COLLECTION OF WORKS Portfolio 2015
Chiao Hui Thien B.Arch, M.Arch University of Sydney
DIGITAL RESEARCH STUDIO
THE VINY
PAVILION FOR WINE TASTING
THE VINY is a pavilion located at the vineyard which serves as a place for hanging out and wine tasting. The design concept of the pavilion revolves around the visualisation of flow generated by several force fields acting onto a defined space. Based on this concept, the design aims to create a space characterised by visually flowing structures and surfaces, subsequently generating a fluid space further defined by undulating floor surfaces. Modular system is used to create a pavilion that can be potentially extended by adding additional modules. Parametric design is employed to generate a series of modules that can be adapted according to different ground levels, making the system flexible enough to be used on different ground conditions. Vines are grown along the structures to enhance the concept of flow over a period of time. The flow of time can be observed when vines creep along the structure and cover more and more of it. The spatial quality of the pavilion is ever changing albeit slowly depends on the density of vines. The structure will slowly disappear while nature takes over it. The pavilion will be transformed.
INITIAL PROCESS
STAGE 1- Space box experiment with controlled force application.
Fabric and its sequential form deformation in sapc STAGE 2 - Experiment with uncontrolled force application.
Ink flow and its sequential movement in w
STAGE 3 - Finding Similarities between controlled and uncontrolled force application experiments.
ce box
water
In the space box experiment, we studied the effect of controlled force application on a piece of stretchable fabric; whilst in the ink experiment, we looked into the effect of uncontrolled force application e.g. gravity and molecular force of water by dropping ink droplets into water. In both experiments, the forces acting on each respective medium could be observed through their change of form.
OVERALL PAVILION FORM
ELEVATION 30m
Wine tasting / Seating area
7.5m
15m
Reception
Wine tasting/ Seating area
Roof Bridge
Entrance
Entrance
PLAN
SEATING AREA Perspective view
RECEPTION / WINE TASTING AREA Perspective view
ENTRY Perspective view
MODULAR STRUCTURAL SYSTEM
INITIAL CONCEPT FORCE DIAGRAMS
MODULE
Multiple forces
Top View
Side View
FORM OF MODULE
Hexagon as base grid
Modular form generated within grid
Repeated modules with intermediate components
STEP 2: Rotation
STEP 1: Height
Perspective view
Plan view
Side view
Perspective view
Plan view
Side view
MATERIAL SELECTION
Angle block
GLULAM timber arch
Timber arch
Connecting Joint
Steel O-Section Hollow Bar
JOINT DETAIL
MODULE STRUCTURE
1
Timber arch x6
2
Angle block x6
3
Connecting Joint x6
CONCEPT
Early concept diagram
Flow of structure Flow of time
USE OF PAVILION In an attempt to enhance the concept of flow over a period of time, vines would be used as a secondary poetic expression of flow in addition to the physical architectural aspect. The vines would be allowed to grow along the primary and secondary structures. The growth process of vines would materialise the flow of time, thus becoming a physical embodiment of time. It would supersede the architecture over time. Accordingly, we proposed that the pavilion be used as a place for wine tasting in vinery. In its early life, it would be contrasted with its surrounding of greens. Over time, it would blend in more and more within its surroundings and eventually become one with it.
Types of vines
Interior perspective view from sitting area
Stage A
Stage B
CROSSING THE THRESHOLD
GRADUATION STUDIO
THE LUDWIG WITTGENSTEIN INSTITUTE
“The project, Back to the Rough Ground: The Ludwig Wittgenstein Institute, calls for an engagement with the thought and architecture of Ludwig Wittgenstein (1889-1951) and Austrian-British philosopher working principally in the areas of logic and the philosophy of language. His philosophical writings, collected mostly in unedited notebooks, are scattered with architectural references and metaphors, evidencing an abiding interest in architecture. This interest extended briefly into practice when in 1926 he designed an enigmatic house for his sister Margaret Stonborough in Vienna, which has come to be known as Haus Wittgenstein. This austere and carefully calibrated house provides both the site and thematic background for the proposed Ludwig Wittgenstein Institute, which will be an international locus for Wittgenstein studies; housing archives, a specialist library, seminar rooms, administration areas, a cafĂŠ, and accommodation for visiting scholars.
CONCEPTUAL DRIVE
The main concept of this project is the crossing of threshold. Threshold zones spaces that consist of the act of both separation and connection. They ar between spaces that solidified movement in visible form.
The inspiration for the concept is drawn from the sequence of entry in Haus W stein where the progress of our movement is clearly demarcated by a series o It is as though each door is setting up its own territory. From here, I am greatly ed by the act of crossing the doors. These doors form boundaries that made u of our movement and wary about our approach.
Haus Wittgenstein, Vienna, Austria
From this point of departure, the project aims to design with a threshold that in circulation. This circulation threshold would cut through the house and di spaces up by creating clear boundaries. The design explores on the lay boundaries through the interplay between materiality, structural elements, conditions and similar expressions.
