An Assortment of Architectural Drawings Academic Selected Works 2015 - 2020 by Chan Yen-Fen
Drawing and “ Academic Selected Works 2015 - 2020
online portfolio https://issuu.com/chanyanfen/docs/portfolio_issuu
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Contents 01 Intro
02 Drawing and The Representation of Reality The Purples _ 2016 / 2018_Thesis Design 28 Drawing and Records New Forest _ 2015_4th Year Studio 36 Drawing and Perceptions The Four Elements of Bakery _ 2016 _ Pre-thesis Design 48 Other Works Coding and Simulation _ 2019_ Studio Lynn Design 50 Other Works Parametric Design & Fabrication _ 2018_ Workshop Works 52 Other Works Art Drawings _ 2008 - 2015
Intro I am enthusiastic about creating a unique spatial experience by combining architecture and art together; the seemly ordinary criteria and limitations accumulate many possibilities in the process. There are three main works in the portfolio, which individually demonstrates the whole process of how I combine art and architecture in design. Regarding art, I am curious about the influence and architectural modalities it offers, conversely, to architecture itself, I am passionate about exploring different peculiar spatial experience. The works afterwards represent: Drawing and The Representation of Reality, Records, Perceptions and other relative works.
Architecture Portfolio Drawing and “
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Academic Selected Works 2015 - 2020 by
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01
The Representation of Drawing and Reality _ The Purples
2016 / 2018 _ Thesis Design Instructor : Yu Ying-Chang, Yeh Chia-Chi
The Purples attempts to interpret the flat drawing as well as its concept behind the work into architectural spaces, which combines simple visual graphics with architectural design to develop into spatial experience physically. Afterwards, to discuss the relationship amongst architecture, drawing and real world based on three phases: creation, analysis, and restructuring. The Purples shows two connected art galleries that exhibit many watercolours, these works of art are the origin and represent the condition that exists only on the paper. From the historical perspective of art, the minimalism opened the art development from object-centred to objecthood. In other words, the core idea of art appreciation transferred from the work of art itself to the theatricality of the audiences themselves. This transformation changed the dilemma that the public viewed arts, from the interpretation of knowledge concepts to the experience of physical participation and body sensations. This project offers a new perspective on colour differences, which is not a variance from the hue but from the environment and mixing method. In the pre-processing stage, the City in a Rut painting utilised only two colours, quinacridone opera red and phthalocyanine blue, to depict Taipei: A city looks rigid with dull and repeated buildings everywhere. However, people could usually find unexpected interesting matters in some hidden corners. The numerous purple spots symbolise where the hidden incidents happened. During the process, I created two virtual characters, the painter and the architect. The painter was in charge of the initial painting work phase of City in a Rut and represented a viewpoint toward Taipei city. As for the latter, the architect controlled the formation of watercolour fluid by simulation ; further, the architect transferred the drawing into architectural spaces. Meanwhile, the urban phenomena that implied behind the drawing also fully reflected on the site via the techniques of architectural design.
