Of Water, Light, Stairs, And Modularity Jane Chongsuwat
Selected Architectural Works 2012 — 2016
Table of Contents
FEE-AHT LUHKS
SPACES OF CURATED FLOW
AGGREGATIVE VOYAGE
Tools For Architecture: Building Systems
London in Between II: Tottenham Hale Station
River Crafting: Bangkok’s River Terminal
INDA YEAR 4 SPRING 2016
AA SEMESTER PROGRAM FALL 2015
INDA YEAR 3 SPRING 2015
CONSTRUCTION OF BEAUTY
HOP LEARNINGN CENTER
WAYLA WANG COMMUNITY MALL
The Flagship Space: Em Michelle Phan Cosmetics
Design Build for Community Project
Bangna District, Bangkok, Thailand
INDA YEAR 2 SPRING 2014
INDA YEAR 3 SUMMER 2015
INTEGATED FIELD CO., LTD. JULY 2016-PRESENT
JANE CHONGSUWAT
988 Sevenplace Apt., Sukhumvit 71 Road, Vadhana District, Bangkok,Th ailand, 10110
EDUCATION
CHULALONGKORN UNIVERSITY International Program in Design and Architecture (INDA) Bachelor of Sciece in Design and Architecture First Class Honors; GPAX 3.65
T (+66)85 019 2999 E janechongsuwat@gmail.com
ARCHITECTURAL ASSOCIATION SCHOOL OF ARCHITECTURE AA Semester Program (Study Abroad Semester) High Pass in Design Studio
ฟACADEMIC EXPERIENCE
2015.09–2015.12 London, United Kingdom
EKAMAI INTERNATIONAL SCHOOL High School Diploma First Class Honors, Gold Cord
2009.08–2012.05 Bangkok, Thailand
HOP LEARNING CENTER / DESIGN BUILD FOR COMMUNITY International Program in Design and Architecture (INDA) Designer/Construction Overseer
2015.06–2015.09 Nongkai, Thailand
SOCIAL RIFTING / DESIGN EXPERIMENT WORKSHOP International Program in Design and Architecture (INDA) Designer BAAN PRARAINHOK SCHOOL / RURAL DEVELOPMENT CAMP Students of the Faculty of Architecture, Chulalongkorn University Volunteer
PROFESSIONAL EXPERIENCE
2012.08–2016.05 Bangkok, Thailand
2015.01 Bangkok, Thailand 2014.12 Kanchanaburi, Thaiand
ANACHRONOUS FORMALISMS AND ARCHITECTURAL FICTIONS / DESIGN BUILD International Program in Design and Architecture (INDA) Designer
2014.06–2014.08 Bangkok, Thailand
ARCHITECTKIDD CO. LTD. Projects: Tung Supbharod (Pineapple Farm Residential Development) Architectual Visualisation, Masterplanning
2016.06–2016.07 Bangkok, Thailand
INTEGRATED FIELD CO. LTD. Projects: Wela Wang Community Mall, Rama III House, AIS Experience Shop, Surathani Market Architectural Design and Visualization including: Concept Development, Proposal Design, Drawing Documentation
2016.07–Present Bangkok, Thailand
LEGATO MUSIC SCHOOL Music Certifications by Trinity College of Music: Piano Grade 8, Music Theory Grade 5 Piano Instructor
2011.08–2013.12 Bangkok, Thailand
AWARDS AND RECOGNITION
ACADEMIC EXCELLENCE AWARD Chulalongkorn University First Class Honors
2016 Bangkok, Thailand
STUDIO WORKS EXHIBITION Architectural Association School of Architecture Exhibition of Selected Studio Works from AA Semester Program DESIGN EXCELLENCE AWARD INDA, Chulalongkorn University Year 2 Best Studio Project Award
2014 Bangkok, Thailand
STUDIO WORKS EXHIBITION INDA, Chulalongkorn University Exhibition of Selected Studio Works at Annual INDA Parade
PUBLICATIONS
2014 Bangkok, Thailand 2016 Bangkok, Thailand
TOOLS FOR ARCHITECTURE RESEARCH BOOK INDA, Chulalongkorn University Publication of Selected Studio Works
2015 London, United Kingdom
LONDON IN BETWEEN II Architectural Association School of Architecture Publication of Selected Studio Works
2014 Bangkok, Thailand
INDA ACADEMIC YEAR NEWSLETTER VOL. 2013-14 INDA, Chulalongkorn University Publication of Selected Studio Works
SKILLS
RENDERING AND VISUALIZATION SOFTWARES Maxwell Rendering, Good Vray Rendering, Good Cinema4d Animation, Good Adobe Photoshop, Advance Adobe Illustrator, Advance Adobe Indesign, Advance Adobe After Effects, Good CAD AND 3D MODELING SOFTWARES Rhinoceros, Advance Grasshopper, Good Autocad, Good 3ds Max, Average Sketchup, Average
2015 London, United Kingdom
LANGUAGES Thai (Native), Fluent Englih, Fluent Chinese, Basic
Fee-Aht Luhks Building System for Spatial Effects In Extreme Natural Lighting Conditions
In a time where forms can no longer be our muse, we crave for inventions to suspend us in time, but often forget the phenomenon of the ordinary. This project seeks to create spatial effects out of the common—in this case, achieving a natural phenomenon out of plain light and water. The project is a part of the Tools for Architecture Series led by Lara Lesmes and Fredrik Hellberg, in a pursuit to design spaces with a deeper and more unforgiving approach to architectural detailing, and an emphasis on the spatial effects created by the spaces through this approach. By treating architecture as a multitude of layers of material that together create an interface between environments, we generated the desired spatial effects through the integration of designing each layers and putting them together. All these layers are what inhabit the inner parts of walls, floors, and ceilings—the hidden parts of the architecture that we never get to see but that we perceive with other sense and together generate a certain quality of space. The world hidden inside the thickening walls of modern buildings—a realm where architects have been replaced with consultants, as well as the mass, or the poche, is where we will explore as a space that can be inhabited. The aim of the project is to design building systems for architecture that define an interior and an exterior where all structural and infrastructural details are purpose-designed. The result is an architectural interface between two (or more) spaces that has certain fixed and variable parameters and that controls a series of spatial effects with no regards to the type of architecture that the system creates, where the site of building is, or what program the building holds, since the aim is to design a versatile system rather than a singular product: a Tool for Architecture.