ARCHITECTURAL INTERVENT THRESHOLD
Threading on the idea of threshold emphasise the experience of circulat spent time on accentuating the detai
The key move is to use the existing c it into a visible well defined strip o becomes the mediating zone for the the threshold that is freshly introdu zone that is movement intensive. Fun tural inter vention that would redefi house.
View from inside the house looking towards the entrance
s indicate re the in
Wittgenof doors. fascinatus aware
ntensifies ivide the yering of opening
TION TO THE EXISTING HOUSE -
d, the objective of the inter vention is to tion in the house, which Wittgenstein had ils.
circulation within the house and transform of threshold, i.e. a set of boundaries that e different parts of the house. By doing so, uced would become a circulation-centric ndamentally, the threshold is the architecine the existing circulation pattern in the
CONCEPTUAL SKETCH - ENTRY THRESHOLD
Visible column @ every 3.2m
Ceiling detail
First Floor Corridor
Visible column @ every 3.2m
In the Wittgenstein House, structural elements such as the columns are expressed extensively in relation to circulation spaces. There is a clear distinction between the circulation spaces and the rest of the house if one pays enough attention. Ceiling Detail Unique to Entrance
Ground Floor Corridor
EXISTING HOUSE CIRCULATION ANALYSIS The threshold inter vention depends heavily on the understanding of the house circulation. Below are the discoveries from the analyses:
1 Rhythm and Order in Circulation Spaces
3.2m
Besides the noticeable rhythm and order attached to circulation spaces, Wittgenstein also distinguished the circulation from the rest of the house via structural details. While columns are visible along the corridors, the rooms are usually surrounded by flat walls (refer to 1st and 2nd floor). The entr y hallway on ground floor has a column-ceiling detail that is particularly unique to the entrance (refer to image).
3.2m
2 Distinction of Circulation Spaces
3.2m
As illustrated in the diagrams, the circulation spaces on ever y floor are accompanied by visible columns at fixed inter vals, which is at ever y 3.2m. Utilising the exposure of columns (instead of flashing them with the walls), the circulation spaces are expressed as a rhythmic space that follows a certain order.
GROUND FLOOR
2m 3.5m 2m
Visible/Exposed Column Circulation Path
3.2m
3.2m
3.2m
3.2m
3.2m
3.2m
SECOND FLOOR
3.5m 2m
FIRST FLOOR
3.5m 2m
FINAL DESIGN DRAWINGS
SITE PLAN - The Ludwig Wittgenstein Institute
A
TOILETS LANDSCAPE ADMIN OFFICE
AUDITORIUM
HOUSE GALLERY SKYLIGHT TERRACE
TERRACE
PUBLIC LIBRARY
TOILET PUBLIC LIBRARY
SKYLIGHT RECEPTION
OUTDOOR READING
SKYLIGHT PUBLIC SQUARE
CAFE SKYLIGHT
HOUSE ENTRY
A
STREET LEVEL PLAN
SCHOLAR ACCOMMO-DATION
GROUND FLOOR PLAN
TERRACE
PHILOSOPHICAL GALLERY
TERRACE ARCHIVE
B
ARCHIVE
ARCHIVE
FIRST FLOOR PLAN
SECOND FLOOR PLAN
B
SECTION AA ALONG THRESHOLD
STEEL FRAME
- Used to define a visible boundary for the threshold circulation. - Follows the order of the existing columns.
EXISTING COLUMN
- The columns and beams are exposed fully along the threshold. - Follows the original interval of 3.2m.
STEEL PORTAL FRAME
- An elongated version of the entry structures. - Follows the order of the existing columns.
THRESHOLD
TH
HRESHOLD CIRCULATION
RELIEF ZONE - PROGRAMS
The programs for the Wittgenstein Institute becomes zones of relief dispersed from the intensive threshold
SECTION BB ACROSS THRESHOLD
THRESHOLD ATRIUM
THRESHOLD CIRCULATION STEEL FRAME 1 Sets a physical visible boundary that defines the circulation threshold
CONCRETE WALL 1 Sets the boundary for the main threshold
CONCRETE WALL 2 Sets the boundary for the main threshold
PROGRAM ZONE OF RELIEF STEEL FRAME 2 Sets a physical visible boundary that defines the circulation threshold
SECOND FLOOR
SIDE CONCRETE WALL
FIRST FLOOR
FINAL MODEL IMAGES
Threshold close up
p
Threshold sectional perpective
Overall form view 2
Threshold atrium close up
DIGITAL RESEARCH STUDIO
THE STRING WAVE
BRAND -X EXHIBITION AT CENTRAL PARK This project was a collaboration effort between seven architectural students from University of Sydney. Under the provision of a rare opportunity, we were fortunate to be able to exhibit an installation for the opening of the Brand-X Fashion Show which was held in April 2014 at Level 3 Central Park. Due to constricted preparation time, we quickly arrived in agreement to explore a conceptual theme which expressed continuity and flow with reference to the fashion show. For the Brand X exhibition, we took the opportunity to experiment with modular construction system based on our design concept as we had limited choice of supplied materials. Based on our understanding, curved elements are crucial in defining the perception of flow and fluidity, so our form finding for Brand X was characterised by the presence of curves and arches with tensile wires to enhance the attributes of flow and to express the tensile force that brought the structure into shape, hence the name String Wave.
