experience
JOANNA E. GRANT No. 179 Tianhe North Road, Tianhe District, Office 603 Guangzhou, Guangdong, China joannagrant87@gmail.com / jgr@adeptarchitects.com US: +1 (270) 577-7256 CN: +86 186 6629 0472
education University of Kentucky College of Design Bachelor’s of Art in Architecture Graduated: 2010 GPA: 3.7
Programs / skills 2D: AutoCAD, Adobe Creative Suite 3D: Rhino / Maya / Grasshopper / Sketchup RENDERING: Maxwell (Rhino, Maya), VRay (Rhino), Mental Ray (Maya) POST PRODUCTION: MagicBullet Looksbuilder / Lightroom MODELS: Experience working with CNC mill (Rhinocam), laser cutter, 3D printer, mold making processes, model building, and hand drawing/drafting.
ADEPT Architects (Guangzhou, China) May 2012 - Present Currently working as an architect in Guangzhou, China. Responsibilities include all in-house visualization, schematic design, planning, 3D modeling and drawing. Project designer for Zhujiang Brewery rooftop renovation project. Currently working on SME Bao’an Towers project in Shenzhen, China in collaboration with Fuksas. INGAME Office (Shenzhen, China) Mar 2012 - May 2012 Worked on Chinese University for Hong Kong (CUHK) competition project in collaboration with Zhubo, FCHA Architects, BAO Architects, and CCDI. Projects responsibilities included 3D modeling, rendering, and diagrams for final competition proposal. Paul Preissner Architects (Chicago, IL, USA) Jan 2012 – Apr 2012 Completed all renderings and post-production for visualization for competition project for the Helsinki Library. WUHO 2D3D Exhibition (Los Angeles, CA, USA) May 2011 Architectural drawing was exhibited in WUHO 2D3D-2 Exhibition in Hollywood, CA in May 2011. Festival des Architectures Vives (Montpellier, France) June 2010 Competed in architecture installation competition, Festival des Architectures Vives (FAV) in Montpellier, France with UK/COD entry, “Performa.” Perfoma is a unit-based system that applies rapid prototyping techniques to form an installation that has varying conditions based on its surrounding environment. Graphic Design/Album Art - The Chaotic Good (Lexington, KY, USA) Oct 2010 - July 2012 Designed album artwork for producer/DJ The Chaotic Good. Artwork featured on two albums: “Synesthetic” EP released in October 2010 and album “Go Machine” released in October 2012. Solid Objectives - Idenburg Liu (SO-IL) (New York, New York, USA) Mar 2010 Completed one-week internship through University of Kentucky at Solid Objectives - Idenburg Liu (SO-IL), 2010 winners of YAP PS-1 Competition. Built two physical models for the Kukje Art Museum: one as a 1/5 scale model for material testing and participated in mock-up of PS-1 installation. The Gaines Fellowship for the Humanities (Lexington, KY, USA) Mar 2008 -May 2010 Accepted into distinguised honors program at University of Kentucky in March 2008. Completed a thesis relating architectural surfaces and graffiti. Designed an architectural graffiti installation for Lexington’s downtown.
