ELAINE MARIE ZHANG
ELAINE MARIE ZHANG elainemzhang@gmail.com 405 255 8785
EDUCATION Rensselaer Polytechnic Institute, Class of 2018 Bachelor of Architecture, Minor in Communication GPA: 3.52
EXPERIENCE Intern, Bohlin Cywinski Jackson - Seattle, WA | June - Aug. 2017 Intern, Method Design - New York, NY | June - Aug. 2016 Student Researcher, Center for Architecture Science Ecology - New York, NY | Jan. 2016 - May 2016 Intern, Muirfield Homes - Norman, OK | July - Aug. 2015 Intern, Bigfoot Creative - Norman, OK | July - Aug. 2015 Transcriber, “Twisted Siblings: Relationships Between Contemporary Painting & Digital Architecture” - Troy, NY | Aug. 2014 - Present Student Archivist and Graphic Designer, RPI SoA Publications - Troy, NY | Feb. 2014 - May 2016
LEADERSHIP + VOLUNTEERISM Co-Captain/Fundraising Coordinator, RPI CANstruction - Troy, NY | Jan. 2014 - Present Course Assistant: First Year, RPI - Troy, NY | Jan. - May 2018 Course Assistant: Materials & Design, Construction Systems, RPI - Troy, NY | Aug. - Dec. 2016 Class Representative, Dean’s Student Advisory Council, RPI - Troy, NY | July 2015 - Present Mentor, Women’s Mentoring Program & AIAS - Troy, NY | Jan. 2015 - May 2017 Warm Up Volunteer, MoMA PS1 - New York, NY | June - Aug. 2016 Volunteer, Central Oklahoma Habitat for Humanity - Moore, OK | Jan 2014 - Present
HONORS + ACHIEVEMENTS “Rose Ocean: Living with Duchamp”, Exhibition at the Tang Museum - Saratoga Springs, NY | Feb. - May 2018 “Hello”, Installation for Seattle Design Festival - Seattle, WA (BCJ Design/Build) | September 2017 Featured on ArchDaily’s “Best Student Design-Build Projects Worldwide 2017” | July 2017 Installation, Chale Wote Street Arts Festival - James Town, Ghana (Design/Build) | August 2016 Installation, Advanced Energy Conference - New York, NY (Design/Build) | April 2016 Dean’s List | Fall 2013 - Fall 2017 Leadership Award Scholarship | Aug. 2013 - May 2018 President’s Volunteer Service Award, Bronze and Silver | Aug. 2012, May 2013
SKILLS Digital: Revit, AutoCad, Rhinoceros, Vray, Adobe Creative Suite, Microsoft Office, beginner Maya, Grasshopper Fabrication: handmodeling, lasercutting, woodworking machinery, 3D printing Other: painting, drawing, photography
NORTH END REHABILITATION RESEARCH CAMPUS studio “Integrated Design Development” critics: Erik Churchill + Bryan Kim fall 2016
TWISTING FILTRATION studio “Troy Housing Project” critic: Edwin Liu spring 2015
HALIFAX NATIONAL FORESTRY LABORATORY studio “Integrated Design Schematic” critic: Lonn Combs fall 2015
CHALE WOTE studio “Design Ecologies: Provocation, Performance, Integration” critics: Demetrios Comodromos + Joshua Draper spring 2016
ROSE OCEAN: LIVING WITH DUCHAMP studio “Designing Duchamp” critic: Michael Oatman fall 2017
DOCUMENTING CORB’S MILL OWNER’S BUILDING Study Abroad: Ahmedabad, India critic: Ted Krueger spring 2017
EMBEDDED NATURES Final Project critic: Chris Perry fall 2017 - spring 2018
PERFORATED COLLECTION Materials & Enclosures critic: Ajmal Aqtash spring 2015
THERAPEUTIC FLOWS Material Anatomies critic: Nancy Diniz spring 2016
TOP OF THE MORNING Introduction to Visual Communication critic: Paul Miyamoto fall 2015
NORTH END REHABILITATION RESEARCH CAMPUS partner: Vivian Lin critics: Erik Churchill + Bryan Kim NERRC is a innovative rehabilitation and research center located in the North End of Boston, MA. Given its distinct location along the “Big Dig,� the building acts as a stitch between the historically separated North End and Financial District. What happens when you create meaningful carves into a cube? NERCC is formally driven by a series of three volumetric cuts informed by contextual, environmental, and programmatic factors. The canyon cuts lead pedestrian traffic