00/PORTFOLIO 2012/2015
DIONYSUS CHO YALE SCHOOL OF ARCHITECTURE MArchI 2015 A portfolio of recent projects. Architecture. Design. Art.
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PROJECTS 01/UPROOT 02/PELVIS 03/KITBASHING 04/UNKNOWN 05/ARTIFICE 06/KINETIC MEMBRANES 07/DANCE MACHINE 08/GLYTCH 09/GLYTCH02 10/WAVE 11/SCATTERED PETALS
01/UPROOT 2012/YALE
05 UPROOT: torn up from the concrete floor, This piece juxtaposes the clean polished veneer of the architectural surface with the organic roots below. The development of a structured mold set into a bed of roughly formed dirt allows for the smooth top and the roughly undulating underside. The frame was developed digitally to express geometric triangulations in contrast to the concrete, while assuring rigidity to accommodate the weight of the seat and user. concrete x steel x earth making of at vimeo.com/clrlss/uproot
02/PELVIS 2012/YALE
PELVIS: a design/fabrication study of modular panelization with non-standard geometries. Inspired from studies of interlocking joints in the human skeletal system, the repetition of this vertebral unit creates numerous configurations and seamless patterns across a 3D array.
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03/KITBASHING 2014/YALE
Through a collaboration with Autodesk, KITBASHING aims to create a high resolution 3D printed physical space out of the conglomeration of disparate digital entities - an aggregate composed to enclose volumes. Materials and texture are used regardless of original object intentions. The scifi world of kitbashing and unlimited ornamentation/articulation is entering the real world. w/ Daniel Nguyen + Anne Ma
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04/UNKNOWN 2015/YALE UNKNOWN is the re-imagining of the Secession Hall - the icon of Vienna’s Secession movement. The Secession is a break from tradition - an integration of arts and crafts. This secession is the break from traditional digital explorations - a break from clean and sterile surfaces, perfections afforded to us by our tools - and integrate a more primal craft - butchery. UNKNOWN treats the mass like meat. Wrapped in layers of mass, carving across the plies reveals a rippling of striations and voids. The resultant structure is then sliced, reformed and repacked, disregarding its original form. Within, inflating voids form bloated volumes of programs, forming and bending to the exo-structure. The final project was presented as a video: CLRLSS/UNKNOWN Hernan Diaz-Alonso Advanced Studio
layer/01
carve/02
cut/03
pack/04
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bloat/05
04/UNKNOWN 2015/YALE
The pods of UNKNOWN have been developed as hard shelled panels split to reveal a heavy layer of textured moss While bracketing the form, the shells give the bulb shape while allowing for the bulging green to spread between. A central open atrium connects the volumes of the kunsthalle while acting as a terminus for the pedestrian path from the park to the north. Wrapped with an undulating landscape, the form of the building buries itself into and warps its surrounding site, drawing pedestrians into its folds. Arranged as a series of bulbous organs, the galleries are treated as individual units housed within and held together by the striated structure.
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04/UNKNOWN 2015/YALE
Butchery involves surgical cuts which not only form the shapes and sufaces, but reveal unexpected interior situations beneath a unified exterior - the gory mess held tight beneath the skin. The interior is organized as a procession of organelles. The first, lined with hair/villi, an open gallery. The second, an esophageal void opening above to an oculus and sheared below to create exhibition space. The last is an oral experience, contrasting organic shards with hard panels and veinous textures.
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05/ARTIFICE 2014/YALE
ARTIFICE is the intersection of architecture physical and digital - whereby the potentials of a virtual architecture is limitless; the ability to generate accessible and malleable virtual worlds provides an ‘eccentric’ experience of space that may be created at no cost, shared online, and explored in immersive 3D VR. With the Oculus Rift, powered by the Unreal Engine and its Blueprints coding platform, new impossible spaces were developed - multi-surface levels with manipulated gravitation planes. An exploration into the architectural possibilities of the virtual. w/ Anne Ma
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06/KINETIC MEMBRANES 2012/YALE
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KINETIC MEMBRANES: the final prototype developed utilizing a collection of digital techniques to create an interactive, dynamic, and fluid form. This acts as a proof of concept for use in a large scale lightweight construct or installation in which a space could be continually and wirelessly adjusted to the desires of the user. Kinetic Membranes carries forth inspirations to develop architectural solutions which are not only fluid in formal conception - then subsequently plastic - but organic and fluid in its ability to adjust and adapt as an elastic organism for responsive environments. live at vimeo.com/clrlss/kineticmembranes
06/KINETIC MEMBRANES 2012/YALE
Kangaroo (a Grasshopper plugin) was used for iterative form finding, taking into account material elastics and physics. This allowed for the generation of multiple forms for testing.
FORM
DIGITAL
SCRIPT
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INTERFACE
ANALOG
INTERACT Through several prototypes, winch servos for RC sailboats, were selected and mechanisms developed to house it. Firefly (plugin), through an Arduino module, allowed for precise movement of the membrane from a computer. This required experimentation on the digital scripts as well as the development and calibration of mechanism prototypes. Tests with a Kinect module allowed for flexible multi-user control through bodily gestures, while touchOSC provided for a touchscreen interface by which the membrane form could be controlled smoothly.
