Frankie Cheuk Fan Au 2010-2016 selected works GSD, HKU, ETH
Perimeter Plan STU 01101 First Semester Core Instructor: Ingeborg Rocker 2012 Fall GSD Nominated to GSD Platform 6 Publication
Austin Hall in Harvard Yard marks the start of the project. After close analysis of the building’s envelop, is it observed that there is an inversion of space created by the back and forth, in and out oscillation of the single façade. The concept is being brought forward into a triangular plan. Having central axis defined, the façade ribbon started the animate from the central axis, rotating, expanding and occupying the space with the geometry. The gesture of the ribbon created inverted spatial condition in the two sides of the triangle, formulating a geometry base for further tectonics development. The rest of the geometry operation is motivated by the deployment of the staircases. The expansion, contraction as well as interaction of the two staircases trigger the further movement of the façade progressing towards the central axis. The final architectural outcome resembles a condition of two voids penetrating into the triangular mass, leaving a minimal junction of interaction which bridges the navigation of two sides of the building.
2012 Fall
i. CIRCULATION The flexing of the staircase pushs and pulls the building envelop and simultaneously creates two spiral circulation in two sides.
GSD
G/F
1/F
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2/F
3/F
2012 Fall
4/F
ROOF PLAN
GSD
iii. THE INVERTED SPACE Through the moves of the staircases, new public spaces are formed with contrasting shape, porousity and openness.
2012 Fall
iv. THE ATRIUM The spiral staircase creates a pyramidal space available for public use. The public in turn can contemplate people movement on top.
GSD
v. THE EXPANSION One of the staircase expands and pushes the facade outward forming a huge cantiliver.
GSD
vi. THE CONTRACTION Another staircase contracts and pulls the facade inward creating internal openings .
GSD
Shifting Ground Research Complex for Hydraulic Engineering in Boston
Mechanism Analysis
Frankie Au Cheuk Fan 20868732 MArch I 2016 Semester I Core Studio - Lock Project Instructor: Inge Rocker
Shifting ground is a project about movement in architecture. The building designed is a research complex for the Hydraulic Engineering in Boston. The movement of the mechanism informed the possibility in space: positive and negative space, contraction and expansion of space, lamination and delamination of space, and separation between water and land. By channeling these idea into the design, the architecture is composed of shifting grounds motivated by the open and close of the lock. The three pairs of bars create a serial multiplication of plan configuration which contributes to the changes in space, function and circulation in the architecture. By nagvigating within the space, a spectator will go through up and down, experiencing the change in horizon and got intrigued by the complex spatial variation within the building. Space expands and contracts, encloses and opens; programme composes and decomposes, disappeares and emerges; Water and land joins and separates. All the parameters and qualities of the architecture shift constantly.
Se
Shifting Arms STU 01101 First Semester Core Instructor: Ingeborg Rocker 2012 Fall GSD Nominated to GSD Platform 6 Publication
This project started from studying the mechanics of the elliptical trammel. Its shifting movement inspires multiple spatial concepts of polarity: positivity and negativity, contraction and expansion, lamination and delamination of space. These spatial ideas are then brought forward to create a piece of architecture that is composed of shifting grounds motivated by the open and close of a water gate in Boston. The movement of the three pairs of “arms� create a constantly changing spatial experience with evolving functions and circulations in the architecture.
2012 Fall
of the ation bee three pairs thin the expands and qualities of
Site Plan
Serial Mulitiplication of plan configuration
ater
i. SERIAL MULTIPLICITY Each pair of arms can have their individual movement independent from the others. These combination create a series of multiplicity.
2012 Fall
C
D
A
A’
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B’
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-1/F
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C’ G
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F’
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G’
GSD
-2/F
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ii. SHIFTING Two shifting configuration of plans are shown. The shifts modify the circulation, functions and enclosure of the architecture.
2012 Fall
Section AA’
Section BB’
Section EE’
Section FF’
iii. SECTIONS Spaces for interaction with water are created during the shifting process.
GSD
Research Lab
Exhibition Hall
Library
TransformationofofProgramme Programme Transformation
Open Auditorium Open Auditorium
TransformationininPorousity PorousityofofSpace Space Transformation
Composition Composition
Open Open
Decomposition Decomposition
Semi-open / exposed natural light through glazing Semi-open / exposed toto natural light through glazing
Deformation Deformation
Enclosed Enclosed
Lecture Room
Ascending/ Descending path Ascending/ Descending path Planar path Planar path Open Theatre
Cross-channel access from t Cross-channel access from the
Open Theatre
Open Auditorium Open Auditorium
Lecture Room
Water Theatre
Water Theatre Water Theatre
Office Office Office
Office
Office Office
Exhibition Hall
Exhibition Hall Exhibition Hall
Research Lab Research Lab
Research Lab + Public Lecture Space
Research Lab Research Lab
Research Lab + Public Lecture Space
Exhibition Hall Exhibition Hall
Exhibition Hall
Library Library Library
Lecture Room Lecture Room
Transformation in Porousity of Space
Transformation in Circulation
Open Auditorium
Ascending/ Descending path
Open
Planar path
Semi-open / exposed to natural light through glazing Enclosed
Open Theatre Open Theatre
Open Theatre Open Theatre
Cross-channel access from the ground
Lecture Room Lecture Room
Water Theatre Water Theatre
Office Office Office Office
Exhibition Hall Exhibition Hall
xhibition Hall
Research Lab Research Lab ++ Public Lecture Space Public Lecture Space
earch Lab
Research Lab Research Lab ++ Public Lecture Space Public Lecture Space
Exhibition Hall Exhibition Hall
Library Library
Lecture Room
Exhibition Hall
iv. AXONOMETRICS Transformation of Programme and changes in the porosity of space.