onto the site, the plaza & balcony cuts address the need for green and open air spaces, and the light cuts allow more daylight into the building. How can spaces be carved meaningfully? What does it mean when private spaces and public spaces begin to overlap? These three cuts produces three buildings within one. There is a tri-partite programmatic organization: private, meandering public, and prescribed public. Given the private nature of physical therapy, occupational therapy, and medical check-ups, naturally privacy needs to be respected, but how can there still be opportunity for the public to interact with the private? These facade cuts provide opportunity for visual connections, the plaza, bridges, and connected 4th floor provide opportunities for physical connections. (Tech Set Available Upon Request)
CONCEPT DIAGRAM
SITE
+EXTRUSION
-ACCESS CUT
-OPEN AIR CUT
-LIGHT CUT
CIRCULATION DIAGRAM
=MASSING
PROGRAM DIAGRAM
GALLERY
TREATMENT
WEST ELEVATION WEST ELEVATION
RECREATION
ACADEMIC
SOUTH ELEVATION SOUTH ELEVATION
CR
EA
TIO
N
ME NT
TREATMENT
RECREATION ACADEMIC
PRIVATE
PUBLIC
RE
COMMUNITY
T EA
TR
AC
AD
EM
IC
PUBLIC VS. PRIVATE ORGANIZATION
URBAN SITE PLAN
C
5' - 0"
CT Room
5' - 0"
J
UP
C
TECHNOLOGIST OFFICE
D
LIBRARY
TECHNOLOGIST OFFICE
MRI ROOM
D
RECEPTION
D
IMAGING SUITE 9' - 0"
L E LIBRARIAN OFFICE
PT RESEARCH 11' - 0"
B F
H
UP
H
UP
UP N
CHANGING ROOM
UP
G
LEVEL 1
6
7
8
H
UP 29' - 0"
2
LIFT GAIT
LEVEL 2
37' - 0"
PRES OFFICE
37' - 0"
C
J
UP RESEARCH HEAD
D
OPEN TO BELOW
29' - 0"
MEETING
ADMIN OFFICES 39' - 0" K
D
EXEC RESEARCHER OFFICE OFFICE OFFICE
D
MEETING
16' - 0" L
E
OT RESEARCH
AUDITORIUM 23' - 0"
F
H
UP
10/19/16
DATE:
1
N
STUDY ROOM 32' - 6"
I
SCALE:
EAST ELEVATION EAST ELEVATION
A
C 8
2
B 3
LEVEL 3
4
NORTH
KITCHEN
Level 3 Floor Plan
TRAINER'S OFFICE
A103
5
O
1/16" = 1'-0"
NORTH
Level 2 Floor Plan
7
36' - 0"
10/19/16
SCALE:
O
1/16" = 1'-0"
UP
CAFE
DATE:38' - 0"
OT TREATMENT
1
CAFE 38' - 0"
MEETING ROOM
NORTH
6
M
GALLERY 41' - 0"
G UP
I
MEETING ROOM
STUDY ROOM 21' - 0"
O
5
L
STUDY ROOM 38' - 0"
THERAPY TABLES
G
A102
K
D
N
EQUIPMENT STORAGE
4
J COMPUTER LAB
B
M
UP
CONFERENCE HALL
B 3
MARKETING OFFICE
N
Level 1 Floor Plan
A
C 5
F
UP
SCALE: PUBLIC GYM
THERAPY TABLE
THERAPY TABLE
B 4
M 8' - 0"
10/19/16
17' - 0" 1/16" = 1'-0"
THERAPY STAIR
PARALLEL BARS
UNIVERSAL GYM
MED. BALL RACK
BIKE
ARM BIKE
HOT TUB
3
E
MEETING ROOM
ARM BIKE
PUBLIC POOL
A
L
C
VP OFFICE
B
DATE: PT TREATMENT 13' - 0"
O
UP
2
PT OFFICES 25' - 0"
OT OFFICES 27' - 0"
I
TRAINER OFFICE
PT POOL
D
UP EQUIPMENT STORAGE
1
ACADEMIC LOBBY JANITOR'S CLOSET
LIBRARY BALCONY 10' - 0"
YOGA STUDIO
G
RECREATION LOBBY I JANITOR'S CLOSET
1
K
D
B
M
F
MEDICAL OFFICES 23' - 0"
Boston, MA
LIBRARIAN OFFICE
TREATMENT LOBBY STORAGE
14' - 0"
CONSULTATION
K
E
D
AUDITORIUM
CONSULTATION
MEDICAL SUITE -2' - 0"
C
J
UP
D
D
A
B
C
BALCONY 21' - 0"
21' - 0"
NERRC
A
A
B
C
North End Rehabilitation Research Campus
North End Rehabilitation Research Campus
CT Storage
-5' - 0"
NERRC
A
A
B
C
North End Rehabilitation Research Campus
NERRC
A
A
STUDIO ZHANG | LIN
Boston, MA
A B
STUDIO ZHANG | LIN
Boston, MA
STUDIO ZHANG | LIN
6
A
C 7
8
2
DINING
KITCHEN MANAGER PANTRY
B 3
LEVEL 4
4
5
A104 6
C 7
8
FACADE ASSEMBLY DIAGRAMS ACCESS CUT: ANGLED GLASS FIN SYSTEM
SECTION, THROUGH TREATMENT WING
EXTRUDED ALUMINUM CAP
SPLICE PLATE
GLASS FIN, 0.75” x 1’
3 1/4" X 25/32" WOOD STRIP FLOORING
3" COMPOSITE DECKING
W 12 X 16 BEAM
5/8" GYPSUM BOARD
ALUMINUM SHOE, EMBEDDED IN GROUND
LAMINATED GLASS, 0.25” + 0.25”
SECTION, THROUGH RECREATION WING
SILICONE SEALANT
SHEAR CONNECTORS
Gasket
3 1/4" X 25/32" WOOD STRIP FLOORING
3" COMPOSITE DECKING
W 12 X 16 BEAM
3' - 8"
W 16 X 26 BEAM
1 1/2" COLD ROLLED CHANNELS W 24 X84 GIRDER
5/8" GYPSUM BOARD
7/8" METAL FURRING CHANNELS @ 16" O.C.
