burning of the midnight oil by Jia Er Lin

jia lin the burning of the midnight oil portfolio of works completed during my undergrad years

contents;

introduction 5 a perception of construction: from walls to encloures to buildings degree project spring 2017 b. boberska, s. marshall

san gabriel valley humane society redesign 16 civic engagement project april 2017 j. catalano, m. gangi, c. roussel, j. centouri project done in collaboration with e. eaken and j. bentancourt rosenthal center for contemporary art (case study) 23 systems integration fall 2016 j. southern eaton canyon center for the arts 25 systems integration fall 2016 j. southern (in)organic nomenclature: typology in and of crowds 29 urban(e) objects (japan) summer 2016 m. gillis, d. cusma, i. wahlroos-ritter the trus(st) of los angeles structure, systems, space, and form spring 2016 m. alibakhshian

the knot of hybrid quadruples: merchandise and drone storage structure, systems, space, and form spring 2016 m. alibakhshian project done in collaboration with h. loew hagen island housing project (case study) house and housing e. olsen

42 fall 2015

figueroa village housing project 46 house and housing fall 2015 e. olsen pico-union color installation 52 design build summer 2015 l. lynn, o. corletto project done in collaboration with n. arevalo, d. ghattas, n. tiv, and m. trejo homebush bay (case study) 57 site orders spring 2015 m. ericson san pedro coastal athletic center 60 site orders spring 2015 m. ericson a consistent difference: suleymaniye mosque vs. sydney opera house (case study) program and space fall 2014 a. zepeda

museum of contemporary arts: a circular proposal 67 program and space fall 2014 a. zepeda

material studies: metal 71 materials and methods fall 2014 e. olsen schindler house: an analytique 73 materials and methods fall 2014 e. olsen project done in collaboration with b. ko, h. loew, z. sun, and o. zakharova los angeles river project proposal 78 natural tendencies spring 2014 d. young project done in collaboration with d. huerta villa nm (case study) 83 design communications 2 spring 2014 m. owen plaster and chipboard: from void to void 86 principles and processes fall 2014 l. molina fibonacci construct 88 principles and processes fall 2014 l. molina project done in collaboration with a. holguin and a. villalobos eames house (case study) 91 design communications 1 fall 2014 g. smulevich photoconstruction: wind quarry 94 design communications 1 fall 2014 g. smulevich

about me; jia er lin us citizen los angeles based bachelor of architecture with a minor in urban studies woodbury university â&#x20AC;&#x201D; Â class of 2017 skills adobe creative suite: photoshop, illustrator, indesign rhino revit autocad sketchup 3ds max model-making: 3d print, wood, metal, concrete microsoft office: word, excel, powerpoint, outlook professional writing skills fluent/bilingual in english & chinese (mandarin & cantonese) coursework 10 architecture studios (including 1 study abroad & 1 design-build) design communications 1 & 2 world architecture 1 & 2 theory of architecture materials and methods environmental systems systems integration contemporary issues urban design theory structures 1 & 2 professional practice 1, 2, & 3 urban policy food and the city urban ecology global metropolis urban theory history of contemporary art ethical systems layouts and typography (graphic design) instagram ninjia123 linkedin linjiaer email jiaer.lin@woodburyuniversity.edu cell +1 626. 692.5420

blurb;