2012 Fall
TransformationininCircula Circu Transformation
v. THEATRE expansion of the theatre create more incoming light as well as seating area.
GSD
vi. EXHIBITION SPACE The enclosed exhibition hall could be made semi-open, allowing natural ventilation and fresh air.
2012 Fall
Green House STU 01102 Second Semester Core Instructor: Katy Barkan 2013 Spring GSD Nominated to GSD Platform 6 Publication
Green house is a space where nature got captured, or in another sense, it is an artificial realm of nature made by men. Green house, a human artifact that controls the products of nature, does raise multiple questions. What is the definition of “real” nature? Can nature be fully under our control? Or we are ultimately still a component of the nature? This project is an attempt to manifest that discussion into architectural space. The green house is designed through interweaving two belts of programmes, the “human” habitable space and the “natural” green house space. As the two belts got intertwined, they create an intercapturing condition which the delineation between man-made space and natural space become ambigious.
2013 Spring
i. SITE The building is situated right next to the science building in Wellesley College.
GSD
The Solid
Institutional Space Circulation
The Transparent
Green House Circulation
2013 Spring
ii. INTERLOCKING The green houses and the “human� space are segreagated in both form and circulation, but they are interlocking with one another intricately.
GSD
2013 Spring
iii. LAYERS AND CORE In section, the building creates layers of green and manmade space sequentially. The central core is an absolute void devoid of anything as a aperture of contemplating the open clear sky.
GSD
2013 Spring
Monolithic Mass STU 01201 Third Semester Core INTEGRATE Instructor: Inaki Abalos 2013 Fall GSD
Dubai is a city of extreme climatic condition, the manipulation of thermal masses in design is substantially important. The Therme Vals by Peter Zumthor has been an inspiring precedent, in which the use of masses do not just segregate spaces of different thermal conditions, but they also create atmospheric interior as well as orchestrate the flow of spatial experience. This project is to design a mixed use tower in downtown dubai. While the programmatic requirements are highly complex and intricate, this projects attempts to manipulate the density of the thermal masses as a way to delineate or juxtapose different programmes as well as to curate the flow of cirulcation. The masses could separate and insulate one space from another monolithically, or when it becomes more porous, it allows a more organic flow and collision of programmes and circulations.
2013 Fall
i. SITE The assigned building site is located in downtown Dubai where the world’s tallest highrises are around formulating an agglomeration of architectural spectacles.
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l
Sauna Room Sauna Sauna RoomRoom
Sauna Room Steam Room Thermal Bath
Bath + Pool Thermal Bath Steam Room Sauna Room Training Pool Diving Pool Lap Pool
Bath +Bath PoolBath + Pool + Pool Sauna Room Steam Room Thermal Bath Cafe & Kitchen
Thermal Thermal Bath Thermal Bath Bath Steam Room SteamSteam RoomRoom Sauna Room Sauna Sauna RoomRoom Training Pool Training Pool Pool Training Diving Pool DivingDiving Pool Pool Lap PoolLap Pool Lap Pool
Sauna Room Sauna Sauna RoomRoom Steam Room SteamSteam RoomRoom Thermal Thermal Bath Thermal Bath Bath Cafe & Kitchen Cafe &Cafe Kitchen & Kitchen
Sauna Room Steam Room Thermal Bath
Training Pool
GYM Wellness Center B.Ball Court Squash Court Yoga Room Spinning Room Training Room
Training / Training /Training / Spinning/Spinning/ Yoga Spinning/ Yoga Yoga B.Ball Court B.Ball Court B.Ball Court
Training / Spinning/ Yoga B.Ball Court
Training Training Pool Training Pool Pool
Hotel Rooms Hotel Hotel RoomsRooms
Hotel Rooms
Diving Pool DivingDiving Pool Pool
Diving Pool
Diving Pool
Rooms Cafe Business Center
Training Pool
Steam Room SteamSteam RoomRoom Thermal Thermal Bath Thermal Bath Bath
GYM GYMGYM WellnessWellness Center CenterCenter Wellness B.Ball Court B.Ball Court B.Ball Court Squash Court SquashSquash CourtCourt Yoga Room Yoga Room Yoga Room Spinning Spinning RoomSpinning RoomRoom Training Room Training RoomRoom Training Cafe & Kitchen
Hotel
Sauna Room Sauna Sauna RoomRoom Steam Room SteamSteam RoomRoom Thermal Thermal Bath Thermal Bath Bath
Training Training Pool Training Pool Pool
& Kitchen Cafe & Kitchen Cafe &Cafe Kitchen
Cafe & Kitchen
& Kitchen Cafe & Kitchen Cafe &Cafe Kitchen Diving Pool DivingDiving Pool Pool
Hotel Rooms Hotel Hotel RoomsRooms
Hotel Rooms
Hotel HotelHotel Rooms RoomsRooms Cafe Cafe Cafe Business Business Center CenterCenter Business B.Ball Court B.Ball Court B.Ball Court
B.Ball Court
Wellness Center
Wellness WellnessWellness Center CenterCenter
Squash Court
a. a.3 PROGRAMMES a. 3 PROGRAMMES 3 PROGRAMMES 3 PROGRAMMES
a.
d.
