Caitlin Alev's Architecture Portfolio

CAITLIN W. ALEV DESIGN

PORTFOLIO

MASTER OF ARCHITECTURE, UC BERKELEY 2013 A.B. DEGREE, PRINCETON UNIVERSITY 2010 ARCHITECTURE

+

URBAN

STUDIES

TABLE OF CONTENTS LIQUID COLOR

02

VERTICAL CITIES ASIA COMPETITION

12

LAWN CHAIRS

21

TIBURON ECO-CENTER

24

BALBOA PARK MUNICIPAL POOL

32

ANALOG MODEL + DRAWINGS

40

SUBMERGED KAYAK CENTER

42

CASE STUDY: ZENITH MUSIC HALL

46

LIVE / WORK: A FORMAL JUXTAPOSITION

48

INSPIRATION: COLLAGE OF WATER IMAGES

LIQUID COLOR

M.Arch Thesis, Professors René Davids + Renee Chow UC Berkeley, 2012 - 13 This design thesis explores the complex relationship between color, water, and light. If used in conjunction, this trio of elements forms a compound system that has immense potential for architectural skin. While the facade has traditionally been static in its use of color and material, the building’s interior functions and surrounding context have continued to evolve over time. A flexible system of color and water would allow architecture to resituate itself within this variable environment, transforming the skin into a dynamic two-way interface.

This proposal explores how a secondary skin system can craft a new relationship between the interior and exterior of an existing building. This system exploits the material properties of water in order to create visual effects like reflection, refraction, diffusion, and distortion. These effects have a dual purpose: to bring color and light into the otherwise dark, monotonous rooms, and to mediate the disjunction between the stylized building and its vibrant community. The site of this project is the existing public library in the Temescal neighborhood of Oakland, CA. A Carnegie library built in 1918, this building was designed in the Tudor Revival style and seems foreign in the otherwise colorful, expressive, and contemporary neighborhood.

The existing library is wrapped by a scaffolding system that holds individual panels of water and color. There are 6 types of panels that each create different effects, and these panels are used to populate the space frame system. The specific placement is based on the panel’s ability to connect the two adjacent sides, so it takes into account the surrounding exterior context and the interior program that occurs beyond the facade. At times, the scaffolding system thickens in plan to create new inhabitable space within the skin itself. The new skin system stands in stark contrast to the existing facade, which is heavy, decorative, closed, and opaque. On the other hand, the generic modular grid of the new system creates flexibility and allows it to remain open to multiple readings. The new system also encourages transparency through the facade, while the visual properties of water give the scaffolding system a feeling of lightness and ephemerality.

2

EARLY EXPERIMENTS: USING WATER TO CREATE “FLEXIBLE COLOR”