Structural Sealant Extruded Aluminum Laminated Glass Panel Angled, Vertical Glass Fin
Custom Angled Steel Splice Plate Extruded Aluminum Cap
Weatherseal
SECTION, THROUGH ACADEMIC WING
Steel Plate
OPEN AIR CUT: GLASS FIN SYSTEM
LIGHT CUT: VOLUMETRIC MULLION SYSTEM 130 DEGREE MULLION 32 DEGREE MULLION
157 DEGREE MULLION
40 DEGREE MULLION OBTUSE
ACUTE
130 DEGREE CORNER
157 DEGREE CORNER
40 DEGREE CORNER
32 DEGREE CORNER
4TH FLOOR STRUCTURE
3' - 8"
G
LIGHT CUT - GLASS PANELS
LIGHT CUT - STRUCTURE
CORNER MULLION SYSTEM
SPIDER JOINT
LINEAR MULLION FRAME
GLASS FIN, 0.75” x 1’
SILICONE SEALANT
STRUCTURAL SILICONE
LAMINATED TRANSLUCENT GLASS
TOGGLE CLASP
GASKET
INSULATED GLASS PANEL, 1” x 8’ x 10.5’
EXTRUDED ALUMINUM FRAMING 3RD FLOOR STRUCTURE ALUMINUM SHOE, EMBEDDED IN GROUND
SECTION MODEL, 1/4” : 1’
TWISTING FILTRATION partner: Jenna Kulek critic: Edwin Liu In 2035, we predict that the world will not be drastically different, albeit for slightly higher levels of air pollution. Campus enrollment and population growth will be steady and the city of Troy will become even more vibrant, thus increasing the need for both RPI and Troy housing. Our housing solution strives to connect the city of Troy with the students of RPI, and vice versa through natural and collaborative interactions between the residents of Troy and students of RPI. We believe that a collaboration with the working people and innovators of Troy with the young, shapeable minds of the students at RPI could have a positive and economically beneficial effect on the city of Troy. We began by pinpointing locations on RPI’s campus and in downtown Troy that we felt were important, popular, or had high traffic. These points, and the lines connecting them were used to develop the base shape of both the RPI and Troy buildings. Once we had the base shapes, we stacked and rotated the form in thirds to achieve a twisted look. In order to maximize light and create irregular floor plan shapes, volumetric shapes were boolean differenced from the corners and core. Programmatically, the students at RPI and residents of Troy do not share housing under the same roof, but there are shared public spaces in both the RPI and Troy buildings. The RPI building features a two-story library and stores on the first 3 floors and the Troy building features stores, a coffee shop, a restaurant, and multi-purpose space on the 4th and 5th floors. In order to combat the higher levels of air pollution, both buildings have functional skins that filter outside air to the balcony spaces, thus creating the sensation of being outdoors while being indoors.
FORM GENERATION
SKIN GENERATION PASS 1
Vietnam War Memorial Uncle Sam Monument Fulton Street Art Gallery The Arts Center Troy Waterfront Farmer’s Market Soldiers and Sailors Monument
Troy Savings Bank Music Hall
ECAV Russell Sage Laboratory RPI Student Union DCC Folsom Library VCC Mueller Center Freshman Hill
PASS 2 1 DIVISION
2 DIVISIONS
3 DIVISIONS
TROY HOUSING, floor 1 4 DIVISIONS
DORM FLOOR PLAN
TROY HOUSING, floor 6 + RPI HOUSING, floor 1
RPI HOUSING, floor 6
APARTMENT FLOOR PLAN
SECTION MODEL, 1/4” : 1’
EAST section of the Troy Apartments
SOUTH section of the Troy Apartments
WEST section of the Troy Apartments
NORTH section of the Troy Apartments
KEY RPI STUDENT APARTMENTS RPI STUDENT DORMS LOBBY/PUBLIC SPACE TROY RESIDENT APARTMENTS MULTI-PURPOSE SPACE
LONGITUDINAL SECTION
Halifax national forestry laboratory critic: Lonn Combs The Halifax National Forestry Laboratory is a national research institute that focuses on the role that forests play currently and in the future. The relationship between the corner condition of Citadel Hill, a historic and cultural relic of Halifax, and the edge condition of Spring Garden Road, a commercial and cultural district was a large driver in this proposal for this laboratory. The North West corner and the South East corner are entrance points to the site, with the North West corner drawing visitors from Citadel Hill and the South East corner drawing locals and visitors from Spring Garden Road. An urban landscape is created so people can interact with and meander through the site without being told what to do. The faceted and folded landscape plays with the contrast between below ground space and above ground space. People are able to approach and enter the building from street level, but also from the elevated landscape. While the site follows a more triangulated faceted logic, the building follows a more rectangular folded logic. In order to capitalize on the daylighting opportunities, a volume was subtracted from the South West face in order to allow light to penetrate the interior and skylights were added across the roof. The building also leans inwards on the South East and slightly outwards on the North East in order to capture more light and provide an interesting interior space, respectively. The South East and South West faces are glazed with a double curtain wall and the North East and North West faces are concrete panels.
CONCEPT - CUT & FOLDED
PROGRAM DISTRIBUTION STUDY MODELS
STUDY MODEL
SOUTHEAST FACE
NORTHEAST FACE
NORTHWEST FACE
SOUTHWEST FACE
SITE PLAN
PROGRAM DISTRIBUTION
+EL 9.200
+EL 9.450
+EL 9.200
+EL 9.450
+EL 9.200
+EL 9.450
+EL 9.200
+EL 9.450
+EL 16.333 +EL 10.333
+EL 0.000
-EL 4.000
+EL 18.575
+EL 0.000
+EL 18.575
LEVEL -1 scale 1:200
LEVEL -1
SOUTHWEST ELEVATION
+EL 0.000
+EL 18.575
MAIN LEVEL
+EL 0.000
+EL 18.575
LEVEL LEVEL 2 2 1:200 scalescale 1:200
MAIN MAINLEVEL LEVEL scale scale1:200 1:200
LEVEL 1
+EL 0.000
LEVEL 3 3 LEVEL scalescale 1:200 1:200
LEVEL 2
ON SITE, DURING THE FESTIVAL
CHALE WOTE collaborators: CASE critics: Demetrios Comodromos & Joshua Draper This design/build was the product of PhD research at CASE on the upcycling of agricultural by-products, conducted by Mae-Ling Lokko, and an invitation from Chale Wote - a street art festival in James Town, Ghana - to build a pavilion for the 2016 festival.