i grew up in a rural village in southern china, and immigrated to the united states at the age of nine. because of my traditional chinese upbringing and my american education, i find myself at the threshold of two different identities all the time: i consider myself both american and chinese. i am outspoken, straightforward, and seek unconventional and creative ways to solve problems. i chose architecture because i had wanted to go into a design field, i wanted to explore different ways to solve problems. through my sheltered upbringing, i was always told that the one certain way to do something is the right way; through the american k-12 public education system, i was always told that one answer was always right, and the k-12 system is based so much on the memorization of the “right” answers. i wanted to challenge myself to find better ways to solve problems. needless to say, i did not know how architecture school would be like, but i am surprised that there were so many sleepless nights, staying up adding final touches to projects. this architectural portfolio, titled ‘burning of the midnight oil,’ is a testament to the late nights that all architecture students go through. not only has my architectural education taught me different approaches to problem solving and looking at issues through various perspectives, it has also given me opportunities to be involved in civic engagement and provided me ways to be active in the community at large. i am hopeful that much of the global political uprise could be solved through architecture and design. i believe that architecture is the driving factor that could change the world: it influences the spaces that we are in, which in turn influences how people interact with the space and with each other. much of my architectural interest lies in the human interaction with spatial qualities. architecture has so many different realms, from the politics behind urban planning to the storefront designs that catch our attentions, and from the corner detail to the crevice on the floor that we would roll our chair over and over throughout the day. i would like to pursue a masters degree in either urban design or urban planning within the next ten years.

jia er lin may 2017

a perception of construction: from walls to enclosures to buildings

With advances in digital processing and fabrication, concrete buildings can now be printed, turning notions of time and construction into flux. In this speculative pilot project, a settlement based around concrete printing and slow construction begins on the edges of Bakersfield, California. Slowness changes a space incrementally, allowing occupants to critique the way their city is being built and to adapt and change their new environment as construction progresses. This manner of construction allows its inhabitants to calibrate the way in which a community or neighborhood is built. The demarcation between walls, enclosures and towers becomes an opportunity for new spatial potentialities as the relationship between the built and un-built becomes increasingly ambiguous. Here, new ways of slow construction question the norms of fast and socially myopic development.

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BAKERSFIELD, CALIFORNIA APPROX. 35.429, -118.855

Bakersfield, California, is a significant hub for agricultural production. It is located just south of the Sierra Nevada, serves as a perfect location for this pilot investigative project, as there are a lot of earth from the hills that could be excavated and used as the construction progresses. This location is near the Kern River, and any successful civilization requires a body of freshwater. Bakersfield is about two hours away from Los Angeles, making it a location of interest for people to travel for weekend trips.

EXCAVATIONS

FIRST WALL

MORE WALLS

ENCLOSURES

BUILDINGS

PROJECT IN PROGRESS — YEAR 2020

EXCAVATIONS

FIRST WALL

MORE WALLS

ENCLOSURES

BUILDINGS

PROJECT IN PROGRESS — YEAR 2030

EXCAVATIONS

FIRST WALL

MORE WALLS

ENCLOSURES

BUILDINGS

PROJECT IN PROGRESS — YEAR 2045

e xc av at i on – i n pro g re ss 2020

f i rst wa l l – i n pro g re ss 2030

more wa l ls – i n pro g re ss 2045

EXCAVATIONS

FIRST WALL

MORE WALLS

ENCLOSURES

BUILDINGS

PROJECT IN PROGRESS — YEAR 2070

EXCAVATIONS

FIRST WALL

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ENCLOSURES

BUILDINGS

PROJECT IN PROGRESS — YEAR 3012

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PROJECT COMPLETION 3020

This speculative pilot project, projected to slowly complete in 3020; like the national parks, it will serve as a weekend getaway for city-dwellers, as it is in its ‘natural’ and maintained states. It will be a great hub of Air BNB businesses, serving rental rooms to travelers. And when in 3020, of course there will be drones and security cameras!

d i a ol ou The formal building typology of the speculative project is derived from those of diaolous, structures built during the Ming Dynasty (1920s) and mainly located in the countryside of Kaiping, Guangdong, China. Because Kaiping is a major region of emigration due to poverty and social instabilities, more dialous were built as emigrants wanted to ensure the security for their families, villages, and clan lineages, and many of them served as living quarters. Soon, Kaiping became a melting pot of ideas and trends brought back by those from overseas, and thus dialous incorporated architectural features from China and from the West. In 2007, UNESCO named the Kaiping Dialou and Villages a World Heritage Site, as it “display[s] a complex and flamboyant fusion of Chinese and Western structural and decorative forms.” This image also strikes many Americans as tall buildings placed in the middle of rice paddies.