Sauna Room Steam Room Thermal Bath
Training Pool
Lap Pool Lap PoolLap Pool
b.
b. b.THERMAL b. THERMAL THERMAL DYNAMICS DYNAMICS DYNAMICS THERMAL DYNAMICS
c.
c. c.2 SECTIONS c. 2 SECTIONS 2 SECTIONS 2 SECTIONS
g.
g. g.PROGRAMME + MASS + MASS g. PROGRAMME PROGRAMME + MASS PROGRAMME + MASS
h.
h. h.ROOMS SE h. ROOM RO ROOMS SETTING BAC
e.
e. e.VIEW CORRIDORS CORRIDORS e. VIEW VIEW CORRIDORS VIEW CORRIDORS
f.
f. f.CORE f. CORE REORIENTED CORE REORIENTED REORIENTED CORE REORIENTED
l.
l. l.HORIZONTAL ATRIUM ATRIUM l. HORIZONTAL HORIZONTAL ATRIUM HORIZONTAL ATRIUM
m.
m. m. HOTEL CIR m.HOTE HO HOTEL CIRCULATION
Sauna Room Steam Room Thermal Bath
Hotel Rooms Hotel Rooms
Hotel Rooms
Cafe & Kitchen Cafe & Kitchen Cafe & Kitchen Cafe & Kitchen
Hotel Rooms
B.Ball Court
Sauna Room Sauna Room Steam Room Steam Room Thermal Bath Thermal Bath
Lap Pool
Training / Training / Training / Training / Spinning/ Yoga Spinning/ Yoga Spinning/ Yoga Spinning/ Yoga B.Ball Court B.Ball Court B.Ball Court B.Ball Court
Hotel Rooms
Diving Pool
d. d.STRUCTURAL d. STRUCTURAL STRUCTURAL MASSMASS MASS STRUCTURAL MASS
Lap Pool Lap PoolLap Pool DivingDiving Pool Pool Diving Pool Training Training Pool Pool Training Pool
Hotel Rooms Hotel Rooms
Hotel Rooms
Wellness CenterWellness Center Wellness CenterWellness Center Squash Court
Squash Court Squash Court
Squash Court
Lap Pool
RAMME PROGRAMME g. PROGRAMME + MASS g. PROGRAMME + MASS + MASS + MASS
l. HORIZONTAL HORIZONTAL l. HORIZONTAL ATRIUM ATRIUM ATRIUM ONTAL ATRIUM
h.
ROOMS BACKSETTING h. SETTING ROOMS h. ROOMS SETTING h. ROOMS BACKSETTING BACK BACK
i.
DENSITY i. DENSITY i.OF MASS DENSITY i.OF MASS DENSITY OF MASSOF MASS DIFFERENTIATION DIFFERENTIATION DIFFERENTIATION DIFFERENTIATION
j.
j. VERTICALITY j. VERTICALITY VERTICALITY j. VERTICALITY VS HORIZONTALITY VS HORIZONTALITY VS HORIZONTALITY VS HORIZONTALITY
Loading Dock
m.
Squash Court SquashSquash CourtCourt
Lap Pool Lap PoolLap Pool
Lap Pool Lap Pool Diving Pool Training Pool
HOTEL m. CIRCULATION HOTEL CIRCULATION m. CIRCULATION HOTEL m. HOTEL CIRCULATION
n.
PUBLIC n. PROGRAMMES PUBLIC PROGRAMMES n. PROGRAMMES PUBLIC PROGRAMMES n. PUBLIC CIRCULATION CIRCULATION CIRCULATION CIRCULATION
i.
Loading Dock Loading Dock
SERVICE CORE AND i. SERVICE CORE EGRESS i. SERVICE CORE AND AND EGRESS i. EGRESS SERVICE CORE AND EGRESS
GSD
k.
k. VERTICAL k.ATRIUM VERTICAL k.ATRIUM VERTICAL ATRIUM ATRIUM VERTICAL
Loading Dock
j.