CROSS SECTION

LONGITUDINAL SECTION

RDINAL CARDINAL CARDINAL CARDINAL CARDINAL

C: 30

C: 30 C: 30 C: 30 C: 30

CHERRY CHERRY CHERRY CHERRY CHERRY C: 18

C: 18 C: 18 C: 18 C: 18

LAVENDER LAVENDER LAVENDER LAVENDER LAVENDER C: 30

C: 30 C: 30 C: 30 C: 30

AMETHYST AMETHYST AMETHYST AMETHYST AMETHYST C: 0

C: 0

C: 0

C: 0 C: 0

EGGPLANT EGGPLANT EGGPLANT EGGPLANT EGGPLAN C: 16

C: 16 C: 16 C: 16 C: 16

M: 100 M: 100M: 100M: 100M: 100

M: 99 M: 99 M: 99 M: 99 M: 99

M: 20 M: 20 M: 20 M: 20 M: 20

M: 33 M: 33 M: 33 M: 33 M: 33

M: 19 M: 19 M: 19 M: 19 M: 19

Y: 90

Y: 90 Y: 90 Y: 90 Y: 90

Y: 89

Y: 89 Y: 89 Y: 89 Y: 89

Y: 0

Y: 0

Y: 14

Y: 14 Y: 14 Y: 14 Y: 14

Y: 0

Y: 0

K: 15

K: 15 K: 15 K: 15 K: 15

K: 8

K: 8

K: 23

K: 23 K: 23 K: 23 K: 23

K: 56

K: 56 K: 56 K: 56 K: 56

K: 74

K: 74 K: 74 K: 74 K: 74

C: 0

C: 0

C: 11

C: 11 C: 11 C: 11 C: 11

C: 0

C: 0

C: 15

C: 15 C: 15 C: 15 C: 15

C: 0

C: 0

C: 0

C: 0 C: 0

K: 8

K: 8

K: 8

Y: 0

C: 0

Y: 0 Y: 0

C: 0 C: 0

Y: 0

C: 0

Y: 0 Y: 0

C: 0 C: 0

M: 100 M: 100M: 100M: 100M: 100

M: 97 M: 97 M: 97 M: 97 M: 97

M: 32 M: 32 M: 32 M: 32 M: 32

M: 42 M: 42 M: 42 M: 42 M: 42

M: 40 M: 40 M: 40 M: 40 M: 40

Y: 64

Y: 64 Y: 64 Y: 64 Y: 64

Y: 58

Y: 58 Y: 58 Y: 58 Y: 58

Y: 1

Y: 1

Y: 0

Y: 0

Y: 16

Y: 16 Y: 16 Y: 16 Y: 16

K: 33

K: 33 K: 33 K: 33 K: 33

K: 6

K: 6

K: 6

K: 6

K: 29

K: 29 K: 29 K: 29 K: 29

K: 33

K: 33 K: 33 K: 33 K: 33

K: 77

K: 77 K: 77 K: 77 K: 77

C: 9

C: 9

C: 0

C: 0

C: 0

C: 0 C: 0

C: 0

C: 0

C: 21

C: 21 C: 21 C: 21 C: 21

C: 0

C: 0

C: 9

C: 9 C: 9

K: 6

Y: 1

C: 0

Y: 1 Y: 1

C: 0 C: 0

Y: 0

Y: 0 Y: 0

C: 0

C: 0 C: 0

M: 100 M: 100M: 100M: 100M: 100

M: 100 M: 100M: 100M: 100M: 100

M: 29 M: 29 M: 29 M: 29 M: 29

M: 26 M: 26 M: 26 M: 26 M: 26

M: 29 M: 29 M: 29 M: 29 M: 29

Y: 99

Y: 99 Y: 99 Y: 99 Y: 99

Y: 60

Y: 60 Y: 60 Y: 60 Y: 60

Y: 15

Y: 15 Y: 15 Y: 15 Y: 15

Y: 0

Y: 0

Y: 17

Y: 17 Y: 17 Y: 17 Y: 17

K: 2

K: 2

K: 0

K: 0

K: 0

K: 0

K: 0

K: 1

K: 1

K: 1

K: 1

K: 24

K: 24 K: 24 K: 24 K: 24

K: 63

K: 63 K: 63 K: 63 K: 63

C: 15

C: 15 C: 15 C: 15 C: 15

C: 3

C: 3

C: 3

C: 3 C: 3

C: 0

C: 0

C: 0

C: 0 C: 0

C: 4

C: 4

C: 33

C: 33 C: 33 C: 33 C: 33

K: 2

K: 2

K: 2

K: 1

Y: 0

C: 4

Y: 0 Y: 0

C: 4 C: 4

M: 100 M: 100M: 100M: 100M: 100

M: 100 M: 100M: 100M: 100M: 100

M: 12 M: 12 M: 12 M: 12 M: 12

M: 13 M: 13 M: 13 M: 13 M: 13

M: 42 M: 42 M: 42 M: 42 M: 42

Y: 100 Y: 100 Y: 100 Y: 100Y: 100

Y: 74

Y: 74 Y: 74 Y: 74 Y: 74

Y: 3

Y: 3

Y: 0

Y: 0

Y: 0

Y: 0

K: 0

K: 0

K: 0

K: 0

K: 0

K: 0

K: 0

K: 0

K: 0

K: 24

K: 24 K: 24 K: 24 K: 24

K: 39

K: 39 K: 39 K: 39 K: 39

K: 47

K: 47 K: 47 K: 47 K: 47

C: 0

C: 0

C: 0

C: 0 C: 0

C: 0

C: 0

C: 0

C: 0 C: 0

C: 0

C: 0

C: 11

C: 11 C: 11 C: 11 C: 11

K: 0

Y: 3

Y: 3 Y: 3

Y: 0 Y: 0

C: 2

C: 2

C: 2

M: 2

M: 2

M: 2 M: 2 M: 2

M: 20 M: 20 M: 20 M: 20 M: 20

M: 32 M: 32 M: 32 M: 32 M: 32

Y: 89

Y: 89 Y: 89 Y: 89 Y: 89

Y: 76

Y: 76 Y: 76 Y: 76 Y: 76

Y: 0

Y: 0

Y: 0

Y: 5

Y: 5

Y: 0

Y: 0

K: 27

K: 27 K: 27 K: 27 K: 27

K: 0

K: 0

K: 0

K: 0

K: 25

K: 25 K: 25 K: 25 K: 25

K: 19

K: 19 K: 19 K: 19 K: 19

K: 57

K: 57 K: 57 K: 57 K: 57

C: 0

C: 0

C: 0

C: 0

C: 0

C: 0 C: 0

C: 10

C: 10 C: 10 C: 10 C: 10

C: 0

C: 0 C: 0

Y: 5

C: 0 C: 0

Y: 0

M: 91 M: 91 M: 91 M: 91 M: 91

Y: 0 Y: 0

C: 0

Y: 0 Y: 0

M: 83 M: 83 M: 83 M: 83 M: 83

K: 0

C: 2 C: 2

Y: 0

Y: 5 Y: 5

Y: 0 Y: 0

C: 0

C: 0

C: 0

C: 0 C: 0

C: 3

C: 3

C: 3

M: 85 M: 85 M: 85 M: 85 M: 85

M: 60 M: 60 M: 60 M: 60 M: 60

M: 4

M: 4

M: 4 M: 4 M: 4

M: 4

M: 4

M: 4 M: 4 M: 4

M: 23 M: 23 M: 23 M: 23 M: 23

Y: 70

Y: 70 Y: 70 Y: 70 Y: 70

Y: 57

Y: 57 Y: 57 Y: 57 Y: 57

Y: 1

Y: 1

Y: 1

Y: 0

Y: 0

Y: 0

Y: 0 Y: 0

Y: 0

Y: 0

K: 23

K: 23 K: 23 K: 23 K: 23

K: 8

K: 8

K: 11

K: 11 K: 11 K: 11 K: 11

K: 8

K: 8

K: 8

K: 8

K: 40

K: 40 K: 40 K: 40 K: 40

K: 8

K: 8

K: 8

Y: 1 Y: 1

C: 3 C: 3

Y: 0

K: 8

Y: 0

Y: 0 Y: 0

KY BLUE SKY BLUE SKY BLUE SKY BLUE SKY BLUE

CERULEAN CERULEAN CERULEAN BLUE CERULEAN BLUEBLUE CERULEAN BLUE BLUE

SEA GREEN SEA GREEN SEA GREEN SEA GREEN SEA GREEN

OLIVE OLIVE GREEN OLIVE GREEN OLIVE GREENOLIVE GREENGREEN

LEMON LEMON LEMONLEMON LEMO

C: 100C: 100C: 100 C: 100 C: 100

C: 77 C: 77 C: 77

C: 77

C: 77

C: 95 C: 95 C: 95

C: 95

C: 95

C: 37 C: 37 C: 37

C: 37

C: 37

C: 0 C: 0 C: 0

C: 0

C: 0

M: 25 M: 25 M: 25

M: 25

M: 25

M: 52 M: 52 M: 52

M: 52

M: 52

M: 0 M: 0 M: 0

M: 0

M: 0

M: 0 M: 0 M: 0

M: 0

M: 0

M: 16 M: 16 M: 16

M: 16

M: 1

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 2 Y: 2 Y: 2

Y: 2

Y: 2

Y: 54 Y: 54 Y: 54

Y: 54

Y: 54

Y: 100Y: 100Y: 100

Y: 100 Y: 10

K: 20 K: 20 K: 20

K: 20

K: 20

K: 30 K: 30 K: 30

K: 30

K: 30

K: 48 K: 48 K: 48

K: 48

K: 48

K: 63 K: 63 K: 63

K: 63

K: 63

K: 3 K: 3 K: 3

K: 3

K: 3

C: 100C: 100C: 100 C: 100 C: 100

C: 93 C: 93 C: 93

C: 93

C: 93

C: 75 C: 75 C: 75

C: 75

C: 75

C: 21 C: 21 C: 21

C: 21

C: 21

C: 0 C: 0 C: 0

C: 0

C: 0

M: 50 M: 50 M: 50

M: 50

M: 50

M: 76 M: 76 M: 76

M: 76

M: 76

M: 0 M: 0 M: 0

M: 0

M: 0

M: 0 M: 0 M: 0

M: 0

M: 0

M: 18 M: 18 M: 18

M: 18

