CHIEH CHIH CHIANG
NY/P Process Book
Chieh Chih CHIANG #14-04 10 Newton Rd Singapore 307947 Tel: (65) 840 12360 Email: cc3655@columbia.edu
Content
RandomWalk
Shirt
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V i r t u a l
Armature
6
SecondSkin
Changing Room
8
S h e l t e r
Bleacher
10
A c c e s s
Atelier
12
S u p e r c u t
Atelier II
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Random Walk Scale: Shirt Critics: Thomas de Monchaux, Sarah Carpenter Objective: A Shirt that randomizes one’s reaction to counterforces by generating resistance against the body. The “random walk” is used to model patterns such as Brownian motion, stock price fluctuations - as well as pedestrian circulation. However, actual circulation patterns are not “random”. The Orchard Street pedestrian makes calculated decisions when confronted with counter-forces along one’s path, be it slowing down, changing direction, or surging past. The Shirt is a prosthetic device that generates 3 degrees of resistance against one’s motion, causing the body to twist and turn unexpectedly. This randomizes its wearer’s reaction when confronted with a counter-force.
Above: Resistance mechanism detail. Right: Counter-forces and calculated decisions along Orchard Street.
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Above: Shirt construction and safety-pin resistance mechanism detail. Top Left: Diagram of random walk when wearing prosthetic device Bottom Left: Randomizing body motion under 3 resistance settings.
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Virtual Scale: Furniture Critic: Jane Kim Objective: An Armature mapping the virtual and real spaces formed by urban frames. Urban frames around the Flatiron Building present a juxtaposition of virtual and real spaces: Each frame is formed not by a single defining edge but a series of edges each existing on a different plane. Thus, the two-dimensional virtual space implied by a frame is in fact an elongated real space. When an edge is formed by a moving object, such as traffic, the real space undergoes further transformation. Using 1/16� and 1/4� basswood sticks to map virtual and real spaces respectively, the Armature attempts to clarify the visual caocphony of the Flatiron prow.
Above: Virtual and real spaces formed by 12 urban frames around Flatiron.
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Second Skin Scale: Room Critic: Babak Bryan Objective: Two symbiotic Changing Rooms acting as second skins for each other. The relationship between the two Changing Rooms are informed by diagramming how private spatial boundaries vary across one’s body when wearing a second skin (Elmo suit). Arranged vertically, the two Changing Rooms act as each other’s second skin - one’s circulation wraps around the other’s changing room to create privacy.
Above: Conceptual section. Top Right: Diagramming personal space variation across the body. Bottom Right: Changing Room and Circulation weaves.
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Top: Each Changing Room is sited within the Armature’s real spaces and Circulation within its virtual spaces. Above: Changing Room A Room & Circulation (Top) and B Room & Circulation (Bottom).
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Shelter Scale: Public Furniture Critic: Eduardo Rega Calvo Objective: A Bleacher with a spectrum of sheltered spaces above Bryant Park. The urban rooms of Bryant Park are curated by boundaries of different permanence, from topography set in stone to effervescent human motion. One’s activity is influenced by the extent to which surrounding boundaries define space. Spaces defined by permanent boundaries (topography) are used for resting while spaces defined by effervescent (human traces) and changing boundaries (foliage) are used for circulation. Located on an imaginary site between Center Pompidou and Bryant Park, the Bleacher creates a spectrum of boundary conditions analogous to the site below.
Effervescent Boundaries
Changing Boundaries
Private cocoons (formed by five layers of painter’s tape) located above more public areas and public and semi-public spaces (formed by a single layer of tape) located above the less travelled paths of Bryant Park below. Permanent Boundaries
Right: Boundary analysis of Bryant & Pompidou.
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Above: Modules from multiple layers of painter’s tape - Private Cocoon, Semi-Private Entry, and Public Seats. Right: Plan and zig-zag section. Private conditions in the Bleacher dovetail with Bryant Park below.
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Access Scale: Building Critic: Eduardo Rega Calvo Objective: An Atelier composed of visual and physical accessbilities between Public Circulation, Program, and Site. Site analysis reveals three levels of visual and physical accessibilities in Lincoln Center’s public spaces - see and enter, see but cannot enter, and neither see nor enter. A parasitic structure embedded in the Met Opera’s Southern wall, the Atelier expands the observed conditions of accessibilities to the relationships between Public Circulation, Program, and Site. Public Circulation vs Program + Site: The public weaves in and out of the Atelier and Met Opera through a sequence of framed views through fashion production and opera. Program vs Program + Site: Fabrication, hitherto the most performative yet least accessible space, now lies at the heart of the Atelier, accessible physically to other Programs and visually to Public Circulation and Site.
Above: Visual and physical accessibilities in Lincoln Center.
Facing Page Left: Concept model - Physical and visual accessibilities in Retail, Fabrication, Office, and Studio (Clockwise). Facing Page Right: Process models - Site, Program and Circulation accessibilities. 12
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Above: Sections through Fabrication, Retail, Office, and Studio, with Fabrication in the heart of the Atelier. Right: Axonometric diagram of visual accessibility between Site, Public Circulation, and Program. 14
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Supercut Scale: Building Critics: Thomas de Monchaux, Sarah Carpenter Objective: An Atelier that creates a supercut trailer of Palais Garnier’s spatial experience by using interstitial spaces. Palais Garnier is characterized by the abundance of interstitial, “leftover” spaces that envelope its core program spaces of opera and social stage. My site analysis examines the spatial experience when transitioning between different gradients of interstitial spaces: Compression/Expansion, Folding, and Regulated/Unregulated space. In order to recreate these experiences in a “supercut” trailer, the tool assigned was a sketch model from Final 1, consisting of 4 boxes nestled within each other, babushka-style. The site was the Palais Garnier’s facade. There, the Atelier would interact with the Vestibule and Grand Foyer to create different gradients of interstitial spaces that would form a spatial sequence analogous to what was analyzed. Programmatically, the spaces that depend on others for their raison d’etre - Warehouse, Archive, and Cafe - are housed in interstitial spaces, while core programs - Retail, Fabrication, Office, and Studio - are located within the main spaces of the 4 boxes.
Right: Three spatial experiences through Palais Garnier’s interstitial spaces: Compression/Expansion, Folding, and Regulated/Unregulated space.
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Top: Spatial analysis of the Found Object - Structure, Interstitial, Expansion/Contraction, Regulated/Unregulated space, and Folding. Bottom: Preliminary iteration of Atelier using 2 operators (Push/pull and 60 degree rotation) on Found Object.
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Above: Final iteration with 3 operators (Push/pull, 60 degree rotation, and opacity), addressing Site and Program.
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Above: Unfolded section & plan through Atelier, vestibule, and Grand Foyer of Palais Garnier. Right: Diagram of supercut experience created by Atelier and Palais Garnier - Compression/Expansion, Folding, and Regulated/Unregulated space.
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