honors / awards WUHO 2D3D Exhibition (Los Angeles, CA, USA) Dean’s List, Spring 2010 College of Design Award: Design Excellence Dean’s List, Fall 2009 Tau Sigma Delta: Architecture Honors Fraternity Dean’s List, Spring 2009 Gaines Fellowship for the Humanities: Clay Lancaster Scholarship Gaines Fellowship for the Humanities: Zollendek Travel Scholarship Dean’s List, Fall 2008 Dean’s List, Spring 2008 College of Design Award: Digital Media Dean’s List, Spring 2007 Alpha Lambda Delta – Freshman Honor Society Dean’s List, Fall 2006
May 2011 May 2010 Apr 2010 Dec 2009 Apr 2009 May 2009 Apr 2009 Mar 2009 Dec 2008 May 2008 Apr 2008 May 2007 Apr 2007 Dec 2006
CONTENTS:
ACADEMIC: ALDO ROSSI: SUMMER DRAWING COPIES ALDO ROSSI: SCHOOL FOR ROSSIVILLE URBAN LOBBY FOR THE CITY OF CINCINNATI, OHIO ORGANIZED CRIME: URBAN INFILL FACADE PERFORMA: EXHBITION PERFORMA: FABRICATION FLYASH: FABRICATION TECHNICAL WORK: CASE STUDIES AND PAVILION DESIGNS FORMLESS: INFOGRAPHICS
PROFESSIONAL: HELSINKI LIBRARY COMPETITION (HELSINKI, FINLAND) CUHK COMPETITION (SHENZHEN, CHINA) FACADE PROPOSAL FOR A KINDERGARTEN (SHENZHEN, CHINA) ZHUJIANG BREWERY ROOFTOP RENOVATION (CUANGZHOU, CHINA) LONG MU BAY (SANYA, CAINAN, CHINA) SME BAO’AN COMPETITION (SHENZHEN, CHINA)
ACADEMIC
aldo rossi: summer drawing copies The Summer Drawing copies were an explorative study in Aldo Rossi’s work. Each of the twelve drawings was copied into digital representations of the hand drawings created by Rossi. In the first set, each drawing was analyzed and exactly recreated. In copying the original drawing set by Rossi, idiosyncrasies were discovered and corrected in what we understood to be Rossi’s intentions for the drawings. In the second set of copies, each drawing was digitally modeled and shown from the exact opposite angle. In the second set, I sought to find potential misrepresentations and new interpretations of the original drawings that Aldo Rossi did not fully represent or explain in the original drawing set. In the work of Rossi I found the exterior to not reflect the interior in a direct way, as architectural language usually expresses. Interior and exterior conditions typically did not align themselves congruently in the original drawing sets, therefore with each new set of drawings I sought to emphasize these inconsistencies. The explicit misreading of the drawings led to the concepts driving the final project, the school for Rossiville.
ALDO ROSSI: DRAWING SET I At right: Drawing set one: original copies of Aldo Rossi’s Summer Drawings, Drawing set two: copies of opposite sides of original drawings.
ALDO ROSSI: DRAWING SET II
aldo rossi: school The project for the school for Aldo Rossi’s fictional town containing each of Rossi’s projects for his Summer Drawings engages Aldo Rossi’s interest in a dichotomy between interior and exterior conditions. The design for the school is based on the differences in interiority as what is experienced on the exterior of the building. The exterior presents itself as a different language from the interior conditions, preventing the viewer from speculation of the interior conditions until they enter the school. The base of the building houses program that is open to the public, such as the administrative offices as well as the lobby and gymnasium. The exterior skinning that covers the base of the facade is opaque (composed of aluminum panels) so that there is a high degree of privacy for the schoolchildren at ground levels. The upper levels with the classroom and roof are ETFE, which as an energy efficient material would reduce heating costs of the building as well as bring in light to the classrooms and atrium space. The program is arranged around an inner atrium that serves as circulation as well as a gathering space for the children and teachers. The classrooms act as quiet spaces at the edges of the building, intended to be reflective learning environments. The inner atrium functions as a social space where children can build social relationships and exchange ideas, which is as integral to development as the information learned within the classrooms.
Clockwise from top: exterior facade with ETFE roof and aluminum panels, aerial view of exterior, interior rendering of circulation, interior aerial view looking down on interior circulation atrium, exterior rendering of panelized facade.
aldo rossi: summer drawing copies Clockwise from right: elevations, north and south; sections, north and south; plans of floors one through five; rendering of interior circulation atrium.
SITE PLAN
FIRST FLOOR
SECOND FLOOR
ELEVATION: WEST
ELEVATION: NORTH
SECTION: WEST
SECTION: NORTH
THIRD FLOOR
FOURTH FLOOR
FIFTH FLOOR
urban lobby: cincinnati, ohio The project for an urban lobby for the city of Cincinnati was located in downtown Cincinnati between the riverfront and the downtown area. The proposal addresses both the city and the river in its orientation, providing views of the landscape as well as a large, open air pavillion for large events hosted by the city. The proposed design for the urban lobby for the city of Cincinnati features a urban park concept of sweeping paths integrated into the design offering views of the Ohio River. With little downtown public space, this design would allow large events to be held for the city as well as a destination place for tourists, similar to the function of Millenium Park in Chicago, IL. The building pulls itself up out of the landscape to allow for a large public space beneath that would have the capacity to host both large events such as music festivals, or small scale events such as a farmer’s market. As a key element along the Cincinnati waterfront, the proposed urban lobby would act as a point of pride for Cincinnatians and as a welcome center for state of Ohio. As an icon for the city of Cincinnati, the Urban Lobby would attract tourists to the downtown area, bringing tourism and culture to a downtown in need of rejuvenation.
