JUN 雋 WANG PORTFOLIO 2010-2015
Harvard Graduate School of Design (MArch I AP) University of Virginia (BS. Arch) maraluke@gmail.com | +1-(434)-466-2711
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CONTENT
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CURRICULUM VITAE
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ACADEMIC
095
PROFESSIONAL
111
PERSONAL
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ME
雋
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JUN WANG|湪雋 maraluke@gmail.com | +1-(434)-466-2711
EDUCATION University of Virginia
Bachelor of Science in Architecture (BS Arch) 2011 with Honor
Harvard University Graduate School of Design Master of Architecture I Advanced Placement (MArch I AP) Candidate 2015
EXPERIENCE Gensler // Chicago 06/2014 - 08/2014 Architecture Intern
Reference Benjy Ward // Principle ben_ward@gensler.com
UNStudio // Shanghai 08/2012 - 08/2013 Architecture Trainee
Reference Gordana Jakimovska // Senior Associate g.jakimovska@unstudio.com
LSM // DC
08/2012 - 08/2013 Architecture Intern
Reference Ron Fiegenschuh // Partner ronf@lsm.com
OMA // New York 01/2011 Architecture Extern
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REFERENCE Achim Menges achim.menges@icd.uni-stuttgart.de +49 (0) 69 9550431 0
Prof. AA Dipl. (Hons), RIBA II, Architect AKH Founding director of the Institute for Computational Design, University of Stuttgart Visiting Professor in Architecture, Harvard Graduate School of Design
Renee Daoust rdaoust@gsd.harvard.edu
Founder of DAOUST LESTAGE inc Design Critic in Landscape Architecture , Harvard Graduate School of Design
SKILLS Graphics
Adobe Master Collection/AutoCAD/ Microstation
3D&Visualization
Rhino(Grasshopper)/Vray/Maxwell/ Sketchup/Maya/MODO/Cinema4D/ Blender/Unity
Data&Script
GIS/Processing/Java/C#/Web/Excel
Language
Chinese/English
ACADEMIC
• MATERIAL • CRAFTSMANSHIP • COMPUTATION Fall 2013 Option Studio, MArch I, Harvard GSD Instructor: Achim Menges Teammate: Zunheng Lai
FIBROUS AMBIGUITY Working with Professor Achim Menges from ICD Stuttgart, our project tries to showcase the architectural potential fiber composite material by exploring new spatial languages, going back to the innate character of this material, understanding what it is and what it wants to become.
2.5D Hexagon Weaving Technique Studies, Type 1
08
F
rom tiny electronic equipment to massive airplane shell, fiber composite material has been used across scale in many industries. However, fiber composite material has been only use as a lighter and thinner substitute to many industrial standard material. During such process, material is “forced” onto a preconceived
“RFR-12 Carbon Fiber Racing Bike Frame” by Tour Grade. http://www.made-in-china.com/showroom/ highdegreetony/product-detailDoZxyTiulFcB/ChinaRFR-12-Carbon-Fiber-Racing-Bike-Frame.html
form without further consideration to its special characteristic. Working with Professor Achim Menges, our project tries to showcase the potential spatial performance of fiber composite material by exploring new spatial languages.
“Load Path Technology” by calvertsails. http://calvertsails.com/load%20path%20description. htm
Exploration was divided into 3 phases as a methodology to testify 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
“ICD/ITKE Research Pavilion 2012” by ICD (A. Menges) &ITKE (J. Knippers) Stuttgart University. Photo by Roland Halbe http://www.achimmenges.net/?p=5561
scaffold set-up, therefore constructing a feedback loop. They are categorized accordingly as the domain of fibrous system, the domain of material computation, the domain of translation.
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Exploration
Observation
DFS
DMC
Fiber
Domain of Fibrous System
Domain of Material Computation
Space
Scaffold
DTR Domain of Translation
Instrumentalization Diagram of the Research Framework
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DFS 18
DFS 21
1-1. SCAFFOLD PROPERTIES 2D Studies: Scaffold Deformation #1
2D Scaffold Deformation Studies, Type 1 1-1. SCAFFOLD PROPERTIES 3D Studies: Scaffold Typology AA_1.0
BA_1.0
(1 OF 2)
PARAMETERS
DIAGRAMS
PROCEDURES
a >> Enclosed + a >> Double Open
PARAMETERS
1. Introduce L(a,S,k), divided equally into + a >> Distorted (Tangent) S sides, ascending clockwise; each side with two sub lines L(a,S,0) and L(a,S,1) S=6 2. For each line in L(a,S,k), divide equally N=29 into N segements, labled L(a,S,k).P[i], m=0 ascending clockwise n=0 i=1
L(a,3,0) L(a,4,0)
L(a,3,1) L(a,4,1)
L(a,2,0)
1. Introduce L(a), divided equally into Na segements, with dividing points L(a)_PT[0] to L(a)_PT[Na];
Nb=Na+31=81
2. Introduce L(b), divided equally into Nb segements, with dividing points L(b)_PT[0] to L(b)_PT[Nb];
L(a,2,1) L(a,5,1) L(a,0,1) L(a,0,0)
a >> Enclosed X 5 + a >> Distorted X 4 (Tangent)
N=29
L(a)_PT(0)/L(b)_PT(0)
m=0 n=0 i=1
L(b)_PT(Nb)
i=1 3. Connect from L(a)_PT[i] to L(b)_PT[i]
L(a)_PT(1)
L(a,1,0).P[28] L(a,0,1).P[1]
when i=50 Break
4. Connect from L(b)_PT L(b)_PT[i+Nb-Na]
(before Step.4) when N-1-i=0 Go to Step.7
[i] to when m+3=8 then m+3=1
5. Connect from L(b)_PT[i+Nb-Na] to L(a)_PT[i+1] i=i+1
7. m=m+1 n=¬n
L(a)_PT(2)
DIAGRAMS
when m=7 Break
(1 OF 2) PROCEDURES
PARAMETERS
DIAGRAMS
a >> Enclosed + a >> Overlap 1. Introduce L(a,S,k), divided equally into S sides, ascending clockwise; each side with two sub lines L(a,S,0) and L(a,S,1) 2. For each line in L(a,S,k), divide equally into N segements, labled L(a,S,k).P[i], ascending clockwise
S=4 N=29 m=0 n=0 i=1
1. Introduce L(a,S), divided equally into S sides, ascending clockwise
(before Step.4) when N-1-i=0 Go to Step.7
4. Connect from L(a,m+3,n).P[N-1-i] to L(a,m+3,¬n).P[N-1-i] 5. Connect from L(a,m+3,¬n).P[N-1-i] to L(a,m,¬n).P[i+1]
when m+3=8 then m+3=1
L(a,0)
when m=7 Break
L(a,3)
L(a,2).P[0]
L(a,0).P[0]
4. Connect from L(a,m+1).P[i] to L(a,m+2).P[29-i] 5. Connect from L(a,m+1).P[29-i] to L(a,m+3).P[i]
L(a,2).P[29] L(a,1).P[0]
6. Connect from L(a,m+3).P[i] to L(a,m).P[i+1]
7. m=m+2 n=¬n
L(a,2) L(a,1)
2. For each line in L(a,S), divide equally into N segements, labled L(a,S).P[i], ascending clockwise
3. Connect from L(a,m).P[i] to L(a,m+1).P[i]
6. Connect from L(a,m,¬n).P[i+1] to L(a,m,n).P[i+1]
L(b)_PT(32)
L(a,2,1).P[28]
PROCEDURES
3. Connect from L(a,m,n).P[i] to L(a,m+3,n).P[N-1-i]
L(b)_PT(32)
L(b)_PT(1)
L(a,1,1).P[28]
5. Connect from L(a,m+1,¬n).P[N-1-i] to L(a,m,¬n).P[i+1]
DA_1.0
(1 OF 2)
PARAMETERS
S=6
L(a,5,0)
L(a,1,1) L(a,1,0)
4. Connect from L(a,m+1,n).P[N-1-i] to L(a,m+1,¬n).P[N-1-i]
6. Connect from L(a,m,¬n).P[i+1] to L(a,m,n).P[i+1] when m+1=8 Break
DIAGRAMS L(a)_PT(Na)
Na=50
L(a,0,0).P[0]
when m+1=7 then m+1=0
PROCEDURES
L(a,1,0).P[28]
3. Connect from L(a,m,n).P[i] to L(a,m+1,n).P[N-1-i] (before Step.4) when N-1-i=0 Go to Step.7
CA_1.0
(1 OF 2)
a >> Single Open + a >> Overlap
L(a,0).P[0] L(a,3).P[29]
7. m=m+1 L(a,2).P[29] L(a,1).P[1]L(a,1).P[0]
L(a,1,1).P[0]
L(a,0).P[0]L(a,0).P[1] L(a,3).P[29]
TOP
TOP
AXONOMETRIC
RIGHT
AXONOMETRIC
RIGHT
TOP
AXONOMETRIC
AXONOMETRIC
TOP
SIDE BACK
BACK FRONT
3D Scaffold Typology Studies
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DFS 23
1-1. SCAFFOLD PROPERTIES 3D Studies: Algorithmic Differentiation
Algorithmic Differentiations on a Given Scaffold
The domain of fibrous system were conducted to understand fiber behaviors and articulation in relations to scaffold. In the 2D scaffold studies, different scaffold properties and how they affects fiber forms were explored, including geometry of the scaffold, the amount of anchor points on the scaffold and shape deformation of scaffold, along comparison groups exploring the ability for algorithm to generate differentiation on one given scaffold. Such scaffold properties exploration was carried through to the 3D scaffold studies,
during which a sets of basic fiber planes types were discovered and categorized, with an interchangeable relationship guided by scaffold transformation. Each type of fiber plane has its unique plane features in relation to directionality, boundary creation, volume creation, selfreinforcement, etc, and therefore usefully in respective situations in the next hierarchy of study.