FEE-AH T LUHKS Tools For Architecture: Building Systems INDA YEAR 4 SPRING 2016 Instructor: Lara Lesmes, Fredrik Hellberg
An Introduction
A Building System of Natural Light Fiat Lux [fee-aht luhks] Latin. 1. Let there be light The “Fiat Lux’ is an architectural system that deals with natural light in all its forms. This includes sunlight, moonlight, and phenomena dealing with natural light such as the northern lights. The project was an exploration into how these lighting conditions can be experienced throughout all seasons and an opportunity to experiment how these spatial effects, especially of the lighting, could be created in a condition that they are not native of. As versatile as a building system should be, the system is able to perform in any environment given the two requirements —light and water are available. However, this system performs its best at latitudes above 66.5 degrees north, or what we call the Arctic Circle, where lighting conditions are most extreme. In this part of the world, natural light phenomenon such as the Midnight Sun and the Polar Night are quintessential. The sun is above the horizon for twenty-four continuous hours at least once per year and below the horizon for twenty-four continuous hours at least once per year. Meaning, sun is visible at local midnight, and at least once it is not visible at local noon.
Top Left: Sunlight Image courtesy of paper4pc.com Middle Left: Moonlight Image courtesy of toprus.ru Bottom Left: Northern Lights Image Courstesy of wordpress.com
Building System as an Interface
Conditions and Effects The project was initiated by first defining the conditions that the interface will react to and the desired spatial effects that it has to achieve. In order to fully comprehend both the constraints and ability of the system, and ultimately design the architectural interface, an understanding of the existing conditions and an objective perception of the desired effects is required. The design of the system is understood as the generation of certain desired spatial qualities, whether architectural or atmospheric, under the certain circumstances of the given exterior conditions, whether environmental, cultural, social, or physical. The system was not develop from interfaces between spaces at particular geographic locations on Earth, but rather the conditions and qualities abstracted from those places. Here, the conditions describe locations with extreme climatic and light conditions such as of those above the Arctic Circle, such as the one described in ‘Conditions’ image. The desired effects, then, are like the requirements of what spatial quality this interface has to be able to generate. The qualities described in the ‘Effects’ image are of a transparent, dark, and glazed hypostyle hall where the space can be flexible with the use of modular structure.
Left: Exterior Conditions Image portraying exterior conditions of the desired environment and the approach to the building system entrance.
Top Row: Arches Around a Polygon The different types of spaces the structure could create by varying the number of sides of the polygon (plan) that the arches are arrayed around. Middle Row: Lantern The lantern that completes the structure is open to different designs. Bottom Row: Types of Arches By varing the type of arch used in the structure, differemt spaces can be created.
Achieving the Desired Effects
The Building System In order for the system to be truly versatile, the structure starts with an arch that is assembled around a polygonal plan that can be arrayed vertically, and whose number of sides can be varied, creating a very wide variety of spaces. Not only the way the arches are assembled, the types of arches or the finishing lantern is also open to options.
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The interface deals with light in very particular ways, with the main aim being to establish an equilibrium in these extreme lighting conditions. To be able to filter sunlight when it is bright, as well as, catch, magnify, direct light to illuminate when it is dark.
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However, the building system has to also be able to, first, amplify light when it is dark during the winter using moonlight reflected in the snow. Second, filter sunlight in during the summer, or whenever darkness is required. Third, be transparent enough to be able to see the exterior of the building. Lastly, recreate the Northern Lights using the amplified moonlight or sunlight The diagrams on this page describes how the system uses natural light and water to recreate the northern lights when not in season. The design using lenses to concentrate, magnify, direct, and disperse light was based on the side research on mirror, lenses, and dichroism.
1. External Light Concentrator 2. Flooring System 3. Projection Surface 4. Vertical Connection 5. Column-to-Floor Connection 6. Louvers 7. Vertical Circulation 8. Lantern 9. Horizontal Connection
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1. Sunlight or Moonlight is available 2. Natural light is concentrated to a focal point. 3. Concentrated light is shone into the building 4. The light is refracted onto the water surface on the floor 5. Dichroic coated mirror under the water surface disperses the water reflections onto the projection surface
1. External Light Concentrator
2. Flooring System
Natural light, sunlight or moonlight is concentrated from an exterior concentrator plant. A special type of lens, most commonly used in light houses, called Fresnel lenses are used in order to direct the concentrated light into a straight path, allowing the light to be visible from father distances.
The concentrated light is then reflected onto water, which comes from melted snow from the exterior. The snow falls into a collector that is connected to a water boiler. The hot water pipes run through the retaining wall, not only transporting the water into the pool, but to insulate the system as well.
The idea was developed through the research on concentrated solar power plants the solar and lunar path while adapting it to uses in locations of similar climatic conditions.
In order to bring color to the light reflections, the base of the pool is covered with a reflective iridescent material. This can be seen in many applications in architecture, particularly the Experience Music Project by Frank Gehry, which one of the two case studies in this project.
Mirror, Lenses, Dichroism Fresnel Lenses
Mirror, Lenses, Dichroism Dichroic Prisms and Coating
Mirror, Lenses, Dichroism Concave, Convex, Total Internal Reflection
Left: External Light Concentrator Light concentrator unit used to direct light into the building system Top Center: Side Research Fresnel Lenses Center: Side Research Dichroic Materials Bottom Center: Side Research Light Behavior through Lenses and Water Right: Floor and Foundation Axonometric section through the floor and foundation to explain how water is introduced into the system as light refractor and insulation.
3. Column-to-Floor Connection The cutaway section on the left shows the joint detail between structural arches are connected to the foundation, as well as how insulation could be placed on the joints.
4. Vertical Circulation Internal horizontal surfaces or floors comes in the form of glass ramps that wraps around the central projection surface. The ramps are suspended from the structural arches using steel rods. The inclusion a vertical circulation element as part of the system is crucial in increasing the versatility of the system, unleashing it from being an extruded dome that is only inhabitable on the ground level.
