Jeffrey C. Lu Portfolio, 2012 College of Art, Architecture, and Planning Cornell University, Ithaca, NY. 14850
First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
_VESSEL
Fall Semester, 2009
Professors Vince Mulcahy and Alex Mergold In this excercise, a given vessel (glass whiskey bottle) was to be physically and graphically recorded, analysed, and modeled. Close graphical analysis - plans, sections, elevations - of the bottle revealed intimate details, sometimes that were hidden to the naked eye. Photoshop manipulation progessed idea developments, and the introduction of basswood sticks proponed basic ideas about structure. High emphasis was placed on the importance of maintaining ‘construction’ or ‘datum’ lines throughout the studio.
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First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
_BOTTLE MUSEUM
Fall Semester, 2009
Professors Vince Mulcahy and Alex Mergold In this exercise, the shattered pieces of my glass whiskey bottle were to be housed. I designed a museum for the pieces to be showcased and exhibited to the public. Essentially a long corridor, shaped by the profile of the bottle, and divided by openings at intervals determined by the relative sizes of the bottle pieces. The openings serve two purposes - firstly to let in light and secondly to allow the bottle pieces, embedded in plexiglass, to slide in and out of the museum. With the pieces in place, visitors can look inside the museum from either end to visually recreate a whole bottle from its seperate pieces.
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First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
_PAPER
Fall Semester, 2009
Professors Vince Mulcahy and Alex Mergold Paper, an extremely versatile material, can be used in a multitude of different operations. Here are two: 1) Folding paper (origami) to create body armour, and a sensory control mask that limits both sight and hearing. 2) Using paper as a documentary tool to document the physical operations (ripping, shredding, wrapping, poking, soaking, floating, wrinkling, etcetera) of a timeravaged waterfall site, originally formed by the slow landscape carving of a prehistoric glacier.
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First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
_PAVILION
Spring Semester, 2009
Professors Vince Mulcahy and Alex Mergold A pavilion was to be designed for Hammondsport, NY. My design makes full use of transparency - utilising datum lines of an existing street front, and manipulation of perspective and playing with the sense of sight - redefines preconceptions of a pavilion’s role. The multipurpose pavilion provide shelters and elevated viewing platflorms, supported by a web of structure that stretches across the entire street and firmly reifies its footprint. At night, the entire structure is beautifully lit up.
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First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
_PAVILION
Spring Semester, 2009
Professors Vince Mulcahy and Alex Mergold This evocative rendering shows the potential duplicity and reciprocity of the pavilion along the entire street.
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First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
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First Year Studio, 2009 - 2010
_STAIR
Spring Semester, 2009
Professors Vince Mulcahy and Alex Mergold Developed concurrently with the pavilion project, my design for a stair fully explores the idea of playing with transparency by layering sheets of plexiglass. The lighting effects created give the stair an ephemeral, ethereal quality that suggests lightness (in terms of both weight and with respect to light). Emphasis was placed on stair design in order to facilitate our understanding of circulation in larger buildings for more advanced studios.
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First Year Studio, 2009 - 2010
_VIEWING TOWER
Spring Semester, 2009
Professors Vince Mulcahy and Alex Mergold An installation was to be proposed for Ithaca, NY. My design is a visitor’s viewing tower that combines the idea of a spiral circulation pattern with external viewing platforms that provide unique vantage points from which to see surrounding attractions from a single, panoptic structure. Situated on top of the public library,the structure pierces through the roof and into the ground floor of the one-storey building. Stretching some 80 feet into the air, it will also serve as an obvious landmark, much like the lofty towers found in Italian towns.
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Second Year Studio, 2010 - 2011
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Second Year Studio, 2010 - 2011
_TILTING THEATRE
Fall Semester, 2010
Professor John Zissovici The design for this theatre was based primarily on the operating verbs TILT and SLIDE. Exploration of the operators began with a structural site model of Hammondsport, NY. I chose to model the roads, which originally had tram tracks inset, but have since been paved over. A simple three-tiered structural model then developed into a series of iterations investigating the notion of each road ‘layer’ being a habitable space. The most provocative iteration deals fully with the idea of multi-configurations stemming from the TILT operator.