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33
DMC
PRIMITIVE SURFACE TYPES
2-1. FIBER PLANES TO REINFORCED SURFACE
3D Studies: Interactions Differentiality OBSERVED SURFACE TYPES
CORRESPONDING
REVERSED
RADIATED
SHIFTED
NONCONVERGENCE
Raising the base for interactions
PRIMITIVE SURFACE TYPES OBSERVED SURFACE TYPES
CONVERGENCE
CORRESPONDING
REVERSED
RADIATED
SHIFTED
SURFACE TYPE TRANSFORMATION NONCONVERGENCE NONCONVERGENCE
34
CORRESPONDING(0)
45
90
REVERSED(180)
Raising the base for interactions
DMC
2-1. FIBER PLANES TO REINFORCED SURFACE
CONVERGENCE
3D Studies: Interactions Differentiality OBSERVEDSURFACE SURFACETYPES TYPES OBSERVED
TOP
PRIMITIVESURFACE SURFACETYPES TYPES PRIMITIVE CORRESPONDING CORRESPONDING
REVERSED REVERSED
RADIATED RADIATED
SHIFTED SHIFTED
AXONOMETRIC
SURFACE TYPE TRANSFORMATION NONCONVERGENCE
135
CORRESPONDING(0)
45
90
135
NONCONVERGENCE NONCONVERGENCE
+
REVERSED(180)
SIDE
TOP
Forming the PRIMITIVE SURFACE TYPES PRIMITIVE SURFACE TYPES x3 aperture OBSERVED TYPES CORRESPONDING(0) CONVERGENCESURFACE
OBSERVED SURFACE TYPES
45
CONVERGENCE CONVERGENCE
CORRESPONDING AXONOMETRIC
SURFACETYPE TYPETRANSFORMATION TRANSFORMATION SURFACE
35
4545
x3
AXONOMETRIC TOP TOP
REVERSED(180)
RADIATED
CORRESPONDING(0)
45
9090
135135
REVERSED(180) REVERSED(180)
Bracing for reinforcement
PRIMITIVESURFACE SURFACE PRIMITIVE TYPES SURFACE TYPES PRIMITIVE TYPES
2-1. FIBER PLANES TO REINFORCED SURFACE
90
135
REVERSED(180)
CONVERGENCE 3D Studies: Interactions Differentiality OBSERVEDSURFACE SURFACETYPES TYPES OBSERVED SURFACE TYPES OBSERVED SIDE
TOP
CORRESPONDING CORRESPONDING
CORRESPONDING REVERSED REVERSED
RADIATED RADIATED SHIFTED
SHIFTED REVERSED SHIFTED
RADIATED
AXONOMETRIC AXONOMETRIC
SURFACE TYPE TRANSFORMATION
SURFACE TYPE TRANSFORMATION NONCONVERGENCE
+
NONCONVERGENCE CORRESPONDING(0) NONCONVERGENCE CORRESPONDING(0) NONCONVERGENCE
SIDE
CONVERGENCE CONVERGENCE
135
SHIFTED
TOP
NONCONVERGENCE
DMC
90
RADIATED REVERSED
CORRESPONDING SHIFTED
REVERSED
CORRESPONDING(0)
45
+
45 NONCONVERGENCE 90 CORRESPONDING(0) 135 NONCONVERGENCE NONCONVERGENCE NONCONVERGENCE
REVERSED(180)
+
90
135
REVERSED(180)
AXONOMETRIC SIDE SIDE TOP
TOP
Bracing for PRIMITIVE SURFACE TYPES PRIMITIVE SURFACE TYPES PRIMITIVE SURFACE TYPES x3 x3 reinforcement OBSERVED SURFACE TYPES OBSERVED SURFACE TYPES CORRESPONDING(0) CORRESPONDING(0) 4545 CONVERGENCE CONVERGENCE
OBSERVED SURFACE TYPES SIDE
CONVERGENCE CONVERGENCE
CORRESPONDING
REVERSED
CONVERGENCE
SURFACETYPE TYPETRANSFORMATION TRANSFORMATION SURFACE TYPE TRANSFORMATION SURFACE
+
NONCONVERGENCE NONCONVERGENCE NONCONVERGENCE CORRESPONDING(0) NONCONVERGENCE 4545 CORRESPONDING(0) CORRESPONDING(0) NONCONVERGENCE
NONCONVERGENCE
SIDE AXONOMETRIC AXONOMETRIC
SIDE
TOP TOP
CORRESPONDING(0)
45
RADIATED
x3
45
x3
TOP
135 CONVERGENCE 90 CORRESPONDING(0) CONVERGENCE CONVERGENCE
+
9090
45
REVERSED(180)
135135
90
REVERSED(180)135 REVERSED(180)
REVERSED(180)
Bracing the aperture 90
135
REVERSED(180)
AXONOMETRIC AXONOMETRIC
CORRESPONDING(0)
AXONOMETRIC
SURFACE TYPE TRANSFORMATION SURFACE TYPE TRANSFORMATION
SURFACE TYPE TRANSFORMATION
AXONOMETRIC
REVERSED(180) REVERSED(180)
RADIATED SHIFTED
SIDE SIDE 3D Studies: Different interactions result in different formations TOP
TOP
NONCONVERGENCE
135135
REVERSED SHIFTED
AXONOMETRIC TOP TOP
AXONOMETRIC
CONVERGENCE CONVERGENCE
9090
CORRESPONDING RADIATED REVERSED
CORRESPONDING SHIFTED
45
NONCONVERGENCE NONCONVERGENCE 90 CORRESPONDING(0) 135
AXONOMETRIC SIDE SIDE
SIDE
CORRESPONDING(0) 45 REVERSED(180)
90
45
135
90
REVERSED(180)135
REVERSED(180)
32
DMC
2-1. FIBER PLANES TO REINFORCED SURFACE
13
3D Studies: Interactions Differentiality
3 plane types x3 = Hexagon Surface type 1 : Aperture - 30%
3 plane types x3 = Hexagon Surface type 1 : Aperture - 10%
Different fiber plane types were combined in plane-to-plane interactions to generate different surface conditions. By slightly modify each plane types or its variables, the resulted surface condition will be different, with a corresponding variable changed.
In the domain of material computation, these fiber planes were then used as base unit in generating different kinds of reinforced fiber surfaces via plane-to-plane interaction. These surfaces are in themselves gradience of differentiated fiber densities, and have started to integrate spatial and structural qualities. For example: reinforced boundary conditions are formed in-between scaffolds, which can be guided to generate apertures and thresholds. Structural ribs were formed on the scaffold with a directionality able to cater to structural need.
Fiber gradience were used between different conditions for gradual interpolation. These conditions were, as an observation, useful in constructing a shell-like space, and therefore directed the exploration to such angle. Flexible scaffold system was also organized to introduce ambiguity in form finding, giving material a certain degree of freedom to compute its form in space, through fiber-to-fiber interactions. These interactions are then categorized in the next domain, the domain of translation.