PROJECT IN PROGRESS — YEAR 2050

el e v at i on – i n pro g re ss 2 0 5 0

sheep pen

+31’-6”

observatory room +0’-0”

pig pen (outdoor)

cow pen

PROJECT IN PROGRESS — YEAR 3000

el e v at i on – i n pro g re ss 3 0 0 0

+77’-0”

drone control room +63’-6”

gallery space +52’-6”

gallery space +41’-3”

gallery space +30’-3”

+25’-3”

roof +20’-3”

gallery space +19’-9”

residential spaces +9’-0”

eatery +0’-0”

pig pen (indoor) +0’-0”

PROJECT IN PROGRESS — YEAR 3015

s e c t i on – i n pro g re ss 3 0 1 5

HONORING OUR HERITAGE & B

san gabriel valleyTHE humane society SGVHS REDEVELOPMENT PLAN (sgv-hs) redesign The SGVHS is a 501.c.3 non-profit organization, and its facility is located on East Grand Avenue in the City of San Gabriel. The original 1924 building may now be eligible for local historic designation. The facility has grown over time, now comprising a total of twelve mostly smaller buildings and animal shelters, and it is essentially an indoor-outdoor operation. Major assets for the shelter include an undeveloped portion of the site of roughly 18,000 square feet directly behind the facility, and the historic building. The building is presently hidden behind a concrete block wall, which will be removed as part of this plan.

Fig. 1 Historic front on E. Grand Ave. to be restored as public face.

The SGVHS envisions a major redevelopment project for the facility, with the following program brief: 1. General facility modernization and programmatic revisions. 2. A welcoming outdoor public space along East Grand Avenue, educational space, a lobby area and shop in the historic building. 3. Relocation of the intake for rescued animals away from the public entry and new medical facilities to be built as indicated. 4. Rebuilding the animal holding areas following established and innovative best design practices.

Fig. 2 Historic front garden.

5. Parking improvements and additional staff parking behind the shelter, along the edge of the site. 6. Restoration, modernization and reuse of the historic building following The Secre-tary of the Interiorâ&#x20AC;&#x2122;s Standards. The design proposal, in response to this brief, shown on these boards, was produced by Woodbury School of Architecture students under the leadership of architects engaged in the Citizen Architect initiative of the American Institute of Architects Pasadena Foothill chap-ter, working closely with staff and board members of the San Gabriel Valley Humane So-ciety.

Fig. 3 Historic garage doors to be re-adapted to store-front openings.

This design, produced December 2016-Spring 2017, resolves the requirements of the pro-gram brief in an efficient way, reusing most of the existing buildings, and replacing the most outmoded functions with new construction. Staff will be able to work more effective-ly and maintain a high level of animal care, at the same time, the project gives back to the neighborhood through a restored historic home and improved outdoor public space.

The participants in the design project are as follows:

For SGVHS: Lynne Collmann Doreen Hudson Cindy Rigney Nellie Rodriguez Jenny Gener

Board Member and 2017 Secretary Board Member and 2017 President Board Member and 2016 President Front Office and Kennel Manager Veterinary Clinic Manager

For the Woodbury University School of Architecture: James Betancourt Eric Eaken Jia Er Lin Catherine Roussel AIA Jeanine Centuori FAIA

Class of 2019 Class of 2017 Class of 2017 Faculty Intern Coordinator Director, ACE Center

For the American Institute of Architects: Joe Catalano AIA Mark Gangi AIA

Project Champion National Chair, AIA Citizen Architects Committee

EAST GRAND AVENUE ELEVATION

BUILDING OUR FUTURE

OUR HERITAGE, BUILDING OUR FUTURE The San Gabriel Valley Humane Society (SGVHS) opened in 1924, when the San Gabriel Valley was primarily agricultural, as a safe haven for domestic and farm animals of the Greater Los Angeles region. Large animals and livestock may once have been penned and corralled on the undeveloped land at the north end of the property. The shelter discontinued supporting farm animals as the San Gabriel Valleyâ&#x20AC;&#x2122;s agricultural areas diminished over time. The Spanish architecture of our original residential facility represents an important part of the heritage of the shelter and the community it serves.