M: 1

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 13 Y: 13 Y: 13

Y: 13

Y: 13

Y: 27 Y: 27 Y: 27

Y: 27

Y: 27

Y: 56 Y: 56 Y: 56

Y: 56

Y: 56

Y: 72 Y: 72 Y: 72

Y: 72

Y: 72

K: 20 K: 20 K: 20

K: 20

K: 20

K: 2 K: 2 K: 2

K: 2

K: 2

K: 44 K: 44 K: 44

K: 44

K: 44

K: 58 K: 58 K: 58

K: 58

K: 58

K: 0 K: 0 K: 0

K: 0

K: 0

C: 75 C: 75 C: 75

C: 75

C: 75

C: 86 C: 86 C: 86

C: 86

C: 86

C: 67 C: 67 C: 67

C: 67

C: 67

C: 24 C: 24 C: 24

C: 24

C: 24

C: 0 C: 0 C: 0

C: 0

C: 0

M: 25 M: 25 M: 25

M: 25

M: 25

M: 56 M: 56 M: 56

M: 56

M: 56

M: 0 M: 0 M: 0

M: 0

M: 0

M: 0 M: 0 M: 0

M: 0

M: 0

M: 1 M: 1 M: 1

M: 1

M: 1

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 37 Y: 37 Y: 37

Y: 37

Y: 37

Y: 76 Y: 76 Y: 76

Y: 76

Y: 76

Y: 75 Y: 75 Y: 75

Y: 75

Y: 75

K: 20 K: 20 K: 20

K: 20

K: 20

K: 0 K: 0 K: 0

K: 0

K: 0

K: 45 K: 45 K: 45

K: 45

K: 45

K: 45 K: 45 K: 45

K: 45

K: 45

K: 5 K: 5 K: 5

K: 5

K: 5

C: 47 C: 47 C: 47

C: 47

C: 47

C: 76 C: 76 C: 76

C: 76

C: 76

C: 100C: 100C: 100 C: 100 C: 100

C: 0 C: 0 C: 0

C: 0

C: 0

C: 0 C: 0 C: 0

C: 0

C: 0

M: 19 M: 19 M: 19

M: 19

M: 19

M: 32 M: 32 M: 32

M: 32

M: 32

M: 0 M: 0 M: 0

M: 0

M: 0

M: 0 M: 0 M: 0

M: 0

M: 0

M: 4 M: 4 M: 4

M: 4

M: 4

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 4 Y: 4 Y: 4

Y: 4

Y: 4

Y: 33 Y: 33 Y: 33

Y: 33

Y: 33

Y: 100Y: 100Y: 100

Y: 100 Y: 100

Y: 69 Y: 69 Y: 69

Y: 69

Y: 69

K: 45 K: 45 K: 45

K: 45

K: 45

K: 0 K: 0 K: 0

K: 0

K: 0

K: 0 K: 0 K: 0

K: 0

K: 0

K: 50 K: 50 K: 50

K: 50

K: 50

K: 0 K: 0 K: 0

K: 0

K: 0

C: 47 C: 47 C: 47

C: 47

C: 47

C: 34 C: 34 C: 34

C: 34

C: 34

C: 67 C: 67 C: 67

C: 67

C: 67

C: 15 C: 15 C: 15

C: 15

C: 15

C: 6 C: 6 C: 6

C: 6

C: 6

M: 19 M: 19 M: 19

M: 19

M: 19

M: 6 M: 6 M: 6

M: 6

M: 6

M: 0 M: 0 M: 0

M: 0

M: 0

M: 0 M: 0 M: 0

M: 0

M: 0

M: 0 M: 0 M: 0

M: 0

M: 0

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 38 Y: 38 Y: 38

Y: 38

Y: 38

Y: 57 Y: 57 Y: 57

Y: 57

Y: 57

Y: 62 Y: 62 Y: 62

Y: 62

Y: 62

K: 20 K: 20 K: 20

K: 20

K: 20

K: 0 K: 0 K: 0

K: 0

K: 0

K: 20 K: 20 K: 20

K: 20

K: 20

K: 36 K: 36 K: 36

K: 36

K: 36

K: 1 K: 1 K: 1

K: 1

K: 1

C: 47 C: 47 C: 47

C: 47

C: 47

C: 31 C: 31 C: 31

C: 31

C: 31

C: 67 C: 67 C: 67

C: 67

C: 67

C: 25 C: 25 C: 25

C: 25

C: 25

C: 0 C: 0 C: 0

C: 0

C: 0

M: 19 M: 19 M: 19

M: 19

M: 19

M: 13 M: 13 M: 13

M: 13

M: 13

M: 0 M: 0 M: 0

M: 0

M: 0

M: 0 M: 0 M: 0

M: 0

M: 0

M: 0 M: 0 M: 0

M: 0

M: 0

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 0 Y: 0 Y: 0

Y: 0

Y: 0

Y: 38 Y: 38 Y: 38

Y: 38

Y: 38

Y: 76 Y: 76 Y: 76

Y: 76

Y: 76

Y: 34 Y: 34 Y: 34

Y: 34

Y: 34

K: 0 K: 0 K: 0

K: 0

K: 0

K: 11 K: 11 K: 11

K: 11

K: 11

K: 0 K: 0 K: 0

K: 0

K: 0

K: 0 K: 0 K: 0

K: 0

K: 0

K: 0 K: 0 K: 0

K: 0

K: 0

COLOR MAPPING [POTENTIAL SITES] Left: The relationship between color and place Right: The Temescal neighborhood in Oakland, CA [Note: This became the primary site] Below Left: The downtown blocks in Sacramento, CA Below Right: The Sunset District neighborhood in San Francisco, CA

SKIN DIAGRAMS: RELATIONSHIP BETWEEN EXISTING + PROPOSED

N O R T H

R E A D I N G R O O M

S T A G E

N O R T H

E L E V .

W E S T

W E S T

S O U T H

S O U T H

E A S T

E A S T

N O R T H

N O R T H

W E S T

W E S T

S O U T H

S O U T H

E A S T

E A S T

E N T R Y / V E S T I B U L E E N T R Y / V E S T I B U L E R E A D I N G R E A D I N G R O O M R E A D I N G R O O M S T A F F O F F I C E S S T A F F O F F I C E S C H I L D R E N ’ S R E A D I N G R O O M C H I L D R E N ’ S R E A D I N G R O O M R O O M

R E A D I N G R E A D I N G R O O M R O O M

E L E V .

E Q U I P M E N T R O O M S C O R R I D O R S T A G E

C O R R I D O R

T O O L L E N D I N G L I B R A R Y E Q U I P M E N T R O O M S B A T H R O O M

C O T O O L L E N D I N G L I B R A R Y M P U T E R L C A O B M J A N I T O R P U T E R M E E T I N G R O O M L A B J A N I T O R S T A G E M E E T I N G R O O M S T A G E B A T H R O O M

B A T H R O O M

B A T H R O O M

S E C O N D A R Y F A C A D E S E C O N D A R Y F A C A D E P R I M A R Y P U B L I C F A C A D E P R I M A R Y P U B L I C F A C A D E R E F L E C T I O N R E F L E C T I O N

R E F L E C T I O N R E F L E C T I O N

D I S T O R T D I S T O R T R E F L E C T I O N V I E W R E F L E C T I O N V I E W R E F L E C T I O N

R E F L E C T I O N

R E F L E C T I O N

R E F L E C T I O N

T R A N S P A R E N C Y R E F L E C T I O N T R A N S P A R E N C Y R E F L E C T I O N R E F L E C T I O N

T R A N S T P A R A R E N N S C P A Y R E N C T Y R A N T S R P A A N R S E P N A C R Y E E N L I V E N S P A C E N C Y L T E R O N E D F I L D I S T O R T D V I I S E T W O R E T N V L I I E V W E E N N L S I P V A E C N E F S I L P T A E R C E E D R E F L E C T I F I L T E O R N E F D I R E F L E C T I F I L T E R E D R E F L E C T I O N R E T R A N S P A R E N C Y F L E C T I O N F I L T E R E D R E F L E C T I O N F I L T E R E D T R A N S - F I L T E R E D T R A N S - S O U N D B U F F E R S O U N D B U F F E R R E F L E C T I O N R E F L E C T I O N