14
3D Spatial Prototype Studies
15
2.5D Spatial Prototype Studies: Hexagon + Triangle
The domain of translation investigates the spatialization of continuous fiber gradience. Such investigation started by looking how fiber planes interact and construct reinforced surface through two types: collision and intertwining. Sequential buildups of these two types of fiber planes results in different reinforced surfaces which feature in two categories: boundary condition and in between boundary. In the boundary condition, reinforced boundary is constructed along the edge of scaffold, with either multiple concentrated directions of fiber orientation or with singular concentrated direction of fiber orientation. The gradience of fiber densities can also transform to form boundary in-between scaffold, potentially as aperture and threshold. In between scaffold, surfaces are constructed with interaction of multiple fiber plans which are free from typical
hyperbolic or cylindrical surface types. Diverse reinforced surface together construct spatial moments in relation to terrain: a relatively flat interface between the ground and the rising of an elevated one forms a vertical circulation; a circulation threshold is marked with reinforced boundary along the edge of scaffold; an aperture provides visual connectivity & light exposure without the provision of circulation connectivity; an enclosure is formed as a spatial border regulating circulation and visual connectivity as well as light exposure. These spatial moments begin to articulate the architectural potentials of the fiber morphology which leads to the domain of translation.
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Final Morphological Prototype: Elevation
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 bothand. This were enabled by the innate nature of fiber-composites: continuous yet heterogeneous. A wide range of conditions are made possible by simple variations in density and orientation, and further linked on the same surface.
2)The absence of architectural signs open the space up for interpretations by the users. Since the form finding process happened within the domain of fiber system itself, pre-determined geometrical construct is limited only in the scaffold domain, reference to existing spatial signs are then avoided. The reading of the space by the users and then tends to be more opaque and requires the users to pay attention to more basic spatial phenomena.
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Final Morphological Prototype: Perspectives
Final Morphological Prototype: Exterior
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Final Morphological Prototype: Interior
Final Morphological Prototype: Exterior
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Help curating the studio work collection at Harvard GSD, Jan/2014-April/2014
Scan the QR code on the left to check out the production process of this model in action.
Final Morphological Prototype: Production Process
3)The self-organization of fiber in space establish an ambiguous relationship between the input and the outcome. This ambiguity has two folds: a)The indeterminate state of fiber formation on a given scaffold; b) The indeterminate state of flexible scaffolds in angle rotation and horizontal sliding, and its relation to fiber-to-fiber interactions. Layers of fiber-to-fiber interactions can be
seen as a computational process in which basic computing rules are governed by the materials innate properties; it is also a computational process because specific properties of the outcome can be programed at the level of each fiber orientation, but the final result can only emerged after a large quantity of fiber interactions are resolved.
• LANDSCAPE + ARCHITECTURE • INFRASTRUCTURE • HERITAGE Spring 2014 Option Studio, MArch I, Harvard GSD Instructor: Renee Daoust Teammate: Taro Cai
RECIPIENT OF TIME Infrastructure has always been about transition, about taking a subject from one point to the other, it’s dynamic, always in progress, unable to obtain equilibrium. Our observation regarding expo 67 led to discovery that infrastructure can actually exist as space of perception, closely linked to the way memories are captured, especially during the expo 67 period.
Site Map: Historic Heritage Corridor
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Site Photos: Montreal, Expo ‘67 Now
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Infrastructure-scape Diagram, 3 layers of design techniques.
T
he team sought to study infrastructure and its connection to the natural landscape. At this site specifically, the landscape merges with the infrastructure, and the infrastructure merges with the landscape.
We spent effort on incorporating the entire line of infrastructure space into one entity, blurred the boundary between bridge and river front, providing theatrical spatial experience along the way.
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Site Map: Circulation Flow Study
Site Map: Landscape Feature Distribution
25
Site Map: Viewpoint Visibility Study
The design of the master-plan started with one idea: the infrastructure as river and the river as infrastructure. Critical landscape features were allocated along the site line with both attention to views and
scales. Different programs were also situated together with landscape features for activation, hoping to attract attention back to the once popular site of expo ‘67.
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Master-Plan, Visionary Perspective
The master plan is divided into 7 zones, A-G. Zone A-C are the parts on the ground facing the historic port, Zone C-F are on the old bridge that is used to connect the island back to the city.
Zone G is at the end of the bridge facing Place de la nation
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Master-Plan, Visionary Perspective: Zone A-C
28
7000 4000 8000 8000 7000
ICE RINK
80m x 16m TROCADERO GARDENS PARIS
15000 4000 8000 7000
135m x 50m TROCADERO GARDENS PARIS
15000 4000 8000 7000
150m x 50m NATIONAL MALL WASHINGTON DC
Master-Plan, Visionary Bridge Activation Diagram: Zone C-E
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Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
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Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
In the master-plan, the final design comes down to Zone G, the end point of the corridor and the entry point to the island. For purpose of activation, it is designed as a merging point of many elements, the automobiles, the pedestrian,
the people passing by or arriving, etc.. Strong attention is also paid to the connection with the Saint Lawrence River, the lake in the island, as well as the historic Place de la Nation.
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Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
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Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
The design wants to achieve one concept: to introduce activities “into” the bridge, and let the infrastructure to be the “destination” itself. A u-shape circulation path is embedded in the bridge massing for a pub-restaurant. The top of
this path is turned into a outdoor sitting place/ theatre space. The under-side of the bridge is turned into a flexible event space for shows, exhibitions, etc..
33
Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
34
Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
35
Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E
• MATERIAL • CRAFTSMANSHIP • COMPUTATION Fall 2014 Seminar, Technology, Harvard GSD + Wyss Institute for Biologically Inspired Engineering Instructor: Chuck Hobberman Teammate: Yujie Hong, Akshay Goyal
BENDING RULE OF CURVE Working with Professor Chuck Hobberman who leads the school in transformable design, our project looks closely at the origami mechanics, specifically curve folding. Curve folding behaves differently than normal structure or other origami systems in rigidity, plasticity and efficiency. We as a team focused on the mathematical and physical theories behind the otherwise mysterious behaviors of curve folding.
38
A
s a team we studied and sought to verify the [6 + 1] fundamental features of Curve Folding, which helps to build a more rigorous foundation to similar attempts.
1. “The curvature of a fold line in space increases as it folds. The relationship is proportional: k3D =k2D/cosA , where k3D and k2D are the curvature (the inverse of the radius of the curvature) of the fold line in the space and the crease pattern respectively; A is the half of the folding angle of the crease at the point. From this fact, we can understand that a straight line in the crease pattern cannot be bent and is kept straight in the space until it is folded 180 degrees” (Fig. 1).
Reference: Designing One-DOF Mechanisms for Architecture by Rationalizing Curved Folding Tomohiro TACHI, Gregory EPPS Graduate School of Arts and Sciences, The University of Tokyo
Fig.1: Pattern-3D Relation 1: Curvature and fold angle. p5, Designing OneDOF Mechanisms for Architecture by Rationalizing Curved Folding.
2. “The curved fold does not twist when the left and right rulings have the same orientation in the crease pattern. The curved fold is twisted when the rulings have kinks at the rulings” (Fig. 2).
Fig.2: Pattern-3D Relation 2: Rulings and twisting. Left: Non-twisting curved folding by straight rulings alignment in the crease pattern. Middle & Right: Twisting curved folding by kinked rulings alignment. p5, Designing One-DOF Mechanisms for Architecture by Rationalizing Curved Folding.
3. “The folding angle, i.e., complementary angle of dihedral angle, along a curved fold is constant when the rulings reflect at the curved fold in the crease pattern, producing uniform curved folding (Fig. 3).”
Fig.3: Pattern-3D Relation 3: Uniform and non-uniform folding. Left: Uniform angle folding using mirror reflecting rulings. Right: Non-uniform folding (generic). The folding angle is not constant along the crease. p6, Designing One-DOF Mechanisms for Architecture by Rationalizing Curved Folding.