Fig. 1.1: City in a Rut, 27 x 48cm, water colour, 2018
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Initially, digital tools (RealFlow&Maya) were used to build the connections between drawings and spaces. Whilst analysing the drawing processes, I implemented the red and blue colour mixing on the paper solely to organise the colours of the work into various mixing types. Next, four purples were developed with different mixing ratios after adjusted the humidity and smoothness of the paper. The core differences between the purples happened. Last, conducting the simulation by using digital tools to interpret the differences of the hand-drawing processes and results into digital parameters; the parameters were used to transfer the flat graphs into 3-D spatial models. The Purples in different environment
1.2 1.3 Fig. 1.2-1.3: Drawings on Wet / Rough Paper
1.6 1.7 Fig. 1.6-1.7 Drawings on Wet / Smooth Paper
1.4 1.5 Fig. 1.4-1.5: Drawings on Dry / Rough Paper
1.8 1.9 Fig. 1.8-1.9 Drawings on Dry / Smooth Paper 03
Simulation of Fluid Changing and Patterns Simulation Type A
Simulation Type A
Simulation Type A
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Simulation Type A
Domain A Density:300 Int Pressure:0.5 Ext Pressure:30 Viscosity:20 Surface Tension:1 Noise Strengrh:2 Pulling Force:0.5 Escape Force:3 Min Cavity Size:3 Relative Speed:2-3
Domain B Density:2400 Int Pressure:0.1 Ext Pressure:1 Viscosity:40 Surface Tension:100 NoiseStrengrh:2 Pulling Force:0.1 Escape Force:3 Min Cavity Size:2 Relative Speed:0-2
Fig. 1.10: Simulation Study 04
Domain C Density:600 Int Pressure:0.1 Ext Pressure:30 Viscosity:20 Surface Tension:1 Noise Strengrh:2 Pulling Force:1 Escape Force:3 Min Cavity Size:2 Relative Speed:0-2
Domain D Density:600 Int Pressure:0.1 Ext Pressure:1 Viscosity:50 Surface Tension:200 Noise Strengrh:2 Pulling Force:0.1 Escape Force:3 Min Cavity Size:1 Relative Speed:0-2
Transfering Hand-drawings into 3D Spatial Models
1.11 1.12 Fig. 1.11-12: Type A on Wet / Rough Paper
1.15 1.16 Fig. 1.15-16: Type C on Wet / Smooth Paper
1.13 1.14 Fig. 1.13-14: Type B on Dry / Rough Paper
1.17 1.18 Fig. 1.17-18: Type D on Dry / Smooth Paper 05
Dematerialisation and Material Applied
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Fig. 1.19: Type A Physical Model Study
Fig. 1.23: Type C Physical Model Study
Fig. 1.20: Type B Physical Model Study
Fig. 1.24: Type D Physical Model Study
1.21 Fig. 1.21: Type A&B Chunks Combined, Gold
1.25 Fig. 1.25: Type C&D Chunks Combined, Gold
1.22 Fig. 1.22: Type A&B Chunks Combined, Silver
1.26 Fig. 1.26: Type C&D Chunks Combined, Silver
In the next phase, it was to implement the process of dematerialisation to the two colours, which replaced the colours by actual metal materials, gold and silver. This was an assumption of the truly usable materials when building the space, as well as enhancing the difference of virtual simulation. The red and blue colours did not present with their actual appearances; instead, only the personal consciousness reflected by the artist and the space symbols had left beyond the functionalities (as in the visual cognition of colours for human eyes).
Space Composition
Fig. 1.27: Gallery 1 inner Space, Type A&B, Rough Paper
Fig. 1.29: Gallery 2 Inner Space, Type C&D, Smooth Paper
Fig. 1.28: Gallery 1 Facade, Type A&B, Rough Paper
Fig. 1.30: Gallery 2 Facade, Type C&D, Smooth Paper
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+100 cm Plans 1. Front Entrance 2
2. Back Entrance 3. Exhibition for Purple Paintings 4. Information Desk
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Fig. 1.31: Gallery 1, +100 cm Plan
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Fig. 1.32: Gallery 2, +100 cm Plan
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Fig. 1.33: Gallery 1, +460 cm Plan
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Fig. 1.34: Gallery 2, +460 cm Plan
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1. Storage 2. Information Desk 3. Exhibition for Painting “City in a Rut” 4. Exhibition for Sculptures 5. Storage 6. Toilet 13
As a result, the metal chunks were differentiated according to the aforementioned process about the differences of the paper smoothness and were distributed aloing with the two mixing colours/materials. Furthermore, there was a simple flat transparent glass squared box on the outer side.