JAMES TOWN, GHANA
commercial product
EXPORTED COCONUT
2.50%
34%
26%
37%
UPCYCLED waste product SKIN
0.44% 0.06%
SKIN
HUSK
HUSK
SHELL
SHELL
MEAT
MEAT HUSK MEAT
HUSK MEAT
YOUNG COCONUT
ECONOMY OF COCONUT PRODUCTION
10’
PRODUCTION
JA
ME
PRODUCTION
3’
SF OR TS TR
PRODUCTION
EE
T
PURVEYING
PRODUCTION
3’
3’
SLEEPING
ight/h
eat
C
LE LA
N
D
RO AD
win d
PLAN + SECTION
h20
dayl
MATURE COCONUT
DESIGN 01_B MOD According to The Observatory of Economic Complexity at MIT, Ghana exports $0.3 billion dollars worth of coconut products annually - which includes fresh and dried coconut and coconut oil. There is an economic opportunity available if Ghana were to utilize the entire coconut - including the brown fibrous material that is the coconut’s mesocarp, which is also commonly referred to as the husk or the coir, not just the meat and oil. There are other countries - mainly in Southeast Asia - that exported a total of $498 millions of dollars worth of coconut coir - raw, processed, and waste - in 2014. The mesocarp consists of really strong and porous fibers, which are good for oxygen supply. The coir also contains a high amount of lignin, which has anti-microbial properties and can act as a natural glue. Coir is already being used to make MDF, furniture, ropes, mats, as a source of fuel and charcoal, and as a growing medium - it retains water, grows plants faster, there is minimal maintenance, no pests, and is low cost. So, why not explore the upcycling of coconut coir into a viable building material? Once this concept seed has been planted - it can flourish anywhere - including countries that produce more coconut - and coconut waste - than Ghana. JOINT DETAILS
FULL SCALE MOCK-UPS
1
“they say”: space between walls is not programmable
2
“we say”: expand the walls to get programmable interior wall space
3
push out the walls even further
4
make an entrance
5
add an interior partition wall
6
make an opening to enter programmable wall space + shift pre-existing walls
CONCEPT DIAGRAM
DESIGN 02_HYPERCAVITY partners: Sarah Reynolds & Cody Seipp Singular wall systems do not offer a profound user engagement - they create isolated spaces that causes users to neglect their surroundings. A hybridized, delaminating wall system allows the user to engage in a rich co-existence with the wall, which enriches their aesthetic experience, amplifies their spatial perception, and provides a framework for improved thermal comfort and air quality. FLOOR PLAN
0’
1’
3’
5’
ROOF PLAN
LONGITUDINAL SECTION
ROOF PLAN
BAMBOO UMBRELLA
BUILT_TACTILE ENGAGEMENT
studio-wide collaboration This was the final iteration, guided by manufacturing & production contstraints, weight restrictions for checked baggage, and buildability. In the end, the system that was utilized was a synthesis of the ideas that came into fruition from an entire semester & summer’s research & design work from the studio. The coconut panels have been further developed for durability, the joints realized as metal plates with holes for nuts & bolts, as well as folds that guided the form. The bamboo & recycled plastic umbrellas provide shade for vendors & festival-goers.
STEPPED PLANTER
UPCYCLED COCONUT HUSK PANEL
1/8" ACRYLIC GRILL
4” X 4” X 11" FOOTER
AXONOMETRIC
Rose O champ’s tion of t of view in Duch a delaye standin way, an the full work or requirem for view and req and eve forcing delay, th of the w pa intin
Rose Ocean: Living With Duchamp, as a proposal focuses on themes that defined Duchamp’s artistic practice, using this to drive not only the organization and classification of the work displayed in the show, but also to drive the architecture and the types of viewing that it requires from the viewer. Throughout the show, there is an interest in Duchamp’s idea of delay, a delayed understanding of the architecture ahead of you, a delayed understanding of the position or availability of work, and a delayed understanding of the work itself. Each zone within the gallery creates this delay in a unique way, and requires different quantities and qualities of engagement before they reveal the full contents of the show. The delay is understood both as a physical obscuring of work or text, such as the text string entry, and fabric viewing area, but also as a bodily requirement from the viewer in order to manipulate oneself into a position that allows for viewing. Furthering this concept some works are initially hidden from the viewer, and require a change in the physical configuration of the space in order to access them, and even then access is limited when compared to tradition viewing arrangements, forcing a novel view and understanding of the work. Outside of the exploration of the delay, the project flirts with the gender bending attitude of Duchamp in the placement of the work entering “the bathroom”, as well as referencing the colors of Duchamp’s last pa inting, Tu m’.
WEST view, a panorama from the entrance of seating area
ROSE OCEAN : LIVING WITH DUCHAMP overview
circulation and zones
Finding Elsa
FLOOR PLAN
lighting
Puteaux
ZONING DIAGRAM
Entry
Forest
Bathroom
Living Room
ROSE OCEAN: LIVING WITH DUCHAMP studio collaboration critic: Michael Oatman This proposal for the Tang Teaching Museum in Saratoga Springs, NY focuses on the themes that defined Duchamp’s artistic practice, using this to drive not only the organization and classification of the work displayed in the show, but also to drive the architecture, method of display, and the types of viewing that it requires from the viewer. It questions the white wall modernist museum aesthetic and aims to create a new museum experience.