39
Curve Folding: Ruling Differentiation Studies 1
40
4. “Normally, a piece of paper deforms plastically and thus irreversibly by folding, and it does elastically thus reversibly by bending. Here, folding implies a local rotation around fixed crease, while bending includes, in addition to the change in the absolute amount of curvature (distributed rotation along the rulings), the position and orientation of rulings (Fig. 4). Therefore, a physical interaction with a curved folding implies more degrees of freedom than a regular straight line origami, where the configuration is basically represented only by the folding angles. �
Fig.4: The elastic transformation with the change in the rulings position (Bending only). p7, Designing One-DOF Mechanisms for Architecture by Rationalizing Curved Folding.
Hands free actuation for theory validation (Arduino)
Plastic Joint Production for longer lasting joint (Lamination)
41 Primitive_D_1 CHARACTERS
CREASE PATTERN -Bound -Mountain -Valley -Ruling -Axis
-Curve Folding
A
-Convex -Modular -Duo-Crv -1 Bending Axis
1.62
0.52 0.62
1.59
0.91
-List<K-3D_Crease>
0.90
0.5 0.69
1.65
0.48 0.75
1.95 1.68
-List<K-2D_Crease>
0.45 0.83
0.90
3.75
-Default Bending Angle a = 0.25*PI
0.38
1.11
0.21
1.26
1.63
0.23
1.32
1.56
0.26
1.36
1.46
0.28
1.35
0.31
1.4
1.22
0.34
1.45
0.19
1.24 1.19
1.68
-List<K-3D_Axis>
1.01
0.42
1.55 1.49
3.74
A
Flat
Cynlindrical
Conic
Surface Bending f(a)
Double Curvature
Ruling_STAGE-01
A 0.25*PI 0.4*PI 0.45*PI
Primitive_D_2 CHARACTERS
CREASE PATTERN -Bound -Mountain -Valley -Ruling -Axis
-Curve Folding
A
-Convex -Modular -Duo-Crv -1 Bending Axis
1.62
0.52 0.62
1.59
0.91
-List<K-3D_Crease>
0.90
0.5 0.69
1.65
0.48 0.75
1.95 1.68
-List<K-2D_Crease>
0.45 0.83
0.90
3.75
-Default Bending Angle a = 0.25*PI
0.38
1.11
0.21
1.26
1.63
0.23
1.32
1.56
0.26
1.36
1.46
0.28
1.35
0.31
1.4
1.22
0.34
1.45
0.19
1.24 1.19
1.68
-List<K-3D_Axis>
1.01
0.42
1.55 1.49
3.74
A
Flat
Cynlindrical
Conic
Surface Bending f(a)
Double Curvature
Ruling_STAGE-01
A 0.25*PI 0.4*PI 0.45*PI
Primitive_D_3 CHARACTERS
CREASE PATTERN -Bound -Mountain -Valley -Ruling -Axis
-Curve Folding
A
-Convex -Modular -Duo-Crv -1 Bending Axis
1.62
0.52 0.62
1.59
0.91
-List<K-3D_Crease>
0.90
0.5 0.69
1.65
0.48 0.75
1.95 1.68
-List<K-2D_Crease>
0.45 0.83
0.90
3.75
-Default Bending Angle a = 0.25*PI
0.21
1.26
1.63
0.23
1.32
1.56
0.26
1.36
1.46
0.28
1.35
0.31
1.4
1.22
0.34
1.45
1.11
0.38
1.01
0.42
1.55 1.49
0.19
1.24 1.19
1.68
-List<K-3D_Axis>
3.74
A
Flat
Cynlindrical
Conic
Surface Bending f(a)
Double Curvature
Ruling_STAGE-01
A 0.25*PI 0.4*PI 0.45*PI
Primitive_D_4 CHARACTERS
CREASE PATTERN -Bound -Mountain -Valley -Ruling -Axis
-Curve Folding
A
-Convex -Modular -Duo-Crv -1 Bending Axis
1.62
0.52 0.62
1.59
0.91
-List<K-3D_Crease>
0.90
0.5 0.69
1.65
0.48 0.75
1.95 1.68
-List<K-2D_Crease>
0.45 0.83
0.90
3.75
-Default Bending Angle a = 0.25*PI
0.38
1.11
0.21
1.26
1.63
0.23
1.32
1.56
0.26
1.36
1.46
0.28
1.35
0.31
1.4
1.22
0.34
1.45
0.19
1.24 1.19
1.68
-List<K-3D_Axis>
1.01
0.42
1.55 1.49
3.74
A
Flat
Cynlindrical
Conic
Surface Bending f(a)
Double Curvature
Ruling_STAGE-01
A 0.25*PI 0.4*PI 0.45*PI
Primitive_D_5 CHARACTERS
CREASE PATTERN -Bound -Mountain -Valley -Ruling -Axis
-Curve Folding
A
-Convex -Modular -Duo-Crv -1 Bending Axis
1.62 1.59
0.52 0.62
0.90
0.5 0.69
1.65
1.26 1.24 1.19
1.01
0.38
1.11 0.34
1.22
0.31
1.35 0.28
1.46 0.26
1.56 0.23
1.32
1.63
1.36
0.21
1.4
0.19
1.45
1.68
1.55 1.49
-List<K-3D_Axis>
0.42
0.91
-List<K-3D_Crease>
0.48 0.75
1.95 1.68
-List<K-2D_Crease>
0.45 0.83
0.90
3.75
-Default Bending Angle a = 0.25*PI
3.74
A
Flat
Surface Bending f(a)
Cynlindrical
Conic
Double Curvature
Ruling_STAGE-01
A 0.25*PI 0.4*PI 0.45*PI
Curve Folding: Ruling Differentiation Studies 2
42
5. Principle 2 implies that “a non-twisting curved folding is composed of a developable surface and its mirror reflection with respect to the plane that includes the curved fold. It corresponds to the known method for creating a curved folding by cutting and mirror reflecting a single developable surface (Fig. 5). However, this is only a limited case, and we can find more form variations with twisted curved creases by physical interaction with paper.” Fig.5: Curved folding design using mirror reflection of a developable surface. p7, Designing One-DOF Mechanisms for Architecture by Rationalizing Curved Folding.
6. “Developable surfaces are composed of planar patches and patches of ruled surfaces with the special property that all points of a ruling have the same tangent plane. Such torsal ruled surfaces consist of pieces of cylinders, cones, and tangent surfaces, i.e., their rulings are either parallel, pass through a common point, or are tangent to a curve (curve of regression), respectively.”
Fig.6: “The car model of Figure 1 and its development (top right). The patch decomposition into torsal ruled surfaces is shown using the following color scheme: planes are shown in yellow, cylinders in green, cones in red, and tangent surfaces in blue.” p2, Curve Folding
43
Curve Folded Scissor Mechanism
Curve Folding Surface Type Studies
44
7. (ORIGINAL) The curvature we are interested in is usually one of the two principle curvatures of the target bending surface (KAp-1), and the target surface is usually a developable surface since it needs to be bend from a flat paper, and therefore the other principle curvature is zero (KAp-2).
K(Ap)-1 K(3D)
K(Ap)-1 ø
K(Ap)-2 K(Ap)-2
At any given point along one of the creases that shaped the bended surface, the curvature of that crease deviation angle ø: K(3D) = K(Ap)1 * Sin2ø + K(Ap)2 * Cos2ø K(Ap)2=0 And based on (1), we already have a relationship between the 3d curvature of a crease and it’s 2D original: K(3D) = K(2D)/CosA Therefore we have a relationship between the 2D curvature of a crease and the (estimated) resulted curvature of the surface in action: K(AP)1 = K(2D)/(CosA*Sin2ø)
Fig.6: Relationships between different crucial line curvature in space.