Clockwise from right: interior of lobby facing south and the Ohio River, aerial night rendering of lobby exhibition space, exterior rendering facing north of observation deck, interior rendering of event space, exterior view of entry to exhibition space, aerial view.
urban lobby: cincinnati, ohio
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Clockwise from above: initial formal explorations; CNC milled model of Urban Lobby and site, sections of Urban Lobby for the city of Cincinnati, Ohio.
urban lobby: cincinnati, ohio Facade design proposal utilized techniques in Grasshopper and Rhino in addition to an understanding of “affect� in facade designs. Understanding the role of ornament within design led to the proposal for a facade for an urban infill situation. The curriculum examined ornament and its relationship to architectural facades, specifically how some ornament can allow facades to be interesting only for the sake of being aesthetically pleasing. Instead of understanding architecture primarily in terms of materials, such as brick, concrete, etc., terms such as cinematic, translucent, and fractal are the words that can be used to describe them. In the final design for the class, the apertures control the amount of light entering the building, as well as provide privacy. The variation within how open and closed each aperture is determines the nature of the space: public or private. In addition to the openings of the apretures, LEDs are integrated into the facade with motion sensors, mapping the amount of action within the space and assigning it to a color to show the activity within each unit in the building on the exterior. Project completed with Warren Weaver.
Clockwise from top: exterior rendering of proposed facade; deformation of aluminum apertures; interior view of facade from within apartments, showing public living room allowing more light and view through larger apertures.
performa: exhibition The Performa installation began as a unit based system that would possess adaptive characteristics to “perform” in and space or situation. Each unit was designed to have the ability to be fabricated as identical, but also able to have an open or closed orientation, variable and dependent on the conditions or space in which it is constructed. The installation shows varying conditions within the unit, either flat and open or compact and closed. Performa was first exhibited in Pence Hall in December 2009 and January 2010. A small portion of the piece was installed for UK College of Design’s final show in May 2010 at Land of Tomorrow in Lexington. In June 2010, Performa travelled to Montpellier, France as a courtyard installation for the Festival des Architectures Vives (FAV) or “Festival of Lively Architectures.” The Festival des Architectures Vives, or the Festival of Lively Architectures, is an annual competition in Montpellier, France for architectural installations. Each team is selected among applicants, featuring one school each year. The Performa installation was selected this year for the competition. Among the students in the class, three of us were chosen to participate in the competition. The original installation, which was much smaller, was redesigned to be larger and more structural. Rather than suspending it from points, a steel system was integrated into the design to serve as structure for the much larger scale installation. The theme of the festival, “Ombre et Lumiere” meant shadow and light, with Performa embodying the shadow of the courtyard. Mimicking the arch of the entrance, the installation curls down and rests on the ground, inviting viewers to become residents of the space of the installation. Amazingly, the entire installation fit into four 14”x14” boxes. Each unit has the ability to perform in a flat or compressed position, making it the ideal installation with which to travel overseas. With the ability to have either or flat or compressed orientation, the installation could adapt to any space in which it is placed. The number of units in the system is not fixed, so you can add or subtract pieces to achieve a desired affect. The installation is now property of the Nous Gallery in London, UK. P Project completed with Jordan Hines and Ricky Sparks. Clockwise from top left: Transition from hanging ceiling/wall condition to floor condition; ceiling condition mimicry of arch to exhibit the ability of the system to adapt to any condition within a space; Performa prototype within Pence Hall at University of Kentucky; visitors of Festival des Architectures Vives visiting the courtyard installation; close up of compressed unit condition and connections.
Connection strategies were tested to select the best possible outcome that would produce a
striking visual affect as well as provide necessary structure throughout the system. Emphasis was sectioned into eight right triangles, which fold to create a dimensional placed on composing a system that stands freely. four pointed star.