Ocean: Living With Duchamp, as a proposal focuses on themes that defined Dus artistic practice, using this to drive not only the organization and classificathe work displayed in the show, but also to drive the architecture and the types wing that it requires from the viewer. Throughout the show, there is an interest hamp’s idea of delay, a delayed understanding of the architecture ahead of you, ed understanding of the position or availability of work, and a delayed underng of the work itself. Each zone within the gallery creates this delay in a unique nd requires different quantities and qualities of engagement before they reveal contents of the show. The delay is understood both as a physical obscuring of r text, such as the text string entry, and fabric viewing area, but also as a bodily ment from the viewer in order to manipulate oneself into a position that allows wing. Furthering this concept some works are initially hidden from the viewer, quire a change in the physical configuration of the space in order to access them, en then access is limited when compared to tradition viewing arrangements, a novel view and understanding of the work. Outside of the exploration of the he project flirts with the gender bending attitude of Duchamp in the placement work entering “the bathroom”, as well as referencing the colors of Duchamp’s last ng, Tu m’.
circulation and zones
Finding Elsa
lighting
LIGHTING DIAGRAM
Puteaux
Entry
Forest
Bathroom
Throughout the show, there is an interest in Duchamp’s idea of delay, a delayed understanding of the architecture ahead of you, a delayed understanding of the position or availability of work, and a delayed understanding of the work itself. Each zone (Living Room, Entry/Forest, Finding Elsa, Puteaux, and The Bathroom) within the gallery creates this delay in a unique way, and requires different quantities and qualities of engagement before they reveal the full contents of the show. The delay is represented experientially through physical obscuration of a work or text, such as the text string entry, and fabric viewing area, through manipulation of the viewer ’s body in order to view the work. The delay is represented architecturally as well - some works are initially hidden from the viewer, and require a change in the physical configuration of the space in order to access them. Even then, access is limited when compared to tradition viewing arrangements, forcing a novel view and understanding of the work.
Living Room
In addition to the exploration of the delay, this project plays with the gender bending attitude of Duchamp in the placement of the work entering “the bathroom”, and features a gallery wall comprising of colors from Duchamp’s last painting, Tu m’.
1
inhabitation / seeing and viewing 2
3
1
5
6
inhabitation / seeing and viewing
5
3
3
2
4 1 5
6
“ENTRY/FOREST”
4
“FINDING ELSA”
3
reinventing museum wall text
Jan Galligan Esquire, 1974 Altered magazine cover 19 1/4 x 14 1/4 x 1 1/4 in.
Naomi Savage Harley’s Halo, 1980 Photo collage 16 x 13 in.
4
1
VIEWING TYPOLOGY
VIEWING TYPOLOGY
reinventing museum wall text
living room
3
zzo w Sa
6
4
Naomi Savage Harley’s Halo I, 1980 Photograph 12 x 9 in.
Series: After Man Ray, 1992 Gelatin silver print 9 3/8 x 7 1/8 in.
1
te An ew e I tth Tim Ma Last 96 e Th s, 19 as ru canv Fe on Oil 60 in. x 70
forest
gallery wall
Millie Wilson Lace Curtain Window, 1991 48 x 36 x 8 in.
Millie Wilson Door C, 1994 Solid core door 78 x 31 x 2 in.
3
bathroom/fabric
Amy Podmore Finding Elsa, 2017 Installation with image projected on a free-standing wall, sound of breaking porcelain emanating from speakers embedded in the surrounding walls 15 minutes
Jan Galligan Esquire, 1974 Altered magazine cover 19 1/4 x 14 1/4 x 1 1/4 in.
Naomi Savage Harley’s Halo, 1980 Photo collage 16 x 13 in.
living room
2
forest
Ch Ju Re es lia Vint tro s M n W ag spec atch asse e ge tiv , r lat e, PaDuch in silve sade amp r pr na Scra int Art tch Mus ing eu No m, se 19 , Du 63 ch
Millie Wilson Lace Curtain Window, 1991 48 x 36 x 8 in.
zo tez w An Sa ew e I tth Tim Ma Last 96 e Th , 19 as rus canv Fe on Oil 60 in. x 70
7 mage projected on a , sound of breaking ng from speakers surrounding walls
Naomi Savage Harley’s Halo I, 1980 Photograph 12 x 9 in.
Series: After Man Ray, 1992 Gelatin silver print 9 3/8 x 7 1/8 in.
1
Millie Wilson Door C, 1994 Solid core door 78 x 31 x 2 in.
3
gallery wall
5
bathroom/fabric
METHOD OF DISPLAYING MUSEUM TEXT
LIVING ROOM
2
Ch Ju Re es lia Vinta tro s Ma n W as sp ge ec tch se ge tive, , Du r lat in Pasa cham silve de p r pr na Scra int Art tch Mu ing se um Nose , 19 , Du 63 ch
6
4 am
finding elsa
passive seating
p
5
semi-active seating
active seating 6
LIVING ROOM 3
4
PLAN OF VIEWING TYPOLOGIES
p
finding elsa passive seating METHOD OF DISPLAYING MUSEUM semi-active TEXT seating
2
1
4 am
2
4
active seating
2
2
6
1 5
2
5 6
3
6
1
5 3
6
inhabitation / seeing and viewing
3 4
2
inhabitation / seeing and viewing 3
inhabitation2 / seeing and viewing
1
4
5
6
2
1 5 1
4 5
3
6
4 6
“PUTEAUX”
3
“THE BATHROOM”
5
3
1
4
3
1
3
5
reinventing museum wall text
4
Jan Galligan Esquire, 1974 Altered magazine cover 19 1/4 x 14 1/4 x 1 1/4 in.
4
3
1
2
1
3
5
2
Naomi Savage Harley’s Halo, 1980 Photo collage 16 x 13 in.