Fig. 1.39: Gallery 1 in The Box, Type A&B, Rough Paper
Fig. 1.41: Long Section
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Section Detail A
Section Detail B
Section Detail D
Section Detail E
Fig. 1.40: Gallery 2 in The Box, Type C&D, Smooth Paper
Section Detail C
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1. 4mm clear anodized aluminum panel 2. support grid for suspended ceiling 3. thermal insulation 4. angel bracket lateral support 5. laminated glass, 10mm 6. steel plate 7. waterproofing PVC flagon 8. waterproofing with bituminous paint 9. insulation by roofing contractor 10. reinfoeced concrete slab 11. ceiling hanger 12. 300x400mm wide flange H beam 13. suspended ceiling fixing system 14. support grid for suspended ceiling 15. interior plaster 16. metallic panels 17. metal coatings 18. stud component 19. curved steel plate 20. aluminum joint 21. double glazing
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1.42 1.43 1.44 Fig. 1.46-48: 1/30 Section Detail A, B, C
1. laying sod grass 11 2. natural or compacted soil 3. draining layer 17 4. drainage system 5. draining layer 6. coping in ceramic piece 7. stone element to support pavement 8. waterproofing with bituminous paint 9. window sill in 20mmthick marble and drainage system 10. metallic profile for installation of supporting glass wall 11. ceramic floor 12. screed to level and cover heated floor 13. thermal insulation 14. reinforced concrete slab 15. coatings 16. spray-crete concrete chunks 17. filling with lightweight concrete 18. coating on walls 19. aluminum joint and double glazing 20. skirting board 21. stud component 22. metallic panels
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1.45 1.46 1.47 Fig. 1.49-51: 1/30 Section Detail D, E, F 17
The Perspective of Pedestrians / Manifesto When walking through the streets and seeing the vague glass boxes far away, there is no decorations or specific architetural language on the surface of the simple glass squared boxes. However, there is some space seems interesting inside of each box. When walking closer, the vision changes from flat interior spaces to stereoscopic due to the refraction of the glass. When stepping into the designed space, it shows a fantastic space that assembled by simply two materials. This would be the first impression of the public toward The Purples: A spatial experience that gradually becomes stereoscopic.
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Because of the conservative and stale conditions of urban planning and the high population density, as well as the lack of public spaces in Taipei strangled the possibilities of various events. However, the citizens still managed to utilise the limited spaces to the maximal level and pour energy into the city at numerous corners quietly. Usually, we could find some hidden corners in the city, such as a coffee shop on the second floor, a restaurant in an unknown street, and some other interesting matters. This is the biggest feature of Taipei City: seems cold and dull; yet, for people who love exploring, there are always unexpected surprises at different corners. Fig. 1.48: Layout Perspective 19
Fig. 1.49-50: Perspective View From Distance 20
Fig. 1.51-53: Pedestrians’ View, Front Path and Backyard 21
Fig. 1.54: Gallery 1 Intermediate Space 22
Fig. 1.55: Gallery 2 Intermediate Space 23
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Fig. 1.56-58: Gallery 1 Interior and Exhibits 25
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Fig. 1.59-61: Gallery 2 Interior and Exhibits 27
Drawing and Records _ New Forest
2015 Spring _ 4th Year Studio Instructor : Hideki Hirahara
This project was conducted in the fourth year in the university, which was in a studio that focused on observing various elements in nature and transferred the research into architecture. Due to personal interest, it was my first time applying drawing technique into the initial development stage of an architectural design. In the field of architecture, drawing and photography are common tools for recording; however, each drawing line and colour are relatively inaccurate compared with photography. I take the inaccurate process as a subconscious personal reflection toward the object; therefore, the designer could gradually refine and capture the materials in the following design development from the drawing process. The site is a place named Siangtian Pond at the mountain area in the suburbs of Taipei, which is composed of unique soil and low-lying structure; the place would collect rainwater and become a puddle after raining for a few days. Because the site does not have any man-built construction, all of the movements are limited above the ground; moreover, the trail is surrounded by dense groves that block the sight, which becomes a landscape that is difficult to find. I utilised landscape sketching to record it and look for appropriate elements in the architecture; also, I attempted to explore the sense of wanderings when the unreachable canopies surrounded humans. The results generated three drawings listed below : 1. Pond and Forest 2. Unreachable Canopies 3. Pond of Light When staying in a forest, people tend to lose their sense of directions; the spatial experience acquired from living in the synthetic building would be flipped uttrely. The Design further takes humankind to a higher position that strengthens the sense of wanderings, which is a mentality that happens when surrounded by the extreme and strange nature. In the design, the lightweight frame construction lifts the users to the air. The leaves are the media that define the space and the canopies shape different sizes of spaces; hence, creates various spaces from the narrow cracks that allow limited sunlight passes trough to wider semi-open spaces that connect with the skyline. Because the spaces vary constantly, I used lightweight filaments to define the space naturally instead of using solid walls to fix it. In order to cope with the growing conditions of the trees around the trail, I designed two different kinds of prototypes, horizontally and vertically, which scattered all over the empty spaces around the Siangtian Pond trail. People could walk through the large and small spaces to explore the places among the canopies and embrace the landscape around Siangtian Pond from a new angle.