CUT SHEET
urban lobby: cincinnati, ohio Prior to the selection of the final unit, each student designed a unit-based system that achieved a performative quality in varying physical condiVINYL tions. Below are two prototypes with the right exploring fiberglass as aAfter the PVC foam is placed in the jig, it is possible material. Because of the amount of time required to manufac-cleaned to remove any that might ture each unit, we decided to use explanded PVC foam because of theparticles show through the thin vinyl. The vinyl is then placed on top of the PVC fact that it is lightweight and rigid with vinyl for the skin so that a flexiblefoam and any imperfections are smoothed out. joint could be maintained. The vinyl is trimmed, and
Because of the simplicity of the geometry within the design, very little material was wasted. A 4'x8' piece of expanded PVC foam yielded 18 units, with only a minimum amount of waste. The units were cut to size utilizing a table saw and jigs. Special jigs were designed to create drill holes as well as beveled edges created by a router. Each unit was produced by hand, without the use of rapid prototyping technology.
VINYL After the PVC foam is placed in the jig, it is cleaned to remove any particles that might show through the thin vinyl. The vinyl is then placed on top of the PVC foam and any imperfections are smoothed out. The vinyl is trimmed, and the process is repeated on the opposite side.
MATERIAL/TOOL SAMPLES
process is repeated Connection strategies were tested to select the best the possible outcome that would produce a on the opposite side. striking visual affect as well as provide necessary structure throughout the system. Emphasis was placed on composing a system that stands freely.
CUT SHEET Because of the simplicity of the geometry within the design, very little material was wasted. A 4'x8' piece of expanded PVC foam yielded 18 units, with only a minimum amount of waste. The units were cut to size utilizing a table saw and jigs. Special jigs were designed to create drill holes as well as beveled edges created by a router. Each unit was produced by hand, without the use of rapid prototyping technology.
UNIT CONNECTION Each unit is composed of eight pieces placed between two piece of vinyl. One side is designated as matte black and the opposite side is shiny black. The units are connect with Chicago screws at eight points.
MATERIAL/TOOL SAMPLES
Clockwise from top right: image of units in tension and compression; four gradient options for utilizing color in the system; closed, compressed condition within the system transitioning to open condition; attaching steel cables within the system after assembly; trimming vinyl from PVC foam; assembling vinyl and PVC foam units; PVC foam tirangles in cardboard jig to achieve proper measurement for the join prior to vinyl application. Above, left to right: paper models testing units and connection strategies; fiberglass material test unit.
UNIT CONNECTION
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fabrication : flyash Flyash, a coal byproduct, can be used as a susbstitute for Portland cement in concrete. Although the government has been using flyash concerete for years, it has not found its way into common use. As a byproduct of coal production, millions of tons of flyash are disposed of per year. Instead of disposing this useful product, it could be recycled and used for concrete. Some of the advantages of flyash concrete over normal concrete is that the flyash inherently can be pumped longer distances and has a higher workability than regular concrete. Improved workability means less water is needed, and therefore less segregation of the mixture occurs. The flyash fabrication seminar utilized rapid prototyping technologies and flyash concrete as an exercise in modeling and fabrication. CNC milling processes and mold making was utilized to create flyash tiles and planters. Three planters with different sized openings for plants were designed to interlock with each other so that the buyer could choose as many or as few planters as they want. The planters could be arranged in a variety of different configurations to accomodate any space or desired affect. Their fabrication involved the milling of a positive which was then used to create a rubber mold that could be used multiple times, as opposed to a foam mold that had a lifetime of one pour. The rubber mold fit inside of a plaster “mother mold� that allowed the flyash to keep its shape as it was poured into the rubber mold. Project completed with Joe O’Toole and Raleigh Arrowood.
Clockwise from top right: planter with large opening; aggregation of planters; finishing and arranging planters for UK/COD end of year show; aggregation of planters; two of the three foam molds used to make rubber molds for flyash pour; CNC milling process of foam molds. Above: Flyash tile prototype.