The SGVHS is connected to the community in many ways and has been unique in pioneer-ing ideas that are more commonplace today. As one example, the shelter began a medical pet therapy program, bringing animals to hospitals and care facilities for the benefit of pa-tients, in the early 1950s. At the SGVHS, stray, homeless and abandoned animals have been medically treated, nurtured and protected until placed in safe homes or farms since the early days. The same is true today, but the SGVHS needs significant remodeling and de-sign changes to meet the best practices of modern shelter medicine and animal care. We need your help! The homeless pet populations counting on you and so is the San Gabriel Valley Humane Society!

Fig. 4 Proposed public face of historic building.

THE SGVHS REDEVELOPMENT PLAN

INTAKE EXISTING TO REMAIN

HISTORIC BUILDING

MEDICAL CARE AND KENNELS ALL NEW CONSTRUCTION

NEW CONSTRUCTION

ANIMAL CARE

PUBLIC PLAZA

RECEPTION, WAITING, RETAIL AND CLINIC PUBLIC PLAZA

HISTORIC BUILDING TO REMAIN

EDUCATION

REMOVE EXISTING WALL

01 PUBLIC IMAGE

02 EXISTING AND NEW

03 PROGRAM

The existing concrete block wall and courtyard will be removed, to expose the Historic Building to the public once again. With the automobile parking proposal, if accepted by the City, a Public Plaza will be created in front, and the Historic Building will be restored and re-purposed. The restored Historic Building will be re-purposed for the main public entry, reception, education and a retail shop. The existing garage door openings will be filled with glass as a welcoming entryway to this.

The proposed redesign makes significant reuse of existing structures and masonry site walls. The repurposing of the Historic Building for public / customer functions creates the need to relocate the intake, kennels and medical facilities, which needed expansion and improvement regardless.

The Program Brief is described in the text on the first presentation board. Adjacencies of various program elements, their deployment in new or existing buildings, and supporting the Circulation scheme described on this board, are all synthesized and provide a functionally well organized layout.

The existing Historic Building was part of the original shelter facility, built in the 1920s. It is not yet officially designated historically, but is treated as such in this redesign. The new construction is housed behind a simple masonry wall, as described in “Public Image.”

The Public Plaza will include both planted and paved areas, and while the plantings will recall the original plantings in front of the building, these areas actually will be bioswales for stormwater management, a good sustainability practice. the Plaza will serve as a public event space, an overflow waiting space on crowded clinic days, and a resting spot for users of the adjacent public walkway.Not only will this help create a decidedly new image for the Shelter, but it will also be a significant “giveback” by us to the cityscape.

The site comprises two parcels, with different Zoning and Land Use Classifications. The Historic Building and the other buildings behind it that will be reused, are “existing non-conforming” uses in an R-3 or multi-family housing zone. However it is allowed to remain under the terms of the Zoning Ordinance. The new construction is on the Easterly parcel, which is zoned C-1 or general commercial zone.

The new animal care facilities, including the clinic, surgery, intake and the kennels, are arranged behind a clean looking solid wall. This is a hygienic image, and also a visual improvement to the part of the shelter along the public walking path, another significant improvement for the cityscape.

