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FIBROUS AMBIGUITY | GSD 2013 | Critic: Achim Menges architecture, material study, computational design
JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
FIBROUS AMBIGUITY Computational Architecture + Material Study
Exploration was divided into 3 phases as a methodology to prove such hypothesis: the articulation of fibers based on the scaffolds, the spatialization of fiber system into architectural system, and the translation of the system into scaffold set-up, therefore constructing a feedback loop.
Fall 2013, GSD Option Studio - ”Material Performances: Fibrous Tectonics” Critic: Michael Piper Teammates: Zunheng Lai The project “Ambiguity” explores the capability of fiber composites 1-2. FIBER FIBER to PLANE by anTO attempt construct a material-specific architectural system that is characterized by “ambiguous” phenomena. It 3D Studies: Basic Typology started withAlgorithm a hypothesis that by working with gradience of different fiber densities, such system can integrate various spatial conditions and structural performances into one single expression. OBSERVED SURFACE TYPES
PRIMITIVE SURFACE TYPES CORRESPONDING
REVERSED
The project touches on “Ambiguity” in multiple levels. 1)The final morphological system integrates multiple tectonic identities into one expression, resulting in a constant state of either-or or both-and. 2)The absence of architectural signs open the space up for interpretations by the users. 3)The self-organization of fiber in space establish an ambiguous relationship between the input and the outcome.
3D Scaffold Prototype: Hexagon RADIATED
SHIFTED
60
DMC
TyPES OF AMBIGUITy ENGAGED
TRIPLE TECTONIC IDENTITIES Opening generation .1 Boundary wrapping .2 Boundary reinforcement .3
NONCONVERGENCE
CONTRADICTORy TECTONIC IDENTITIES
CONVERGENCE
1. Gradience of fiber density 2. High concentration around structural rim 3. Gradually dissolves into solid area
Basic fiber plane types analysis.
fibrous ambiguity: multiplicity of fibrous tectonics.
SURFACE TYPE TRANSFORMATION NONCONVERGENCE
CORRESPONDING(0)
45
90
135
REVERSED(180)
TOP
AXONOMETRIC Ability of algorithm to generate differentiated condition when scalffod input stays the same.
SIDE
CONVERGENCE
CORRESPONDING(0)
45
90
135
REVERSED(180)
TOP
AXONOMETRIC
SIDE
Introduction of the “Ground” and flexible hinged panels.
After applying resin, fiber-composite can be frameless.
A series of hybrid scaffold organization studies with or without terrains, in attempt to analyze the system’s architectural potential.
FIBROUS AMBIGUITY | GSD 2013 | Critic: Achim Menges architecture, material study, computational design
JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
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Final model of proto-architecture + terrain; The ultimate test of the fibrous morphological system in a laboratory state.
Working as Student Curator at Harvard Graduate School of Design: Curated exhibition of the studio’s student works.
Video_Making of Ambiguity: Documentary of the construction process of the final model.
Link: http://vimeo.com/85690276
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URBAN PACKING PUZZLE | GSD 2012 | Critic: Michael Piper architecture, urban design
JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
URBAN PACKING PUZZLE
potentials We also took a look at precedent cities with oblique layout, existing zoning codes and its respective building types, based on which we start to develop our own urban codes and test out their formal implications.
Urban Design Spring 2012, GSD Third Year Core Studio-”URBAN CODE” Queen, New York City, NY, USA 5000,000 sqft Critic: Michael Piper Teammates: Alex Watchman, Lulu Li, Kelly Motly
One thing that we struggled through and which we thought could be exploited towards our advantage is the leftover spaces as the result of inserting standard building types into triangular blocks. Rather than considering it as a setback, we think of it as the disposition anticipated by our system to “enforce” the emergence of public open spaces. We call it the “Packing Puzzle” and the process the “Triangular Play”.
The team started out with two main focus in mind: 1) the importance of the formation of well designed open public spaces which are properly represented in NYC and is crucial to dynamic street life. 2) the reasons behind the nonexistence of triangular grid and its
ZONE A
Site Map - Queens, NYC
ZONE C
ZONE B
20 m (65 ft)
8 m (26 ft)
59°
100 m (328.1 ft)
300 m (984.3 ft)
300 m (984.3 ft)
100 m (328.1ft)
150 m (492.1 ft)
46 m (150.9 ft) 150 m (492.1 ft)
150 m (492.1 ft)
Symmetrical method is adopted in multiplying single family houses on a single block in order to open up more possibilites of manipulation.
The dimension of one house is similar to a regular New Orleans shotgun house.