technical work: case studies and pavilions Toyo Ito’s Sendai Mediatheque and Buckminster Fuller’s geodesic dome are vastly different projects that employ similar structural methods. Both projects are characterized by specific structural systems that condition their respective formal properties. The marriage of the two projects in this pavilion preserves the geometry of the geodesic dome – given that its structural logic prevents it from being anything but a dome – and extrapolates the structural floor plate of the Sendai Mediatheque to create a field of undulating and occupiable structure. The Sendai Mediatheque’s Cartesian grid plane which triangulates as it approaches a vertical, load-bearing member was employed to distribute the structural loads to a structural member. The pavilion’s structural member, formerly the column in Ito’s building, becomes the modified geodesic dome that, with a gently sloping base, makes a gentle transition from structural member to triangulated base plate. Through their integration and the mathematical averaging involved in finding the difference between the orthogonal lines of the plate system and the curve of the circular dome system, a topography emerges that gives the pavilion a feeling of a hilly environment. In certain places, the dome serves as the structure connecting the roof plate with the floor plate. The materiality of the project would be a steel structural frame skinned in translucent material to show the unique structure. High-density polyethylene is selected for the surface skin. Utilizing a translucent material could allow mechanical systems such as lighting to be integrated within the structure, similar in method to the Sendai Mediatheque. The most impressive aspect of the structural system is its flexibility insofar as various other systems can easily be integrated within another system. The structural members themselves give the effect of a natural curvilinear object but are easily manufactured due to the fact that they constituted by an orthogonal system and would not require specific machine tooling. Using the ingenuity of both systems, we have tried to create a pavilion that is structurally reliant yet physically transparent. In the case of the Sendai Mediatheque, the structural system is hidden from occupants beneath the floor finish, obscuring the physical operations of the system. In the case of the geodesic dome, nothing but the structural system exists.
At right: Technical analysis of Sendai Mediatheque by Toyo Ito and synthetic design proposal analyzing the Sendai Mediatheque and Buckminster Fuller’s geodesic dome.
technical work: case studies and pavilions The overall thesis of the new pavilion design was to create complexity through a simple process, while at the same time enabling a mathematical process to yield complexity within the thickness of a wall. That is to say, a simple envelope begins to embody a different set of conditions on the interior as it does on the exterior. It is difficult to conceive of an envelope of three materials gaining much complexity, but through geometry and scripting, or applying a set of processes to a single object to manipulate it and create a field effect, a variable set of conditions emerges. A pentagon was used as a generator, scaled at 1.2 its original size eight times, with every iteration being rotated 15 degrees each time it was scaled. After layering each pentagon at its point of origin, lines are extended to a boundary box and then trimmed to form the structural envelope. Panels of either glass or aluminum are then used to either show or hide relationships within the system on the interior of the pavilion. Only on the interior is a set of geometry created independent but reliant on the structural system. The exterior illustrates only the structural system since theenvelope is attached to the interior of the structural system. In addition, simply extending the structural lines to match the topography of a site can allow the pavilion to create a relationship with its surroundings. The structural logic of the Serpentine Pavilion was employed to create the complex but legible geometry of the steel framework. The framework was scripted in a very similar way, but the logic in assigning a paneling order was more similar to the Ulm Pavilion in a solid/void relationship being established, allowing certain structural elements to be exposed while others hidden from the interior. The Ulm Pavilion featured the structural logic on the exterior, which was adapted to the new pavilion. As a result, the new pavilion exhibits a complex but legible structure with a dichotomy of interior/exterior conditions. The Ulm Pavilion neatly integrated itself within the topography of the site. Rather than covering up the brilliant logic of the scripted chaos of the structural system, the new proposal allows the viewer the privilege of complete understanding of a complex system from the exterior but at the same time allows a sense of mystery from the interior through the placement of opaque aluminum panels and glass. At right: Technical analysis of Serpentine Pavilion by Toyo Ito and synthetic design proposal analyzing the Serpentine Pavilion and Max Bill’s Ulm Pavilion.