STAFF VOLUNTEER AND FLEET PARKING EXISTING STALLS PROPOSED STALLS NET GAIN

PUBLIC WALK

MAINTAIN EXISTING TREE BUFFER AT ADJACENT PROPERTY

SANCTUARY BUILDING CAT KENNELS ( PUBLIC / STAFF ) AND SOME STAFF ONLY AREAS

SOLAR HOT WATER HEATING FOR KENNELS

21 32 11

STORAGE MEZZANINE ABOVE CAT SANCTUARY

STAFF ONLY PUBLIC / STAFF EXERIOR SPACE

PUBLIC / CUSTOMER PARKING ON CITY PROPERTY

PHOTOVOLTAIC PANNELS

PUBLIC / STAFF IN BUILDING

BIOSWALES

PUBLIC / CUSTOMER PARKING

04 PARKING

05 CIRCULATION

06 SUSTAINABILITY FEATURES

Staff, volunteer and fleet parking, which presently takes away from available public and customer parking, will be moved to a new parking area at the back of the vacant property.

Most importantly, circulation is designed to separate certain staff functions from the public’s circulation within the facility. This includes the staff’s safe handling of sick or unruly animals without “crossover” with the public and with their own animals.

Key sustainability measures that are inherent in the design are shown here, including maximum re-use of existing buildings consistent with the program requirements, bioswales for stormwater management, and the use of solar power, both photovoltaic for electricity and solar hot water for kennel heating.

The proposed 90 degree street parking actually yields more parking stalls than would onsite parking. This is because of the particular dimensions of the available space between the street and the Historic Building. At the same time it allows for the Public Plaza and plantings noted elsewhere. This is befitting the Shelter’s role as a quasi-public institution, rather than just another commercial enterprise. With the continued use of the parking space on the adjacent City property next to Rubio Wash, this plan represents a net gain of 12 parking stalls, including three accessible stalls.

The public circulation begins with the Public Plaza in front, proceeding to the main public entry, reception, education and retail shop in the Historic Building. From there, the public is able to circulate to the kennels and cat housing, separate from the “staff only” functions as just described above. The City has recently created a public walking path which passes along the East side of the Shelter. The new wall along the path is discussed under “Public Image.”

Shading is employed, from maximum retention of mature trees, and roof overhangs to shade windows on the new Intake and Medical facilities. Further, when the redevelopment is funded, the design and engineering work will be in compliance with the energy conservation requirements of the California Building Code.

SERVIC AND STORAG

INTAKE

MEDICAL CARE AND KENNELS ALL NEW CONSTRUCTION

RECEPTION, WAITING, RETAIL AND CLINIC PUBLIC PLAZA

QUARANTINE KENNELS

presentation board. yment in new or existdescribed on this board, anized layout.

SALLYPORT

INTAKE

R U B I O

W A S H

MAINTAIN EXISTING TREE BUFFER AT ADJACENT PROPERTY CAT PLAY AREA / MEET AND GREET

CAT PLAY AREA

KITTEN NURSERY

STORAGE

CAT CONDOS

SOLAR HOT WATER HEATING FOR KENNELS

STORAGE MEZZANINE ABOVE CAT SANCTUARY

TOILETS PUPPY MEET AND GREET

CAT INFIRMARY

LAUNDRY AND STORAGE

GROOMING AND LARGE DOG MEET & GREET

TRASH AND RECYCLE

TOILETS

LOBBY EXTENSION CIRCULATION

TOILETS

PHOTOVOLTAIC PANNELS

SERVICE AND STORAGE

RECEPTION

STORAGE

OFP'S

SURGERY

WAITING EDUCATION

EDUCATION

VACCINE CLINIC

BIOSWALES

RETAIL

sign are shown here, tent with the proement, and the use of r hot water for kennel

ure trees, and roof Medical facilities. Furnd engineering work quirements of the

E. GRAND AVE.

E. G R A N D

A V E.