CONCEPT: FORCES
Bow strip construction
Observing forces acting on linear lines. As a force is placed, strings are pushed in the X and Y direction. The force is the strongest at the centre and diminishes away from the centre. As observed, increasing the numbers of forces causes the strings to weave through, and become static between two opposing forces. Isolating a strain in the stream allows for rationalisation.
No Force
One Point Force
Multi-point Forces
x8 x1
1 Top
MATERIALS FOR 1 MODULE
.5 0x6 0x2 28
30
ed e rm Int
EQ 30
EQ
5
EQ
5
EQ
. 0x6 0x2 40 e2 t a i
EQ
se Ba
0 24
. 0x6 0x2
x1
Black C 30
EQ
Transparent Fish Line 300m
30
Materials for 1 module
CONSTRUCTION
Module construction
The construction consists of timber strips that are bent into a bow to create various members. Single cable ties are used as the connection fasteners. Each member is connected at three points. One module consists of 8 intermediate bows, 1 top bow and 1 base bow.
AT
A2
AT-R A1-T
A1
A2-T
A5
AB
Joint 01
Joint 02
Side Attachment
Frame Constructed
The modules allow for numerous configuration to fit: Stacked, Overlayed, Toppled, Linear, Hanging.
Step 1
A A6
A2-B AB-R
CONFIGURATION
Joint connections
A2
A1
A1-B
Step 2
Sporadic
Linear Diminish
Isolate
30
AT-R
AT-M 30
80 12
AT-L
sh Pu
AT-M
AT-R h Fis
Cable Ties
Lin
e
00 11
AT-L
Timber Bow Strip Construction
A6
A7-T
A7-B
AB
A8-B
A8-T
A8 A6-B
A6-T
AB-M A5-B
A5-T
A7
A3-M
AT-M
A6
A6-M
A8 AT
A3
A6
A5
Joint 03
Joint 04
Joint 05
Innards Inserted
Innards Attached
Completed Module
Step 3
Step 4
The String Wave on display
URBAN BUILD ELECTIVE
construction of sxs pavilion INFORMATION COUNTER FOR SCULPTURE BY THE SEA
Sydney is blessed with a plethora of creative celebrations and occasions where the people of Sydney use their city in a way that transcends the daily norm. One such event is Sculpture by the Sea, where the coastline between Bondi and Tamarama is activated through an artistic festival that displays talent from all over the globe. The University of Sydney Faculty of Design, Architecture and Planning have approached directors of Sculpture by the Sea to design and build support pavilions for the logistical teams of the event. It began as a Masters Design Studio which was a proposed varying design options for a potential Catalogue and information Pavilion for Sculpture by the Sea, with a primary focus on innovative construction methods. From a studio group of 30, two projects were selected for construction and to be erected for the summer 2013 event. Together with 25 other students, I was involved in the contruction of the selected design proposals. The two pavilions were completed over an aggregated period of 2 months.
Pavilion 1: The Tower
Pavilion 2: Hide and Seek
IMAGE (LEFT TO RIGHT, TOP TO BOTTOM) 1. Hide and Seek inner counterpart frame construction 2. Hide and Seek outer counterpart frame construction 3. Finalised facade outlook 4. Inner face of the outer structure 5. Bottom half of The Tower to be transported to site 6. Top half of The Tower to be attached to the bottom half on site 7. Overall view of the completed tower 8. Close-up on the structure of The Tower
CONSTRUCTION OVERVIEW Both pavilions were built on the grounds of the University of Sydney. They were designed in such a way that would ease the transportation process of the pavilions to the site, Bondi Beach. Hence, the dimensions of the pavilions were tailored according to the limitations of a truck bed. All the material preparations including cutting, sanding, painting and similar jobs were completed in the faculty with the aid of CNC milling machine, laser cutting machines, and timber and steel workshops.
Top: Gallery entrance Bottom: Gallery interior
CONTRACT DOCUMENTATION
MAITLAND REGIONAL GALLERY TENDER SET TECHNICAL DRAWINGS
The objective of this subject is to recreate the tender set documentation for the pre-selected building, the Maitland Regional Gallery which is located at 230 High St, Maitland NSW 2320. This includes consultant information, BCA compliance assessment report, project logbook and timeline, specifications, and drawings.