07/DANCE MACHINE 2012/YALE
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DANCE MACHINE: a dance facility like no other in New York. This building reinterprets three elements of dance into architecture: clothe, suspend, and lift. The Machine is clothed by a spidery structure, forming a webbed glass box. Within, the interior is delineated by layers of suspended semi-opaque shrouds wrapping individual practice studios. The performance hall, a tesselated jewel, is lifted and held center stage, peeking through the taut screens at the corner overlooking the prominent street edge.
07/DANCE MACHINE 2012/YALE
PROGRAM
storage WC [women] WC [men] elevator
changeroom [women] changeroom [men] office ticketing
cafe lobby service entrance rehearsal studio
25 The ground floor is divided by the overlooming High Line bridge. Underneath is tucked the services and changerooms, coiled in a tesselated tail. Taut fabric housing dance studios likewise conceals the theater above; the culmination of the procession tying the interweaving pathways of dancers and viewers. Playing off the studies in Kinetic Membranes, the Dance Machine foregoes concrete walls to implement flexible and responsive shrouds, carving out spaces within the volume - expanding for larger groups or lifting away when unnecessary.
DANCERS
VIEWERS
08/GLYTCH 2013/YALE
NE
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08/GLYTCH 2013/YALE
GLYTCH: an HQ for CASIS. Glitch. Symmetry. Reflection. This project sprouted from ideas of space and science fiction. A speculative study of apparent symmetries of mechanical systems (the ISS/SSI) and the development of geometries from glitch generation. The resultant drawing takes the human figure and its reflection; through similar operations, generates a structure with layers of scale and a weaving of form into an inhuman tapestry.
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08/GLYTCH 2013/YALE
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Initial studies [above] were developed utilizing animation techniques, tweening the transition and transformations and capturing the intermediate frames from the ground floor constructs to the roof; its floorplate shrinking with the ascent and the break in the ring - as generated by the space modules - shifting from rear to front. These studies formed the basis for the floorplates of the final design, though the exterior wrap has been discarded for the final shards concept.
08/GLYTCH 2013/YALE The plan is symmetrical, reflected about and highlighting the two central space artifacts - the Destiny module and the smaller SpaceX capsule. Wrapping the Destiny module, continuous circulation takes one from the lobby up into the gallery, through the educational spaces, and up into the lecture hall. Above, three floors of office are split by the SpaceX in a central atrium, creating a focal point around which the floors are arranged.
EW
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08/GLYTCH 2013/YALE
E
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The exterior skin consists of an aggregation of shards, a highly articulated structural shell with moments of slippage revealing views within. With the aesthetics of space-mech, CASIS brings back the Space Age with a design that doesn’t ground itself with Earthly precedent, but truly aspires to bring Space to Earth.
NS
09/GLYTCH02 2012/YALE
GLYTCH02 is the development of the anomalous GLYTCH as a feasible and complete design from structural to HVAC to building skin systems. This was developed as a project in Revit to integrate and detail building technologies. Remaining true to the deconstructed fracturing of its predecessor, GLYTCH02 proves to be a constructible and cohesive design solution. w/ Jack Wolfe + Kara Biczykowski
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100 SF
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559 SF
EDUCATION
1334 SF
1333 SF
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Edu Meeting Rm
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Edu Meeting Rm
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LOBBY & EXHIBITION WC
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704 SF
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Lockers
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DATA 100 SF
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262 SF
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09/GLYTCH02 2012/YALE
The exterior, imagined as folding shards, is broken down into modularized panel system which divides large triangles into manageable and self-contained curtain wall units. MAX SOLID PANEL SUBDIVISIONS
42’
46’ 30’
65’
PRIMARY
21’
23’
SECONDARY
23’
12’
32’
TERTIARY
MAX GLAZING PANEL SUBDIVISIONS 12’ 20’ TERTIARY
43’ 19’
11’
10’
45’ PRIMARY
21’
SECONDARY
11’
39
5 8
7
East/West - Long 3/64" = 1'-0"
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4
1
The Glytch Dionysus Cho . Kara Bicykowski . Jack Wolfe
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MECH RO 145
MECH ROOF 145' - 0"
MECH 125' - 0"
ME 125'
Level 8 110' - 0"
Lev 110'
Level 7 95' - 0"
Lev 95'
Level 6 80' - 0"
Lev 80'
Level 5 60' - 0"
Lev 60'
Level 4 50' - 0"
Lev 50'
Level 3 40' - 0" Level 2 Landing 32' - 0" Level 2 25' - 0"
Lev 40'
Level 1 0' - 0"
Lev 0'
Level B1 -20' - 0"
Level -20'
NORTH/SOUTH - SHORT 3/64" = 1'-0"
Lev 25'
To tackle the heavily articulated façade, an underlying tessellated
Building Sections SIS 2022b The Glytch structural frame wraps the interior space and ties back to a A301 regularized column system.Dionysus With plates Cho .floor Kara Bicykowski . Jack Wolfewhich vary drastically Project number
001
Drawn by
Author
Scale 3/64" = 1'-0"
5/9/2014 11:06:46 AM
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from floor to floor and numerous voids and atriums throughout, an intricate web of steel had to be crafted to distribute and support the shifting volumes.