4
VIEWING TYPOLOGIES
reinventing museum wallwall texttext reinventing museum
4
1
living room
5
6
zo tez w An Sa ew e I tth Tim Ma Last 96 e Th , 19 rus canvas Fe on Oil 60 in. x 70
Naomi Savage Harley’s Halo I, 1980 Photograph 12 x 9 in.
Series: After Man Ray, 1992 Gelatin silver print 9 3/8 x 7 1/8 in. Millie Wilson Lace Curtain Window, 1991 48 x 36 x 8 in.
6
VIEWING TYPOLOGIES
forest
3
gallery wall
Millie Wilson Door C, 1994 Solid core door 78 x 31 x 2 in.
5
bathroom/fabric
Amy Podmore Finding Elsa, 2017 Installation with image projected on a free-standing wall, sound of breaking porcelain emanating from speakers embedded in the surrounding walls 15 minutes
Jan Galligan Jan Galligan Esquire, 1974 Esquire, 1974 Altered magazine covermagazine cover Altered 19 1/4 x 14 1/4 x191 1/4 1/4 xin. 14 1/4 x 1 1/4 in.
2 Naomi Savage Naomi Savage Harley’s Halo,Halo, 19801980 Harley’s PhotoPhoto collage collage 16 in. x 13 in. 16 x 13
1
1 zo o tez w tezz w An Sa ew An e I Sa ew e I tth tth Tim Ma st Tim Ma Last e La 96 Th , 19 as 96 e Th s, 19 as rus canv Fe ru canv on Fe Oil 60 in. on x Oil 60 in. 70 x 70
2
living room living room
Naomi Savage Naomi Savage Harley’s Halo I, I, Harley’s Halo 1980 1980 Photograph Photograph 12 x129 xin.9 in.
Series: Series: 1992 AfterAfter ManMan Ray,Ray, 1992 Gelatin Gelatin silversilver printprint x 7 in. 1/8 in. 9 3/89x3/8 7 1/8
4
forestforest
3
3
2
gallery wall gallery wall
Ch Ju Re es lian tro s Wa tag spec Match ss er e ge tiv , lat e, PaDuch in silv sade amp er Sc pri na Ar rat nt t Mu ching se um Nose , 19 , Du 63 ch
Vin
Millie Wilson Millie Wilson Lace Curtain Window, Lace Curtain Window, 1991 1991 48 x 36 x 8 in. 48 x 36 x 8 in.
Millie Wilson
Millie Wilson Door C, 1994 DoorSolid C, 1994 core door Solid78core x 31door x 2 in. 78 x 31 x 2 in.
4
5
finding elsa
5
passive seating
p
6
semi-active seating
active seating
6
bathroom/fabric bathroom/fabric
METHOD OF DISPLAYING MUSEUM TEXT
Amy Podmore Finding Elsa, 2017
Installation with image projected on a Amy Podmore free-standing wall, sound of breaking Finding Elsa, 2017 emanating from speakers Installation with image projected on porcelain a embedded in the surrounding walls free-standing wall, sound of breaking porcelain emanating from speakers 15 minutes embedded in the surrounding walls 15 minutes
6
4 am
METHOD OF DISPLAYING MUSEUM TEXT LIVING ROOM
2
2 Ch Ju Re es lia Vinta tro s Ma n W as sp ge ec tch se , r ge tiv
lat e, PaDuch Ch Ju in Re es lia silve sade amp Vint tro s M n W r pr na Scra ag spec atch asse int Art tch e ge tiv , r Mu ing se lat e, PaDuch um Nose in silve sade amp , 19 , Du 63 ch r pr na Scra am int Art tch p Mus ing eu No m, se 19 , Du 63 ch am p
finding elsa
finding elsa
passive seating
passive seating
6
4
6
4
semi-active seating
semi-active seating
active seating
active seating
LIVING ROOM
LIVING ROOM
SCALE 1/2” = 1’-0”
walking up the ramp, looking EAST
on level 2, looking WEST
on level 1, at the top of the ramp
stairs to the mezzanine
brise soleil cavity
looking out of a brise soleil
DOCUMENTING CORB’S MILL OWNER’S BUILDING team: Bryce Crawford, Jeremy Falls, Emily Freeman, Deegan Lotz, Allison Turner critic: Ted Krueger It’s hard to not notice surface when you are in India - the colors, the textures and patterns, the flowing Hindi characters, the level of detail…it assaults your eyes in the best way possible. India has so much to offer on the surface, but it is only once you begin to think about what’s beneath the surface and how social/cultural influences have lead to certain decisions, that you can begin to understand and appreciate this incredibly rich and vibrant culture at a deeper level. I am interested in how things come together, the methods of making, process, and craft, and India was a fantastic landscape in which to observe and understand a wide variety of architecture. We learned about and visited traditional and contemporary Indian architecture, as well as modern works from Le Corbusier, Louis Kahn, and B.V. Doshi. We traveled to southern & northern India for several weeks, which was an incredible way to see various ways of life, and the subtle (or not so subtle) differences from our own culture. Usually, RPI does an exchange with CEPT in Ahmedabad. Due to administrative changes, our studio was lucky to have the opportunity to work at the Mill Owner’s Building in Ahmedabad, an incredible space designed by Le Corbusier. In the past, the building served as the headquarters for the mill owner’s. Now it is being used an event space, in addition to attracting visitors from all around the world. Our studio was tasked with building a 1:100 presentation model that is now displayed in the viewing gallery. As a studio, we measured the building & site, drew plans & sections, and 3D modeled the building. Additionally, I was in charge of designing and making shop drawings for the display table for the model.