5. Lantern Although the lantern is one of the elements that is variable. A transparent material is most preferred. Since the sun are relatively low in the sky in these parts of the world, no brise-soleils are needed at this part. The image on the left page is a section of one of the possible designs, created from the intersection of the extruded vaults.
Top: Column-to-Floor Connection Axonometric Section showing the joint detail between the structural beams and the floor Bottom Left: Vertical Circulation Axonometric section showing the details of the vertical circulation element—the ramp Bottom Right: Lantern Axonometric section through the lantern on the top of the assembly
6. Projection Surface From the water, the reflected colored light projects onto a surface that can be rolled up when needed and down when visual connected between different levels are desired.
7. Vertical Connection The cutaway section on the right shows the joint detail between two levels of arches, or structural I-beams. The rigid insulation, triple layers of glazing, the louver system, the reflecting mirrors, as well as the projection surface are all attached to the structural beam that could be arrayed around a polygonal plan. This mechanical aesthetics was very much inspired by an earlier case study, The Reichstag by Norman Foster, in seek for examples of methods of attaching mirrors and lenses onto a conical surface.
8. Horizontal Connection A method of horizontal expansion is through the use of extruded vaults, a crucial element when the maximum size of space and load the beams are able to carry is reached. The vaults are also a simple and efficient element to be used as connections between two buildings.
Top Left: Projection Surface Axonometric section through the projection surface Top Right: Vertical Connection Axonometric section showing the joint detail between two levels Bottom: Horizontal Connection Cutaway section showing a horizontal expansion element of the system
Far Left and Bottom Left: Case Study Drawings Axonometric sections of the Reichstag by Norman Foster, made to study the mechanical method of attaching mirror and lenses onto a conical surface. Top and Bottom Right: Case Study Drawings Axonometric sections of the Experience Music Project by Frank Gehry, made to study the attachment of reflective cladding on double-curved surfaces.
The Master Axonometric
Fabrication and Assembly Processes To further explain the construction and fabrication of this system of arches, a study of the processes are depicted in the Master Axonometric drawing on the left. The main axes shows each of the layers and parts of the system, with the assembled image at the origin point. The negative x-axis shows the louvers and it frames. The positive x-axis maps the structural arches and its glazing. The projection surface is shown on the negative y-axis, while the curved reflective mirrors are show on the positive end. The fabrication processes shown here are the fabrication of curved glasses and mirrors, the curving I-beams into an arches, the extrusion of plastic louver fins into their particular sections, and the fabrication of the polyester projection surface.
Right: Master Axonometric drawing showing the assembly and fabrication processes
Atmospheric Simulations
Applications and Experiences Lastly, to describe the experiences of the system as applied to hold different programs, a series of images and animations are made. From the way the building entrance is approached from the exterior to the way the water ripples reflected onto the surfaces look. The building system serves as an interface between the exterior and interior conditions while generating the desired spatial effects. However, the space should not only be used as a visitors destination to experience these lighting effects, but to be used hold programs such as research facilities, dwelling units, or recreational halls. The system is designed to be able to perform in any other climatic conditions, where the resources required are natural light and water since the objective of the system is to achieve an equilibrium for extreme lighting conditions.
Top: Perspective image from the center of the building looking up to the water ripples reflected on projection screen and the ramps Middle: Perspective image from the horizontal connecting vault looking into the center of the building Bottom: Perspective image from ground floor looking at the exteior view and the projection screen
Spaces of Curated Flow Movement, Interruptions, Routes, and Occupation of Space
Cities are in constant evolution, the new and the old co-exist in a flux of activity. Within this dynamic state, some buildings stand out and form the character of their neighborhood—these icons define points of stability within the animated city. It is interesting to see that these icons may be historical or contemporary entities, whilst others become hybrid expressions of the old and the new. Physical and/or programmatic transformations challenge the building to adopt new qualities and enrich its dialogue with the evolving city. The brief for the design studio was to explore the regeneration capacity of Tottenham Hale in London, UK, and reconceive the site as a new station district located on the link between Cambridge-Stansted-London. The Spaces of Curated Flow explored the potential for creating a cultural hub within the Tottenham Hale Station. The challenge of integrating the two set out the steps of exploration through the project narrative. The analysis of existing site conditions became a important element that choreographed the way the second program could be inserted in the new site. The formal qualities of the site challenged the contextual scene into a more iconic destination.
SPACES OF CURATED FLOW London in Between II: Tottenham Hale Station AA SEMESTER PROGRAM FALL 2015 Instructor: Naiara Vegara, Marie de Monseignat
A Chronological Pattern of Spatial Development
The British Museum In this exercise of mapping the tangible and intangible elements ‘pattern’ from the British Museum, I attempt to describe the building in a rather poetic manner. Pattern, here, is defined as the chronological pattern of spatial development or simply how the building has evolved through time. The ‘horizontality’ is mapped through the growth of the building footprint and land plot, and the development of the urban fabric around the British Museum, whereas the ‘verticality’ is presented through the vertical grown of the building parts in relation to ground level. The drawing also narrates the history of the British Museum through the addition and demolition of parts, as well as the allocation of the public realms that have changed over time. The model, on the other hand, seeks to present the archaeological footprint of the building, the ‘overlays’ of space, or simply spaces that have been occupied the longest period of time. This means, the longer the building parts have occupied the deeper will it be represented. This method of spatial representation has produce interesting overlaps of space -- showing the intangible qualities of the space that do not exist through physical experience.
Top and Bottom Left: Model Photograph 3D reinterpretation of the British Museum’s changing footprint overlay where the most reiniscent spaces have carved a deeper space inside this ew readng of the massing Far Right: Overlay of the British Museum’s changing footprint and key architectural features through time and identification of reminiscent spaces
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London’s transportation hub
Tottenham Hale The site, Tottenham Hale Station, is a transportation hub on the link London-Stansted-Cambridge. Located on the northeast of Central London, the transportation hub links the Underground, the London Bus, and the rail. Initial observation reveals that the links between the different means of transportation were not as seamless as should be. Moreover, pedestrians are blocked with various interruptions, such as changing levels and crossovers between paths of commuters and local residents. The drawing on the right maps the paths taken by the people in Tottenham Hale area, including the paths engaged with the infrastructurve and the ones detached from the infrastructure. The colors represent the different programs, while the sizes of the circles represents the occupation time on the particular location. An additional study was done to explore the typologies of public square in Birmingham and their success factors. The study has shown that public squares with an iconic building and are located at prime intersections are the most successful ones.
