Brian Chan Portfolio Cal Poly Slo Architecture 1st-2nd year

Page 1

2014-2016

PORTFOLIO BRIAN CHAN

CALIFORNIA POLYTECHNIC STATE UNIVERSITY, SAN LUIS OBISPO


ARCHITECTURE PORTFOLIO

BRIAN CHAN

CALIFORNIA POLYTECHNIC STATE UNIVERSITY, SAN LUIS OBISPO

PROJECTS

Ocean View Elementary School

4

San Luis Creek Museum

16

Estero Bay Interpretive Center

28

Motion Studio

42

International Dwelling

46

Design Village

56

Parasite

66


KELLE BROOKS | 2ND YEAR | SPRING QUARTER

OCEAN VIEW ELEMENTARY SCHOOL ARROYO GRANDE, CA


ARCHITECTURE PORTFOLIO

BRIAN CHAN

WINTER 2016 | MEREDITH SATTLER

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KELLE BROOKS 2ND YEAR SPRING QUARTER

OCEAN VIEW ELEMENTARY SCHOOL ARROYO GRANDE, CA

In collaboration with Aleksa Salve. The project features a pre-existing school in Arroyo Grande, with a radial organization. Program includes 6 new classrooms, one science and maker classroom, adminstration, library, and cafeteria, outdoor learning environment, and a redesign of the outdoor landscape spaces.

The project started off by hearing the concerned voices from the students and the teachers that discussed their issues with the current state of the school. Water issues, intense heat, and minimal outdoor learning possibilities all were points of concern during our visits. With the problems before us, we sought out design solutions that addressed these issues but also implemented natural phenomenas - wind, water- as an integral part to the new school experience. One focus was to allow the students to learn outside of the classroom environment, and to

LOCATION MAP

experience the outdoors. Using lessons learned from nature as a third teacher, we backed our design with facts that students do learn better under exposure to nature. Skill sets that student won't otherwise learn in a closed environment includes trust, problem solving, sense of scale, and, above all, the ability to imagine. Understanding the existing shape of the school is in a radial organization, we realized the design of zones would be particular to this unique site. With each zone representing a different, distinct, environmental experience, we hoped to address the issues of the school, as well as provide a new design solution that is special only to this site.

LANDSCAPE COURTYARD VIEW


BRIAN CHAN

ARCHITECTURE PORTFOLIO

RIGHT: DIAGRAMS LEARNING ENVIRONMENT

Outdoor Learning Environment: Water Collection/Planting Our purpose with the outdoor learning environment was to address the issue that kids don't experience the outdoors as much as they should. As well as adressing the water problem that exists in the school, we propose

MIDDLE: SECTION, ELEVATIONS, RENDERS

a system of collection, planting, and interaction between the natural environment and the students. The pre-existing overhead structure in the school displays characteristics of over-use, neglect and minimal function. Along with shade, the new structure provides the school with a new dynamic but using the old

BOTTOM: 1/4" = 1'-0" MODELS

infrastructure that was already in place. The project was largely consulted by the needs of the students, teachers, and the school.

SPRING 2016 | KELLE BROOKS

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[1] INTERACTION. Removable benches, flower beds that allows customization to each student/ teacher. Allows the students to be connected to the space. [2] PLANTING. Recycle water to allow students to grow the

[1]

[2]

[3]

[4]

school from barren to a lush green school. Allows active participation of students. [3] WATER COLLECTION. Structure features roof, drainage, and filtration system to recycle water that comes into the site. Drainage is visible to students. [4] BENCHES. Additional seating for students. Surrounds the students with greenery and vegetation, as well as shade. [5] WATER DETAIL. Logistics and ideation on how the

WINTER

structure operates and transfers water through basins.