GROUND LEVEL
LEVEL 1
LEVEL 2
WEST ELEVATION
WEST ELEVATION
WEST ELEVATION
EAST ELEVATION
EAST ELEVATION
EAST ELEVATION
ROOF
WEST ELEVATION
TABLE FOR NEW MODELS, PROPOSAL 04.26.17
6mm acrylic
4’0
”
”
8’0
1’4” 1’4”
3.5” 2’4.5”
6mm inset for acrylic 0.75” plywood 3.5” ”
1’0
1” teak, 0.5”notch for ply
”
1’6
CORNER (ACRYLIC + PLYWOOD) DETAIL
7”
”
4’2
2’1
0” 7”
AXONOMETRIC
”
1’0
4”
1’4” 3.5”
2’4.5”
MATERIAL LIST (3) TEAK: 1” X 4” X 12’ (3) PINE OR EQUIVALENT: 1” X 4” X 8’ (4) PLYWOOD, 19 MM (4) VENEER: 4’ X 8’ SHEETS (3) ACRYLIC, 6 MM: 4’ X 8’ SHEETS
EAST ELEVATION
1’0”
4”
FRONT SECTION
4’2”
1’6”
1’0”
7”
2’10”
7”
RIGHT SECTION
SHOP DRAWINGS FOR DISPLAY TABLE
HUMAN(E)? VW LOT, HOUSTON TX
OXFORD TILE PILE #1, WESTLEY CA
THE HUMAN-TECH RELATIONSHIP
HUMAN(E)? REFUGEES FLEEING SYRIA
NATURE’S INFLUENCE ON THE NON-NATURAL
14 |
ZAATARI CAMP, JORDAN
THE HUMAN-HUMAN RELATIONSHIP
HUMAN(E)? MARBLE SAMPLE
THE HUMAN-NATURE RELATIONSHIP
IBERIA QUARRIES #8, PORTUGAL
16 |
HUMAN INFLUENCE ON THE NATURAL
ideal
material
toxic YIELD TO HUMANS
OTHER HUMANS.
magnitude
NATURE.
technology
CO-EXIST WITH IMPOSE ON
TECHNOLOGY.
healthy
DESERT
nature
known
unknown
inhabitation the beautiful
the sublime
ideal
material
toxic
healthy
OTHER HUMANS.
magnitude
insignificance
NATURE.
technology
nature
NETWORK OF INFLUENCE. There is a relationship known between humans and non-humans. This relationship can be positive, negative, or neutral.
TECHNOLOGY.
inhabitation security
8|
HUMAN
desolation
security
risk
SPECTRUM OF EFFECTS. Effects produced through the network of influence between humans and non-humans.
unknown
VIVARIUM
desolation
CORAL REEF
insignificance
[vahy-vair-ee-uh m] noun. a place, such as a laboratory, where live animals or plants are kept under conditions simulating their SPECTRUM OF EFFECTS. natural enviornment, produced through the network of influence between HUMAN NATURE NATUREEffects as for research. humans and non-humans. risk
|9
Random House Dictionary
he toxicity of a place, appreciating its mystery, What happens to humanity after nature is gone?
What happens to the built environment after humans are gone?
RAIN FOREST 24 |
DISCURSIVE DIAGRAMMING
TUNDRA | 25
THE 4 BIOMES
|9
| 15
EMBEDDED NATURES Will we become refugees on our own planet?
critic: Chris Perry
| 13
The effect of human activity on our planet is very apparent. So much so that scientists have designated a name for this proposed epoch that humans have expedited - the anthropocene. These traces of human activity create toxic sublime landscapes, which create feelings of unsettledness, anxiety, and uncertainty. I am interested in this network of influences between humans and non-humans, which can be positive, negative, or neutral. This network creates a spectrum of effects - aesthetic, physical, programmatic. This lead to the question of whether humans or nature have more influence, which drove the discursive images that reflect this contaminated territory of the toxic sublime. The goal was to negotiate between when humans and nature are disruptive, displace, and embed themselves within each other. These actions of addition/subtraction, displacement, and embedment are what drove the discursive design. | 17
If we take this relatively simple house, place it in a sublime setting- in this case, Oxbow Bend, Wyoming in Grand Teton National Park, we can contrast the aesthetics of technology and the machine and the aesthetics of nature and embed them into each other. I wanted to create a situation that would allow the inhabitant of this house to experience different natures at once...they would be able to view the environment surrounding them through these rotating vivarium-like louvres, which are a constructed environment. Sometimes they would be looking at the “real� environment, sometimes they would be looking at this constructed environment, and sometimes they would looking at an inbetween.
The 4 biomes I chose to place into this house were a desert, a marine aquatic, a forest, and a tundra. They are interchangeable. Each side of the house could be enclosed So, what happens when you collapse the distinction between with all 4 different biomes, as shown, which would create 4 architecture and nature, the boundary dividing humans and different habitats. Or, they could be enclosed with all 4 same non-humans, and collapse the interior and exterior? biomes.
CLOSED.