VISUAL ACCESS + PHYSICAL INACCESIBILITY
ENCLOSURE + SEATING
STAIRS + ICONIC BUILDING
STAIRS + MONUMENT
Left: A study of Birmingham City’s public squares and their success factors Right: Mapping of activity, program, and occupation of space in the areas around Tottenham Hale Station ICONIC VIEW + INTERSECTION + ACTIVE FACADES
STAIRS + MONUMENT + INTERSECTION
RETAIL EDUCATION RESIDENTAIL
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PUBLIC
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RESTAURANTS
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TRANSPORTATION
5 M 15-20 MINS STOPS PATHS THAT ENGAGE WITH INFRASTRUCTURE PATHS THAT DETACH FROM INFRASTRUCTURE (GATHERING SPACES)
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Integration of the cultural
The Curated Flow The catalogue of the interruptions that affects the operation was made to document the different types, the modes of transportation associated, and the degree of openness of the space. The result was the indication of programs After the study of the curated movement spaces in iconic and local cultural nodes in London was made to reveal the ways flow in curated space were manipulated, combined with the catalogue of interruptions in the site, a similar approach was applied to map the areas of association according to activity in the urban scale of Tottenham Hale. The grey circles indicate areas of stopping that were associated with activity, while the red circles indicate area of stopping that were associated with gathering. The integration of the new cultural program was made in a way that the flow of people in the transportation hub was separated. The cultural program was to be inserted underneath the only gathering space in front of the station (the only two red dots on the map).
RETAIL
RETAIL
RETAIL
Top Left: Mapping of interruptions associated with activity or gathering near the Tottenham Hale Station.
RETAIL
RETAIL
FASTFOOD CHAIN
STOP LIGHT
Bottom Left: Axonometric Section of the site with indications of areas of interruptions.
STOP LIGHT TUBE STATION
PUBLIC BENCHES RAIL STATION
Right: A catalogue of curated movement spaces within iconic and local museums in London
TAXI STAND
BUS STOPS
FASTFOOD CHAIN
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The British Museum
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The National Gallery
Circulation Type: Central Core, Branching Location: Bloomsbury, London Intensity of Imposed Curated Movement
Circulation Type: Specified Journey Location: Trafalgar Square, London Intensity of Imposed Curated Movement
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Tate Modern
Circulation Type: Vertical Core, Branching Location: Bankside, London Intensity of Imposed Curated Movement
Marcus Garvey Library
Circulation Type: Attraction Points Location: Tottenham Green, London Intensity of Imposed Curated Movement
Existing nodes of spatial occupation
Nodes that require shelter
Boundaries created from pattern of routes
Pathway tapered to emphasize destination
Shelter boundaries created from the reverse pattern
Spaces combined into bigger ones to fit program
First the existing nodes of spatial occupation were mapped. Boundaries were then generated from the pattern of routes taken by the commuters. These paths were tapered to emphasize moments of destinations in the compounds, such as gathering spaces. After the main routes were defined, nodes that require shelters were identified. Some spaces are combined to accomodate programs that require large spaces. The diagram on the right maps the transformations such as peeling, pushing, deforming, stacking, and cutting, to form shelters, program spaces, enclosure, seating, and functions.
Top Row: Diagrams mapping the derivation of new void from existing nodes Bottom: Section B, original scale 1:125
Left: Aerial Plan, original scale 1:250 Center: The activity mapping of projected space occupation in the new curated flow through spaces Right: Ground Plan, original scale 1:1250 Bottom: Section A, original scale 1:100
Cultural program Transportation
The Aggregative Voyage Emerging Landscapes of Aggregated Recreational Dwelling Units
The City of Bangkok, like many other civilizations in the world, was developed along a riverâ&#x20AC;&#x201D;the Chao Phraya River, the mother and source of civilization. During the beginning of the Bangkok Period, the main course of transportation was on the river, but has gradually shifted to land transport. The River Crafting project seeks to develop visions of he future of fluvial transportation of people and goods on the Chao Phraya River, as well as question the current use of the river and create a holistic version for the future of the river in Bangkok. The Aggregative Voyage is about innovation in recreational tourism in the form of leisure cruising, questioning the necessity of leisure cruise liners as a single large body. The project is challenges the uninventiveness of the current leisure cruising industry. The lack of significant innovation of cruise liners from the RMS Titanic completed in 1911 to the recent examples such as the Disney Dream Cruise completed in 2010. This project proposes a new way of travellingâ&#x20AC;&#x201D;both in terms of the experience and the systems that were envisioned in this project. The aim is to create a plug-in infrastructural system between aerial and fluvial transit, as well as a terminal structure that will serve as the gateway for cruises docking the Port of Bangkok.
THE AGGREGATIVE VOYAGE River Crafting: Bangkokâ&#x20AC;&#x2122;s River Terminal INDA YEAR 3 SPRING 2015 Instructor: Fredrik Hellberg
Harmonized Opposition
The River Block This river block comprises of two very contrasting site along each side of the Chaopraya river: one being the conservational area ‘Bang Kra Jao’ and the other being the industrial Port of Bangkok. Although the two sides of the river are very different, to the extent that we suspected some conflict between the residents of each side, however from our research and studies, they all lived in harmony—none causing any trouble for the other. As this project was approached almost utterly based on our respective sites (the river block), the conflicting use of this industrial site which is the container ship port as the landing place for cruise ships docking at the Port of Bangkok is very interesting. There are an average of 5 cruise ships arriving at the Port of Bangkok per week with no proper facilities to receive these tourists. I see this as an opportunity to enhance the tourism industry in Bangkok. The site of the project is at the mouth of the Prakanong Klong, which connects directly to Suvannabhumi airport. Normally, this would be the area where Cruise Liners usually docks. But what this project does is, it disconnects the cabins from its mother ship, to travel on its own in small pieces in the water. This system could potentially extend beyond the realms of tourism, but as well as to freight transport systems, as a connection between fluvial, aerial, and ground transportation. Left: Photographs of the River Block model Far Right: Drawing showing the route of the cargo ships from the Gulf of Thailand to Lam Cha Bang Port and to the Port of Bangkok
THE TERMINAL
SUVANNABHUMI AIRPORT
The Berth and the Terminal
The River Connection The connection between the pods and the terminal is a fabric tension structure held up by curved beams. This is to function a the corridor between dwelling units and to protect it from the winds and water as it goes on cruise. The terminal structure functions as a temporary hotel on site where the pods can rest for a few days as the tourists travel around Bangkok through the river. The pods get lifted up and put into position on the deck, where people can get on and off their cabin, into the terminal, and onto the final stage of the journey when the cruise ship arrives to pick up this cassette of pods.