D I S T O R T D I S T O R T V I E W D I S T O R T V I E W V I E W V A C A N T

Y A R D V A C A N T

R E S I D E N T I A L Y A R D

R E S I D E N T I A L 5 2 N D S T

5 2 N D S T

T E L E G R A P H A V E

R E F L E C T I O N

P A R E N C Y D I S T O R T D I S T O R T V I E W P A R E N C Y D I S T O R T V I E W V I E W

E N L I V E N S P T E R E D T R A N S P A R E N C Y

T R A N S - D I S T O R T P A R E N C Y V I E W

T R A N S P A R E N C Y T R A N S P A R E N C Y

F I L T E R F E I D L T E R E D

E N L I V E N S P A C E

R E F L E C T I O N

T R A N S P A R E N C Y

T R A N S P A R E N C Y

E N L I V E N S P A C E

D I S T O R T V I E W

T E L E G R A P H A V E

B L U E - E L E V A T E D V I E W O F S K Y B L U E - E L E V A T E D G R E E N - N A T U R A L F O L I A G E + R E S I D E N T I A L C O L O R P A L E T T E V I E W O F S K Y G R E E N - N A T U R A L F O L I A G E + R E S I D E N T I A L C O L O R P A L E T T E Y E L L O W - R E T A I L C O L O R P A L E T T E + D I R E C T S U N Y E L L O W - R E T A I L C O L O R P A L E T T E + D I R E C T S U N R E D - T E L E G R A P H A V E N U E S T R E E T R E D - A R T + E X I S T I N G B R I C K C O L O R T E L E G R A P H A V E N U E S T R E E T A R T + E X I S T I N G B R I C K

ANALYSIS OF EXISTING FACADE

PROPOSED NEW FACADE SYSTEM

UP

UP DN

DN

UP

DN

DN UP

DN

UP

UP

DN

UP

10

LOWER FLOOR PLAN

DN

DN

DN

SECOND FLOOR PLAN

UP

DN

DN

DN

DN

UP

UP

DN

FIRST FLOOR PLAN

2 our contemming back with m of urban he guidance of sustainabilwill determine jects: how C O R P O R A T I O N D E P A R T M E N T S T O R E e? Nonethee urban or in Seoul is of juxtaposile from the 3 ws-stands to dred-meter D E V E L O P E R old temples C O N D O M I N I U M S ain stations. and a sense embedded in I N D I V I D U A L

ground plane

I N D I V I D U A L C O F F E E S H O P

OVERCROWDED SLUM

inner city and regional transportation hub. Our analysis of the site looks at how these forces D E V E L O P E R have A P A R T M E N T B L O C K S shaped a diverse set of neighborhoods, each with specific charac C O R P O R A T I O N O F F I C E H E A D Q U A R T E R S teristics.

C O R P O R A T I O N

O F F I C E H E A D Q U A R T E R S

H O S P I T A L

We propose a system of infrastructure corridors that respond to and activate each one of these neighborhoods, and the site as whole, enabling vertical growth. little access to light and air G O V E R N M E N T C I V I C B U I L D I N G The proposed structural and energy/waste management system allows for adaptive growth though time, following specific guidelines UNIFORMITY I N D I V I D U A L built within it to maintain access S M A L L R E T A I L S H O P to light and air. These guidelines P R I V A T E H O M E are based on a set of parameters different for each neighborhood, encouraging growth in areas that can easily absorb it and discourag C O R P O R A T I O N S U P E R M A R K E T no connection to street or .nl ing growth where it would detract A R C H I T E C T sidewalk below 4 C L O T H I N G S T O R E A R C H I T E C T from overall quality of life.

The A R T M U S E U M 1952 corridors respond to site specific e conditions, serving as a catalyst I N D I V I D U A L I N D I V I D U A L P R I V A T E H O M E A R C H I T E C T to activate the existing city and P R I V A T E H O M E LED CITY MOBILE / NOMADIC R E S T A U R A N T 993 D E V E L O P E R relationencourage a reciprocal H O T E L C H A I N rain.com ship between the old and the new. They supply the raw material N to encourage growth by attaching ttp://maisdCURRENT DEVELOPMENT [HORIZONTAL] com structures to them, feeding off of them. lking city, 6

m.org

TREET UPWARDS

I N D I V I D U A L

S M A L L R E T A I L S H O P

C O R P O R A T I O N

R E S T A U R A N T C H A I N

I N D I V I D U A L F O O D M A R K E T

A R C H I T E C T R E T A I L S T O R E

A R C H I T E C T

R E L I G I O U S C E N T E R

G O V E R N M E N T P O L I C E S T A T I O N

D E V E L O P E R A P A R T M E N T S

I N D I V I D U A L P R I V A T E H O M E

C O R P O R A T I O N

G O V E R N M E N T

C U L T U R A L C E N T E R

D E V E L O P E R

C L O T H I N G S T O R E

C O N D O M I N I U M S

PROPOSED DEVELOPMENT [VERTICAL]

no permanent connection to the city

Looking at the

PLAN imagining the SECTION.

VERTICAL CITIES ASIA COMPETITION: “TOWARDS A UTOPIA OF THE REAL” INDIVIDUAL

DEVELOPER

COFFEE SHOP

APARTMENT BLOCKS

M.Arch Option Studio, Professor Rene Davids edman’s scheme) UC Berkeley, Spring 2012 VS. Team Project with Karen Gates + Stathis Gerostathopoulos

hybrid)

G O V E R N M E N T

CORPORATION

CORPORATION

OFFICE HEADQUARTERS

OFFICE HEADQUARTERS

GOVERNMENT HOSPITAL

INDIVIDUAL

SMALL RETAIL SHOP

CORPORATION

DEPARTMENT STORE

CORPORATION

RESTAURANT CHAIN

GOVERNMENT CIVIC BUILDING

INDIVIDUAL

FOOD MARKET

ARCHITECT

DEVELOPER

CONDOMINIUMS

RETAIL STORE

ARCHITECT

RELIGIOUS CENTER

INDIVIDUAL

GOVERNMENT

SMALL RETAIL SHOP

POLICE STATION

INDIVIDUAL

PRIVATE HOME

DEVELOPER APARTMENTS

INDIVIDUAL

PRIVATE HOME

Vertical Cities Asia is a 5-year international competition between architecture schools in the US, Europe, and Asia. In the second year of this competition, the theme was “Everyone Ages” and the site was the Yongsan Business District in Seoul, South Korea.

My team was selected as one of two finalists from UC Berkeley and we traveled to Seoul to present our project PLAN VIEW SECTIONAL VIEW along with 19 other finalists. We each worked on all aspects of the presentation--including diagrams, orthographic drawings, renderings, and models.

CORPORATION SUPERMARKET

ARCHITECT

CLOTHING STORE

ARCHITECT

CORPORATION

GOVERNMENT

CULTURAL CENTER

ART MUSEUM

DEVELOPER

CLOTHING STORE

CONDOMINIUMS

INDIVIDUAL

PRIVATE HOME

INDIVIDUAL PRIVATE HOME

ARCHITECT

RESTAURANT

DEVELOPER HOTEL CHAIN

The history of Seoul has many layers that constitute a rich and diverse urban ecosystem. The extensive damages that WWII wrought on the city’s ancient urban fabric called for a reinvention--almost from scratch--of what the city of the latter half of the 20th century would look like. Today, the distinct mélange of modern mega-structures, post-modern tower-UFOs and sexy-sustainable post-office buildings forms an image of a city in constant flux. The economic boom of the end of the 20th century meant that old buildings (with a life of 30 - 40 years) were razed to make way for new developments, always better, always taller.

EXISTING CITY CAN PLUG IN

SUCCESSFUL STREETS IN THE SKY

FLEXIBLE SYSTEM OVER TIME

Our project questions that apparent necessity for urban renewal through demolition and proposes an infrastructure that will allow the city to grow incrementally. As the citizens grow older, so does the city. There is no preconceived image of the city in 100 years. It will be denser, certainly, with more layers--horizontal and vertical--it will have wrinkles that will betray its age and it will receive aesthetic treatments. It will adapt and learn to control its breathing. It will conserve energy as it grows older. It will sometimes put make-up on and occasionally wear its scars proudly as testaments to its resiliency: it cycles as a system made up of the peoples’ work and their dreams.