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Second Year Studio, 2010 - 2011
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Second Year Studio, 2010 - 2011
_TILTING THEATRE, HAND DRAWN SECTIONS
Fall Semester, 2010
Professor John Zissovici The sections through the theatre show that the theatre itself is accessed from the street level, and cantilevers out over the water. Underneath the theatre is situated the caretaker’s apartment, and below that, a storage area for boats that are carried up from the water front via a line-and-pulley driven cart system.
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Second Year Studio, 2010 - 2011
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Second Year Studio, 2010 - 2011
_FIRST FLOOR PLAN
Fall Semester, 2010
Professor John Zissovici The plan reveals that the caretaker’s apartment is accessed from the sidewalk, and that a seperate, adjacentpath leads directly to the waterfront. The plan also reveals the tracks embedded in the site, referencing the tram tracks that once existed, on which the pulley-drawn carts SLIDE, carrying boats to-and-from the busy waterfront. The sections on the far left further reveal the structure and internal configuration of the theatre.
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Second Year Studio, 2010 - 2011
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Second Year Studio, 2010 - 2011
_RHINO/VRAY RENDERS AND PHOTOMANIPULATION
Spring Semester 2011/Fall Semester 2010
Professor Clare Olsen/Professor Jonathan Ochshorn The renders and image manipulation show here incoporated a variety of programs, including but not limited to: Google Sketchup Pro 8.0, Rhinoceros 4.0, VRAY for Rhino, Adobe Illustrator CS5, Adobe Photoshop CS5, and Adobe Indesign CS5.
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Second Year Studio, 2010 - 2011
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Second Year Studio, 2010 - 2011
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Second Year Studio, 2010 - 2011
_BUTTERFLY CRECHE
Spring Semester, 2011
Professor Werner Goehner The aim for this third year studio was to design a creche - a schoolhouse - for Johannesberg, South Africa. Many limactic challenges were posed. The schematic plan for the butterfly creche reveals the butterfly form from which the creche gets its name. Centred around a central sunken courtyard, with plenty of overshadowed areas (semi-outdoor space) as well as plentiful play areas, the classrooms embody the concept of easy transition between indoor and outdoor space, with swivelling saloon-style doorsthat can open completely to the exterior.
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Second Year Studio, 2010 - 2011
_BUTTERFLY CRECHE, HAND DRAWN SECTIONS
Fall Semester, 2010
Professor John Zissovici The sections through the theatre show that the theatre itself is accessed from the street level, and cantilevers out over the water. Underneath the theatre is situated the caretaker’s apartment, and below that, a storage area for boats that are carried up from the water front via a line-and-pulley driven cart system.
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Second Year Studio, 2010 - 2011
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Second Year Studio, 2010 - 2011
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Second Year Studio, 2010 - 2011
OUTDOOR STORAGE
PARKING LOT | DROP OFF
KITCHEN 25.60m²
OFFICE 60.5m²
TRANSITION
SEMI-OUTDOOR SPACE A
CLASSROOM A (BABY)
BATHROOM A / B
_S CRECHE
Spring Semester, 2011
SEMI-OUTDOOR SPACE B
INTERACTIVE MUSICAL FENCE
SEMI-OUTDOOR SPACE C
CLASSROOM C 46.33m²
BATHROOM C/ D
STORAGE D
PRIVATE | GARDEN SIDE 193.34m²
EUCALYPTUS OUTDOOR LEARING SPACE
TRANSITION
SANDBOX
The walls are constructed of straw-bale blocks encased in a protective (water and fire) polycarbonate sheathing. The gridded configuration of the roof trusses allow for sliding panels that regulate the amount of both light and air that enter the classrooms. The north-south axis of the classrooms maximises use of daylight.
BABY TOILET STORAGE B
46.33m²
380.57m²
Professor Werner Goehner The schematic plan reveals the S-shaped, interlocking classroom configuration. Other features include sloped roofs for rainwater collection, a wooden-log auditorium, a sunken eating area, and plenty of semi-outdoor and play areas.