45
Inchworm_Symetry_3 CHARACTERS
CREASE PATTERN -Bound -Mountain -Valley -Ruling -Axis
-Curve Folding
B 0.28
0.87
-Convex
0.28
A
0.27
0.27
0.05 0.23
-3 Bending Axis
0.29
0.27
-Quad-Crv
-List<K-2D_Crease>
0.39
0.11
1.26
0.11
2.05 0.42
-List<K-3D_Crease>
1.79
-Default Bending Angle a = 0.25*PI
Conic
0.23 2 0.0
0.4
0.28
0.87
0.28
0.28
A
B
3.87
3.51
5
1.15
0.92
0.74
0.61
0.5
1.93
4.91 3.5 2.57
0.27 0.27 0.27 Cynlindrical
3.64
1.83 1.91 1.97 2.09 2.25 2.39 2.5 2.73 3.05 3.35
Flat
0.13 6.62
1.48
10.74 7.12
0.19 0.23 3.15 0.2 2.42 1.87 8 0.3 1.46 6 0.4 1.15 5 0.5 0.9 8 2 0.7 0.7 4 5 0.97 0.6 1.2 0.57 1. 63
0.15 4.11
1.2 1.11 1.02 5 1.04 1.12 2 0.9 6 1.22 9 0.8 1.3 0.6 5 1.55 4 0.6 41.7 80.5 5 1.9 0.4 2.2 0.42 2.66 0.38 3.08 0.35 3.38 0.32 3.6 3.87
Surface Bending f(a)
5.29
-List<K-3D_Axis>
Double Curvature
Ruling_STAGE-01
Ruling_STAGE-02
A 0.25*PI 0.4*PI 0.45*PI
B
0.25*PI 0.4*PI 0.45*PI
Curve Folding: Inchworm Prototype
Shell_Hybrid_A_3 CREASE PATTERN -Bound
A
-Mountain -Valley -Ruling -Axis
0.06 0.06 0.13
0.04
80.5°
0.11 0.17 0.25 0.36 0.49 0.64 0.8 2.07 1.57 1.15 0.82 0.56 0.37 0.23 0.95 0.13 1.0
1.4
7
2.6
0.23
0.07
-Convex
0.02
3.54 3.43 3.09
-Curve Folding
0.37
151.
0.57
-Quad-Crv
84.1°
1.17
1.63 2.2
2.89
3.69
3.59
95.5°
° 8.0
° 18.9°
103.0°
51.0°
65.
7°
89
.1°
198.9°
244.5 °
0.3 0.12 0.18 0.06
90.0°
17 32 0.87 1.4 2.2 3.6 6.0 10.26 5 6 6 .85.4 0.27 0.42 0.67 1.04 1.58 2.29 3 2.98 0.09 0.02 0.54 0.17
0.33
0.02 0.01
0.09 0.03
10.72
0.16
72.0 °
102.5°
83.5° .5° 13
81.6°
46.0 °
17
7.4 9.65
6 1.0
0.97
46.0°
181.7°
0.50
46.0°
18.9°
-List<K-3D_Axis>
3.31
5.11 3.35 2.15 1.37 0.86 0.54 0.32 0.18
9.83
0.23
7.59
1.06
20 9.0°
95.9°
192.5°
B
1.00
0.06 0.02
0.2 3
4.53 5.33
10.72
8 1.4
0.5 3
0.74 0.53
-List<K-2D_Crease>
32.6 10.418.1 5 2 3.696.15 2.34 3.04 3.3 2.25 1 1.62 1.38 1.05 0.06 0.85 0.67 0.15 0.42 0.51 0.26 0.29 0.3 0.16 0.51 0.15 0.09 0.84 1.36 0.05 2.16 3.41 5.23
0° 105.
60.0 1.0 69
-Default Bending Angle a = 0.25*PI
88.0°
0.85
29 .0°
-3 Bending Axis
-List<K-3D_Crease>
0°
0.83
1.10
89 .1
CHARACTERS
C
Flat
Surface Bending f(a)
Cynlindrical
Ruling_STAGE-01
Conic
Double Curvature
Ruling_STAGE-02
A 0.25*PI 0.4*PI 0.45*PI B 0.25*PI0.4*PI
C
0.25*PI
Curve Folding: Shell Prototype
• URBAN • TYPOLOGY • COMPUTATION Spring 2012 Core Studio, MArch I, Harvard GSD Instructor: Michael Piper Teammate: Alex Watchman, Lulu Li, Kelly Motly
CITY AS PACKING PUZZLE Within a 1,000 x 5,000 urban slice in Queen New York, the objective of the studio is to imagine and justify a system of URBAN CODES upon which a complete group of blocks will be developed from street layout to zoning and eventually individual buildings. The site is right beneath the “iron triangle”, framed by the railway and the subway, the two stadium, and two highway bridges. The lack of infrastructure and the strong boundaries making the site technically context-less. The intention is to encourage bold visions for block types and street grids plus other features that are not necessarily present in the adjacent site or anywhere in the world.
Site Map - Queens, NYC
48
Basic Building Type Dimension Research
T
he studio started with case studies looking at other city blocks in the world, and in our case: Hong Kong and Lima, Peru. Special attentions were paid to block densities and geometric features.
There was also the independent research on basic urban building componentsâ&#x20AC;&#x2122; proper dimensions. We hoped to research on urban dimensions from the top down as well as the bottom, so we can hopefully arrive at something realistic.
49
ZONE A
ZONE C
ZONE B
MODULE AREA 210,000 SQFT
MODULE AREA 260,000 SQFT
MODULE AREA 60,000 SQFT
NUMBER OF BUILDINGS 16
NUMBER OF BUILDINGS 65
NUMBER OF BUILDINGS 3
AVERAGE FOOTPRINT 4000 SQFT
AVERAGE FOOTPRINT 1000 SQFT
AVERAGE FOOTPRINT 15000 SQFT
Case Study: Hong Kong, elevation and footprint.
20 m (65 ft)
8 m (26 ft)
59°
100 m (328.1 ft)
300 m (984.3 ft)
100 m (328.1ft)
300 m (984.3 ft)
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.
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.
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.
-
+
-
+
There are two orientations for the small block unit to create diversity and variation in the language of the grid.
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.
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)
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
Case Study: Lima, Peru, block dimension and grid distribution.
450 m
50
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
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
SMALL BLOCK
Side proportion Wayfinding Characteristics
A>B Long/short orientation Horizontal avenues
Angles
40 - 70 - 70
Area
40,000 sqft
Usage
Open space
Commercial/Residential frontages
Residential
B
GRID TYPE 3 A
A
BLOCK TYPE 2
SQUAT ISOSCELES Side proportion Wayfinding
MEDIUM BLOCK B>A
Long/short orientation
Characteristics
Diagonal Avenues
B
GRID TYPE 1 A
Angles
A
Residential Commercial/Mixed use
LARGE BLOCK
Side proportion Characteristics
80,000 sqft
Usage
BLOCK TYPE 1
EQUILATERAL Wayfinding
70-110-70-110
Area
Commercial/Residential Frontages
A=A=A No wayfinding No axial privilege Same street frontage
Angles Area Characteristics
70-110-110-70 120,000 sqft Institutional Transportation Commercial/Mixed use
A
Research on grid geometry effects.
There are a few things we found as a team that are crucial to dynamic urban environment: 1. A properly scaled block size; 2. Amount of intersections; 3. Properly designed street front; 4. The presence of live public spaces. Based on those criteria we became interested in exploring an otherwise rarely attempted grid formation: the triangular grid.
Comparatively, as shown in the diagram above, triangular grid presents the highest density of street intersections, highest frontage/area ratio. In addition, the understandable drawback of triangular grid, always having left-over spaces, also can be treated as an advantage: by turning those left-over spaces into public open spaces on a policy level.
51
Main axial street
Two axial streets
30ft offset from boundary
Axial street formed by boundary
One way street loop at edge Diagonal streets meet at edge
Truncate if less than 50ft Truncate at diagonals at street
Fill with pedestrian paths
Truncate at diagonals at street
Triangular grid distribution on site.
Site Map.
52
SCALE
LARGE
PUBLIC
MEDIUM SMALL
PROGRAM COMMERCIAL
SHORT
SMALL
PUBLIC FEW+BIG MORE+SMALL
MORE+SMALL MORE+SMALLER
MORE+SMALLER
TYPOLOGY BIG BOX
PROGRAM
LARGE MEDIUM
PUBLIC FEW+BIG
TYPOLOGY
ORIENTATION ORIENTATION
SCALE
BIG CLUSTER BOX
COMMERCIAL COMMERCIAL
OFFICES
OFFICES
RESIDENTIAL
RESIDENTIAL
CLUSTER MAIN STREET RETAIL
MAIN STREET RETAIL
COMMERCIAL RESIDENTIAL
RESIDENTIAL
COMMERCIAL
COMMERCIAL
PROGRAM
Triangular Grid Effects.