Disintegrating the Leisure Cruise Liners
The River Craft Leisure cruising started in the 1820’s and was a great success. However after the sinking of the Titanic in 1912 and the invention of large passenger jet aircrafts in the 1960’s, the cruising industry faced a terminal decline to reasons such as high fuel consumption, cabins were often uncomfortable (windowless and small to maximize the number of passengers). However, this is one of the most fascinating characteristics of cruise ships—the tension between luxury and efficiency—as in packing the most number of passengers. Top Left: Urban Plan, mapping the connection between the site ‘Klong Prakanong’ to Suvannabhumi Airport through bodies of water Bottom Left: Perspective image of the corridor between pod units Top Right: Cut and open section through the pods and the terminal structure
“THE AGGREGATIVE VOYAGE” EMERGING LANDSCAPES OF AGGREGATED RECREATIONAL DWELLINGS
Bottom Right: Drawings of the individual dwelling units
CROSS SECTION A
This led to the design of a river craft of small modular cabins in order to travel along the streams leading from the site to the airport. The shape is not only to provide views to the outside, but also to support the segway mechanic to stabilize the vessel. The spinning steel structure and fins works as the propeller. These vessels have potential beyond leisure and human transit such as to transport fuel and supplies for the cruise.
CROSS SECTION B
SCALE 1:25
CROSS SECTION C
SCALE 1:25
LS A
LS A
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ARRANGEMENT OF MOTHERSHIP
CS B
FLOOR PLAN SCALE 1:25 CS A
CS C
LONG SECTION A SCALE 1:25
PLAN A
PLAN B
The terminal structure if a bridge with decentralized and dynamic loads. The movable deck and the truss system is a part of the system that facilitizes the lifting of the pods. The rest of the terminal structure is a transparent thin building of modular and flexible units that houses the hotel facilities such as ballrooms, swimming pools, restaurants, and duty free shops.
Left: Section C, original scale 1:125 Cutting through the center of the terminal Bottom Left: Section A, original scale 1:125 Cutting the through the middle of the corridor between individual units Bottom Right: Section B, original scale 1:125 Cutting throught the center of the inidividual units
Essentially, this project creates an interface between air, land, and water for an established way of travelling (leisure cruising) through a plug-in system for fluvial transport. This would be a new transit system to discover the world through the ocean with fluvial architecture as the bridge. Ultimately, there would be more of these structures in ports around the world.
SECTION C PLAN A
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Left: Plan A, original scale 1:100 Cutting through the top level of the terminal at +30.20 meters Right: Plan B, original scale 1:100 Cutting through the terminal, below the dwelling units at +7.75 meters
The Construction of Beauty The Art of Masking in Maquillage Architecture.
People have long been putting masks on their faces, either by painting, wearing, or applying in the form of makeup, mental reassurance of self-contentment, or act of indifference. It does not matter the forms in which makeup exist, the various significations of makeup are what makes this extraneous, indeed inessential, an omnipresent act throughout the history of mankind. Whether to conceal imperfections, boost confidence, o recreate a fantasy, the pleasure in seeing the transformations makeup can provide is its charm. The flagship design for Em Michelle Phan, a makeup brand by a renowned Youtube Beauty Guru, employs the typologies of staircases that are used as social spaces as the conceptual framework for a space that would celebrate beauty and simulate social setups for the Em Sisterhood. It is a space of augmented reality. The design consists of different types of stairs to create different experiences based upon how each destination should be approachedâ&#x20AC;&#x201D; varying from speed travelled, awareness while travelling, and difficulty to travel through each flight of stairs. The form emerges from the foundation of beautyâ&#x20AC;&#x201D;Perfect Proportions. Constructed from sections of the Golden Spiral, the plan is then coordinated with the unfolded section to form this expressive sculpture.
THE CONSTRUCTION OF BEAUTY The Flagship Space: Em Michelle Phan Cosmetics INDA YEAR 2 SPRING 2014 Instructor: Lara Lesmes INDA Design Excellence Award 2014 Winning Project
Exploring new platforms for commerce
Exchange Scene Due to the ubiquitous use of social networks and the popularity of Youtube beauty bloggers today, it is no surprise for the emergence of employing these new platforms for marketing purposes. The most fascinating part is the impact these beauty bloggers have on viewers and the products consumed. Due to their popularity, these Beauty Bloggers are used Exchange Scene as a “figure” for online shops in platforms Market Portrait such as Facebook and Instagram to use as their advertisement presenter. The Exchange Scene is a portrait of this marketplace—a network of interactions between bloggers, shop owners, and consumers through various social network platforms. The drawing portrays a beauty blogger in her room, making a video of how she puts on her own makeup. The makeup she used and the facts and datas show the potential of the impact she is going to make on the makeup consumption of her viewers. The network is, then, revealed as a metaphoric market of these networks. The impact of the previous beauty blogger is portrayed by additional array of makeup consumed. The red dashed lines represent the connections (transactions) between the consumers, what they are watching, and the shop owners. Also on the other building on the left, stands the failure of cosmetic brands trying to copy the contact of these beauty gurus, since viewers perceived them as advertisements in contrast to the blogger’s “honest and unbiased” reviews.