RESULTANT j. FORM RESULTANT j. FORM RESULTANT FORM FORM j. RESULTANT
ii. GYM
iii. SWIMMING POOL
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iv. THE ATMOSPHERIC INTERIOR
v. THE GROUND VIEW
2013 Fall
1 Lounge 2 Typical Room 2 3 Reading Room 4 Squash Court 5 Lockers Space 6 Mechanical Room 7 Storage
1 Basketball Court 2 Lounge 3 Lockers Space 4 Squash Court 5 Storage 6 Mechanical Room
4 6
Pool Length - 50m
3
Pool Length - 50m
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7 7 7
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2.5/F (10.75) 1:200 1 Basketball Court 2 Lounge 3 Lockers Space 4 Squash Court 5 Storage 6 Mechanical Room
2.5/F (10.75) 1:200 1 Basketball Court 2 Lounge 3 Lockers Space 4 Squash Court 5 Storage 6 Mechanical Room
Basement (-5.5) 1:200
Basement (-5.5) 1:200 1 Public Programme Lobby 2 Reception 3 Office 4 Female Changing Room 5 Male Changing Room 6 Lap Pool 7 Mechanical Room 8 Storage
1 Public Programme Lobby 2 Reception 3 Office 4 Female Changing Room 5 Male Changing Room 6 Lap Pool 7 Mechanical Room 8 Storage
3
3
8
5 5
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Basement (-5.5) 1:200
ublic Programme Lobby 2 Reception 3 Office Female Changing Room Male Changing Room 6 Lap Pool 7 Mechanical Room 8 Storage
2
1 1
G/F (0) 1:200
G/F (0) 1:200
1 Hotel Lobby 2 Reception 3 Parking Spaces 4 Access to Hotel Office 5 Loading Bay 6 Mechanical Room 7 Storage 8 Trash Room
1 Hotel Lobby 2 Reception 3 Parking Spaces 4 Access to Hotel Office 5 Loading Bay 6 Mechanical Room 7 Storage 8 Trash Room
GSD
4 6
4 6
3 4 3 4
1
1
5 5
2 2
2 2
2.5/F (10.75)
2.5/F1:200 (10.75) 1:200
1 Basketball Court
1 Basketball Court 2 Lounge 23 Lounge Lockers Space 3 Lockers SpaceCourt 4 Squash 4 Squash Court 5 Storage 5 Storage 6 Mechanical Room 6 Mechanical Room
4
4 1 4
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5 4 8
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5/F (19.5)
5/F1:200 (19.5) 1:200
1 Lounge
Basement (-5.5) 1:200 Public Programme Lobby
ement (-5.5) 2 Reception 3 Office 1:200 Female Changing Room
5 Male Changing Room 6 Lap Pool Programme Lobby 7 Mechanical Room Reception 8 Storage
3 Office Changing Room Changing Room Lap Pool chanical Room Storage
2 1Typical LoungeRoom 2 2 3Typical Room 2 Reading Room 3 4Reading Room Squash Court 4 5Squash Court Lockers Space Lockers SpaceRoom 65 Mechanical 6 Mechanical Room 7 Storage 7 Storage
2013 Fall Pool Length - 50m
G/F (0) 1:200 1 Hotel Lobby (0) 2 Reception 3 Parking Spaces 4 Access to Hotel Office 5 Loading Bay 6 Mechanical Room 1 Hotel Lobby 7 Storage 2 Reception 8 Trash Room
Pool Length - 50m
G/F 1:200
3 Parking Spaces 4 Access to Hotel Office 5 Loading Bay 6 Mechanical Room 7 Storage 8 Trash Room
1:200 44/F (159.5) 1 Sauna Room 2 1:200 Steam Room 3 Caldarium 4 Tepidarium
1 Sauna Room 5 Frigidarium 2 Steam Room 6 3Mechanical Caldarium Room 7 OTB - Training Pool 4 Tepidarium 8 OTB - Basketball Court 5 Frigidarium 6 Mechanical Room 7 OTB - Training Pool 8 OTB - Basketball Court
8 2 1
1 1
1
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42/F (152.5) 1:200 22/F (79) 1 Training Pool 2 OTB - Training1:200 Room (79) 22/F 42/FCourt (152.5) 3 OTB - Basketball 1:200 4 Mechanical1:200 Room
1 Lounge 2 Typical Room 2 1 Lounge Mechanical 13 Training PoolRoom Room 4Typical Storage 2 OTB2 - Training Room 2 3 - Mechanical Room 3 OTB Basketball Court 4 Mechanical Room 4 Storage
1 3 1 3
2
2 2
33/F (121) 33/F (121) 1:200 1:200
1 Typical Room 1 1 Typical Room 1 2 Storage 2 Storage 3 Mechanical RoomRoom 3 Mechanical
GSD
8 8
2 2
3 3
1 1
6
4
6
4
42/F (152.5) 42/F1:200 (152.5) 1:200 1 Training Pool 21 OTB - Training Training Pool Room 3 OTB - Basketball Court 2 OTB - Training Room 4 -Mechanical Room 3 OTB Basketball Court 4 Mechanical Room
4 4
8 8
2 2
1
2 2
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7 7 6 6
2 2
44/F (159.5) 44/F (159.5) 1:200 1:200 1 Sauna Room 33/F (121) Sauna Room 21 Steam Room 233/F Room (121) 3 Steam Caldarium 1:200 Caldarium 43 1:200 Tepidarium 4 Tepidarium 5 Frigidarium 51 Frigidarium Typical Room 6 Mechanical Room 1 Mechanical Room Storage Typical Room 1Pool 7 16OTB -2Training OTB - TrainingRoom Pool 3 2Mechanical Storage 8 7OTB - Basketball Court 83 OTB - Basketball Court Mechanical Room
2013 Fall 1 1
1 1
R 167
44 159.5
43 156
42 152.5
41 149
40 145.5
39 142
38 138.5
37 135
36 131.5
35 128
34 124.5
33 121
32 117.5
31 114
30 110.5
29 107
28 103.5
27
26 93
25 89.5
24 86
23 82.5
22 79
21 75.5
20 72
19 68.5
18 65
17 61.5
16 58
15 54.5
14 51
13 47.5
12 44
11 40.5
10 37
9 33.5
8 30
7 26.5
6 5.5 21.25
4.5 17.75
3.5 14.25
2.5 10.75
23
5 19.5
4 16
3 12.5
2 9
1 5.5
G 0
B -5.5
ADJACENT BUILDING
100
R 167
44 159.5
43 156
42 152.5
41 149
40 145.5
39 142
38 138.5
37 135
36 131.5
35 128
34 124.5
33 121
32 117.5
31 114
30 110.5
29 107
28 103.5
27 100
26 93
25 89.5
24 86
23 82.5
22 79
21 75.5
20 72
19 68.5
18 65
17 61.5
16 58
15 54.5
14 51
13 47.5
12 44
11 40.5
10 37
9 33.5
8 30
7 26.5
6 23
5 19.5
4 16
3 12.5
2 9
1 5.5
G 0
B -5.5
5.5 21.25
4.5 17.75
3.5 14.25
2.5 10.75
THe Mat Manual STU 01202: 4th Semester Core Studio RELATE Instructor: Carles Muro 2014 Spring GSD Groupmate: Frankie Au, Patrick Herron, Elizabeth Pipal, Eliana Dotan Exhibited in GSD Housing Exhibition 2015
Cities are more than simply an assembly of buildings. Through time and occupation, these orchestrations of matter can grow into dynamic social ecologies. Architecture in the city is the ‘temporary’ outcome of a continuous dialogue between individual or semicollective aspirations and our collective ‘civic’ positions and convictions. A sense of the civic can be achieved through the careful creation of a multilayered tissue that organizes scales, densities, programs, typologies, relations, etc. Rather than identifying and acting on the architectural within the urban, we seek to understand the urban as architecture. Urbanity and architecture do not act on one another, but rather they are mutually generative. This project demands more from architecture than the implementation of autonomous entities designed to alleviate the pressures of growth and create efficiency - it seeks to operate as a system that participates in the recursive cycle that is the city. As such, at its core lies a notion of collectivity that spans all scales.