technical work: case studies and pavilions The façade of the pavilion design employs a panelized system of the similarly morphed components to align itself within the system of curved surfaces. Each panel adapts its geometry (and is therefore unique from all other panels) to fit within its prescribed space on the façade. Though there is little deviation between two adjacent panels, the panels achieve great variation across the entire length of the façade. The affect of the façade is to create a seamless morphology of the panel along a curved surface, allowing viewers to understand exactly how a curved surface relates to the parts that compose the whole. From the exterior, the panels are read as objects while from within, the panels act as screens and the space between the panels gain shape as they frame views of the exterior landscape. Each of the four corners attaches to the surrounding panels, allowing the panelized system to gain to a degree some structural stability. The mirror of the exterior panels is expressed in the interior of the panels, underscoring the concept that the exterior and interior physical conditions can remain the same but the experiential qualities of the exterior and interior can vary based on the conditions of the experience and not on the physical dichotomy. The design for the system is formless (a simple box) to stress the concept that the system itself is the most performative and formal aspect of the façade system. Rather than choosing a form that would incorporate curved surfaces (similar to the Tel Aviv Façade and the Sydney Opera House) we decided to depart from the idea of form and examine how form can emerge within a surface condition of variable panels. The flexibility of the façade system could easily yield itself to any formal curved surface application as seen in the Tel Aviv façade and the Sydney Opera House, but for the sake of demonstrating the fact that the system itself is the dynamic operator, minimal geometry is employed. The powder coated ¼” aluminum panels are fabricated by first being cut to size and then stamped to achieve uniformity in curvature. Each panel attaches to its surrounding panels via a tab that is attached with a simple hex bolt, with each panel interlocking with its neighboring panel. The lateral structural system is 3” square steel tubing onto which the panels are bolted. The steel structure is welded together. At right: Technical analysis of Tel Aviv Museum Facade by Preston Scott Cohen and synthetic design proposal analyzing the Tel Aviv Museum Facade Proposal and Jorn Utzon’s Sydney Opera House.
technical work: case studies and pavilions Frei Otti and Ciro Najle both attempt to study an open geometric system that expands through bifurcation without returning to a closed form. Both studies included physical form finding methods for determining direct path systems which was followed by the undertaking of an analysis in which various configurations of the same structure were created in order to determine the structural efficiency of the system. Both architects use a common architectural technique but garner different architectural effects. In redefining each architect’s individual agenda through the lens of control or lack thereof we’ve created a paneled structure that relies on a one-to- one control geometrically but achieves a level of flexibility through the use of material and formal adjustability. The structure itself consists of quarter inch aluminum panels attached at their corners using a flexible joint system common to a set of joined panels. The canopy is support by tree-like metal columns. A combination of adjustable triangular units with gaps from edge to edge animates the interior condition of the pavilion through a play of light. This is further enhanced by the varying formal characteristics of the pavilion; rather than having one fixed arrangement the pavilion can generate into various configurations based upon the site condition. The porosity of the lattice-like roof condition imbues the structure with fluid dynamism that is enhanced by the fluctuating flow of light through the canopy. The organized movement of the structure functions to integrate the natural landscape with the built space through technical, functional and actuated direction. Different viewing conditions are also created as individuals move underneath it. At the heart of the pavilion is a frozen understanding of tree-like branching systems and the delicate dynamism through which they can be recreated. The system is flexible and adaptive, both during construction and over the life of the project. Visitors walking underneath the canopy are unconsciously drawn to a more intimate interaction with nature. Using the laws of nature and physics, the pavilion seeks to not only function as a visual articulation of structure and environment but also demonstrate that arbitrarily small deviations in the initial conditions of a physical system give rise to ever increasing variations in the resulting state.
At right: Technical analysis of spBranching by Ciro Najle and synthetic design proposal analyzing the spBranching and Frei Otto’s Branching Structures.
formless: infographics In the infographics at right, the book exhibiting works from the “Formless” exhibition at the Pompidou Center in Paris curated by Rosalind Krauss and Yves Bois was analyzed to produce infographics to substantiate and refute claims produced by the curators. In the exhibition, the curators sought to reexamine art of Modernism to frame it in the context of contemporary times. The infographics drew conclusions based on analysis of trends within the book rather than the claims of the authors. Within the book, certain topics are arranged in a layout similar to a dictionary: definitions of each topic along with examples and references. Each topic, arranged alphabetically, was within one of four categories: horizontality, base materialism, entropy, and pulse. The infographics sought to order material. Within the infographics, few works were found to be the “most famous works” by the artist, but rather most works were by famous artists of the movement but more obscure and likely not to be associated as an important work. A major finding from the infographics was that most of the categories that referenced other categories could not be mapped as having a single lineage or common reference. It was concluded that the authors fabricated a system to establish order within a group of works that they knew to be unrelated in theme and content. This was their new theory of Modernism: fabricated order of something that cannot be ordered, a revelation this thinking about Modernism in contemporary times as we see the era as a time with concrete themes and ideas. Even the majority of the Modern artists work was not even from the period of Modernism. Instead, it was from the 1960’s through the 1980’s. The method of measuring data and representing it through infographics allowed us to reevaluate the book “Formless” based not on what the text presented but on analysis. Project research completed with Tim Walser and Vanessa Kokott.