12

2065 - TALL COMMERCIAL NEIGHBORHOOD

TIME IS THE MASTER, BUT WE HAVE A PLAN BRIDGING We activate this diverse urban fabric through focused interventions in our site of Yongsan Business District, located between Seoul’s historic center and the high-end OVER neighborhood of Gangnam, SITE on the north bank of the Han River. Yongsan has a rich history as first an agricultural land on the banks of the river, then a site for the encampment of variousDISCONTINUITIES occupation forces in Seoul, early D market, E low S density I G Nand commerce and the city’s largest metro station that serves as a regional transportation hub. Our analysis attempts at mass housing projects, a vibrant electronics housing ACCESS TO LIGHT AND AIR of the site looks at how these forces have shaped aSdiverse each with specific characteristics.

T R setA ofTneighborhoods, E G I E S We propose a system of infrastructure corridors that respond to and activate each one of these neighborhoods, and the site as a whole, enabling vertical growth. The vertical corridors (towers) and horizontal (trusses) are built using the same modular structural system and house building systems of energy, water, waste treatment, and transportation. There are two modules: the smaller (10 ft) can plug in to the larger (20 ft). This allows for an adaptive growth of the infrastructural system through time, following specific guidelines built into the structural system to maintain access to light and air. These guidelines are based on a set of parameters that are different for each neighborhood, encouraging growth in areas that can easily absorb it and discouraging growth where it would detract from overall quality of life. The corridors respond to site-specific conditions, serving as a catalyst to activate the existing city and encourage a reciprocal relationship between the old and the new. They supply the raw material to encourage growth by attaching structures to them, feeding off of them. Different scales of the infrastructural corridors allow for the development of different programs in addition to housing and commercial, such as assembly halls, temples, sports facilities, hospitals, and theatres.

1 STORY

2-5 STORIES

6-9 STORIES

10-14 STORIES

15-19 STORIES

20-30+ STORIES

Our proposal draws attention to STORY the forces--cultural, natural, economic, political--that have shaped the site’s morphology. It is the collision of these forces, planning ordinances, developONE TALLhistorical, - LOW ADJACENCY MID-RISE COMMERCIAL HIGH-RISE ers’ plans, and individuals’ decisions and preferences that will determine the form of the vertical city of the future.

D E S I G N BRIDGING OVER CONNECTION TO EXISTISNG S T R A T E G I E S SITE DISCONTINUITIES TRANSPORTATION LINKS ACCESS TO LIGHT AND AIR

DESIGN STRATEGIES + GOALS

EXISTING PLAN

2-5 STORIES

6-9 STORIES

10-14 STORIES

15-19 STORIES

20-30+ STORIES

TALL - LOW ADJACENCY MID-RISE COMMERCIAL BRIDGINGHIGH-RISE OVER ACCESS TO LIGHT AND AIR SITE DISCONTINUITIES ACCESS TO LIGHT AND AIR BRIDGE OVER SITE DISCONTINUITIES PROPOSED PLAN

CONNECT TO EXISTING CONNECTION TO EXISTISNG TRANSPORTATION LINKS

RESPONDING TO THE CITY RESPOND TO THE CITY GRID GRID

TRANSPORTATION LINKS

6-14 STORIES

1

2

1-2 STORIES

1-18 STORIES

3-6 STORIES

30 STORIES

6-10 STORIES, 40-50 FT WIDE

10-15 STORIES, 40-76 FT WIDE

15-20 STORIES, 50 FT WIDE

EXISTING SECTION

20-30+ STORIES

3BRIDGING OVER 8-12 STORIES, 50-70 FT WIDE RCIAL HIGH-RISE 8 STORIES, 20 FT WIDE SITE DISCONTINUITIES

I N C R E M E N T A L G R O W T H E X T E N D I N G S T R E E T U P W A R D S INCREMENTAL GROWTH PROPOSED SECTION EXTEND STREET UPWARDS

14

E X I S T I N G C I T Y C A N P L U G I N EXISTING CITY CAN PLUG IN

CONNECTION TO EXISTISNG TRANSPORTATION LINKS

S U C C E S S F U L S T R E E T S I N SUCCESSFUL STREETS IN T H E S K Y THE SKY

RESPONDING TO THE CITY GRID

F L E X I B L E S Y S T E M O V E R FLEXIBLE SYSTEM OVER T I M E TIME

N E I G H B O R H O O D T Y P O L O G Y

E X I S T I N G P L A N

P R O P O S E D P L A N

E X I S T I N G S E C T I O N

P R O P O S E D S E C T I O N

1 . T A L L C O M M E R C I A L

S H A D E , N O O N W I N T E R S O L S T I C E S H A D E , N O O N S U M M E R S O L S T I C E

6 - 1 4 S T O R I E S

5 5

8 - 1 2 S T O R I E S , 5 0 - 7 0 F T W I D E

2 . R A I L Y A R D

7 7

E M P T Y

1 5 S T O R I E S , 4 0 F T W I D E

3 . W A T E R F R O N T T O W E R S

1 2 3

2

3

1 4

6

4

6

1 8 - 2 2 S T O R I E S

1 5 S T O R I E S , 4 0 F T W I D E

1 - 2 S T O R I E S

8 S T O R I E S , 2 0 F T W I D E

4 . O N E - S T O R Y D E N S I T Y

5 . M I D - R I S E C O M M E R C I A L

3 - 6 S T O R I E S

1 0 - 1 5 S T O R I E S , 4 0 - 7 6 F T W I D E

6 . O N E - S T O R Y / H I G H - R I S E A D J A C E N C Y

1 S T O R Y

2 - 5 S T O R I E S

6 - 9 S T O R I E S

1 0 - 1 4 S T O R I E S

1 5 - 1 9 S T O R I E S

2 0 - 3 0 + S T O R I E S

1 S T O R Y

2 - 5 S T O R I E S

6 - 9 S T O R I E S

1 0 - 1 4 S T O R I E S

1 5 - 1 9 S T O R I E S

2 0 - 3 0 + S T O R I E S

1 - 1 8 S T O R I E S

6 - 1 0 S T O R I E S , 4 0 - 5 0 F T W I D E

3 0 S T O R I E S

1 5 - 2 0 S T O R I E S , 5 0 F T W I D E

7 . H I G H - R I S E A P A R T M E N T S

OVERALL SITE DIAGRAM + NEIGHBORHOOD TYPOLOGIES 15

2045 - RAILYARD

RAILYARD NEIGHBORHOOD - SECTION

PLAN

These early hand-drawn perspectives were a playful attempt to quickly visualize how our intervention would fit into the existing city. We used collage techniques to preserve the ground-up, work-in-progress feeling of the design, taking inspiration from Yona Friedman, the Metabolists, Archigram, and others.