45.78m²
CLASSROOM B
PUBLIC | PLAY SIDE
EATING AREA
46.33m²
STORAGE C
CLASSROOM D 46.33m²
OUTDOOR STAGE
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SEMI-OUTDOOR SPACE D
GARDEN
Second Year Studio, 2010 - 2011
ESTCODE
ESTCODE ESTCODE
ESTCODE
ESTCODE
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Second Year Studio, 2010 - 2011 Polycarbonate Ceiling Panels (Open)
Polycarbonate Sliding Doors (Open)
Polycarbonate Window Pane (Open)
Straw Bale Hey Carly I don’t know where to put this tidbit or if we should even have it because it might look cluttered so use your judgement, feel free to rephrase or omit at your discretion:
Summer Ventilation Diagram Adjustable polycarbonate sliding doors and windows maximizes cross-ventilation during the summer and streamlines stack ventilation. Operable ceiling panels open to allow warm air to rise into the truss space. The open design of the truss system allows for cross-ventilation to carry warm air outside.
Polycarbonate Ceiling Panels (Closed)
Polycarbonate Sliding Doors (Closed)
Polycarbonate Window Pane (Closed)
Winter Ventilation Diagram
During the winter, the classrooms can be enclosed so that the interior classrooms are protected from precipitation and cold drafts. Polycarbonate glazing on the east facade, ceiling, and windows produce a greenhouse effect that retains light and warmth within the classroom, while straw bale walls act as thermal masses.
WINTER | 12:00PM | 40*
SUMMER | 12:00PM | 88*
DIFFUSED
REFLECTED
DIRECT
DIFFUSED
REFLECTED
_S CRECHE DIAGRAMS
Spring Semester, 2011
_S CRECHE RENDERS
Spring Semester, 2011
Professor Werner Goehner
Professor Werner Goehner
The ventilation schematic diagrams show how cool air is allowed to pass through the classrooms, and how hot air can dispel through the ceiling panels during the hot summers. In the winter, hot air is kept inside with all openings in the closed configuration.
The interior renders show just how much light the classrooms receive, thanks to both the glass sliding doors and the sliding ceiling panels.
The daylighting diagrams show how the sloped roofs (with windows) and reflective panels allow plenty of sunlight inside during both the summer and winter. The wall section reveals how all the structural components fit together harmoniously.
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The exterior renders show the spacious play area, sunken eating area and wooden-log auditorium. The fence consists of three different sections - earth wall, plastic ‘musical’ pipes, and wire fencing.
Second Year Studio, 2010 - 2011
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Summer 2010
_PROFESSIONAL LAYOUT/GRAPHIC DESIGN
Fall Semester, 2010
Centre for Innovation in Neuroscience and Technology My responsibilities included ergonomically redesigning neurosurgical technologies, performing market research, layout of graphics, and logo design. These information handouts were used to showcase technologies to prospective manufactureres.
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Summer 2010
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Summer 2011
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Summer 2011
_RESEARCH STUDIO
Summer, 2011
Professors Yehre Suh and Leonard Mirin The summer research studio travelled to Beijing, Shanghai, Suzhou, Xi’an in China, Tokyo, Kyoto, Nara, Yokohama, Hiroshima, and Fukuoka in Japan, and Busan, Gyeong-Ju, and Seoul in South Korea. The research studio sought to investigate how the three different countries approach the sensitive issue of preservation, both historically and in the present (when faced with, for example, natural disasters such as earthquakes).
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Summer 2011
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Summer 2011
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Second Year Studio, 2010-2011
Jeffrey Lu | James Nguyen Villa Garches as an Extruded Painting 3 of 3 (Exploded Axonometric)
_VILLA GARCHES
Fall Semester, 2010
Professor Vince Mulcahy Le Corbusier was no stranger to alternative art movements such as Cubism or his own Purism. It seemed fitting then to retrospectively realise his Villa Garches first as a Purist painting, flatting all three dimensional features revealed in the floor plans into a single, two dimensional composition, and then to re-extrude the flat painting into three dimensions. | James Nguyen Two techniques were usedJeffrey in theLuextrusion:
Villa Garches as an Extruded Painting
1) Extrusion of equal colours on seperate layers. 2 of from 3 (Axonometric) 2) Extrusion of equal colours a base layer.
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