SPRING [5]


ARCHITECTURE PORTFOLIO

BRIAN CHAN

CLASSROOM SETTING: RECESS

SPRING 2016 | KELLE BROOKS

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LEFT: FLOOR PLAN ANALYSIS, SUNLIGHT ANALYSIS, MORPHOLOGY

2 Classrooms Make a Whole: Modular Our classroom design was focused on how to design a space that teachers can easily change teaching settings between indoors and outdoors. We developed an organization of layers, where both classes enter from the same entrance but from there split off into their respective wings. With the first layer they experience being storage, and a quite sitting area. Secondly, students experience the exterior courtyard and the openness of the

CLASSROOM SETTING: LEARNING

classroom before finally approaching into the interior classroom. We also realized that young kids are extremely creative, give them a level change and they can make a world out of it. So with that in mind, we created layer changes as well from one space to the next to give students that extra level of excitement. Small details such as these, we believe will make the classroom an enjoyable setting to learn in both outdoor and indoor.

CLASSROOM SETTING: FESTIVITY


BRIAN CHAN

SPRING 2016 | KELLE BROOKS

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RIGHT: ANALOG WALL SECTION

FAR RIGHT: DIGITAL WALL SECTION

FAR BOTTOM RIGHT: PERSPECTIVE RENDER

ABOVE: CLASSROOM ECS DIAGRAM/ PASSIVE STRATEGIES

FAR TOP RIGHT: 1/2"=1' WALL SECTION MODEL

ABOVE: SITE ECS DIAGRAM

Natural Phenomena: Wind Wall and Water Prior to starting on this project, one of our beginning precedent projects was to analyze Ned Kahn's Wind Wall. The point was to understand how he was able to make the invisible, visible. This allowed for people to be captured in awe of the natural phenomena that occurs around us. Implementing this in our classroom and school design, we hoped to achieve that same eduation for kids and students. Along with wind, we focused on water as well. To fully implement nature as a teaching point we believed using water to recycle greywater and use it to plant was fundamentally important. Not many kids now use their own hands, albeit growing vegetables and plants. Understanding that this simple but incredibly important task can help facilitate students learning, we implemented it into the classsroom design.


ARCHITECTURE PORTFOLIO

BRIAN CHAN

SPRING 2016 | KELLE BROOKS

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MEREDITH SATTLER | 2ND YEAR | WINTER QUARTER

SAN LUIS CREEK MUSEUM SAN LUIS OBISPO, CA


ARCHITECTURE PORTFOLIO

BRIAN CHAN

WINTER 2016 | MEREDITH SATTLER

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MEREDITH SATTLER | 2ND YEAR | WINTER QUARTER

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


BRIAN CHAN

WINTER 2016 | MEREDITH SATTLER

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RIGHT: ANALOG WALL SECTION 1

2 3

FAR RIGHT: DIGITAL WALL SECTION

4 5

6

FAR BOTTOM RIGHT: PERSPECTIVE RENDER

7

FAR TOP RIGHT: 1/2"=1' WALL SECTION MODEL

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

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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.


HOWARD WEISENTHAL | 2ND YEAR | FALL QUARTER

ESTERO BAY INTERPRETATIVE CENTER CAYUCOS, CA


ARCHITECTURE PORTFOLIO

BRIAN CHAN

FALL 2015 | HOWARD WEISENTHAL

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HOWARD WEISENTHAL | 2ND YEAR | FALL QUARTER

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

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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.


HUMBERTO NORMAN | 1ST YEAR | SPRING QUARTER

MOTION STUDIO SAN LUIS OBISPO, CA


ARCHITECTURE PORTFOLIO

BRIAN CHAN

SPRING 2015 | HUMBERTO NORMAN

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HUMBERTO NORMAN | 1ST YEAR | SPRING QUARTER

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


HUMBERTO NORMAN | 1ST YEAR | SPRING QUARTER

INTERNATIONAL DWELLING KOBE, HYOGO, JAPAN


ARCHITECTURE PORTFOLIO

BRIAN CHAN

SPRING 2015 | HUMBERTO NORMAN

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HUMBERTO NORMAN | 1ST YEAR | SPRING QUARTER

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 4 meter by 4 meter home by Tadao Ando. After this project, Tadao Ando remains my favorite architect. His respect for nature, light, and space has shaped my architectural education and philosophy. This project gives the students a foundation to build upon and build.