LONG HYBRID
HYBRID
TIPS INTERIOR
INTERIOR
PUBLIC ROUGH EDGE X 2
TYPOLOGY
SHORT LONG
ROUGH EDGE TIPSX 2
TYPOLOGY URBAN WEDGE
URBAN URBAN WEDGE WALL
PROGRAM COMMERCIAL
RESIDENTIAL COMMERCIAL
OFFICES
OFFICES COMMERCIAL
URBAN COURTYARD WALL
COURTYARD
RESIDENTIAL RESIDENTIAL
RESIDENTIAL
COMMERCIAL OFFICES
OFFICES
53
INTERSECTION TYPE CONSTITUTION b = |base| s = |side| s = 1.5 x b
S
M’
M
L’
L
S
M
M’
L
L’
triangel
parallelogram’
parallelogram
trapezoid
trapezoid
triangel
parallelogram
parallelogram’
trapezoid
trapezoid
TRI x 1
TRI x 2
TRI x 2
TRI x 3
TRI x 3
TRI x 1
TRI x 2
TRI x 2
TRI x 3
TRI x 3
4xb
3xb
2.5xb
2.33xb
2xb
6S
6S
4S+M’
3S+L’
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
MIXED/SINGLE
MIXED/SINGLE
MIXED/SINGLE
MIXED/SINGLE
4xb
3S+L
4S+M
3.62xb
2S+2M
3.25xb
3S+L
3.5xb
S+M+L
2.83xb
4S+M’
4S+M
3.75xb
2S+M+M’
3.38xb
2L
2M+M’
2S+2M
2S+M+M’
2S+2M
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
MIXED/SINGLE
MIXED/SINGLE
MIXED/SINGLE
MIXED/SINGLE
S+M+L’
S+M+L
2M+M’
2L’
2xb
2.67xb
2S+2M
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
MIXED/SINGLE
MIXED/SINGLE
MIXED/SINGLE
MIXED/SINGLE
3.5xb
REARRANGED BY 2L
FRICTION COEFFICIENT
+
EXTERNAL/TRANSITORY/MIXED VALUES
3S+L’
3.58xb 3.
S+M+L’
2.94xb 2.94
2L’
INTERNAL/EXTERNAL TRANSITORY/STATIONARY
2.33xb 2.33
MIXED/SINGLE
Context-less triangular grid theoretical studies.
54
HIGH SPEED
40,000 SQFT 40,000 SQFT 40,000 SQFT
CONCENTRATED
LOW SPEED BOUNDARY
HIGH SPEED
BOUNDARY
SQFT LOADING DOCKS BOUNDARY
CONCENTRATED
LOW SPEED BOUNDARY
HIGH SPEED
ENTRY PLAZAS
40,000 SQFT REORIENTATION DISTRIBUTED
40,000 SQFT
LOADING DOCKS
40,000 SQFT
BOUNDARY
CONCENTRATED
INACCESIBILE SURFACE LOW SPEED BOUNDARY
LOADING DOCKS
ENTRY PLAZAS
REORIENTATION BOUNDARY
DISTRIBUTED
INACCESIBILE SURFACE
ENTRY PLAZAS
MADE ACCESSIBLE
RAMP TO ROOF
LOW SPEED
MADE ACCESSIBLE
OCCUPIABLE SURFACE REORIENTATION DISTRIBUTED
BOUNDARY ACCESSIBLE SURFACE DRIVE-IN
MADE ACCESSIBLE
RAMP TO ROOF
WALK-IN INACCESIBILE SURFACE CHECK-OUT AREAS
OCCUPIABLE SURFACE
SSIBLE SURFACE DRIVE-IN
WALK-IN CHECK-OUT AREAS
SIBILE SURFACE FRAMING PUBLIC PLAZAS
AMING PUBLIC PLAZAS
MADE ACCESSIBLE
RAMP TO ROOF
FRAMING PUBLIC PLAZAS
OCCUPIABLE SURFACE
FOLDED SURFACE
ACCESSIBLE SURFACE DRIVE-IN
WALK-IN CHECK-OUT AREAS
FOLDED SURFACE
TYPICAL PARKING LAYOUT
PEDESTRAIN FRIENDLY LAYOUT
PEDESTRAIN FRIENDLY LAYOUT
WALK-IN
CHECK-OUT AREAS
PICAL PARKING LAYOUT
O PROVIDE ACCESS TO THE ROOF
ROVIDE ACCESS TO THE ROOF
ROGRAM TO ACTIVATE THE SPACE
AIN FRIENDLY LAYOUT
FRAMING PUBLIC PLAZAS
PEDESTRAIN FRIENDLY LAYOUT
COINCIDE WITH THE ENTRY RAMP
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 TYPICAL PARKING LAYOUT
COINCIDE WITH THE ENTRY RAMP
FOLDED SURFACE
PEDESTRAIN FRIENDLY LAYOUT
COINCIDE WITH THE PARKING RAMPS
LIFT TO PROVIDE ACCESS TO THE ROOF
PACKED-IN RETAIL PROGRAM TO ACTIVATE THE SPACE
triangular open spaces will naturally emerge. Conditions that I expect to address in this project are three key features of big box retails.: 1) Automobile oriented. 2) Massive presence. 3) Non-pedestrian-friendly street fronts. PEDESTRAIN FRIENDLY LAYOUT
COINCIDE WITH THE PARKING RAMPS
PEDESTRAIN FRIENDLY LAYOUT
PACKED-IN RETAIL PROGRAM TO ACTIVATE THE SPACE
TRIANGULATED TRUSS TO REDUCE MASSIVENESS
LIFT TO PROVIDE ACCESS TO THE ROOF
COINCIDE WITH THE ENTRY RAMP
COINCIDE WITH THE PARKING RAMPS
ROOF
OCCUPIABLE SURFACE
55 WALK-IN CHECK-OUT AREAS
TYPICAL PARKING LAYOUT
FRAMING PUBLIC PLAZAS
PEDESTRAIN FRIENDLY LAYOUT
RFACE
FRIENDLY LAYOUT
E ENTRY RAMP
PEDESTRAIN FRIENDLY LAYOUT
COINCIDE WITH THE PARKING RAMPS
LIFT TO PROVIDE ACCESS TO THE ROOF
PACKED-IN RETAIL PROGRAM TO ACTIVATE THE SPACE
TRIANGULATED TRUSS TO REDUCE MASSIVENESS
56
Front Elevation
CAR RAMPS
96’
LEVEL 6
PARKING+RETAIL
84’
LEVEL 5
PARKING+RETAIL
72’
LEVEL 4
PARKING+RETAIL
60’
LEVEL 3
PARKING+RETAIL
40’
LEVEL 2
ATRIUM+PLAZA
30’
LEVEL 1.5
5’
LEVEL 1
CAR PARK + RETAIL
RAMP #2
RAMP #1+BIG BOX
Cross-Section
Typical Plans
ATRIUM + BIG BOX (GROUND FLOOR)
CAR PARK + RETAIL
CAR RAMPS
ENTRY RAMPS
FACADE
ENTRY RAMPS
ENTRY PLAZA
57
Front Perspective
The final design answers the three conditions laid out in the beginning of the project in three respective aspects:
2) The massive formal presence looking right over highway on one end publicize the store to its targeting audience
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.
3) Right next the first floor entrance ramp rises up to the roof to made otherwise inaccessible surface occupiable to pedestrian without making it visually open.
• MATERIAL • CRAFTSMANSHIP • COMPUTATION Spring 2014 Workshop, School of Architecture, MIT Instructor: Chris Dewart Teammate: Heamin Kim
WOOD WORKER An intense semester of carpentry training, two individual furniture pieces were developed as attempts to bridge the gap between computational imagination and manufacturing.
After finishing and before assembly.
60
9.00
13.50
1.25
13.00
10.50
7.50
“The Curtain”: Elevations
1 13” X 9” X 2” (WALNUT) DOUBLE-SIDE MILLING INSERT SPACERS
2 2” X 2” X 15” (WALNUT) 4 AXIS MILLING
3 ASSEMBLE
4 WRAP-UP + FINISH
“The Curtain”: Construction Process
61
(Left) Double-side Milling + (Right) 4 axis milling
Finding surface normal threshold boundary for better milling compatibility.
T
he three flowing legsâ&#x20AC;&#x2122; rotating pattern are carved out by the 4 axis CNC mill. The dimension of the ridges are setup to match the diameter of the drill bit so that manufacturing duration can be minimized.
The seat of the stool are milled double sided so to have a comfortable receiving surface for sitting on the top as well as a formal continuation from the end of the legs on the bottom.