A repetition of single property area is implemented to offer easy control.
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Major roads coming from the center of lima is oriented at a degree of 59 from the east-west axis, which acts as a precondition for the whole process.
Mirror the small block as a preparation to create central courtyard, the general shape of the block quad is therefore axial symmetrical.
A courtyard is created in the center of a block group to generate a local community and a city node. The public shared space is therefore evenly distributed among all single family houses.
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MODULE AREA 260,000 SQFT
MODULE AREA 60,000 SQFT
NUMBER OF BUILDINGS 16
NUMBER OF BUILDINGS 65
NUMBER OF BUILDINGS 3
The same kind of A/B system is repeated along the direction of major city highways in order to push the transformation to a larger scale. Two bands are created.
The two bands are then twisted to created nesting condition.
There are two types of block groups, full-quad and semi-quad. semi-quads are areas where public and institutional buildings are located.
The full-quad, semi-quad pairing then is repeated along the directin of the major city highways in order to push the transformation to a larger scale, again. Two program bands are created.
+
The two program bands are then twisted to create nesting condition for the two kinds of program areas, the dimension of the blocks are design as such so that after the twisting the blocks actually line up and generate two new north-south through traffic for the local communities.
Both semi-quad and full-quad have “courtyard” spaces within to ensure the even distribution of public shared spaces.
The directionality of the blocks help people to orient themselves while moving through the space. As in this example a typical walk north-south will be experienced in a long-short-long rhythm, as oppose to the short-long-long-short rhythm for the east-west axis.
MODULE AREA 210,000 SQFT
There are two orientations for the small block unit to create diversity and variation in the language of the grid.
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At this scale the public program areas and private program areas are aligned as such that they form another “courtyard” conditions at a larger scale. The public program areas are evenlly shared by the full-quad members around them.
300 m (984.3 ft)
300 m (984.3 ft)
300 m (984.3 ft) 100 m (328.1ft)
100 m (328.1ft)
92 m (301.8 ft) 900 m
900 m
92 m (301.8 ft)
AVERAGE FOOTPRINT 4000 SQFT
AVERAGE FOOTPRINT 1000 SQFT
AVERAGE FOOTPRINT 15000 SQFT
300 m (984.3 ft)
300 m (984.3 ft)
300 m (984.3 ft)
public ≈ 10% private 150 m (492.1 ft)
450 m
Precedent Analysis_Lima: Modular distribution + geometrical manipulation
Precedent Analysis_Hong Kong: Adaptive scale
SHAPE A
TRIANGLE Area to Perimeter Ratio Corner/Intersection
SHAPE B
F1 69 6
SQUARE Area to Perimeter Ratio Corner/Intersection
SHAPE C
F2 61 4
HEXAGON Area to Perimeter Ratio Corner/Intersection
450 m
SHAPE D
F3 57 3
CIRCLE Area to Perimeter Ratio Corner/Intersection
F4 54 2
GRID TYPE 2
BLOCK TYPE 1
TALL ISOSCELES
A
A
A>B
Angles
Long/short orientation
Wayfinding Characteristics
Two axial streets
SMALL BLOCK
Side proportion
Horizontal avenues
40 - 70 - 70
Area
40,000 sqft
Usage
Open space
Commercial/Residential frontages
Residential
B
Axial street formed by boundary
GRID TYPE 3 A
A
BLOCK TYPE 2
SQUAT ISOSCELES Side proportion
MEDIUM BLOCK B>A
Angles
Long/short orientation
Wayfinding Characteristics
Diagonal Avenues
80,000 sqft
Usage
Residential
Commercial/Residential Frontages
B
Diagonal streets meet at edge 70-110-70-110
Area
Commercial/Mixed use
Truncate at diagonals at street
GRID TYPE 1 A
A
BLOCK TYPE 1
EQUILATERAL Side proportion Wayfinding Characteristics
LARGE BLOCK A=A=A
Angles
No wayfinding
Area
No axial privilege
Characteristics
Same street frontage
70-110-110-70 120,000 sqft
Fill with pedestrian paths
Institutional Transportation Commercial/Mixed use
A
Exploration and Analysis of the “Triangular Grid”.
Application of the “Triangular Grid” on site.