COLUMN WITH INTUMESCENT PAINT BLACK STEEL GUARD RAIL WITH GLASS 12" WHITE TILE MORTAR BEAM FIRE-PROFFING, O G, ALL S STEEL TYP. BOLTED AND WELDED STEEL ANGLES
EXPANSION JOINT GUSSET PLATE PRE-FABRICATED RE F STEEL NODE WITH IINTUMESCENT PAINT 3" PREFABRICATED INSULATED A CORNER UNIT BOLT PIN N CONNECTION TOP PLATE COLUMN WELDED TO C CONNECTOR STEEL E ANGLE ALUMINUM CEILING I CAP
BEAM FIRE-PROFFING, O G, ALL S STEEL TYP. DROP CEILING RODS AND HOOKS CEILING PANNELS VENTILATION DUCT
SCALE: 1’ - 0” = 1 1/2”
Bu
Proje
Draw
10/WAVE 2014/YALE WAVE Museum is a proposal which seeks to redesign a currently sorely underutilized portion of Yale campus. Opposite of Cross Campus, which flows out from Sterling Memorial Library, open greens are cut short by a disorganized block consisted of a scattering of Yale and nonYale affiliated buildings in mess of scales and materials bounding a paved parking lot. The first step reorganizes the block with a new masterplan to densify and liven the street edges. The northeast corner is redeveloped to continue the length of pedestrian friendly restaurants and shops along the street, while the southeast corner makes way for larger Yale development. The swath of parking which occupies the center, along with flanking buildings, has been excised to make room for the heart of this proposal.
WAVE is the evolution of Yale’s Music Instrument collection from a depository into a museum. Working with collections curators, it was determined that an interactive and open display, with space for the performance of select instruments, would be necessary. WAVE organizes the program in two strips. The rolling field, playing off the Cross Campus green, not only serves as a continuation of the park, but as it rises gently, houses a performance space underneath the hill while terminating in the swell of an amphitheater. The flowing wave along the hill, which switches from façade to roof, shields the collections within while revealing, at moments, the folds and swirls of circulation.
WAVE Museum has been selected for the H.I. Feldman Prize Nomination 2015 for the best solution to an architectural problem John Patkau Advanced Studio
facade to roof /03 wave structure
instrument/manuscript /02 collections
greens to amphiteater /01 + admin building
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10/WAVE 2014/YALE
Studies of the seriality and repetition found in the fluid forms within the piano inspired the WAVE; taking the concept of the gradually shifting member to form an elegantly smooth but deceivingly simple and constructible ruled-surface faรงade-roof.
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10/WAVE 2014/YALE
facade to roof /00 wave structure
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structural /01 ribs
secondary /02 support
wave roof /03 membrane
10/WAVE 2014/YALE
The strong section provided by the WAVE is produced by a parametrically driven system which accounts for both form and structure. While carving out a flowing spatial experience below its wing, each fin along the row (each consisting of two heavy timber members supported by steel frames) adjusts to accommodate the loads of the roof above.
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1
West 1/16" = 1'-0"
EW - OC GLAZING 1/16" = 1'-0"
10/WAVE 2014/YALE
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Housing the musical instrument and manuscript collections, the bar beneath the WAVE efficiently gathers curated pieces in linear strips, creating a field of instruments and display units. Circulation is kept at the outer edge with views down onto the hills and a voluminous spiral of stairs marking a dramatic entrance to the procession upwards.
DN
11/SCATTERED PETALS 2011/KASIAN SCATTERED PETALS: buildings floating in a park. For a masterplan to redesign a monotonously typical city block in Luoyang - endless rows of sunlightchoking residential slab towers - a proposal was devised to introduce a splash of color and bring the park to the forefront. Taking the Chinese peony, a rolling landscape of petal-shaped strips - delineated by meandering pathways and ponds - weaves together the interior and exterior both in plan and section, accommodating commercial/inhabitated/cultivated spaces.
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11/SCATTERED PETALS 2011/KASIAN
01/sketch
02/sketch
The initial plan is derived from a network of paths, carving out gentle patches of peony planting, grass, and heavily forested areas. from this, several edges are pulled up to reveal retail spaces, while a central mound houses a sweeping library buried amongst trees. The resultant is a flowing and dynamic terrain accentuated by a series of pond features, connecting the corners of the site.
rendered plan +
03/sketch
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01/site plane
05/slice [access]
02/lift [retail]
06/punch [sun/access]
03/lift [library]
07/flow [water]
04/lift [vehicle]
08/scatter [greenhouse]
11/SCATTERED PETALS 2011/KASIAN
To create a builtscape to match the fluid landscape below, the utilization of parametric design tools facilitated the design process. Designating an editable doubly curved surface for both the roof plane and base plane, along with three sets of outlines - floor plate and top/bottom balcony profiles - sixteen buildings with continuous undulating balconies could be orchestrated in unison to create a unified skyline while constantly outputting per building statistics and site density calculations.
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form script
skyline script