Left: Portrait of the Social Netwok Businesses Behind Youtube Beauty Blogger Right: Selected portions of the portrait
EM Michelle Phan: A Makeup Brand Inspired by You
Image and Identity Em Michelle Phan is a makeup brand, inspired by ordinary girls around the world. Although Michelle envisions the brand to by a luxurious one, many aspects of the products resembles a utilitarian image. This paradoxical identity is an important feature, to be embraced in the design of the flagship space. The research booklet is divided in to 5 parts, containing both the analysis of the brand’s image and identity. It is a combination of different sizes and layouts to embrace the eclecticism portrayed by Michelle Phan, the brand’s owner. 1. Em and Michelle Phan The identity of the brand contains two elements: Em and Michelle Phan herself. The identity of the two is portrayed separated in two flip books, one depicting the story of the brand and one the story of Michelle’s life.
1
2. Metamorphosis Based on the theme of transformation, this part documents Michelle’s transformation from an ordinary girl to characters such as a unicorn, a vampire, and a zombie through the use of makeup.
2
3. The Significations of Makeup The part represents the different purposes of Makeup and what motivated people to wear masks, such as something as common as boosting confident and concealing to impersonating a an beloved idol, recreating a fantasy, representing a ritual, representing a culture. Half of the page shows the inspiration, and the other half the wearer of makeup.
3 4. The Construction of Beauty This part is a venture into the exploration of beauty: what is beauty, how is it defined, and who defines them? Scientific studies claim that the most beautiful face is the average face of all the faces we have seen, combining with the historic use of the Perfect Proportions.
4
The products are shown in conjunction with the parts of the face associated with that certain product. By folding the pages, a collage of the â&#x20AC;&#x2DC;ideal faceâ&#x20AC;&#x2122; is revealed. The image is a collage where Michelleâ&#x20AC;&#x2122;s facial features are put together show how each feature is following the proportion rule. 6. Layers of Masking and the Qualities of Space This part explore the different layers of masking (level of disguise, level of transformation, and level of effort) in relation to its most appropriate qualities of spaces (light intensity, level of intimacy, and potential interactions), which will be the fundamental principle in the design of the flagship space.
5
3.50
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3.00
PLATFORM E
0.25 0.18
GEHRY STAIRS
LEVEL 3 0.20
0.25
ALTERNATING TREAD 15.04
ITALIAN STAIRS
10.00
0.18
6.80
8.16
AVERAGE STAIRS
BACKSTAGE
3.93
ESCALATOR
5.44
0.17
0.30
0.50 0.09
B
12.34
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LEVEL 2
MEDICAL THEATRE
2.26
2.72
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A
LEVEL G 8.66
14.59
4.80
1.00
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1.00
4.80 3.94
1.00 0.53
3.99
0.80
QUICK APPROACH TO BACKSTAGE
The objective of the flagship space is to be a space that celebrates beauty, holds social gathering of the Em sisterhood, and represent the network of girls who are passionate for beauty. This brings us to question the meaning of beauty and how to define it. According to research, the most widely accepted standard of beauty for the human visage is one that conforms to the Golden ratio or the Divine Proportion. This is to lay the grounds for aesthetic verdict. As studied earlier, the layers of masks in relation to the qualities of a space is to search for an interconnection between degrees of makeup and the types of spaces that are ideal for them. This leads to the discovery that certain tones or looks of makeup are the most appropriate for certain spatial qualities, such as light, intimacy, or levels of interaction. Different environments and levels of interactions will result in different masks applied. This would lead us to the functional distribution of space. The typologies of the spaces are representations of programs that could potentially be in the flagship space. The flagship should include most, if not all, the qualities of these typologies: the shop, the convenience store, the coffee shop, the restaurant, the ballroom, the bedroom, the nightclub, and the office space.
The Golden Spiral
1.00
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INTERVAL OF TRANSFORMATION HANGOUT AREA
Flagship Space
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ARRIVAL
The Staircase as a Social Space
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SEATING FOR BACKSTAGE
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F 10.00¬
RAMP
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SURGE OF EXCITEMENT
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GEHRY STAIRS
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2.50
2.50 A CHANGE OF MIND
MUTED ESCAPE
Then, the typologies of staircases as a social spaces were further explored. From the Grand Staircase of the Opera Garnier in Paris, to the Spanish Steps in Rome, to a more contemporary example of TU Delft’s The Why Factory, stairs have long been used as more than merely a circulation element. The first approach to the design was the construction of the unfolded section which explicates the details of the different types of stairs making up the whole space, to create different experiences based upon how each destination should be approached—variables include: speed, awareness, and comfort. The three main destinations are the cafe, the club, the restaurant, the platform, and the backstage. These details include the slope and width of the staircase, dimensions of the tread and riser, cross sections, as well as views from a certain part to another. The section was then matched with the curvature plan, made up of sections of the Spiral with lengths equal of that of the unfolded section, to create the three-dimensional sculptural structure. The complete circles maps the radius of the curvature, while the rectangles are a indication of the golden spirals’ extent.
Top: Unfolded Section and Cross Sections, original scale 1:75 Bottom: Curvature Plan, original scale 1:75
PLATFORM 1.00 0.15
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0.25
2.50
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F
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1.40
1.60
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E
0.25 0.25 0.18
0.20
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14.59
4.80
4.80
4.80
14.59
4.80
6.80
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4.80 3.94
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0.17
AVERAGE STAIRS
A 8.66
1.00 0.53
3.99
0.50
4.00
1.00
3.25
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3.75
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1.20
ARRIVAL
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A
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D
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C
0.20
15.04
0.25
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0.17
0.50
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ESCALATOR
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4.00
1.00
3.25
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8.00
2.00
4.26
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SEATING FOR BACKSTAGE
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C
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Facade Function Scale 1:25
AVERAGE STAIRS
A
LEVEL G 8.66
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GEHRY STAIRS
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CAFE
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BACKSTAGE 2.00
8.00
1.63
3.97 4.80
1.00
5.00
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1.80
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5.35
6.35
7.30
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1.00
12.04
12.34
13.24
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SURGE OF EXCITEMENT
4.60
8.00
2.00
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1.00
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2.50 A CHANGE OF MIND
MUTED ESCAPE
Unfolded Section Scale 1:100 Front Elevation
with Circulation Diagram
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2.80
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3.00
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1.80
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8.00
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2.50 A CHANGE OF MIND
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MUTED ESCAPE
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SEATING FOR BACKSTAGE
3.97
4.80
4.60
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2.50 A CHANGE OF MIND
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MUTED ESCAPE
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BACKSTAGE
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AVERAGE STAIRS
CLUB G
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GEHRY STAIRS
6.35 4.80
14.59
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D
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1.00
A
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0.30
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ESCALATOR 5.00
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RESTAURANT
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LEVEL G 12.00
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GEHRY STAIRS
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HANGOUT AREA QUICK APPROACH TO BACKSTAGE
1.63
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0.80
MUTED ESCAPE SEATING FOR BACKSTAGE
Unfolded Section Scale 1:100
Based on the analysis of beauty, the aesthetic verdict is based upon perfect proportions. Therefore, sections of the Golden Spirals constructs basis of the plan. The form of the staircase is derived from the fragments of the Golden Spiral, integrated with the different slopes and width according to the unfolded section.
