irisyee
architectureportfolio spring2017
Fall 2016 Final Project, Performance Art House Model
CONTENTS 1A. PARTS AND WHOLES: CITIES AND THEIR BUILDINGS 1B. ARCHITECTURAL AND URBAN ANALYSIS 1b.1 architectural analysis 1b.2 urban analysis
1C. DESIGNING AN URBAN BUILDING 2A. URBAN ARCHITECTONICS 2B. SKINS AND BONES IN THE CITY
EXERCISE 1A parts and wholes
The formal operations of notch, carve, and fracture were performed on this square. The resulting figure was copied twelve times in the first composition. It was then rotated 90 degrees in the second composition and mirrored in the third composition. The final composition followed a pattern of rotations.
As a class, we subdivided a 12� square into 36 cells. Each student added either a triangle, circle, square, or rectangle within the square ranging in size. We individually selected three figures that were created by the geomtric shapes. Then, using only perpendicular and parallel lines with varying line weights, we explored abstract plan strategies. The last set of three figures is a combination of the initial sets of drawings.
EXERCISE 1B.1 architectural analysis
MUSEUM OF CONTEMPORARY ART, CLEVELAND, OH, FARSHID MOUSSAVI, 2012
Source: mocacleveland.org (via Dean Kaufman)
GROUP: ERIN DOHERTY The architectural form of the MOCA in Cleveland creates a distinction between the physical and visual experience. Moussavi morphed a square base into a hexagonal roof to create the shell of the building. By adding a monumental stair in the atrium, she created a unique experience for vistors; as they access each floor, they can experience the shape of the building through the in between spaces.
MASSING MOST ENGAGING
LEAST ENGAGING
SURFACES
FENESTRATIONS
MOVEMENT
EXERCISE 1B.2 urban analysis
MAP KEY
1834 1891 1952 2017 Water Trains Highways
Our group worked together to analyze different aspects of the streets and blocks of downtown Syracuse. This combination of maps demonstrates how the streets and blocks of Syracuse’s urban grid has morphed throughout sixty year intervals. As the years progress, the lineweights increase in darkness. After overlapping the maps, we found that Mill Pond, the Erie and Oswego Canal, and the railroad impacted the landscape the most.
DOWNTOWN SYRACUSE, NY
Source: flickr.com (via Toni Shi)
MAP KEY
MAP KEY Wider Sidewalks Most Populated Less Populated Least Populated Curb Cuts
Number of times on a workday when there is congestion on the road (recorded every 2 hours from 7AM to 9PM on a regular Monday)
GROUP: ERIN DOHERTY, AKANKSHA GOMES, RUOJUN ZHAI
MAP KEY
Number of times on a workday when there is congestion on the road (recorded every 2 hours from 7AM to 9PM on a regular Monday)
Price of Parking Lots ($/hr)
CLINTON SQUARE, SYRACUSE, NY
Source: syracusethenandnow.org (via Syracuse Blueprint)
EXERCISE 1C
After analysing the shapes of the blocks and streets of Syracuse’s urban grid, I related the concept behind the Museum of Contemporary Art in Cleveland to the design of this building. The block shape of the the perimeter lot on E. Genesee St. is echoed as the ground floor while the surrounding buildings shape the triangular roof. The two geometries then morphed to create the shell of the building.
Iteration of Program, 1/16” Basswood Sticks, Strathmore, Tracing Paper
1/16”=1’0”
Building Shell Study Model, 1/16” Basswood Sticks, Tracing Paper
designing an urban building
Building Shell Model, Cream Chipboard 1/8”=1’0”
The program inside the building is mostly indifferent to the shell of the building; there are certain areas in the building that allow the visitors to experien most public part of the site where the roof juts out–cutting through the continuity of E. Genesee St. and the other entrance is directed towards the parkin around to the offices or up to the exhibiton on the second floor. The walls of the lecture hall as well as the facade that encloses the material archive are m the roof garden; the enclosed space contrasts the openness of the garden which offers multiple views from either E. Genesee St. or towards the highway first floor plan
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second floor plan
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nce the in-between space of the shell firsthand. There are two entrances; one entrance is directed towards the ng lot which can also function as a loading dock. Circulation starts at the reception for new visitors and goes made out of marble to filter light and break the publicness of the building. The makerspace is the last stop before y. third floor plan
1 - Reception 2 - Bathroom 3 - Private Office 4 - Courtyard 5 - Exhibition
fourth floor plan
6 - Storage 7 - Lecture Hall 8 - Materials Archive 9 - Makerspace 10 - Roof Garden
fifth floor plan
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The concept behind this nine-square design is that the shell resists the structural frame. The entrances open into and out of the frame while the windows jut in and out. I played with three types of material–glass, concrete, and marble as a play with light. To emphasize the concept of a shell, I created a floating cubicle made out of marble inside the structure.
Final Model, Basswood Sticks, Strathmore, Cream & Brown Chipboard 1/4”=1’0”
EXERCISE 2A
urban architectectonics
SOHO, NY
EXERCISE 2B
skins and bones in the city
Source: newyorkpixels.com (via Chris Petsos) ©2
2013
Facade Study Models, 1/8” Basswood Sticks, Strathmore, Brown Chipboard
1/8”=1’0”
Final Model, Basswood Sticks, 1/8” Foam Core, Plastic Sheet, Silver Spray Paint
1/8”=1’0”
My current and previous projects follow the same concept; the exterior shell plays with the interior system to create different spatial experiences. My precedent, the Museum of Contemporary Art in Cleveland by Farshid Moussavi, influenced my design choice in that I twisted two geometries to create the shell of my building. In this design, I chose a trapezoid as my base shape because of the required setback from the neighboring building. The trapezoid was flipped to create the ground floor which resulted in an alleyway. I used this alley as the main source of movement throughout the building. The main entrance and the facade breaks the shell of the building to create and make use of the in-between spaces. They also introduce the division between public and private because the center of each floor receives the least amount of light. The facade of the building creates a separation between the visual and physical experience. It works with the shell visually as if it is connected to it, but it goes against it by breaking the shell to create a physical experience.
1 - Retail Space 2 - Fitting Rooms 3- Cash Register 4 - Storage 5 - Bathroom 6 - Cafe 7 - Kitchen 8- Lounge 9 - Collaboration Sp 10 - Conference Ro 11 - Private Office 12 - Coworking Spa
ground floor plan
third floor plan
fifth floor plan
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pace oom
ace
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section A
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section B
IRIS YEE IYEE01@SYR.EDU