At right: Infographics exhibition trends and analysis of exhibiton of “Formlessness” curated by Rosalind Krauss and Yves Bois at the Pompidou Cente.
professional
zhujiang brewery rooftop renovation LOCATION: Guangzhou, China DATE: 2012 PROJECT STATUS: ongoing ROLE: project designer / visualization / 3-D modeling / diagrams / structural analysis / rain and sunlight analysis The Zhujiang (Pearl River) Brewery Party Pier is an existing bar complex adjacent to the Zhujiang Brewery and Pearl River. The current bars exist only on the ground floor where patrons while the green roof space is virtually unused by bars because of a lack of shade / rain protection. The client is seeking to renew the bar complex to draw customers during the daytime, as well as create a landmark architectural element to draw people to the site. The site is directly across the river from residential area, so creating an interesting architectural canopy system would draw residents in the area to the bar complex and potentially transform the already active night life into a more cultural landmark. The proposal also seeks to create new bars and restaurant areas through the renovation of an existing but not occupied factory. The new “Celebration Avenue� street would activate the space on multiple levels of sunken and rooftop bars with retail spaces connecting each individual bar or restaurant area to on another as well as to the existing Party Pier. The project focuses on two landmark entrances at each end of the existing site: The Beer Factory Museum entrance and the taxi drop off entrance at the opposite end. The design of the canopy is intended to create a light atmosphere that is visually interesting and recreational. The structure is connected to a hidden structural grid in the roof elements. The columns range in size from 140 mm through 300 mm. Each is placed seemingly randomly but within a strict grid and variation is achieved by the diameter of the column. The fabrication of the roof itself is a particular issue within the project due to the consideration of the low quality of construction available in China and cost consideration. We elected to make the landmark entrances more interesting, but wanted to find a method of conserving our design intentions but reserving cost. Therefore, we decided to make a smaller number of modular units that can be assembled easily rather than all custom fabricated pieces. The museum entrance, due to its significance as a landmark, is custom fabricated.
Clockwise from top left: museum entrance facing beer factory; museum entrance facing Pearl River; Celebration Ave. sunken bar; aerial Celebration Ave.; aerial museum entrance; looking down Celebration Ave.
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LOCATION: Guangzhou, China DATE: 2012 PROJECT STATUS: ongoing ROLE: project designer / visualization / 3-D modeling / diagrams / structural analysis / rain and sunlight analysis The new renovated Celebration Avenue would integrate new retail, restaurants, and bars into the existing area to draw a daytime crowd. The avenue would have varying levels to create unique spaces within the new site, from sunken bars to rooftop restaurants.
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The varying heights would take advantage of the excellent views of the Pearl River and skyline of Guangzhou in addition to the unique character of the beer factory environment, which we hope to retain and renovate.
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CELEBRATION AVENUE AXONOMETRIC
Յك٫եஓେլ 2-floor bar with couryard 5.3m*4m*2=42.4m2
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ڐ㦓ҋஓେլ open bar with couryard 9.5m*8.6m*1=81.7m2
ԥك٫ӹஓେլ 1-floor bar with couryard 5m*11m*1=55m2
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CELEBRATION AVENUE ANALYSIS
From top: axon of proposed renovations; typologies of commercial infill; new street/retail; commercial area; areas renovated/removed/added; diversity of new commercial spaces.
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site area 4890.20m2 commercial area 3548.75m2
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CELEBRATION AVENUE ANALYSIS
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taken down area 1118.5m2 renovated area 928.75m2 new addition area 355m2
CELEBRATION AVENUE COVERAGE
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rooftop bar area 2120m2 green roof area 928.75m2 courtyard area 898.5m2
kindergarten facade proposal INGAME Office LOCATION: Shenzhen, hina DATE: 2012 PROJECT STATUS: design charette: completed ROLE: project designer / visualization / 3-D modeling The facade design proposal for the kindergarten marries the client’s wishes for a fairytale castle with a decorative, iconographic quality that children can view as abstract but comprehensible. Utilizing research based on children’s interactions with toys, the proposal seeks to create a familiar but imaginative facade that children can read on multiple levels. On the most superficial and familiar level, icons of kid-friendly objects such as butterflies, trees, flowers, and houses adorn the exterior facade in bright colors. These icons are meant to act as a backdrop for play, similar to the way that a stage has a set. At a smaller scale than a building these icons allow children to easily interact with the architecture, at a child’s scale, while engaging the imagination. The ornamentation of stripes and fluffy fringe are meant to engage adults as well as children, creating an ethereal atmosphere for both child and adult. The project proposal seeks to combine multiple layers of decoration into a flat, two dimensional space while exploring the qualities of tactile geometry on a flat plane. Fluffy and puffy object were explored as new types of geometry, using cartoon images as precedents. The materials proposed would be tile or concrete with a reflective film coated glass for the materials. The film coated glass could become a vehicle for the children’s artistic expression, as the glass could get a vinyl treatment (designed by the children). This would allow the facade to be constantly changing and in engaging to the children.