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Fig. 2.1: Physical Model - Horizontal
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Fig. 2.2: Pond and Forest, 18 x 60 cm, water colour, 2015 This is the core impression of the site, the low-lying structure of the Siangtian Pond provides the sensation as surrounding by the sea of trees, and the puddle that only appears during a certain kind of seasons means the ground is disappearing.
Fig. 2.3: Unreachable Canopies, 18 x 60 cm, water colour, 2015 When taking a closer look into the canopies, I demonstrated the growing process of the branches and leaves with a more exquisite brushwork that showed the relationship among the tight and loss spaces and the light and shadows.
Fig. 2.4: Pond of Light, 18 x 60 cm, water colour, 2015 The final drawing attempted to capture the abstract elements of the site, which presented the burry and clear light changes caused by the light and shadows interlaced and sprinkled between the groves and the puddle. 30
Fig. 2.5-2.6 Collage, Sense of Wanderings
Fig. 2.7 Diagram, Spaces among the Canopies Tree leaves are the media shaping the spaces, creating various spaces from the narrow cracks that only allow limited sunlight passes trough to wider semi-open spaces that connect with the skyline.
Fig. 2.8 Diagram, Defining Spaces Lightweight filaments are used in the design to shape spaces in different scale; tree leaves, branchs or other natural elements could easily cross the filaments but not interfer people walking through. 31
Fig. 2.9 Vertical Prototype
Vertical Prototype +400 cm Plan
+ 1040 cm Plan
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Fig. 2.10 Horizontal Prototype
+ 1100 cm Plan 1. stair to ground level 2. connecting stair 3. observation platform 4. narrow platform 5. medium size platform 6. large size platform 7. wind fan 4
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Fig. 2.15-2.16: Physical Model - Vertical(up) and Horizontal(dw) 35
Drawing and Perceptions _ The Four Elements of Bakery
2015 _ Pre-Thesis Design Instructor : Yeh Chia-Chi
Human perception is also a topic that I am extremely interested ; I think to create new experience constantly in the metropolises is one of the missions of the architects. The Four Elements of Bakery was a design project attempted to combine an exhibition and a bakery together. The displays are exhibited by deconstructing the process of baking; demonstrate the special phenomena during the processing steps by using different architectural designs and develop them into the events that the public could experience in person. The aim of this project is to amplify the small physical and chemical reactions to the body scale and present the surprising perception. The public could experience those interesting phenomena in person when wandering around the space. During the process, I tried to upgrade the simple program, baking, to a more complicated spatial facet and gave it an ornamental art value. On the other hand, I also built the interior spatial hierarchy systematically and divided the working and public areas separately. The design result is divided into four spatial objects for the public to visit: Element 1. Dough Kneading Section Element 2. Fermentation Light Bulbs Element 3. Oven Flow of Heat Element 4. Cooling Tower And the key assembling hierarchy of the objects are: 1. Tools and Working Area: The equipment and tools for baking, including kneading platform, fermentation room, oven, and cooling component. 2. Inner Structure and Shell: The shells cover the equipment with some openings that connect each other for the staff to operate. 3. Space of Seeing: This is viewed as an intermediate space, the outer shell of each object would change based on the event condition, which offers a place for the public to see the details. 4. Core Cavity: It collects the baking objects into a complete cavity, outside of the space provides the service area, circulation plan, seat area, and other basic usages.
