the team.
47
ARCHITECTURE PORTFOLIO
1ST COLUMN: STRUCTURE
2ND COLUMN: SHOP PROCESS
3RD COLUMN: BUILD PROCESS
BRIAN CHAN
SPRING 2015 | HUMBERTO NORMAN
49
ARCHITECTURE PORTFOLIO
BOTTOM: INTERIOR VIEW
BOTTOM RIGHT: EXTERIOR VIEW
RIGHT ENTRANCE VIEW
BRIAN CHAN
SPRING 2015 | HUMBERTO NORMAN
51
TOP: INTERIOR DAY VIEW
BOTTOM: EXTERIOR SUNSET VIEW
TOP: INTERIOR NIGHT VIEW
BOTTOM: EXTERIOR NIGHT VIEW
PARASITE
SAN LUIS OBISPO, CA
ARCHITECTURE PORTFOLIO
BRIAN CHAN
WINTER 2015 | ANGELA BRACCO
57
PARASITE
SAN LUIS OBISPO, CA
In collaboration with Alex Buchanan, Monica Mendoza, and Fernando Astiazaran. An installation designed to push students to address site conditions, the parasite is both respectful, and contrasting to the site.
Our site is a circulation tower from the ground floor and the second floor of the architecture building. Surrounded by exposed steel c channels around the top, we decided to use them as the support for our 2"x6" wood lumber laced with eye hooks that hold up the fishing wire that then connect to the parachord. The lightness and transparency of the fishing wire with the parachord creates an illusion of bent parachord in air. The area is heavy in lockers, concrete, and structure, and this parasite provides a lightness to the heaviness. Using the site conditions and we were able to produce a project that was aided by the pre-existing conditions.
1/4� SECTION MODEL
ARCHITECTURE PORTFOLIO
1ST COLUMN: SHOP PROCESS
2ND COLUMN: SHOP PROCESS
3RD COLUMN: INSTALLATION PROCESS
BRIAN CHAN
WINTER 2015 | ANGELA BRACCO
59
ARCHITECTURE PORTFOLIO
BOTTOM: LEFT SIDE VIEW
BOTTOM RIGHT: RIGHT SIDE VIEW
RIGHT UNDER/ALONG PARASITE
BRIAN CHAN
WINTER 2015 | ANGELA BRACCO
61
2014-2016
ANGELA BRACCO | HUMBERTO NORMAN | HOWARD WEISENTHAL | MEREDITH SATTLER
PORTFOLIO BRIAN CHAN