17

TALL COMMERCIAL NEIGHBORHOOD - ENLARGED SECTION + PLAN

19

B U I L D I N G B L O C K S [ S M A L L S C A L E ]

A . T E N - F O O T M O D U L E

[ W E L D E D C O N N E C T I O N S A T C E N T E R ]

T E N - F O O T M O D U L E

I N C R E M E N T A L G R O W T H P A T T E R N

A - 1 . E N D P I E C E [ A L L O W S E X P A N S I O N I N O N E D I R E C T I O N O N L Y ]

A - 2 . E N D C O L U M N

[ F U R T H E R S T R U C T U R A L S U P P O R T A T G R O U N D L E V E L ]

C O N N E C T I O N S A : A P R E F A B R I C A T E D L I G H T W E I G H T F R A M I N G

B : A

B : B

S T R U C T U R A L C O N C R E T E F L O O R P A N E L

B U I L D I N G B L O C K S [ L A R G E S C A L E ]

B A L C O N Y - O V E R L O O K

S P A N N I N G B E T W E E N L E F T O V E R M E M B E R S A L O N G T H E P E R I M E T E R O F T H E V E R T I C A L C O R R I D O R S

S H A L L O W M E T A L P L A N T E R S O N E X T E R I O R F A Ç A D E S

B . T W E N T Y - F O O T M O D U L E

A D J U S T A B L E P O S I T I O N S O N M E T A L R O D S

[ W E L D E D C O N N E C T I O N S A T C E N T E R ]

O P E R A B L E W I N D O W S

B - 1 . E N D P I E C E [ A L L O W S E X P A N S I O N I N O N E D I R E C T I O N O N L Y ]

B - 2 . E N D C O L U M N

[ F U R T H E R S T R U C T U R A L S U P P O R T A T G R O U N D L E V E L ]

STRUCTURAL SYSTEM

A X O N O M E T R I C

20’

20’

T Y P I C A L S E C T I O N

T W E N T Y - F O O T M O D U L E

LAWN CHAIRS

Landscape Urbanism, Professor Rene Davids UC Berkeley, Spring 2011 Team Project with Corey Schnobrich, Magic Kwan + Micah Burger The culmination of this seminar was a installation designed to activate a campus gathering space. After choosing a space, we began to catalog and map the different types of activities that occur there. The challenge was to design and build something unique that would improve the space. My team chose Lower Sproul Plaza, in the heart of campus. Though a seemingly popular space, we noticed that most people walked right across the plaza without stopping to hang out, so we decided this plaza would benefit from additional seating and a bit of landscaping.

Due to the tiny budget for the project, we chose to build with primarily recycled materials.

We secured lightweight wooden pallets at various angles using a wooden substructure of 2x4’s. We then added a layer of sod on top of the pallets, in an effort to introduce a touch of nature into the plaza. Since Lower Sproul Plaza is primarily a ‘hard’ landscape with cold, unnatural materials, we wanted to provide something opposite, something that was characterized by a soft, natural, and inviting texture. These “Lawn Chairs” provide an opportunity to hang out on the grass while still taking part in the numerous social interactions that occur.

Note: this was a team project, and I worked with three other students on this installation. Each of us participated in all aspects of the project, including analysis, design, and construction.

CONSTRUC

sod s o d ~ 1 . 5 ” ~1.5”

w a t e r p r o o f m e m b r a n e

0 . 5 ” 0.5”

48” 4 8 ”

1 3 5 °

5 ” 5” 2 1 . 7 5 ” 21.75” 4 5 ° 45º

1 . 5 ” 1.5”

2 8 . 2 5 ” 28.25”

3 .

5 ” 3.5”

CONSTRUCTION SYSTEM 22

4 0 ”

40”

23

PERSPECTIVE VIEW WITHOUT ROOF

TIBURON ECO-CENTER

M.Arch Option Studio, Professor Koji Tsutsui UC Berkeley, Fall 2012 This studio had a dual focus on both sustainable architecture and new types of emergent form. The objective was to use fractal or collective form to design a new eco-center that utilized sustainable strategies. My project explores how architecture can tie into the ecological needs of a given site. The site (Blackie’s Pasture in Tiburon, CA), is currently a recreation area with a central garden, which volunteers maintain by manually watering the planted area with a hose. However, there are plans for the future restoration of the salt marsh in the middle of the site. In order to protect the fragile salt marsh ecosystem from the busy activity on site, there will be large planted areas all around the marsh. These planted buffer zones will dramatically increase the demand for irrigation on site. In response to this demand, my project is essentially a large-scale roof canopy that collects rainwater for irrigation purposes. The formal strategy is derived from natural material textures on site. After diagramming the form of these materials, I came up with two distinct formal types - the ‘linear model,’ which is characterized by a strong grain, and the ‘cluster model,’ which is characterized by enclosed spaces between angled sticks. I related these formal types back to my sustainable goal and understood that the cluster model would be functionally useful for collecting water in basins, while the linear model would be ideal for funneling water out toward the planted areas on site.

In order to maximize the area of the roof (and therefore the amount of rainwater collected), the building’s program is split into smaller units and dispersed throughout the site. The topography of the roof is carefully finessed in order to direct water into the storage tanks for later use during the dry season. The roof is lightweight to offset its massive size, while a mix of opaque, translucent, and open roof panels enhance the porous feel. This creates a communal, shared space between the different programmatic units. This communal space is covered by the roof, so it provides a higher level of enclosure without becoming conditioned space. Each programmatic unit can spill out into this space when there is a special event that requires more space, or if the weather is nice and people want to be outside.

24

2D

3D LINEAR MODEL

2D

CLUSTER MODEL

FORMAL STRATEGIES 26

3D

NATIVE FLOWERS IN BLACKIE’S GARDEN

I N L E T

B L A C K I E ’ S G R O V E

B L A C K I E ’ S G A R D E N

F U T U R E R I P A R I A N H A B I T A T

F U T U R E S A L T M A R S H

SITE PANORAMA 27

FLOOR PLAN

OPEN

no enclosure or covering example: bay trail

LEVELS OF ENCLOSURE ON SITE 28

BUFFERED

medium-height plants create buffer zone between different activities example: planted areas

COVERED

roof covering creates basic sense of enclosure example: planted areas at building perimeter

SHELTERED

roof + floor level change create semi-enclosed space example: communal area

ENCLOSED

roof + walls + floor create enclosed, unconditioned space example: programmatic volumes

SECTION

A

N

B P R O G R A M M A T I C V O L U M E S

P R I M A R Y S T R U C T U R E

O

C

P

C O M M U N A L S P A C E

S E C O N D A R Y S T R U C T U R E

D

Q

E

R G R O U N D L E V E L C H A N G E S

M A I N P E A K S + V A L L E Y S

F

S G

P L A N T E D A R E A S

R O O F S L O P E

T H

U I

W A T E R S T O R A G E T A N K S

O P A Q U E R O O F P A N E L S

V J

W K

E X I S T I N G C I R C U L A T I O N

T R A N S L U C E N T R O O F P A N E L S

X L

Y

M N E W C I R C U L A T I O N

R O O F O P E N T O B E L O W

exit

R E C R E A T I O N S W I M

S E N I O R C I T I Z E N S

T H U R S D A Y

F R I D A Y

S A T U R D A Y

front desksecurity receptionist

S U N D A Y

ENTER

lobbycashier exitcontrolled access restrooms

8 : 0 0 a m

answer questions

9 : 0 0 a m

schedule office firstgarbage aid admin

WORK MEET CHANGE restroomintimacy shower

1 0 : 0 0 a m

janitor

1 1 : 0 0 a m

staff restequipment dry storage wet HQ room

1 2 : 0 0 p m

conferences spectatorswaiting room

1 : 0 0 p m 2 : 0 0 p m

lounge

3 : 0 0 p m

chat

parents

multipurpose town hallwatchingkids meetingscommunity classes

4 : 0 0 p m

derobe

5 : 0 0 p m 6 : 0 0 p m

8 : 0 0 p m

clean undress

reveal changing dress store belongingsnudity

family

7 : 0 0 p m

frolickingfoghang out outside talk playground sunshine courtyard inviting

1

SWIM

soccer stadium

SOCIALIZE lounge public space play exterior dogs

B A L B O A S W I M T E A M L A P S W I M M I N G W A T E R E X E R C I S E S W I M L E S S O N S R E C R E A T I O N S W I M S E N I O R C I T I Z E N S W A T E R G A M E S