Steel Section
The master axonometric drawing illustrates the facade and structural systems. The staircase is not only the pathway, but it is the space itself, and it creates the space.
Surface Material
Steel Beam
Stainless Steel Mesh
Wood Planks + Steel sections
Construction of staircase Scale 1:50
Beam and column connection
Left: Master axonometric drawing illustrating the different parts of the structure and their relative section
â&#x20AC;&#x153;The Perf
a calculation
The Gold the design
Backstage`
The Looks
the ideal makeup looks associated with th
2.50
4.00
2.00
1.80
1.40
1.60
0.18
P
0.25
GEHRY STAIRS
0.20
0.25
ITALIAN STAIRS
ALTERNATING TREAD
10.00
0.18
0.09
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C
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D B
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AVERAGE STAIRS
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1.00
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1.00
3.25
4.26 1.20
ARRIVAL
INTERVAL OF TRANSFORMATION HANGOUT AREA QUICK APPROACH TO BACKSTAGE
SEATING FOR BACKSTAGE
3.00
3.75
Platform
Club
Surge of Excitement
fect Face Mask”
n of the human face based on the Golden Ratio
The Looks
The Nightclub
the ideal makeup looks associated with the qualities of this space
The Column
the club based on the qualities of a nightclub
the design based on circles and straight lines
den Spiral
of the plan based on sections of the Golden Spiral 3.50
2.80
2.80
2.80
3.00
1.80
1.40
1.40
0.15
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RESTAURANT
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Unfolded section
2.26
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Plan
CLUB J
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LEVEL G
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PLATFORM
GEHRY STAIRS
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0.25
ITALIAN STAIRS
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scale 1:50
GEHRY STAIRS
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Front Section
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0.25
GEHRY STAIRS
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0.20
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0.80 INTERVAL OF TRANSFORMATION
1.00
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1.00 4.80
1.80
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scale 1:200
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1.00 2.00
8.00
2.00
2.50
1.00
2.50
2.50 A CHANGE OF MIND
SURGE OF EXCITEMENT MUTED ESCAPE
SEATING FOR BACKSTAGE
Top Row (from left to right):
Entrance
Platform
Interval of Transformation
Detail of the column, a branching structure
Hangout Area
Initial Stage of Makeup
Detail of the Club, an intervention into the existing The use of perfect proportions in makeup and architecture The night club: qualities of space reflected by type of makeup The Catwalk
he qualities of this space
The Looks
the Platform based on the qualities of a catwalk
The Office/Classroom
the ideal makeup looks associated with the qualities of this space
the backstge based on the qualities of a office/classroom
3.50
2.50
4.00
2.00
1.80
1.40
1.60
PLATFORM
0.18
Front Section scale 1:50 3.50
3.50
2.80
2.80
3.00
0.25
1.40
3.50
2.50
ALTERNATING TREAD 15.04
ITALIAN STAIRS
CLUB
5.44
LEVEL G
LEVEL 3 8.66
14.59
4.80
4.80
1.00
3.97 4.80 0.80
1.00
3.97 1.00
1.00 4.80
1.80
MUTED ESCAPE
scale 1:200 4.60
4.00
1.00
3.25
3.00
0.15
SEATING FOR BACKSTAGE
0.17
0.30
Front Section 8.00
The platform: qualities of space reflected by type of makeup
3.75
INTERVAL OF TRANSFORMATION
2.50
scale 1:50
AVERAGE STAIRS 5.44
ESCALATOR
3.97 1.00
2.00 SURGE OF EXCITEMENT
0.50
1.20
QUICK APPROACH TO BACKSTAGE
LEVEL 2
10.00
10.00
5.00 1.63
3.99 4.26
HANGOUT AREA
I
7.30 8.00
1.00 0.53
ARRIVAL
5.35
11.40
10.70
13.24
9.70
RESTAURANT
4.80 3.94
0.80
Unfolded section
2.72
15.04
12.04
CAFE
MEDICAL THEATRE
2.26 1.00
1.00
Unfolded section 2.00
SELF-EXHIBITIO N AREA
C
A
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J GEHRY STAIRS
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CLUB G
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8.16
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AVERAGE STAIRS
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0.50 0.18
B
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D
PLATFORM
A
LEVEL G 8.66
scale 1:200 14.59
4.80
1.00
4.80
2.50 A CHANGE OF MIND
Detail of the platform, an area for self exhibition Detail of the backstage, a space created by the stairs
GEHRY STAIRS
LEVEL 3
2.80
0.20
3.00
0.25
Bottom Row (from left to right):
ARRIVAL
The backstage: qualities of space reflected by type of makeup
Wayla Wang Community Mall Backyard, Third Place, Destination
Wayla Wang, meaning leisure time in Thai, is the key concept in designing this community mall in the Udomsuk suburban area of Bangkok. This project was done under Integrated Field Co., Ltd., an Bangkok-based architectural design firm. Community malls are increasingly popular among real estate developers in Thailand, despite their relatively low rate of return compared to other types of developments. The most common explanation is that these type of developments are done out of passion and thirst for places to perform lifestyle activities. Wayla Wang was no different, initiated out of passion to provide leisure spaces for the local community. The client came to us with a plot of land which used to be a gas station, wanting to fulfil her dreams of operating a family-friendly, restaurant-based community mall for the area she grew up in. The concept behind the mall was to serve as a backyard for the adjacent residential development, a third place for commuters passing by the area, and a leisure destination for the Bangkokian families. The portion of the project shown here is the preliminary design proposal done in July 2016 where I was responsible for the research, documentation, design, and visual representation of the project under the supervision of Sorakit Kitcharoenroj and Worawut Oer-areemitr, partner and senior architects.