2014 Spring
GSD
i. GOWANUS, BROOKLYN The project site is located at Gowanus in New York City, which is an area of abandoned industrial buildings to be redeveloped.
2014 Spring
Aldo Van Eyck, Amsterdam Orphanage, 1960
Candilis Josic Woods, Plan for Frankfurt, 1963
ii. THE PRECEDENTS Mat building typology applied throughout the 20th century has been studied.
GSD
Candilis Josic Woods, Free University of Berlin, 1963-72
Le Corbusier, Venice Hospital, 1965
2014 Spring
iii. THE 18 RULES Ranging from the considerations of the massing, circulation arragnement and fringe articulation, rules have been set up to drive the development of the mat building through out the site.
GSD
2014 Spring
GSD
iv. INDIVIDUAL PROPOSALS Each of the teammate has to propose an individual scheme for mat housing. My proposed idea is to make use of the circulation spaces to create 5 different levels of public spaces. The apartment units start to aggregate around the circulative cores.
2014 Spring
v. COMPOSITE UNIT On top of the individual proposals, composite units that synthesize all the distinctive characters of the individual schemes are devised and reapplied into the site as an ultimate solution.
GSD GSD 2014
THe Vacation House for Francis Bacon STU 01320 Sparton Unwonted Instructor: Mack Scogin 2015 Spring GSD This studio investigates the potential and limit of imagination in the genesis of architecture via the use of cross-disciplinary ideas and media. The studio project assigned is to design a vacation house for Francis Bacon, which is located inside of his mind. The imaginary nature of the project demands an in depth understanding of the life and personality of Francis Bacon, together with his painting techniques and philosophy about art and existence of humanity. The project culminated into an assemblage of structures representing different sides of Francis Bacon as well as his artistic world. The abstract nature of the project gives rise to the following series of triptychs, which is also an act referencing from Francis Bacon’s usual practice in paintings.
2015 Spring
i. FRANCIS BACON (1909 -1992)
GSD
ii. FUTALITY
iii. SPONTANEITY
iv. BRUTALITY 2015 Spring
v. PLAN vi. SECTION
vii. AXONOMETRICS
GSD
viii. THE GRID OF NORM
ix. THE DEVIATING PLATEAU FROM THE NORMATIVE GROUND x. THE STEPS TO THE PECULIAR HOUSE
GSD
xi. THE TWISTING CORRIDOR OF BRUTALITY xii. THE DISTORTING LIVING ROOM xiii. THE BEDROOM OF INDIVIDUALITY
GSD
THe House of Tarkovskian Surreality Thesis Instructor: Mack Scogin 2015 Fall GSD
Nowadays, computational renderings have become a standard in architectural representation. Nevertheless, the dominance of hyperrealism have been shutting down our ability to think beyond our immediate environment and constrained our perception of reality within the mundane. Contrary to the reliance on digital technology, Andrei Tarkovsky, one of the greatest Russian makers in all time, had demonstrated his ability in transforming the banal into extraordinary and subverting the normative understanding of reality with his surrealistic cinematography. As an antithesis of the contemporary self-saturating hyperreality, this thesis investigates the potential of surrealistic Tarkovskian cinematic techniques as a methodology for the genesis of architecture. By orchestrating the experience of the real, unreal and surreal spaces, architecture can reactivate its role in questioning and redefining the perception of reality and thus transcend the mundanity of the predictable.
2015 Fall
Computer Rendering of The Hudson Yard, SOM, Diller Scofidio + Renfro, and KPF
Nowadays, Simulation technology is so advanced that photorealistic renderings have become a standard for architectural representation. The demand for photorealism has been permeating in both academia and in practice. We were taught to make use of renderings software and producing imageries for presentation. While in practice. Photorealistic renderings as well as animation are indispensable from the conversation with clients and marketing. Simulation and realism have been imperative for establishing the power and purpose of architecture in our time. Although these realistic images have effectively illustrated the performance of architecture, they have fostered our over reliance on the computational prediction, which the condition has been exacerbating and threatening our discipline.
GSD
Simulation has fostered our over reliance on the computational prediction, which the condition has been exacerbating and threatening our discipline.