6 : 0 0 a m 7 : 0 0 a m

T O W N M E E T I N G S B A S K E T B A L L G A M E S

2

T U E S D A Y

W E D N E S D A Y

T H U R S D A Y

F R I D A Y

S A T U R D A Y

S U N D A Y

patio

9 : 0 0 a m 1 0 : 0 0 a m

PLAY

1 1 : 0 0 a m 1 2 : 0 0 p m

wading jumping LAP POOL hobby diving technique climbing race competition adventure

1 : 0 0 p m 2 : 0 0 p m 3 : 0 0 p m

5 : 0 0 p m 6 : 0 0 p m

elements

environment

basketballtables tennis courtsweather lifeguard relaxing INSTRUCTION senior citizens lessonsexercise little kids knowledge watching workout socializeaerobics classes safety peers teacher drinking fountain practice

8 : 0 0 a m

4 : 0 0 p m S P E C T A T O R S

M O N D A Y

splashing babysitting quiet noisy

meditation

shallow water

SWIM

floating focusputting on

practice

observing drying offtowels recreation shower

7 : 0 0 p m 8 : 0 0 p m

3

swimsuit

BEACH

F L E X I B L E

grassy field

4

CHANGE SOCIALIZE

MEET

SOCIALIZE WORK ENTER

5

+

S W I M L E S S O N S

W E D N E S D A Y

F I X E D

W A T E R E X E R C I S E

T U E S D A Y

P U B L I C

L A P S W I M M I N G

M O N D A Y

7 : 0 0 a m

+

6 : 0 0 a m B A L B O A S W I M T E A M

P R I V A T E

answer questionsaccess

6

7

BALBOA PARK MUNICIPAL POOL

M.Arch Comprehensive Studio, Professor Roddy Creedon UC Berkeley, Fall 2011 This project rethinks the idea of the municipal pool as a traditionally single-use building, and instead strives to establish it as a new social center with multiple responsibilities to its citizens.

Multiple programs will be able to occur simultaneously, essentially collapsing the strict hierarchy of the existing schedule (Diagram 1) and creating a new schedule where all programs are accessible at all times (Diagram 2). The programmatic elements are divided into clusters of similar activities (Diagram 3), and these clusters are then situated based on levels of privacy.

The right side of the building houses the fixed, public programs, while the left side contains those spaces that are more flexible and public in nature (Diagram 4). Lastly, my formal strategy is a system of continuous ribbons that fold to create subdivided spaces for these programmatic clusters (Diagram 7). On the right side of the building, one ribbon is folded sectionally to divide the fixed and private spaces, like locker rooms and staff offices (Diagram 6). On the left side of the building, a second ribbon is folded in plan to divide the flexible and public spaces, like the lobby and multipurpose room (Diagram 5). This flexible ribbon thickens at times to swallow ancillary programs, like spectator seating and storage spaces. The operability of this ribbon is maximized in order to create physical and visual access between compartments, and to allow different programs to combine in new ways.

32

NORTHEAST ELEVATION

SOUTHWEST ELEVATION

LONGITUDINAL SECTION A

LONGITUDINAL SECTION B

CROSS SECTION C 36

4

4 15 13

5

16

5

2

3 6

8 14

10

1 7

11

12

9

FLOOR PLAN

1 - COVERED ENTRY 2 - LOBBY 3 - FRONT DESK 4 - PUBLIC RESTROOM

5 - OUTDOOR COURTYARD 6 - WET / DRY STORAGE 7 - JANITOR 8 - FIRST AID

9 - STAFF OFFICE 10 - WOMEN’S LOCKER ROOM 11 - FAMILY CHANGING ROOM 12 - MEN’S LOCKER ROOM

13 - MULTIPURPOSE ROOM 14 - LAP POOL 15 - SHALLOW RECREATION POOL 16 - INSTRUCTION POOL

37

2 8 2 7 2 6 2 5 2 4 2 3 2 2 2 1 2 0 1 9 1 8 1 7 1 6 1 5

1 4 1 3 1 2 1 1 1 0 9 8

7 6 5 4 3

WALL SECTION + UNFOLDED ELEVATION 1 - P O O L W A T E R 2 - C O N C R E T E F O U N D A T I O N 3 - P O O L D R A I N A G E C H A N N E L 4 - S T E E L C C H A N N E L S [ L I G H T G A U G E F R A M I N G ] 5 - S T E E L C S T U D S @ 1 6 ” O . C . [ L I G H T G A U G E F R A M I N G ] 6 - S T E E L C O L U M N [ B E H I N D ] 7 - H O R I Z O N T A L B R A C I N G 8 - R E C E S S E D B L E A C H E R S E A T I N G 9 - B A T T I N S U L A T I O N 1 0 - 6 ” L I N E A R A L U M I N U M P A N E L S [ V A R I O U S L E N G T H S ] 1 1 - O P E R A B L E P A N E L [ S L I D E S U P V E R T I C A L L Y ] 1 2 - A L U M I N U M M U L L I O N 1 3 - T W O 1 / 2 ” P A N E L S O F G L A Z I N G 1 4 - O P E R A B L E W I N D O W [ V E N T I L A T I O N - I N T A K E ]

38

1 5 - S U S P E N D E D C E I L I N G P A N E L S [ W H I T E P L A S T E R ] 1 6 - T E E B A R W I T H C A B L E 1 7 - S T E E L W B E A M 1 8 - F I R E P R O O F I N G 1 9 - S T E E L O P E N - W E B T R U S S 2 0 - M E T A L D E C K I N G 2 1 - R E I N F O R C E D C O N C R E T E S L A B 2 2 - B A T T I N S U L A T I O N 2 3 - P A R A P E T 2 4 - W A T E R P R O O F I N G 2 5 - S T E E L T U B E B E A M 2 6 - A L U M I N U M C U R B 2 7 - O P E R A B L E S K Y L I G H T [ V E N T I L A T I O N - E X H A U S T ] 2 8 - R E C E S S E D E L E C T R I C S K Y L I G H T

2 1

ANALOG MODEL & DRAWINGS

Introductory Design Studio, Professor Catherine Seavitt-Nordenson Princeton University, Spring 2007 As a starting point, we were given an abstract geometric painting (Theo van Doesburg’s 1878 painting entitled “The Cow”) and were told to create a chipboard model that had a section slice identical to the painting. I then selected a small detail (size: 1” cube) from within the larger model, enlarged it, and added general programmatic elements such as places to stroll, sit, and recline. These are photographs and drawings of the resulting enlarged model.