Fig. 3.1: The Four Elements 36
3.2 3.4
Fig. 3.2: Dough Kneading Section, Element 1
3.3 3.5
3.3: Fermentation Light Bulbs, Element 2
Fig. 3.4: Oven Flow of Heat, Element 3 3.5: Cooling Tower, Element 4 37
In my past architectural design contexts, the Four Element of Bakery was the second stage of my attempt to combine hand drawing and digital design together. I believe an excellent architectural design work should stay at a balanced point between sense and sensibility, and the design thinking contexts that I have been working on to combine my works of art with architecture itself also reflect my viewpoints about it. In the beginning, I treated art and architecture as two separate kinds of precise and imprecise graphic information. In the precise 3-D modelling environment, a design should consider the spatial hierarchy, mechanism, and structure to reach a certain level of authenticity. Regarding the conception of spatial atmosphere, because it is a sensation to a deeper personal level, I choose to present the rather imprecise dynamic perception by hand-drawing post-production method. The process of connecting the elements together is my approach to discover my own design style. From the perspective of a designer, there is a certain viewing or involvement method to experience the architecture. This series of architectural blueprint demonstrates the unique narrative that I created on my own.
Fig. 3.6: Perspective 38
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Fig. 3.7: Basement / Working Plan 3.8: 1F Plan 3.9: 2F Plan 3.10: 3F Plan 3.11: 4F Plan 39
Dough Kneading Platform The flour would sprinkle in the air due to the dough kneading process, and the ventilation would suck the air and lead it to the filter container on the upper side. The dough after kneading would be delivered by abseiling to the underneath fermentation room and the staff would continue the second processing in the next phase. The customers visit the bakery could see the floating flour in the air through the shimmer from the top at the entrance. Core Cavity
1.Tools and Working Area 2.Inner Structure and Shell 3.Space of Seeing 4.Core Cavity 5.Light Well 6.Entrance 7.Ventilation System 8.Flour Collector
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Fig. 3.12: Element 1 Assembling Hierarchy 40
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Fermentation Light Bulbs In order to make sure the dough in the fermentation process goes smoothly, there are bulbs control the temperature and humidity accurately. Core Cavity
Main Structure
The fermentation temperature is controlled between 28oC to 36oC; the 8 degrees of difference and the complete fermentation process are interpreted into lighting changes that could be seen by the naked eyes. The teardrop-shaped bulbs light up the areas underneath it. Afterwards, the abseiling bulbs would deliver the fermented dough down to the baking area in the basement.
1.Tools and Working Area 2.Inner Structure and Shell 3.Space of Seeing 4.Core Cavity 5.Light Bulb 6.Light Well 7.Transfer Platform 8.Oven Section Entrance
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Fig. 3.14: Element 2 Assembling Hierarchy 42
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Fig. 3.15: Element 2 Section 43
Oven Flow of Heat There are two ovens in the baking area in the basement; they are responsible for high-temperature baking constantly. Core Cavity
Inner Shell
The temperature would reach up to 150oC in the baking process; the heat flow goes to the walls of the spatial objects and further transmits to the outside area, which continuously provides a bottom-up comprehensive cooling process. Meanwhile, the viewing space is a giant spiral staircase that connects each floor; the upward space represents a metaphor of the heat flow in the baking process, the public could experience the tiny temperature changes from the walls at various heights.
Spiral Staircase
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Fig. 3.16: Element 3 Assembling Hierarchy 44
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Cooling Tower Ventilation Filter Ventilation System
Core Cavity
After baking, the bread should rest for a while to cool down before it is eatable. The working areas in the basement are connected and they follow the basic principle of air convection; tower-shaped cooling space could bring cold air from outside to lowering down the bread temperature. The customers could go into the cooling tower from each floor and pick bread from the windows of the cooling components; whilst stepping into the area, they would also feel the cool air comes out from the windows with the smell of bread.