COMMERCIAL+OFFICE+HOTEL
SCALE
ORIENTATION
LARGE
MEDIUM
SMALL
SHORT
LONG
HYBRID
ROUGH EDGE X 2
TIPS
INTERIOR
MAIN STREET RETAIL
URBAN WEDGE
URBAN WALL
COURTYARD
PROGRAM RESIDENTIAL
COMMERCIAL
RESIDENTIAL
RESIDENTIAL
COMMERCIAL
OFFICES
COMMERCIAL
OFFICES
COMMERCIAL+OFFICE+HOTEL MID DENSITY HOUSING PUBLIC
PUBLIC FEW+BIG
MORE+SMALL
TYPOLOGY
TYPOLOGY
PEDESTRAIN BRIDGE GARAGE
MORE+SMALLER
BIG BOX
CLUSTER
COMMERCIAL
COMMERCIAL
LIVE/WORK PROGRAM
OFFICES RESIDENTIAL
General block types and triangular adaptation.
The “left-over” spaces become public hot-zones in urban context.
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BIG BOX | GSD 2012 | Critic: Michael Piper architecture, urban design
JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
BIG BOX
features of big box retails.: 1) Automobile oriented. 2) Massive presence. 3) Non-pedestrian-friendly street fronts.
Big Box Retail Spring 2012, GSD Third Year Core Studio-”URBAN CODE” Queen, New York City, NY, USA 5000,000 sqft Critic: Michael Piper Teammates: Alex Watchman, Lulu Li, Kelly Motly Built upon the premise of the The Packing Puzzle scheme, this part of project is set out to engage highway and larger-size blocks by strategically deploying big box retails -- the premise being, only using rectangular building to fill in triangular blocks, during which process triangular open spaces will naturally emerge. Conditions that I expect to address in this project are three key
The final design answers the three conditions laid out in the beginning of the project in three respective aspects: 1) Parking tower situated at the top to free up the street front for pedestrian activities and formally celebrate automobiles as the essence of big box retail. One will drive into the store and up to the very top and then walk down into the shopping space. 2) The massive formal presence looking right over highway on one end publicize the store to its targeting audience 3) Right next the first floor entrance ramp rises up to the roof to made otherwise inaccesible surface occupiable to pedestrian without making it visually open.
TRIANGULATED TRUSS TO REDUCE MASSIVENESS
Building Massing.
OCCUPIABLE SURFACE MADE ACCESSIBLE
PEDESTRAIN FRIENDLY LAYOUT
RAMP TO ROOF
COINCIDE WITH THE PARKING RAMPS
Project Genesis Diagram: actively using the “left-over” space for loading bay and public entrance.
Front Elevation: Pedestrian entrance + car entrance + urban running trail to elevated urban park.
Rendering_Front: Entrance + urban running trail to elevated urban park.
PACKED-IN RETAIL PROGRAM TO ACTIVATE THE SPACE
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INSTITUTIONAL CRITIQUE | UVA 2011 | Critic: Nana Last architecture, parametric design, scripting, innovative programming JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
INSTITUTIONAL CRITIQUE Public Museum Spring 2011, UVa Fourth Year Studio - “Institution” W 30 St/10 Ave, New York City, NY, USA 125,000 sqft Instructor: Nana Last This project tries to recreate the institutionalized process by neutralize all existing institutionalized power in a “democratic” exhibit space that invites everyone’s work. By tying the “art works” to a
“stock market” system, the exhibit visualized what would otherwise be invisible process of institution of art: the process of it rising in the favor of the public, endorsed by certain organizations, and eventually inherit its power from the society that recognizes it. The final design responded the studio brief in two aspects: 1) Programmatically the proposed museum deconstruct institutionalized hierarchy but at the same time visualize the institutionalized process in the long run, serving in this sense as an institutional critique. 2) The self-referential form resulted in a process that asks for chaotic yet rational geometry will contribute to the iconic image of this institution, while questioning it at the same time.
Site Map - Highline, NYC
Emergence of form through simple unit-to-unit relationship, studies done by scripting in Grasshopper.
Inspiration and application of the unit “zigzag” form, its potential at maximazing surface area and generating intersections.
Unit structure-enabled path > systematic structure-enabled path > coverage > solar oriented coverage system.
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SKY CAVITY | UVA 2010 | Critic: Michael Beaman architecture, parametric design
JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
SKY CAVITY
that cut out views from the internal public spaces. 2) Spaces are generally confined to floors and in lack of floor-to-floor interaction. This led the project to focus primarily on circulation and public spaces: how to open up and expose them without sacrificing rentable area with city views for offices and other purpose.