Clockwise from top: street facing facade looking north, view of kindergarten from playground, pattern and decoration iterations, street facade facing south.
helsinki library competition visualization Paul Preissner Architects LOCATION: Helsinki, Finland DATE: 2012 PROJECT STATUS: in progress (competition) ROLE: visualization and post production Visualization for the Helsinki Library competition for Paul Preissner Architects included: Creating a site model with all relevant site information for renderings; developing a scene with trees, cars, and people; modeling a structural frame for renderings; rendering images; post-production work for images including all Photoshop work and color correction. Project completed with Warren Weaver.
At right: Visualization for Helsinki Library competition.
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The main entrances of the campus would provide a key visual link and access from the city to the park just beyond the campus. This also maintains the connection between the public and the university, inviting openness between students and the rest of Shenzhen. The open avenue leads through the campus to the park, so that the residents in the area can maintain their connection to nature.
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In addition to the culturally significant addition of the courtyard typology into the project, we sought to bring in nature. The project is titled “The Garden in the Park� due to the large park directly north of the site. Rather than maximizing the site despite the high FAR, we elected to preserve as much nature within the site as public gardens directly accessible from the culture axis and the dormitory areas. A nature path separates areas of different densities within the residential area: the more dense undergraduate housing and the less dense graduate housing.
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The Chinese University of Hong Kong competition was a special collaboration between six Chinese firms based in Shenzhen, China: INGAME office, BAO, CCDI, FCHA, Zhubo, and Alliance Architecture. The main object of the project was to create a masterplan that considers the rich cultural history of China but looks forward to a modern, international future. Maintaining traditional Chinese core architectural values drove the design intentions: specifically through the use of the courtyard typology and the traditional cultural axis through the middle of the university that exists in the current Chinese University of Hong Kong. Despite the unusually high FAR for a university project, we attempted to create different levels of activity for the spaces through variation with the courtyard so that the housing areas would achieve a lower density than the education/cultural areas. The spaces are separated by the cultural axis.
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Right: Renderings of culture plaza with significant campus buildings highlighted.
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CUHK Phase Two: The second phase of the competition included a separate, disconnected site that includes student housing and teaching facilities. The housing would overlook the teaching facilities and each main component would have its own identity and courtyard typology. The main strategy for the planning of the teaching facilities was to allow the buildings orientation to create a dynamic public space as well as have visual corridors to nature. The teaching facilities are kept at a high density to allow access from the higher elevation living area as well as preserve the surrounding nature.
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Clockwise from top right: rendering of teaching facilities of Phase 2; separate identities of teach facilities and residential areas; diagram of topography, green, and public spaces as well as land reserved for future development.
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HAINAN: SANYA ADEPT Architects LOCATION: Sanya, Hainan, China DATE: 2012 PROJECT STATUS: in progress ROLE: master plan / landscape / 3D modeling The Sanya project was a 160,000 sq. meter planning project with apartments, villas, and a hotel for a client seeking a very traditional Hainan resort style aesthetic for the hot springs resort. The client requested that all villas, apartments, and the hotel have access to a sea view, which created a difficult design parameter given the relatively high FAR for the private villas. We sought to created dynamic landscapes and public spaces within the site so that each area would have a unique atmosphere and access to public space.
Clockwise from top: street facing facade looking north, view of kindergarten from playground, pattern and decoration iterations, street facade facing south.
HAINAN: SANYA ADEPT Architects LOCATION: Sanya, Hainan, China DATE: 2012 PROJECT STATUS: in progress ROLE: master plan / landscape / 3D modeling
At right: aerial views of site.