The World (89 Degrees). Painting by Zaha Hadid
The way we represents control the architecture we design. From the perspectival drawing in renaissance to the orthographical and axonometric projection, to the abstract representation in the late 90s. We can see the direct relationship between the mode of representation and the evolution of architecture over time. Especially In the later examples, like the drawings by Hadid, Tschumi or Lebbeus wood, their representations became autonomous architectural imagination beyond the real, thereby generating provocative architectural vocabulary and spaces in their time and challenged the norm of our built environment. Nevertheless, such potential of representation has been exterminated by simulation. As theorist David Scheer described, simulation technology has taken over architects’ original way of thinking in terms of representation. An architectural simulation simply
behaves like a building. It is a literal presentation of facts which demands no interpretation. It does not encourage intellectual discourse and acquisition of knowledge.
The contemporary dominance of hyperrealism has been shutting down our ability to think beyond our immediate environment and constrained our perception of reality within the mundane.
2015 Fall
Andrei Tarkovsky (1932 - 1986)
In response to the dominance of the computer and hyperrealism, the famous Russian film maker Andrei Tarkovsky gave the following statement: “The computer has already taken the lead over Man. In order for the computer to cease functioning, it would take spiritual work for which we don’t have the time anymore. The only hope is that, in the last moment when there is still time to turn off the computer, Man will be enlightened from above. Only that could save us.”
“The computer has already taken the lead over Man. In order for the computer to cease functioning, it would take spiritual work for which we don’t have the time anymore...”
Tarkovsky expressed his concern about the enslaving of human mind by technology, which I found a very strong relevance to our contemporary condition of our discipline. As architecture and cinema have a very strong relationship, this statement brought me to the interest in studying further Tarkovsky cinematic art as a paradigm to rethink the genesis of architecture.
Andrei Tarkovsky, My cinema in a Time of Television, 1983
GSD
Nostalghia (1983)
Andrei Tarkovsky was a Russian film-maker, writer, editor and theorist. His famous films include Mirror, Stalker, Nostalgia and The Sacrifice. His work is characterized by spiritual and metaphysical themes, extremely long takes and lack of conventional dramatic structure. Recurring motifs include dreams, memory and nature. His contribution was so influential that his cinematic style is described as Tarkovskian. He is widely regarded as one of the greatest film-makers of all time. His films are highly autobiographical, especially in his emphasis on the notion of home. Because his films did not pass the Soviet Union censorship, he has been involuntarily exiled from the homeland and moved to Italy in 1980. That gave rise to the scene in his second last film Nostalgia in 1983, which is one of the most expressive example of his cinematography and philosophy. He brings the Russian house inside the Italian cathedral, juxtaposing the two regardless of scale and content, which conveys the mental state of
the character, he is either questioning his national identity, or his existence has been blended into the unclassified realm mixed with his actual reality and his memory. As he always try to turn the real into unreal, and the ordinary into the extraordinary, he has been widely regarded as a surrealistic film maker that curate a new perception of reality.
Tarkovsky surrealistic cinematography therefore has established a very big contrast against our contemporary obsession with hyperreality. His cinema transforms the ordinary with minimal gesture, while our computers, despite their advancement in technology, seems to be stagnating our thoughts and imagination.
2015 Fall
Tarkovsky in the making of Sacrifice (1985)
His cinema transforms the ordinary with minimal gesture, while our computers, despite their advancement in technology, seems to be stagnating our thoughts and imagination.
As an antithesis of the contemporary self-saturating hyperreality, this thesis investigates the potential of surrealistic Tarkovskian cinematic techniques as a methodology for generating architecture and reactivating the role of architecture as a device of imgination and redefinition of reality.
GSD
THE SIX TECHNIQUES i. THE LONG TAKES ii. COLLISION OF SCALE iii. APPROPRIATION OF NATURE iv. REFLECTION v. SUSPENSION vi. CURATION OF TIME
2015 Fall
The Long Takes
The Long Takes
i. THE LONG TAKES The average long takes are around 1-2 minutes long with linear movement of the camera with characters acting in the scene. The longer the takes, the stronger the sense of time and space, and there will be stronger tension Tarkovsky can create between the characters and their surroundings.
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ii. COLLISSION OF SCALE These switches of scale give people the perception of, first contemplating the world from human scale, then changed into contemplating human beings from the world scale, creating a paradoxical reading of the environment.
2015 Fall
Appropriation of Nature
iii. APPROPRIATION OF NATURE By making use of nature, he is able to diffuse and obscure the edges of forms, figures and space. The images could therefore be made abstract and thus blur the perception of reality. Nature also constitutes a time measuring device.
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Reflection
iv. REFLECTION Tarkovsky is interested in the interchanges between the real and the unreal. His extensive use of mirrors and water for the creation of reflections aim to confuse the perception of regular space.
2015 Fall
Suspension
v. SUSPENSION By suspending objects into space, Tarkovsky wants to convey the suspension of time. Simultaneously he wants to create the oscillation between the real and the unreal by turning the normal objects abnormal.
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Mirror 1975 the scene of overlapping childhood 14:31 - 15:29
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the “door� scene 1:11:18 - 1:15:00
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Stalker 1979
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fire burning house
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new kid
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rain
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droppings
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illusional space in mirror threshold of transition
Nostalghia 1983 the ending scene of juxtaposing space 1:57:29 - 2:00:05
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Solaris 1972 the highway and tunnel scene 32:10 - 36:49
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russian house in an italian cathedral
reflection openings columns
man snow
kid female singing
flashing light nature sound
city and highways surreal condition - mix of scale and space
traffic sounds
alien sounds
colour
vi. THE CURATION OF TIME Tarkovsky used objects moving with different pace as an expression of the sense of time. By creating scenes with different sense of time, he curated a rhythm of the experience of the film. He aimed to give the viewers a sense of time passage and how man is drifting in between different moments.
