PORTFOLIO | Hanzhang Lai
Content
Syracuse University School of Architecture First Year B. Arch. Fall 2016
Exercise 1&2 Form and Making Elements and Operation of Forms
Exercise 3 Scale, Movement and Context The Aplication of Scale and Movemnt to Abstract Form Reacting to and Acting on Context
Exercise 4 Case Study Analaysis
Exercise 5 A Public-Private Studio
Exercise 1&2 Form and Making Elements and Operation of Forms
In the first two exercises, I developed 3”x3” cube study models and later goes into 6”x6” study models.We started with wooden sticks, and later goes into white foamandbluefoam.Throughout the experiences of the materials, I learned the difference of line, planeandvolume.Afterusingone single elements, I started to use combinitionsoftwodifferentmaterials. I also experience through different operation, including intersect,interlock,notchingand several others.
IThroughouttheexperiencingofvarious operations and elements in exercise 1 and 2, I decide to focus on the notching operation in my 2.4 final model. I use the ideaofoneofmypreviousstudymodels ofdevelopingnotchesthatpointstoeach otherinordertoconnectsandcomplete the circulation. However, I change the materials from wooden sticks to white foamtoworkwiththeblue-foam.Icuton thewhitefoaminshapesthatisthesame with the notches in the blue foam. I also add the shifting operation to work with the notching operation.
Exercise 3 Scale, Movement and Context The Aplication of Scale and Movemnt to Abstract Form
3.1 Scale, Movement and Context - Analasis of Hendericks Chapel
In this exercise, I teamed up with Greg and Aaron to study the structure of the Henderick Chapel. We measure the dimensions of the Chapel by walking. I did one of the section and the frontal perspective.
3.2 The Aplication of Scale and Movemnt to Abstract Form
In this exercise, we started to study about the use of currculation system and proper human scale. I went back to one of my models produced in exercise 2, and continued to use the stradegies of interlocking four“L�structure, but instead turned the volumes into spaces. Through out the exercise, I change the circulation system and the proper distance between spaces and floors.
Working with the formal structure of four “L” interocking with each other, my spatial goal is to lead the curculation inside to circle around the spaces provided by “L”s. The sequenceleadstotheviewofthefoursidesaround,andfinallya view down between the buildings inself.
3.3 Reacting to and Acting on Context
CollaborationwithXingyaoandArista,wewereassignedtoproducebaseforourmodelsandadjust our models to react with context.We decide to connect the three models in a L shape. By placing Arista’s model in the model, it turned into a connection between Xingyao’s and my model. We sink thespacebetweenourmodelsandturneditintoacommonspace.Weusethemiddlespaceto guide people between the entraces and exits of the three buildings.
Exercise 4 Case Study Analaysis - The Dirty House In this exercise, I teamed up with Vernon to analaysis the Dirty HousedesignedbyDavidAdjaye, which is located in London. I startedtheprocesswithreserach. Through the reserach of articles, photographsandworkdrawings, I learned that it is a studio-living buildingfortwoartists,whichwas developed from an old factory. He contrast the “dirty� outside withthewhiteandbrightinterior, to provide private spaces against the urban setting. He made double-height spaces for studio purpose at the bottom and the most private living space up front. He also enhance the privacy by carving out the part that is facing the street.
Exercise 5 A Public-Private Studio
The first floor is the main exhibition area.The main entrance is on theeastsidewhichfacesthebusymainstreet,whileanothersmaller entrance connects the exhibition area with the garden, which canbeusedasasculpturegardenthatwelcomesthecommunity. After people entered the building from the main entrance, they caneitherchoosetogoupordownintothetwosmallerexhibition spaces. I separate them from the main space because I believe sometimetherearecertaintypesofinstallationwhatwouldbebetter to locate in a room instead of a open space. After they goes up totheupperexhibitionspace,theycanenterthestudiospacewith a longer stair which is a semi-private space that welcome people to enter depends on the artist’s will. A stair that was build on the wall using the carving-out space
Throughouttheproject,Imadeseveralstudymodelstolearn how to react to the contact. I start out with the“Outside - In� thinking process, which ignores the interior design but only focusonthestreetcontext.Fromthethreemassingmodels,I pickedtheonewhichusecarvingoperationstorespondtothe street context. Starting with this stradegy, I modify the form and place of carving in later models.
On the west side I enhance the carving operation by carving out a little bit of the spaces and allows the spaces to shift a little bit, which create a volume to correspond to the stair height in the residential buildings. I believe this building should not be a blockade betweentheresidentialstreetandthepublicstreet. In order to build the connection, I did one more horizontalcarvingandmadeitallglass.Icarveinthe partwhichcorrespondtothespacebetweenthetwo residential buildings so that their privacy won’t be exposed to the public.
Thank You.