1.Tools and Working Area 2.Inner Structure and Shell 3.Picking Area 4.Core Cavity 5.Take Out Window 6.Connection 7.Ventilation System 8.Ventilation Filter
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Fig. 3.18: Element 4 Assembling Hierarchy 46
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Fig. 3.19: Element 4 Section 47
Coding and Simulation _ Search, Browse, Scroll
2019 _ Studio Lynn Design Collaborator: Connor Hanna, Annie dai
The project begins with the modeling and simulation of navigation and path planning in space. The experimental environment is mainly in Unity with two different tools, Grasshopper PedSim and C#. Both allow to generate agent flow and experiment with different obstacle course, speed, intersections and interest points. The decline of physical marketplaces and other retail spaces - places where people gather, experience, play and learn, is largely a consequence of online shopping. Therefore we as architectural designers must usurp the virtual market places and take from it what we can. After studying the mechanism of online shopping, we’ve dissected their processes and found that the interface is designed to accommodate two primary behavior types. The searcher and the browser. That item selection is overwhelming, the potential to keep scrolling is endless, the categorization of products provides a legibility. Spatial experience is architecture only redeeming factor over the virtual, and the virtual experience is a plethora of content and form - broken into digestible categories and this market is a three-dimensional representation. The programme of the pavilions are defined by categories, typically found on online shopping. They express in variable ways, through form, circulation, product display and interaction. We use this multiplicity of forms for legibility and memory to distinguish a difference amongst places. Moreover, the categories provide the opportunity to design discrete objects and treat this project like an experiment in micro-urbanism. We embrace the idea that various architects designing in a centralized master plan with their own idiosyncratic design sensibilities. The discrete objects allow us to test the simulation tools as a mean of creating a circulation, like to express the variation in speed through circulation geometry. The spectacle of the pavilion where people arrive are intended to be the primary experience; perhaps the outcome is an over-saturation of content but is not like the virtual market. Online Video Link
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Fig. 4.1: Assembling Hierarchy
Fig. 4.2-3: Entrance
Fig. 4.4-5: Stationary
Fig. 4.6-7: Baby Store
Fig. 4.8-9: Clothing
Fig. 4.10-11: Book Store
Fig. 4.12-13: Furniture
Fig. 4.14-15: Sport Store
Fig. 4.16-17: Pet Store
Fig. 4.18-19: Cosmetics
Fig. 4.20-21: Toys
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Other Works _ Parametric Design & Fabrication and Art Drawings Drawing and design models through parameters is what I keep exploring. The parametric design works below are drawn by Grasshopper along with several plug-in such as Kangaroo, Ivy, and etc. The final models are fabricated using CNC devices and robot arms. The pavilion design of the first work uses Grasshopper for mesh segmentation. Then, Kangaroo is used for creating 3-dimentional space. The final result has two parts, including actual fabrication and video making, which is produced and rendered with maya. The clay printing of second work uses robot arm, UR10, emphasizing form finding through parameter arrangement.
Frame: 01
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Fig. 5.1-5.3: Final Rendering
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Fig. 5.4: Form Finding Process
2018 _ TKU Digital AIEOU Legacy Workshop
Parametric Pavilion Design Displine
Fig. 5.6: Pavilion Design Model on Exhibition
Construct Point
Construct Mesh
Form Finding
Growing Line
Fig. 5.7: Pavilion Design Model on Exhibition
ClayPrinting Design Displine
Fig. 5.9: Clay Printing on Exhibition
Construct Line
Layering
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Simulastion
Fig. 5.10: Clay Printing on Exhibition
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The art works below are creations from my ordinary practices or trials for different skills. For the work on next page, Deformed Anatomy, I attempt to use two media, pencil and watercolour, to depict the form of human skeleton. Pencil sketching is simply for presenting shape of skeleton. On the other hand, I apply a totally opposite approach from traditional painting method for the watercolour section. Using the paints as foundation, I draw through clean water while the paper is still wet. The skeleton created with these two different methods has enormous visual differences, but has ambiguous homogeneity in aspect of the form.
Fig. 6.1: Shirakawa, Japan, 19 x 26 cm, 2014
Fig. 6.2: Floating 76 x 52 cm, charcoal sketch, 2008 52
Fig. 6.3: Summer Thirst 76 x 52 cm, water colour, 2009
Fig. 6.4: Deformed Anatomy_Acetabulum Fig. 6.6: Deformed Anatomy_Metacarpals Fig. 6.8: Deformed Anatomy_Vertebral 37 x 17 cm, pencil sketch, 2015 37 x 17 cm, pencil sketch, 2015 37 x 17 cm, pencil sketch, 2015
Fig. 6.5: Deformed Anatomy_Acetabulum Fig. 6.7: Deformed Anatomy_Metacarpals Fig. 6.9: Deformed Anatomy_Vertebral 37 x 17 cm, water colour, 2015 37 x 17 cm, water colour, 2015 37 x 17 cm, water colour, 2015 53