2015 Fall
colour
colour
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vii. THE HOUSE In association with his constant interest in using home or house as a filming subject, I also decided to design a house with his cinematic techniques. There are eight basic spaces in the house. Based on the idea of the long take and the collision of scale, these spaces will incrementally be extended in their scale and create a series of evolution of the space.
a. Room with a mirror b. Room with a window c. Room with a well d. The long corridor e. The foggy bedroom f. Room with a sand dune g. Bedroom with a skylight h. The stairs
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viii. THE HYBRID SPACES From the static spaces like the stairs, corridor and rooms of mirror to the more dynamic ones like the rooms of fog or rainfall, they are displaying a spectrum of the sense of time dependent on the movement on the object in the space. Based on the 32 spaces generated before, I further created another 6 spaces with hybridized techniques.
a. The living room with layers of scale b. The courtyard of paradoxical juxtaposition of elements c. Space with convoluting rainy route d. The huge rainy spherical bedroom e. Suspending apertures in the air f. The illusional unending dessert
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viii. DISRUPTION OF LINEARITY Tarkovsky’s film does not follow linear dramatic structure. Therefore, for the layout of the house, the space would not transit linearly from small scale to large scale, or from static to dynamic. Such linearity would instead be disrupted by alternative or repeated routes, creating a labyrinth condition where spontaneous shifting of experience is enabled.
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2015 Fall
Swiss Housing 051-1501-10 S Architectural Design III: City-House-Living-Densification of Residential Buildings in Zurich Instructor: Prof. Dietmar Eberle & Nicolas Rust 2010 Fall ETH Zurich
The studio investigates the problems and possibilities of housing and city in Zurich. The whole course is composed of 3 exercises in which students are asked to manipulate and re-design the basic elements of living space (form, structure and facade) and a final individual project which requires students to design a new residential block in a chosen site. All the tasks demands students’ understanding and consideration on both the buildings/spaces designed and their urbanistic influences to the community. The course is constituted with 3 group exercises and one individual final project which each student is required to design a housing in a specific site.
2010 Fall
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Schwarzplan Schwarzplan 1:5000 1:5000
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Quartierplan Quartierplan 1:1000 1:1000
Situationsplan 1:500 Situationsplan 1:500
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10HS,10HS, ÜbungÜbung 1, Agglomeration, 1, Agglomeration, Au Cheuk Au Cheuk Fan Frankie Fan Frankie & Federli & Federli Sarah,Sarah, Professur Professur Dietmar Dietmar Eberle,Eberle, Nicolas Nicolas Rüst Rüst
Foto vor dem Eingriff Foto vor dem Eingriff
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EXERCISE 1 THE UNIT “L” The L-Module facilitates complex and multiple formal combinations. We intend to balance the definition of zones for the use of different blocks and the interaction between them, the spaces defined are connected between one and other but simultaneously with adequate level of enclosure for privacy. Groupmate: Federli Sarah
ETH
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space due to the absence of a true faรงade. Despite the complicated manipulation of the space and details at the back, the grid at the front of the whole building keeps constant, so does the order of the street.
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EXERCISE 2 THE NEW FACADE The faรงade, which is typically a thin piece of envelope, is being explored in its potential of creating space. By removing the existing faรงade and imposing a frame of grid, boxes of semi 10HS, Exercise 3, Gruenderzeit, Au Cheuk Fan Frankie, Mirjam Gerth, Professor Eberle, Nicolas Ruest open space is created in between the indoor space and the outdoor space, serving as a mediator between the interior and the exterior, facilitating interaction between pedestrians and inhabitants. Street elevation 1:250
Groupmate: Mirjam Gerth
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POROUSITY The “thickening� of the envelop creates a layer of space in between the indoor and outdoor. This intermediate space is at the same time highly porous in multiple directions within itself.
ETH
ETH
FINAL PROJECT HOUSE OF ROTATING TERRACES A new housing is decided to be built in the empty courtyard space between the Kongengasse and Graue Gasse. To maintain the merit of the courtyards which commonly perform as public spaces, a central atrium is made to link spaces on every floor. In addition to it, there is a row of cascading terraces ascending from the lowest level to the top spirally. Such porousity and interconnectivity of space promote social interaction.
2010 Fall
VISUAL CONNECTION Thanks to the porousity of the space facilitated by the central atrium and the terraces, visual connections between spaces are made possible. The potential of social interaction is amplified.
ETH
Artists as Daily Commodities ARCH 3013 Architectural Design III Individual Final Year Project Instructor: Christian J. Lange 2011 Spring HKU
Building museums is not a effective means for improving the cultural standard of Hong Kong people. The miserable fact is Hong Kong people seldom go to museums. The only moment they have interaction with art is when the art stuff or artists appear explicitly in front of them, so they do not need to pay additional effort to have extra visit. Only when getting across with art becomes a daily practice for Hong Kong people, only when artists become daily commodities can a cultural change happen. To create the scenario envisioned, a hybrid of artist studios, recreational and communal spaces is experimented. The architectural outcome is not a solid block of museum imposed into a vacant piece of land, but pieces of broken down artist showcases merging into people’s daily lives.
2011 Spring
i. PRECEDENTS AND SITE ANALYSIS In order to find out the most suitable content and organisation of hybridised programmes, precedent analysis on existing artists spaces have been done to understand their pros and cons.