WAYLA WANG COMMUNITY MALL Bangna District, Bangkok, Thailand JULY 2016-PRESENT Employment as Junior Architect Integrated Field Co., Ltd.
Voids, Parking, and Back of the House
Schematic Proposals With the belief that the key space that determines the atmosphere of community malls are the void spaces, we started by mapping out the possible types of void spaces on the given site. The second concern was the type of car circulation and the location of the parking area. Lastly, determining the service facets for each massing created from the different types of voids.
1 Entrance + Rear Parking
Open Void
We, then, generated schematic options from the different combination these voids and parking types. Some of the scheme were not a combination of one of each, but rather a combination of multiple void types and/or parking types. The combination of clustered and open void to form scheme with stacking mass was chosen. The roads and service facet was pushed to the west end of the site, leaving a shady garden area for most times of the day.
Serive Facet
2 Entrances + Rear Parking
Enclosed Void
Service Facet
1Entrance + Side Parking
Left Column: Types of voids Middle Column: Type of Entrances
Clustered Voids
Service Facet
Right Column: Service facet for each type of voids Far Right: Schemes resulting from the combination of void and parking types
1 or 2 Entrances + Parking Underneath
Distributed Mass
Flexible Garden Area
Rooftop
Visual Connection
Stacking Mass
EAST
CAR FLOW
WEST
Streetfood and shophouse typology, prominent to the local context of Udomsuk
Rearrangement of shophouse typology on site with the front facing the northeast
Identification of the main axes: Facing the garden and the main road
ACCESS FROM DROP-OFF
ACCESS FROM PARKING LOT
EDGES OF ROOF ARE PULLED UP TO COLLECT NATURAL LIGHT AND CREATE VISUAL EFFECT
PEDESTRIAN ACCESS
Identification main points of access
Animating of the roof element
Access to natural light and visual effect
CONNECT TO FORM ONE BIG UNIT 4.70 4.80
Food caravan design
M
M
Dimensions and material
2.30
M
2.40
M
CUSTOMIZABLE MATERIAL
Connectable units
WIND FLOW WIND FLOW
A gradient of curves between the two main axes governs the orientatioin of the units
A visual connection is achieved from the entrance of the site
Removal of some units to allow ventilation and intervention of green areas
COMMON DINING AREA ADDITION OF FOOD CARAVANS
ADDITION OF FURNITURE
Addition of food caravans to garden area
9.60
Addition of outdoor furniture
An outdoor common dining area
Dining area around the expanded unit
Dining area around a single unit
M
2.40
M
Connect 2 or more units to form bigger ones
The ‘WW’ initial of the name ‘Wayla Wang’ resembles the key visual featture of the design: the roof element
Far Left: Perspective image of the site from an aerial view Top Right: Perspective image of the balcony area Middle Right: Perspective image of the balcony area Bottom Right: Perspective image of the entrance from the parking area
Top: First floor plan Bottom Left: Shadow analysis diagrams of the garden area Bottom Right: Shadow analysis diagrams of the road and rear side of units
Top: Second floor plan Bottom Left: Heat analysis diagrams of the garden area Bottom Right: Heat analysis diagrams of the road and rear side of units
Hop Learning Center Design Build for Community Project
The Design Build for Community Project is a summer project hosted by INDA, Chulalongkorn University with the objective of designing and constructing a small-scale building for schools and communities in the rural parts of Thailand. This particular project was sponsored by Erawan Group Public Co., Ltd., a hospitality developer and investor company. The Erawan Group developed a proposition which promises to sponsor the construction of a ‘Hop Learning Center’ for a school in any province they open a Hop Inn Hotel. This year the project site is at ‘Baan Wang Nahm Mhok’ village in the Nongkhai province. The third year students of INDA designed a multifunctional library/learning area for the local community school. We spent a total of eight weeks designing in Bangkok, and overseeing the construction of the building in Nongkhai. We also conducted various other community service activities such as painting the school’s playground, cleaning the school building, and teaching English to the primary students in the school. The project started construction in July 2015 with the budget of 500,000 baht (approximately $15,000), and was complete in August of the same year.
HOP LEARNING CENTER Design Build for Community Project INDA YEAR 3 SUMMER 2015 Instructor: Scott Drake, Ph.D. Collaborators: Chayakorn Chulasai, Eakapob Huangthanapan, Jetana Ruangjun, Kajkanit Sakdisubha, Kittaphat Anuchachart, Kittitat Kiattanavith, Panitnan Patanayindee, Paramesh Hutachinda, Pasit Sompopskul, Ployratsamee Thammajindawong, Sansern Prapa-apirat, Siriporn Srisakulpinyo Supakrit Wongviboonsin, Thitiporn Trithepvilai, Vasawat Dulyavit, Visut Innada
1.60
3.60
3.60
2.20
+- 3.85 +- 3.60
+- 3.35 +- 2.85
+- 0.65
+- 0.00
FRONT ELEVATION SCALE 1 : 50
2.20
3.60
3.60
1.60
+- 3.85 +- 3.45
+- 3.65
+- 3.15 +- 2.85
+- 0.65
+- 0.00
BACK ELEVATION
SCALE 1 : 50
The design of the building was done under two main constraints: fast construction time and low cost. We decided to look at standardized prefabricated materials that were also available at local construction material suppliers in Nongkhai. Then, we took the approach as if building a lego house in putting the prefabricated parts together in combination with local materials suck as bamboo wood. All the surfaces, from walls to floors to stairs, were made of prefabricated panels in order to make the construction process quick and easy. The 50 square meter building consists of two main areas: the library and the play area. The library, at times, was to be used as a classroom, a much need resource in the school to hold all the classes available at the school.
Left Column: Images of the building under construction during the first, second, and fourth week Top Center: Axonometric drawing of the overall structural Center Column: Elevation drawings from the front and back views Right Column: Images of the completed building at the inauguration ceremony