THE SGVHS REDEVELOPMENT PLAN ANIMAL CONDITIONS The proposed redesign makes significant reuse of existing structures and masonry site walls. The repurposing of the Historic Building for public / customer functions creates the need to relocate the intake, kennels and medical facilities, which needed expansion and improvement regardless. The existing Historic Building was part of the original shelter facility, built in the 1920s. It is not yet officially designated historically, but is treated as such in this redesign. The new construction is housed behind a simple masonry wall, as described in “Public Image.” The site comprises two parcels, with different Zoning and Land Use Classifications. The Historic Building and the other buildings behind it that will be reused, are “existing non-conforming” uses in an R-3 or multi-family housing zone. However it is allowed to remain under the terms of the Zoning Ordinance. The new construction is on the Easterly parcel, which is zoned C-1 or general commercial zone.

Fig. 1 Perspective of proposed dog kennels.

PUBLIC WALK ELEVATION

OUTDOOR

GUILLOTINE DIVIDER

INDOOR

TYPICAL KENNEL ORGANIZATION

ROTATED SOLAR RETAINERS ALLOW FOR EFFECIENT COLLECTION OF SOLAR HEAT ENERGY

ANGLED SUN MONITORS ALLOW FOR THE ENTRANCE OF INDIRECT NATURAL LIGHT

SUN MONITOR AND SOLAR RETAINER SYSTEM SYSTEM

60 TOTAL DOG KENNELS

COLD WATER SUPPLIED

WATER CIRCULATES THROUGH SOLAR RETAINERS ABOVE

WATER IS HEATED

Dogs should be able to: 1. Stand up RADIANT HEATING SYSTEM REPEATED

2. Turn around

HEATED WATER TRAVELS THROUGH KENNEL FLOORS

3. Lie on side with legs extended 4. Stretch without touching enclosure 5. Exercise postural movements 6. Stand up and streth 6 feet without reaching enclosure RADIANT HEATING SYSTEM

PUBLIC CIRCULATION (EXTERIOR)

STAFF CIRCULATION (INTERIOR)

CIRCULATION THROUGH KENNELS

San Gabriel Valley Humane Society

p o stc ard mo ckup s As part of the fundraising effort, postcards were created so that it could be used to show appreciation towards donors, as well as raising the awareness and presence of the animal shelter within the community. San Gabriel Valley Humane Society

rosenthal center for contemporary art (case study)

01 / 04 Precedent // Rosenthal Center for Contemporary Art Architect // Zaha Hadid Location // Backstage District, Cincinnati Year // 2003 Typology // Urban carpet, Jigsaw puzzle Relevance // The Rosenthal Center is one of the first contemporary art institutions in the United States, and it is Zaha Hadid’s first American project. The site chosen by the CAC was a busy street corner at the heart of downtown Cincinnati. It lay along a pedestrian route running from the nearby Fountain Square to the Aronoff Center for the Arts across the street, ensuring a constant flow of people. It was this pedestrian dynamism that encouraged Hadid to develop the “Urban Carpet,” one of the Rosenthal Center’s two defining design gestures.

Retaining walls Auditorium Lobby Gallery spaces Photo by Roland Halbe, 2003.

Diagram showing program spaces.

02 / 04 Analysis // Though the heavy volumetric massing of the Rosenthal makes it appear as an independent and impenetrable sculptural element, the Rosenthal Center is designed to pull the city in-- past its walls and up towards the sky. Zaha Hadid proposed organizing the museum into a number of independent gallery volumes, all suspended from a warped concrete plane. These functional elements would inform not only the massing of the new museum, but its exterior appearance as well. The “Urban Carpet” is Hadid’s method of bringing the fabric of the city within the museum’s walls. The ground level lobby is fully glazed and open to public egress, inviting pedestrians to treat the space as an enclosed public square; this serves to situate the Rosenthal Center in the existing network of public spaces and paths, allowing it to operate as a vital urban node and effectively solving the issue of visibility faced by the former gallery facility. The concrete floor of the lobby is connected to the rear wall of the museum by an upward curve, transforming the two into a continuous surface that conceptually draws the urban fabric up from the lobby and into the gallery spaces suspended above.