62
“The Curtain”: (Left) Digital visualization vs (Right) Physical Object
The design of “The Curtain” tries to achieve one simple concept: is there a way make the legs, which carry all the weight from the seat, to look rather soft and dynamic? By resorting to visual illusion, by making the legs look like flowing curtains in the wind. The flexibility of the curtain
will ideally contrast with the rigidity of a regular leg structure, thus generating an interesting visual tension upon the viewer. It’s just to have a little fun with the beholder.
63
The Curtain: Close Shot 1
The Curtain: Close Shot 2
64
CONCRETE
WOOD
CONCRETE
WOOD
1.37
12.25
1.37
12.25
1.63 2.75
1.75
2.75
15.00
1.75
1.36
2.75
1.63
15.00
1.50
12.00
1.50
0.13 3.00
TOP
SLOT(STORAGE)
3.00
1.50
3.00 0.13
BOTTOM
WOODEN SEAT
CONCRETE
SLOT(STORAGE)
WOODEN SEAT
ELEVATION
0.45 SECTION
1.05
6.25 10.00
1.50
0.45
1.50 10.00
1.05
6.25
0.64
CONCRETE
1.50
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1 CONCRETE PLATFORM -CNC milling for mold -Concrete cast in mold
6 2
TOP SURFACE TREATMENT -Leg top tilted towards the center -For top surface comfort
WOODEN LEG TYPE(A)-CENTER -3” x 3” Construction grade lumber
-Leg bottom chamfer carved with draw-knife
3
LEG SHOULDER FOR PLATFORM SUPPORT (1/8”) -Carved out from the straighten 3” x 3” via metal mill
4
WOODEN LEG TYPE(B)-SIDE -3” x 3” Construction grade lumber
-Leg bottom chamfer carved with draw-knife
5 WOODEN LEG TYPE(C)-CORNER -3” x 3” Construction grade lumber -Leg bottom chamfer carved with draw-knife
7
Construction Process Diagram
FINISH + ASSEMBLY
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The Grid: Close Shots
I find that the geometry of the seat is the least challenged part of the chair: why not “defamiliarize” it and make the experience of seating a little bit more interesting? By dividing the seat into a open grid, slots are also created which are sized in a way so that they can
also be used for temporary storage. Concrete is introduced as a supportive material for the platform part just to “defamiliarize” the chair a bit further.
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The Grid: Side View
The Grid: Top View
• URBAN • TYPOLOGY • COMPUTATION
Spring 2011 Core Studio, School of Architecture, University of Virginia, Instructor: Nana Last
INSTITUTIONAL CRITIQUE 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.
Emergence of form through simple unit-to-unit relationship, studies done by scripting in Grasshopper.
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Theoretical Foundation for Form
T
he studio started with a critic looking at institutions as but ideological entities that build power from gathering and inside hierarchy and then thrive on top of it. In order to ironically represent that understanding, the formal exploration wants to achieve an iconic form that is both meaningless yet internally “rational”, a chaotic system that is built from simple and consistent rules. This was achieved with a modularly propagation system built with
one flexible unit repeat itself according to a set of rules setup in code. This was also programmatically addressed via having an open museum that invites all people in, rating “object” value based on their popularity, like a online social media platform. The irony was delivered when it is clear that such process will eventually build a new “institution” from the inside.
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Theoretical Foundation for Form
Emergence of form through simple unit-to-unit relationship, studies done by scripting in Grasshopper.
LAYER 4
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LAYER 4 LAYER 4
LAYER 3 LAYER 3 LAYER 3 LAYER 5
LAYER 5 LAYER 2 LAYER 2 LAYER 2 LAYER 4 LAYER 1
LAYER 4
LAYER 1 LAYER 1
The “meaningless” yet “rational” form also has benefit for the program. The zig-zag geometry generates interesting paths between the top of the high line and the ground level. The elongated perimeter also provides extra surface area for gallery display.
Plans
The abstract LAYER 3 geometry were introduced to the site and then rationalized using computational methods as well as human judgment.
LAYER 3
LAYER 2
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3D Floor Realization Analysis: degree of overlap and vertical clearances.
3D Floor Realization: Flattening + Introducing Stairs
3D Massing Structure In-fill
Complete Structure Rationalization and Facade Cover
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Close Perspective
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Aerial Views
• URBAN • TYPOLOGY • COMPUTATION
Fall 2010 Core Studio, School of Architecture, University of Virginia Instructor: Michael Beaman
SKY CAVITY 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. Whether to commemorate the glorious past of the Penn Station or to completely ignore it is left to personal discretion. Grasshopper on rhino is employed as the main tool of investigation and is itself explored as a design technique.
Perspective at Night.
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Y
Z
X X
SITE WITHIN THE MANHATTAN GRID
DENIAL TO THE GRID: SUBWAY
DENIAL TO THE GRID: PEDESTRAIN
Y
CIRCULATION PATTERN: NEIGHBOR
CIRCULATION PATTERN: TOWER
“AIR”/CIRCULATION
SOLID/SEMI-PRIVATE
VOID/PUBLIC
CORE
LIBERATING THE GROUND
MIES VAN DER ROHE TOWER
HOT AIR BALLOON
Vertical Circulation
T
he design process started with the intention to introduce more public spaces into the skyscraper, especially in the circulation space. Going up the skyscraper beautiful views are always designated to corner offices, and
it is very difficult to orient oneself. What if we can provide more public spaces as well view accessibility via having more lobby spaces vertically?
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displays x 2
private rooms two events
0-1-1
linear circulation
0-2-1
display x 1 door x 1 semi-public one event
0-1-2
linear/directional circulation
0-2-2
display x 1 lobby x 1 semi-public one event
0-1-3
linear circulation
0-2-3
door x 1 display x 1
lobby x 1 display x 1
display x 1 lobby x 1 door x 1
semi-public one event
semi-public one event
semi-public one small event one big event
linear/directional circulation
0-3-1
branching/directional circulation
1-3-2
branching circulation
door x 2
lobby x 1 door x 1
door x 2 lobby x 1
public concourse
public one event
public one big event
directional circulation
0-3-2
branching circulation
2-3-2
branching circulation
door x 1 lobby x 1
lobby x 1
door x 1 display x 1 lobby x 1
public with one event
public two events
semi-public one small event one big event
branching circulation
0-3-3
Sky Cavity Typologies
Perspectives
branching circulation
2-1-3
branching circulation
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SURROUNDING CLUSTERS
POST OFFICE, EXISTING MASSING
GROUND MASSING
LOCATING CENTER POINTS
RESULTING PROFILE FOR STRUCTURE & CIRCULATION EFFICIENCY
TOWER BASE MASSING
SUN EXPOSURE
RENTABLE SPACES
INTERNAL CONNECTION PUBLIC VOIDS
VIEW PLANE
CUTTING PLANES
SKY CAVITIES
PUBLIC PERIMETER
PUBLIC “BRIDGES”
THERMAL PERIMETER REMAIN CONSTANT
CROSSING OVER THE VOID
Design Process Diagram
INTERNAL INTERACTIONS
INTERNAL PUBLIC FACADES
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SITE CONTEXT ANALYZED
CLUSTERS ANALYZED
SITE ANALYZED
CIRCULATIONS ANALYZED/DEFINED
CUT OUT ANALYZED
IRREGULAR GRID DEFINED
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.
GENERATING VECTORS DEFINED FACING CENTER, TILTED 60°-90°
CUTTING VECTORS DEFINED POPULATED ALONG THE PATH, EXTRUDED 20FT WIDE
Design Process Diagram (Computation)
There were two general characters of existing towers that the design set out to address: 1. Cave-like interior corridors that cut out views from the internal public spaces. 2. Spaces are generally confined to floors and in lack of floor-to-floor interaction.
In one word towers don’t feel like towers from the inside. 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.
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Interior Perspective 1
Interior Perspective 2
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Sectional Perspective
• COMMUNITY • TYPOLOGY • LOCAL
Spring 2010 Core Studio, School of Architecture, University of Virginia, Instructor: Rosana Hernandez
REGENERATION 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 up with a program that would allow the architecture to enable the community in some ways.
Exterior Perspective
Interior Perspective
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Construction process and detail documentation.
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Sectional Perspective
W
ith constant technological development, it becomes really easy to heal the body, what is not so easily healed however, is the â&#x20AC;&#x153;soulâ&#x20AC;?. It takes huge courage and effort for one to accept and embrace his or her new condition.
Therefore when designing a handicapped 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.