Skyscraper Fall 2010, UVa Fourth Year Studio-”Megaplexity” Penn Station, New York City, NY, USA 250,000 sqft Critic: Michael Beaman This is a parametric studio investigating formal strategies in the design of high rise tower in a congested urban condition. The site is right across the street from Penn Station, on top of the existing USPS building. Grasshopper on rhino is employed as the main tool of investigation and is itself explored as a design technique. There were two general characters of existing towers that the design set out to address: 1) Cave-like interior corridors
The design intended to bring public views and solar exposure to core circulation without sacrifice rentable areas’ benefit. Sky cavities not only bring external but also internal exposure to the inside of the tower which are usually not exciting place to be. The final form intended to construct a monolithic form with obvious fragmented parts. The tower is divided into several functional groups with regard to their respective views and their height above the ground and is connected to the train station from underground, therefore creating a modern high density transportation hub.
Inspiration - City of Sky Void.
SITE CONTEXT ANALYZED
CLUSTERS ANALYZED
SITE ANALYZED
CIRCULATIONS ANALYZED/DEFINED
CUT OUT ANALYZED
IRREGULAR GRID DEFINED GENERATING VECTORS DEFINED FACING CENTER,
BLOCKS BASE ANALYZED
MASS TOWER ANALYZED/DEFINED
FOOTPRINT FROM THE BASE MASS EXTRUDED 1250 FT TALL
BLOCKS TOWER ANALYZED/DEFINED
ELIMINATING BLOCKS WITH A VOLUME SMALLER THAN A DEFINED THRESHOLD: (1*10E6)
FINAL FORM ANALYZED/DEFINED
WITH STRUCTURES, GLAZING, AND CIRCULATIONS.
TILTED 60°-90°
CUTTING VECTORS DEFINED POPULATED ALONG THE PATH, EXTRUDED 20FT WIDE
The generation of tower massing through ground floor circulation and critical views.
Rendering: the tower massing in relation to the surrounding urban fabric.
Rendering: programmatic section.
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REGENERATION | UVA 2010 | Critic: Achim Menges architecture
JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
REGENERATION Wellness Center Spring 2010, UVa Third Year Studio -”Wellness Center” Wertland St., Charlottesville, VA, USA 25,000 sqft Critic: Rosana Rubio Hernandez The studio asked the question: what can Architecture contribute to a local community? The site has a mixed demographics of students and local residence, and is situated on a hill that would otherwise be the gap between the two groups of people. It is encouraged to bring the two group together and come
Construction process and details.
Rendering: Central Atrium.
up with a program that would allow the architecture to enable the community in some ways. With constant technological development, it becomes really easy to heal the body, what is not so easily healed however, is the “soul”. It takes huge courage and effort for one to accept and embrace his or her new condition. Therefore when designing ahandicapped rehab center, it is important to forge an social community that encourage peer to peer communication, and use sports to serve as moral support that will encourage a positive spirit.
Sectional perspective through the rehab center.
Rendering: Front facade.
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DOWNTOWN ATHLETIC CLUB 2.0 | UVA 2009 | Critic: Jose Atienza architecture,
JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
DOWNTOWN ATHLETIC CLUB 2.O Athletic Club Fall 2009， UVa Third Year Studio - “Downtown Athletic Club” SOHO, New York City, NY, USA 5,000 sqft Critic: Jose Atienza After reading Delirious New York by Koolhaas and a trip to Downtown SOHO New York, the studio used Downtown Athletic Club as a case study and started our own design. The chosen site is confined in a about 20x100 street corner and it is intended to encourage sectional qualities
in design. The project started with the concept of designing the SOHO athletic club as a fashion shop and to visualize the hidden mind set through sectional manipulations. The intended effect was for the building to become a programmatic diagram of the psychological dynamic carried out through the collective individual decision of the users. The design includes several key ideas: 1) Glazed and hovering over the intersection to self exhibit; 2) Continuous floor ribbon from public to private programs ideal for smooth shopping circulation; 3)Sectionally differentiated practice bays to juxtapose different levels of customers. More confident customer will naturally tends to choose the front bay where they suddenly becomes the models in display window and “Role Models” for the less confident ones behind them on the higher bay.
Concept Model - “The Continuous Path”
Comparing gym to fashion shop where you “shop” for a better body and self-display.
Rendering: maxmizing facade glazing for a effect of fashion shop and for self-display.
Section showing the program relations and a continuous circulation.
OTHER WORK | 2007-2014
architecture, graphic design, product design, photography, animation
JUN WANG | c: +1-434-466-2711 e: maraluke@gmail.com
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Hand sketches, design studies, UVA.
Photography.
Animation explorations #1, UVA.
http://vimeo.com/16741235
Animation explorations #2, UVA.
http://vimeo.com/17446664
Professional work, interior design visualizations, @LSM, DC, USA, 2012.