Painting by Zaha Hadid Architects.

Photo courtesy of FRCH.

03 / 04 Analysis // While the “Urban Carpet” concept informed the design of the ground level, the gallery spaces were driven by another idea: the “Jigsaw Puzzle.” Hadid used the term to illustrate the complex arrangement of differently-sized concrete volumes that house the gallery spaces of the center; the variegated intersections between the volumes and the voids between them could be viewed as a three-dimensional puzzle. The logic behind this massing strategy was simple: as contemporary art can take a variety of forms and sizes, contemporary art galleries must be equally as varied. Therefore, Hadid designed the gallery volumes to vary considerably in length, height, and lighting conditions.

1 1

2 1

Diagram showing pieces coming together.

Photo courtesy of Architect Magazine.

Key 1- Gallery spaces 2- Lobby 3- Auditorium

04 / 04 Analysis // As visually distinct as the “Urban Carpet” and the “Jigsaw Puzzle” are, the circulation connecting the two had to be equally dramatic. The primary means of vertical egress is a series of stair-ramps running back and forth along the rear wall of the museum; the zigzag path of the stairs runs all the way from the ground floor to the uppermost level of the building.The entire stair space is lit by skylights on the roof, the light filtering all the way down to the ground level.

Photos by Roland Halbe.

Section illustrating circulation.

eaton canyon center for the arts

This project focuses on the phenomena of outdoor programs versus that of indoor programs, and those programs that fall in-between. For example, lecture spaces do not necessarily have to be indoors, and there are many precedents with outdoor lecture spaces. Because of the exploration for programs to be outdoors, the space requires a massive roof structure for shading and cooling purposes. Additionally, this project explores the roof as the fifth facade, as people are able to look down into the building directly from the top of the Eaton Canyon, located in Altadena, California. The roofscape is a mimicry of the Los Angeles landscape: hilly with buildings and programs coming out of it; and much of Los Angeles is below sea level, hence the programs below the roof. The indoor programmatic volumes take place within boxes, as the geometric volumes juxtapose with the organic forms of the roof. Additionally, the organic structures of the roof rest on columns, which is a mimicry of the abundance of tree trunks found near the Eaton Wash. The materiality plays a large role in this project. The hyperbolic roof canopies are made up of concrete and rigidly land on concrete columns. Buildings that puncture through the roof are made out of glass on the first floor, and steel and concrete on the upper levels, showing its lightness, which is similar to the language of the roofscape.

DESIGN DOCUMENTATION

up el. 32’-0”

Studio 4A Eaton Canyon Center for the Arts (ECCA) Altadena, California

el. 21’-0”

Project Statement This project focuses on the phenomena of outdoor programs versus that of indoor programs, and those programs that fall in-between. For example, lecture spaces do not necessarily have to be indoors, and there are many precedents with outdoor lecture spaces. Because of the exploration for programs to be outdoors, the space requires a massive roof structure for shading and cooling purposes. Additionally, this project explores the roof as the fifth façade, as people are able to look down into the building from the top of the canyon. The roofscape is a mimicry of the Los Angeles landscape: hilly with buildings and programs coming out of it; and much of Los Angeles is below sea level, hence the programs below the roof. The indoor programmatic volumes take place within boxes, as the geometric volumes juxtapose with the organic forms of the roof. Additionally, the organic structure of the roof rest on columns, which is a mimicry of the abundance of tree trunks found near the Eaton Wash.The materiality plays a large role in this project. The hyperbolic roof canopies are made up of concrete and rigidly land on the concrete columns. Buildings that puncture through the roof are made out of glass on the first floor, and steel and concrete on the upper levels, showing its lightness, which is similar to the language of the roofscape.