HKU
ART & DAILY LIFE HIGH DENSE CIRCULATION AREA FUTURE WATER FRONT PROMENADE SOHO PARKS SHOPPING AREA GALLERIES ARTS STUDIOS EXHIBITION SPACE/ MUSEUM FUTURE WATERFRONT PROMENADE
spatial spatial spatial spatial strategy strategy strategy strategy spatial strategy
hybrid hybrid hybrid programming hybrid programming programming programming
Juxtaposition Juxtaposition Juxtaposition Juxtaposition of communal of communal of communal of spaces, communal spaces, restaurants, spaces, restaurants, spaces, restaurants, shops restaurants, shops and shops and artist shops artist and studios artist and studios artist for studios art for studios promotion art forpromotion art forpromotion art promotion hybrid programming Juxtaposition of communal spaces, restaurants, shops and artist studios for art promotion
Communal Communal Communal space Communal spacespacespace
Restaurants Restaurants Restaurants Restaurants
Shops Shops ShopsShops
Communal space
Restaurants
Shops
Separated Separated Separated individual Separated individual individual spaces individual spaces spaces spaces
Juxtaposition Juxtaposition Juxtaposition Juxtaposition
Separated individual spaces
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Physical Physical Interaction Physical Interaction Physical Interaction Interaction
Spread Spread ofSpread art ofSpread through artofthrough artofinteraction through artinteraction through interaction interaction
Physical Interaction
Spread of art through interaction
ArtistArtist studios Artist studios Artist studios studios Artist studios
Visual Visual Interaction Visual Interaction Visual Interaction Interaction Visual Interaction
Progressive Progressive Progressive spread Progressive spread ofspread art ofto spread artof the toart public the oftoart public the topublic the public
ii. PROGRAMMATIC STRATEGY The most common type of daily programmes, including catering, shopping and communal spaces are selected to juxtapose with artist studios to form a programmatic hybrid.
HKU
Progressive spread of art to the public
iii. MASSING STUDIES Different strategies of hybridization has been tested: spaces plugging into complex circulations nexus, overlappings of city grids, disintegration of massings, array of space along a single route or multiple routes...
2011 Spring
iv. DESIGN DEVELOPMENT The project is developed in multiple scales simultaneously. Strategies about site ciruclation, form, structure, units to eventually the facade are devised.
HKU
v. UNITIZED SPACES The four types of spaces are put into units with three types of organisation methods (horizontal, vertical and radial) to create various spatial and circulative experiences.
2011 Spring
vi. THE EXPERIMENTAL ROUTE A complex circulation network is devised which give visitors an exploratory experiences within the hybridised spaces. They can travel from one programmed space into another spontaneously.
HKU
2011 Spring
CONTACT acf.frankie@gmail.com +1 617 794 7936 EXPERIENCE Internship, Kohn Pedersen Fox Associates, New York 2015 Summer Internship, Kohn Pedersen Fox Associates, Hong Kong 2014 Summer Final Presentation Guest Critic, Wentworth Institute of Technology 2015 Spring Architectural Designer, Index Architecture Limited 2011-2012 Teaching Assistant, HKU Career Discovery in Architecture 2010, 2011, 2013 Summer
EDUCATION GSD Harvard University Graduate School of Design 2012-2016 M. Arch I ETH Zurich, Swiss Federal Institute of Techonology Zurich 2010 Fall Exchange Student Shanghai Study Centre, The University of Hong Kong 2010 Spring Overseas Study The University of Hong Kong 2008 -2011 BA(Arch. Studies)
PROGRAM SKILLS Revit, AutoCAD, Rhinoceros, Grasshopper, 3ds MAX Indesign, Illustrator, Photoshop, Aftereffects, Premiere
LANGUAGE SKILLS English, Cantonese, Mandarine
AWARDS & PERFORMANCE Young Design Talent Award 2011 – YDTA Special Mention Award Graduation with 1st Class Honor, HKU Ho Fook Prize, Faculty of Architecture, HKU HKU Worldwide Undergraduate Student Exchange Scholarship Dean List Honor (3 consecutive years) HKU Foundation Entrance Scholarship (3 consecutive years) MISC.
HKU KNOWLES BUILDING RENOVATION INDEX ARCHITECTURE LIMITED Space planning Interior design Furniture design Project management
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HKU CAREER DISCOVERY 2010, 2011, 2013
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PAINTINGS
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THe Life & Death of Food Experience STU 01303 Optional Studio: Alimentary Design Groupmate: Patrick Herron Instructor: Shohei Shigematsu, Christy Cheng 2014 Fall GSD Published in GSD Platform 8 If you are what you eat, this studio will investigate how and what we eat can be used as a catalyst to reconsider architecture and urban design models to create new typologies based on the alimentary component of human life. Food transcends cultural and temporal boundaries, constitutes the largest industry in the world, and is an inescapable and essential fundamental. Continuing the work begun in Fall 2013, this studio will investigate the multiple scales and processes involved with food and beverage, including specific topics such as the future of agriculture and aquaculture, food security and the global hunger epidemic, and culinary innovation in storage, distribution, and production. This project attempts to discuss the future of our food experience based on the projection of various global forces acting on our daily food consumption. The final outcome of the project is manifested through an installation displayed in the Piper Auditorium in the school as a curated event that invites the public to particpate and witness how future food could become.
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2014 Fall
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2014 Fall
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2014 Fall
GSD
2014 Fall