OPEN 60 DEG. 1 4
3
2
N PLAN - LOUVRES CLOSED. 1/8” - 1’-0”
26 |
INTERIOR ELEVATION, LOOKING WEST
INTERIOR ELEVATION, LOOKING NORTH 28 |
INTERIOR ELEVATION, LOOKING EAST
INTERIOR ELEVATION, LOOKING SOUTH 30 |
32 |
| 27
INTERIOR ELEVATION 1: LOOKING WEST, LOUVRES CLOSED. 1/4” - 1’-0”
INTERIOR ELEVATION 2: LOOKING NORTH, LOUVRES CLOSED. 1/4” - 1’-0”
| 29
INTERIOR ELEVATION 3: LOOKING EAST, LOUVRES CLOSED. 1/4” - 1’-0”
INTERIOR ELEVATION 2: LOOKING SOUTH, LOUVRES CLOSED. 1/4” - 1’-0”
| 31
INTERIOR ELEVATION, LOOKING WEST
INTERIOR ELEVATION, LOOKING NORT 34 |
INTERIOR ELEVATION, LOOKING EAST
INTERIOR ELEVATION, LOOKING SOUT 36 |
OPEN 90 DEG. 1 4
T
TH
TH
3
1 2
4
3
2
N
N
PLAN - LOUVRES OPEN 60 DEGREES. 1/8” - 1’-0”
PLAN - LOUVRES OPEN 90 DEGREES. 1/8” - 1’-0”
| 33
38 |
INTERIOR ELEVATION 1: LOOKING WEST, LOUVRES OPEN 60 DEGREES. 1/4” - 1’-0”
INTERIOR ELEVATION 2: LOOKING NORTH, LOUVRES OPEN 60 DEGREES. 1/4” - 1’-0”
| 35
INTERIOR ELEVATION 3: LOOKING EAST, LOUVRES OPEN 60 DEGREES. 1/4” - 1’-0”
INTERIOR ELEVATION 2: LOOKING SOUTH, LOUVRES OPEN 60 DEGREES. 1/4” - 1’-0”
| 37
INTERIOR ELEVATION, LOOKING WEST
INTERIOR ELEVATION, LOOKING NORTH 40 |
INTERIOR ELEVATION, LOOKING EAST
INTERIOR ELEVATION, LOOKING SOUTH 42 |
| 39
INTERIOR ELEVATION 1: LOOKING WEST, LOUVRES OPEN 90 DEGREES. 1/4” - 1’-0”
INTERIOR ELEVATION 2: LOOKING NORTH, LOUVRES OPEN 90 DEGREES. 1/4” - 1’-0”
| 41
INTERIOR ELEVATION 3: LOOKING EAST, LOUVRES OPEN 90 DEGREES. 1/4” - 1’-0”
INTERIOR ELEVATION 2: LOOKING SOUTH, LOUVRES OPEN 90 DEGREES. 1/4” - 1’-0”
| 43
RESPONSES TO: FLUID PRESSURE
LIGHT
SOUND
MOTION
TEMPERATURE
LOAD
STRENGTH
CORNER MODEL, 3” : 1’, panel detail
CORNER MODEL, 3” : 1’, pipe detail
CORNER MODEL, 3” : 1’, front
CORNER MODEL, 3” : 1’, back CORNER MODEL, 3” : 1’, drainage pool detail
PERFORATED COLLECTION partners: Jenna Kulek & Vivian Lin critic: Ajmal Aqtash
EXPLODED AXON
The facade is a water collection system rooted in the idea of perforation and multifunctionality. The layered system includes jointed and clipped triangulated steel panels that meet at varying distances away from a glass curtain wall (to withstand loads and motion, minimize pressures from sound and air, as well as maximize water collection). The top panels have gradiented perforations, which allow water to flow into the space between the panels and the curtain wall. The water is collected in a draining pool that empties into a pipe that carries the water through a filter before it joins the rest of the building’s water supply. In addition to providing additional water for the building, the system also mitigates energy use by helping to regulate the temperature. The facade shades the curtain wall so heat is not readily gained, but still allows indirect light, which provides a pleasant living or working environment. The system also mitigates temperature inside of the building through evaporative cooling. The draining systems can be switched off, which would allow the draining pools to hold still water. The air flowing into the air space would then be cooled by the water, which would also help to cool the glass wall.
PROTOTYPE_01
PROTOTYPE_02A
PROTOTYPE_02B
PROTOTYPE_03
TOP VIEW
THERAPEUTIC FLOWS partner: Amaory Portorreal critic: Nancy Diniz Is it possible to use the natural muscular hierarchy as a guiding infrastructure for healing? Is it possible to treat muscle injuries hyper-locally; is it possible to be selective about the muscles targeted for treatment? Is it possible to treat the injury with one streamlined method without creating a mess? We believe so. This device follows a logic of muscular hierarchy, which guides the size of tubes. The tubes with the largest diameter are linked to the largest muscles, in order for them to receive the largest amount of therapy, and vice versa. Each muscle receives the proper amount of therapy. Our device is not messy, like ointment, and won’t melt, like ice wrapped in a towel, but still provides cooling/icing and heating during the recovery process. cooling and heating for the muscles during their recovery after an injury.
SIDE VIEW
BACK VIEW
BUSINESS CARD, front BROCHURE, page 6
BROCHURE, page 1 ELAINE ZHANG Apprentice Baker zhange@totm.com Top of the Morning, LLC 258 Broadway, Suite 100 Troy, NY 12180-3238 T: 518 326 4201 F: 518 326 4222 W: topofthemorning.com
BUSINESS CARD, back BROCHURE, page 2
BROCHURE, page 3
BROCHURE, page 4
BROCHURE, page 5
Top of the Morning, LLC 258 Broadway, Suite 100 Troy, NY 12180-3238
ENVELOP
PE
TOP OF THE MORNING critic: Paul Miyamoto When designing the marketing campaigning for a hypthetical muffin top bakery, I wanted to convey freshness, vibrancy, color, variety, and cleanliness with a pathos headline/slogan. I was hoping to draw people in with the bright colors and variety of the various ingredients/fruits on the full page ad. With the text, I hoped to convey that our muffin tops are not only delicious, but they do good in our community as well. With the brochure, I wanted the customers to visualize our muffins, our cafe space, and learn a little bit about our mission. I wanted to leave them (on the back page) with yet another ploy to get them to come into the cafe and purchase a muffin. With the home page, I wanted to focus on the muffin top as a background for the splash page.
HOME PAGE