Jun Wang | Portfolio 2010-2015

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

O02

CURRICULUM VITAE

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ACADEMIC

095

PROFESSIONAL

111

PERSONAL

121

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.

09

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

10

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

11

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.

12

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.

16

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.

17

Final Morphological Prototype: Perspectives

Final Morphological Prototype: Exterior

18

Final Morphological Prototype: Interior

Final Morphological Prototype: Exterior

19

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

22

Site Photos: Montreal, Expo ‘67 Now

23

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.

24

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.

26

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

27

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

29

Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E

30

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.

31

Master-Plan, Visionary Bridge Activation Plane + Section: Zone C-E

32

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

65

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

66

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.

70

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.

71

Theoretical Foundation for Form

Emergence of form through simple unit-to-unit relationship, studies done by scripting in Grasshopper.

LAYER 4

72

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

73

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

74

Close Perspective

75

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.

78

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?

79

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

81

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.

82

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

86

Construction process and detail documentation.

87

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

90

Gym Machine Studies

Re-designed rowing machine: sometimes to practice is to be more attractive.

DISPLAY BOX GLAZE SYSTEM

91

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.

92

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.

93

Sectional Perspective: Program Map

PROFESSIONAL

96

• 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.

97

Design Process Diagram: Athletic Club as Fashion Store

98

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

99

Aerial View

Corner View

100

• 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.

101

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

102

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

103

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

104

• 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.

105

Plaza Plan

Exterior Perspective

106

• 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.

107

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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