• TYPOLOGY • HEALTH • URBAN
Fall 2009 Core Studio, School of Architecture, University of Virginia, Instructor: Jose Atienza
ATHLETIC FASHION 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.
Ground Floor Exterior Perspective
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Gym Machine Studies
Re-designed rowing machine: sometimes to practice is to be more attractive.
DISPLAY BOX GLAZE SYSTEM
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CONTINUOUS CIRCULATION RIBBON
SELF-EXPOSURE
HYPER-FASHION BODY
SWIMMING POOL/SPA INDIVIDUAL
SELF-PERFECTION
SAUNA CHANGING CAFE/BAR
SOCIAL
CLOTH FASHION
CHANGING ROOM DISPLAY WINDOW
PLUG IN
RELAXATION
CAFE/BAR + SAUNA/CHANGING ROOMS DUALITY OF VIEWING/VIEWED
AUDIENCE STAGE
GROUP EXERCISE/SHOW ROOM DEVELOPING CIRCULATION DEVELOPED
INDIVIDUAL FITNESS
VISUAL TENSION
INDIVIDUALITY THROUGH REPETITION
“DOUBLE” SPACE MAINTAINING FLOWING
Design Process Diagram: Athletic Club as Fashion Store
T
he project started with researching genesis of the American Athletic culture and its fetish of the body. The research revealed that just like fashion, a well developed body is linked with self-identity and self-image the significance of which was constructed in historical athletic movement in the United States. Therefore 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 eventually become a programmatic diagram of the psychological dynamic carried out simply through the collective individual decision of the users.
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Design Process Diagram: Athletic Club as Fashion Store
The design eventually includes several key ideas that concerns athletic consumers. 1. Glazed and hovering over the intersection to self exhibit. 2. Continuous floor ribbon from public to private programs ideal for a smooth shopping circulation path.
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 â&#x20AC;&#x153;Role Modelsâ&#x20AC;? for the less confident ones behind them on the higher bay.
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Sectional Perspective: Program Map
PROFESSIONAL
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• REFURBISHMENT • TYPOLOGY • URBAN
Summer 2014 Lifestyle, Chicago, Gensler Supervisor: Benjy Ward + Aleksandar Sasha Zeljic
1330W FULTON MARKET Part of the Chicago West Loop re-activation effort. Mixed-use office building re-modeling. New generation of tech companies moving labor forces and other demand outside of the downtown Chicago, and West Loop, the once popular meat industry and now almost abandoned neighborhood, is now looking at its second wind.
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Design Process Diagram: Athletic Club as Fashion Store
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MASSING
MASSING
1330 W. Fulton Street
1330 W. Fulton Street
MASSING
MASSING
1330 W. Fulton Street
1330 W. Fulton Street
PROGRAM
PROGRAM Parking Top Massing Elevation XX’-XX”
Elevation XX’-XX”
Bottom Massing
Entry Atrium - 2 Story
1330 W. Fulton Street
1330 W. Fulton Street
PROGRAM
Back Terrace (Occupiable) (Tenant) Area: 200 x 3 ft2
Outdoor Terraces
Usable Floor Area (Levels 2-8): 232,338 sf Roof Terrace : 6,000 sf
Roof Terrace (Occupiable) Area: 200 ft2
Back Terrace
New Building
Gross Floor Area : 282,468 sf
Roof Terrace (Occupiable) Area: 200 ft2
Parking
(Occupiable) (Tenant) Area: 200 ft2
Roof Terrace
Floor Terraces : 8,175 sf Number of Parking Spaces : 674 Total Exterior Wall Area : 95,064 sf
(Non-occupiable) Area: 200 ft2
Exterior Wall to Floor Area Ratio : 33.6%
Elevation XX’-XX”
Back Terrace (Occupiable) (Tenant) Area: 200 x 3 ft2
Roof Terrace (Occupiable) (Tenant) Area: 200 x 2 ft2
Elevation XX’-XX”
Roof Terrace (Occupiable) Area: 200 ft2
Roof Terrace (Occupiable) Area: 200 ft2
Roof Terrace (Non-occupiable) Area: 200 ft2
Existing Building
Retail
Entry Atrium
-Retail Stores -Food/Beverage -Cafe
- 2 Story
Front Terrace (Occupiable) Area: 200 ft2
Front Terrace (Occupiable) (Tenant) Area: 200 x 2 ft2
1330 W. Fulton Street
1330 W. Fulton Street
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Aerial View
Corner View
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• MAPPING • MARKET • URBAN
Summer 2014 Lifestyle, Chicago, Gensler Supervisor: Benjy Ward
WEST LOOP RESEARCH Part of the summer internship program is to conduct a comprehensive research on the area of Fulton Market in West Loop both for future need and for the benefit of a long term client.
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N ODGEN AVE.
Roof Top Space Cataloging
BUILDING STOREYS GROUND 0 1 2 3 4 5 6- 7 8 9 10 11 - 12 13 14 - 15 16 17 18 19 20 21 22 23 - 24 25 26 27 28 - 29 30 31 32 - 33 34 - 37 38 - 43
Building Height Mapping
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ABSTRACT
LEARN
MAKE
STRATIFICATION + INDEPENDENT LAYERS OF FUNCTIONALITY + EXTENSIVE MAPPING EXERCISE + MAINTAIN SIMILAR FORMAT FOR EASE OF INTERACTION
STRATIFICATION COLLECT LAYERED DATA
CONCRETE
Research Technique of Stratification
Green Space Density
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200
80 500
NYC SOHO
8/25/8 41
20/45/20 85
420
NYC FITH AVE
220
450
20/45/20 85
10/30/10 50
800 220
NYC MEAT PACKING
100 15/65/15 95
10/30/10 50
220
320 250
220
250
CHICAGAO MAGNIFICENT MILE
35/75/35 145
15/45/15 75
380
420
CHICAGAO THE LOOP
300
280
420
360
50 15/35/15 65
Block Dimension Comparison
630
420
480
360
380
280
CHICAGAO WEST LOOP
20/60/20 100
15/50/15 80
630
480
380
CHICAGAO WEST LOOP
Block Typologies
20/120/20 160
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• TYPOLOGY • URBAN
Summer 2014 Lifestyle, Chicago, Gensler Supervisor: Aleksandar Sasha Zeljic
WORLD PLAZA Office Tower and Plaza in Fort Bonifacio, Manila, Philippines. As part of major master plan re-development of Fort Bonifacio, once US military base in early 90’s, now aspiring new area of Metro Manila, new master plan was developed, introducing radial city grid with site parceling, land and infrastructure allocation.
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Plaza Plan
Exterior Perspective
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• COMPETITION • TYPOLOGY • URBAN
Summer 2014 Lifestyle, Chicago, Gensler Supervisor: Benjy Ward
CASINO IN JAPAN In-house competition for a Casino project in Japan, with two potential sites at two different bay areas. Contributed one design scheme on my own.
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MICE
THEATRE
P
MICE LOBBY PEDESTRIAN ENTRANCE
CAR ENTRANCE
F+B
RETAIL
DROP-OFF
GENERAL LOBBY
DROP-OFF
ROOF PLAZA
PEDESTRIAN RAMP ENTRANCE
RETAIL
Plaza Level Plan
Perspective From the Bay
1
108
• COMPETITION • TYPOLOGY • URBAN
Summer 2012 Georgetown, DC, Lehman Smith Mcleish Supervisor: Ron Fiegenschuh
OFFICE SPACES In-house competition for a Casino project in Japan, with two potential sites at two different bay areas. Contributed one design scheme on my own.
109
PERSONAL
112
Energy Studies
113
3D Formal Exercise
114
Animation Exercise
115
Game Design Exercise
116
Architecture Photography
117
Infrastructure, Chicago
118
Travel Photography
119
Travel Photography
ME
123
JUN WANG
MArch I AP: Harvard Graduate School of Design, 2015 BS Arch: University of Virginia, 2011 e: maraluke@gmail.com c: +1-(434)-466-2711
Jun Wang is a designer and informaniac born in Qinghuangdao, China, and moved from places to places ever since. He had attend more than four different kindergartens, travelled from Tibet to Venice, and worked in different cities like Beijing, Shanghai, DC, New York, etc.. He believes in the power of communication, the beauty of languages, and the value of design. Raised by a music teacher grandma, and computer scientist parents, he loves the rigour of logic and the passion of art, and hopes to lead a life where the two are both present.
Time for a new page.
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