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SUBMERGED KAYAK CENTER

M.Arch Studio, Professors Ron Rael / Richard Fernau / Mark Anderson UC Berkeley, Fall 2010 This project called for a new kayak center adjacent to the existing Pier 14 in the San Francisco Bay. I had two main objectives: first, I wanted to offer a new experience that was different from that of the existing pier. Additionally, I did not want to ruin Pier 14’s beautiful 360 degree view of the bay, especially since the kayak center demanded a great deal of square footage. My initial instinct to solve both of these objectives was to submerge the program underwater. I thought the most interesting part of our site was the water itself, and I analyzed the changing tide levels throughout the seasons. Then I oriented the six main bodies of program relative to the tide levels, depending on programmatic needs (i.e. since the workshop is frequently occupied, I raised it a few feet above the highest tide so that it always receives sunlight, regardless of tide level). I wanted visitors to become intimately aware of how dynamic the bay is, so many of the program cells and the pathways react to the changing tide levels. Some float up and down with the tide, in which case they are only accessible at certain times.

Others are fixed, while the pathways float up and down relative to these fixed bodies. As a result, the circulation patterns are constantly changing with the tide level. My project seeks to acquaint visitors with the dynamic power of this body of water -- after all, isn’t that what the sport of kayaking is all about?

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C I R C U L A T I O N A T H I G H T I D E + 0 ’

M A I N L E V E L - F L O O R P L A N

M E Z Z A N I N E L E V E L - F L O O R P L A N

T A K E N 1 0 ’ B E L O W H I G H T I D E

T A K E N 4 ’ B E L O W H I G H T I D E

E X H I B I T I O N S T O R A G E

U P

U P

C N C R M

M A T E R I A L S

G I F T S H O P

D N

B R E A K R O O M

D N

U P

D N D N

U P

W O R K S H O P L O B B Y / E X H I B I T I O N A R E A

U P

F I N I S H I N G R M

U P

A D M I N O F F I C E S

C I R C U L A T I O N A T F L O O D I N G T I D E - 2 ’

D N

T O O L R M

U P

D N

C L U B H O U S E

U P

U P D N

T R A I N I N G R M

C A F E A R E A

U P

S H O W E R R M

P A D D L E S T O R A G E

K A Y A K S T O R A G E

L O A D I N G A R E A

D N

C I R C U L A T I O N A T E B B I N G T I D E - 4 ’

S T O R A G E O F F I C E

U P D N

V I E W I N G P L A T F O R M

C I R C U L A T I O N A T L O W T I D E - 6 ’

V I E W I N G P L A T F O R M

V I E W I N G P L A T F O R M

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L O N G I T U D I N A L S E C T I O N - A H I G H T I D E + 0 ’ L O W T I D E - 6 ’

L O N G I T U D I N A L S E C T I O N - B H I G H T I D E + 0 ’ L O W T I D E - 6 ’

L O N G I T U D I N A L S E C T I O N - C H I G H T I D E + 0 ’ L O W T I D E - 6 ’

SITE PLAN

C R O S S S E C T I O N - D H I G H T I D E + 0 ’ L O W T I D E - 6 ’

C R O S S S E C T I O N - E

A

B

C

D

D

E

E

F

F

H I G H T I D E + 0 ’ L O W T I D E - 6 ’

C R O S S S E C T I O N - F H I G H T I D E + 0 ’ L O W T I D E - 6 ’

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A

B

C

S I T E P L A N 1 / 1 2 8 ” = 1 ’ - 0 ”

F L O A T I N G

F I X E D

S L A N T E D

U N D E R W A T E R

M O V E S U P A N D D O W N O N G U I D E P O S T S

S E C U R E D I N P L A C E W I T H W O O D E N P I L I N G S

A N G L E D R O O F I S S O M E T I M E S P A R T I A L L Y S U B M E R G E D

V O L U M E I S E N C L O S E D B Y A C R Y L I C A N D S T E E L

h i g h t i d e

h i g h t i d e

h i g h t i d e

h i g h t i d e

l o w t i d e

l o w t i d e

l o w t i d e

l o w t i d e

These diagrams show the different types of structure in my project, and how those structures each react to the changing tide levels.

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0 1

0 2

0 6

0 7

0 8

0 3

0 9

1 0

0 4

1 1

1 2

0 5

1 3

1 4

1 5

W A L L S E C T I O N S 1 6

1 7

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1 9

2 0

2 1

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CASE STUDY: ZENITH MUSIC HALL

M.Arch Studio, Professors Danelle Guthrie / Raveevarn Choksombatchai UC Berkeley, Spring 2011 Team Project with Ross Guntert + Stathis Gerostathopoulos For a case study project, we were assigned the Zenith Music Hall in Strasbourg, France, designed by Massimiliano Fuksas. We produced drawings and built a large-scale wall section model.

The emphasis was on understanding how the skin system worked. The Zenith Music Hall has a very interesting fabric skin that is alternately pushed and pulled to produce a fractured, ring-like appearance on the exterior. Through drawing and building, we came to understand how exactly this system worked: thick cable rings pulled the fabric skin inward in tension, while steel rings pushed the fabric outward. Our model showcases this system, using thin wire sewn into concealed “sleeves� in the fabric. I worked primarily on the serial wall sections (above) and the physical model, although we all helped each other.

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0 1 0 2 2 2

0 3

2 1

2 0

0 4

1 9

0 5 1 8

1 7

0 6

0 7

1 6

0 8 1 5

0 9 1 4

1 0

P L A N

1 3 1 1

1 2

S E C T I O N A - A

S E C T I O N B - B

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LIVE-WORK: A FORMAL JUXTAPOSITION

M.Arch Studio, Professors Danelle Guthrie / Raveevarn Choksombatchai UC Berkeley, Spring 2011 This project highlights the programmatic contrast that exists within every mixed-use building by translating it into a formal contrast between public and private spaces. On my initial visit to the site, an empty lot near Market Street in San Francisco, I was struck by the contrast between visible lines (i.e. facade textures, patterns, painted road markings) and the invisible lines that carve through them (i.e. topographic contours, bus routes, pedestrian traffic). I created a similar formal contrast by laying out a functional 10’ x 10’ grid to organize the private apartment units, and then carving across the grid to create open-air public space where the art gallery and performance spaces would be located. The public space is dispersed across all floors and is concentrated at the inner corner, making good use of space that is unsuitable for apartment units due to the parti walls required by an adjacent building. I also cut voids in the floor plates of the public spaces, allowing natural light to trickle down through the building and increasing the public nature of the space by allowing visual connections between floors.

The wall sections clearly demonstrate the formal contrast between the exterior curtain walls, which have thin sunshades to increase the rectilinear nature of the facade, and the interior concrete walls, which begin to curve in section to connect to adjacent floors.

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CONCEPTUAL SITE DRAWING

2 B R

2 B R

2 B R

2 B R

1 B R

2 B R

2 B R

2 B R

S

1 B R 1 B R

1 B R

1 B R

2 B R

S 1 B R

2 B R

S

2 B R

L I V E / W O R K

P 1 B R

1 S T F L O O R

ALL FLOOR PLANS 50

1 B R

2 N D F L O O R

1 B R

1 B R

3 R D F L O O R

1 B R

1 B R

1 B R

1 B R

4 T H F L O O R

1 B R

1 B R

5 T H F L O O R

1 B R

6 T H F L O O R

S

7 T H F L O O R

A R T G A L L E R Y

D N

U P

P E R F O R M A N C E S P A C E

THIRD FLOOR ENLARGED PLAN 51

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