ABSTRACT SYNTHESIS

DESIGN POSTER


ARCHITECTURE PORTFOLIO

Research

FAR RIGHT: RESEARCH

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?

10 page (11”x17”) research on the architect, project significance,

Tadao Ando has cemented his

domesticity, zeitgeist, related technology/art, and drawing documents of the dwelling. BOTTOM 1: SITE PLAN

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

The 4x4 house is special because

of boundaries.

desired space. In the west, there’s a strong sense of openness and a blur

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 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.

Innovation: Concrete

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.

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?

Tokyo

Were there socio-political events that impacted the population at that time? At the time that he was commissioned to start

Akashi Strait

meant to be served as well as

earthquake. Serving as a symbol,

the Japanese has always done. The

Buildings

that served the program it was

frame the wide view over the ocean and island of Awaji, the site of the

concrete as his primary material. A

the use of walls. Something that

Street Railway

created a simple, yet clear dwelling

and be influenced by. Contrasting Japanese architecture, Ando chooses

is his use of enclosed spaces with

4x4 HOUSE

The project contains innovation[s] in what respect? Material? Spatial? Program?

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

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

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

Brutus Magazine


ARCHITECTURE PORTFOLIO

BOTTOM: BEACHSIDE RENDER

BRIAN CHAN

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.

SPRING 2015 | HUMBERTO NORMAN

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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

LIMITED LAND SPACE Minimal floor programming


TOP: INTERIOR 4TH FLOOR

TOP: INTERIOR 3RD FLOOR

BOTTOM LONGITUDINAL SECTION

BOTTOM: CROSS SECTION


HUMBERTO NORMAN | 1ST YEAR | SPRING QUARTER

DESIGN VILLAGE SAN LUIS OBISPO, CA


ARCHITECTURE PORTFOLIO

BRIAN CHAN

SPRING 2015 | HUMBERTO NORMAN

HUMBERTO NORMAN | 1ST YEAR | SPRING QUARTER

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.

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ARCHITECTURE PORTFOLIO

1ST COLUMN: STRUCTURE

2ND COLUMN: SHOP PROCESS

3RD COLUMN: BUILD PROCESS

BRIAN CHAN

SPRING 2015 | HUMBERTO NORMAN

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ARCHITECTURE PORTFOLIO

BOTTOM: INTERIOR VIEW

BOTTOM RIGHT: EXTERIOR VIEW

RIGHT ENTRANCE VIEW

BRIAN CHAN

SPRING 2015 | HUMBERTO NORMAN

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TOP: INTERIOR DAY VIEW

TOP: INTERIOR NIGHT VIEW

BOTTOM: EXTERIOR SUNSET VIEW

BOTTOM: EXTERIOR NIGHT VIEW


ANGELA BRACCO | 1ST YEAR | WINTER QUARTER

PARASITE

SAN LUIS OBISPO, CA


ARCHITECTURE PORTFOLIO

BRIAN CHAN

WINTER 2015 | ANGELA BRACCO

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ANGELA BRACCO| 1ST YEAR | WINTER QUARTER

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

71


ARCHITECTURE PORTFOLIO

BOTTOM: LEFT SIDE VIEW

BOTTOM RIGHT: RIGHT SIDE VIEW

RIGHT UNDER/ALONG PARASITE

BRIAN CHAN

WINTER 2015 | ANGELA BRACCO

73


2014-2016

ANGELA BRACCO | HUMBERTO NORMAN | HOWARD WEISENTHAL | MEREDITH SATTLER

PORTFOLIO BRIAN CHAN


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