1 el. 17’-0”

el. 19’-0” up el. 30’-0”

up el. 27’-0”

el. 16’-0”

el. 18’-0”

down el. 32’-0”

el. 44’-0”

el. 42’-0”

down el. 30’-0”

up el. 54’-0”

el. 20’-0”

down el. 27’-0”

el. 39’-0”

el. 16’-0”

up el. 24’-3”

el. 13’-3”

el. 14’-0”

up el. 44’-3”

down el. 24’-3”

el. 32’-3”

21 15

el. 10’-0”

22 down el. 20’-6”

el. 32’-6”

CONCRETE ROOF CANOPY SUPPORTED BY CONCRETE COLUMNS

24 3rd FLOOR PLAN scale: 1/32” = 1’-0”

11121314152021222324-

up el. 20’-6”

el. 9’-6”

artist group kitchen artist residences artist bathrooms studios exhibition space storage/ materials reference library + map room indoor lecture space conference room meeting room

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el. 6’-0”

SITE & GROUND FLOOR PLAN scale: 1/16” = 1’-0”

^ N

12345678910-

SUN PATH & SHADOW DURING WINTER SOLSTICE

down el. 42’-0”

storage/ janitorial outdoor lecture space performance auditorium public restrooms ticket office outdoor seating area cafe bookshop info desk outdoor entry area

el. 54’-0”

el. 0’-0” el. 32’-0”

down el. 21’-0”

up el. 44’-0”

el. 44’-3”

SUN PATH & SHADOW DURING SUMMER SOLSTICE

down el. 32’-3”

up el. 42’-0” down el. 19’-0”

el. 30’-0”

4th FLOOR PLAN scale: 1/32” = 1’-0” up el. 39’-0” el. 27’-0”

141520-

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studios exhibition space storage/ materials

14 el. 46’-6”

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down el. 13’-3”

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up el. 32’-3”

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down el. 9’-6”

SECTION + ELEVATION AT A-B scale: 1/8” = 1’-0”

up el. 32’-6”

2nd FLOOR PLAN scale: 1/16” = 1’-0” 111213141516171819-

artist group kitchen artist residences artist bathrooms studios exibition space staff bathroom storage/ IT staff kitchen admin office

el. 21’-6”

el. 11’-6”

SECTION + ELEVATION AT C-D scale: 1/8” = 1’-0”

el. 8’-0”

SECTION + ELEVATION AT E-F scale: 1/8” = 1’-0”

el. 10’-0”

ARCH 487 Fall 2016 Instructor: John Southern Student: Jia Er Lin

systems appro ach By providing two large canopies, the required programs are able to take place in the outdoors and in the shade. This project seeks to explore the phenomenom of the juxtaposition of indoors versus outdoors. There are indoor programs that take place in boxes underneath the canopies and buildings that puncture through this canopy. To show the lightness of the concrete and to continue the language set forth by the concrete canopies, the buildings are made out of pre-cast concrete panels on the upper floors, where the ground floors are steel-framed glass boxes.

1 2

SYSTEMS INTEGRATION

3 1

Studio 4A Eaton Canyon Center for the Arts (ECCA) Altadena, California

Systems Approach

WALL SECTION DETAIL ‘A’ 1 2 3 4 5 6 7

Top of parapet Precast Pre-Framed Concrete Panels Metal Furring Precast Pre-Framed Concrete Panels Board Insulation Gypsum Board Exterior Glass Glazing

By providing two large canopies, the required programs are able to take place in the outdoors and in the shade. This project seeks to explore the phenomenon of the juxtaposition of indoors versus outdoors. There are indoor programs that take place in boxes underneath the canopies and buildings that puncture through this canopy. To show the lightness of concrete and to continue the language set forth by the concrete canopies, the buildings are made out of pre-cast concrete panels on the upper floors, where as the ground floors are steel-framed glass boxes.

6 7 8 9 10

5 6

7 11

3 4 5

WALL SECTION DETAIL ‘B’ 1 2 3 4 5

Architecturally-Exposed Structural Framing Glazed Steel Curtain Wall Structural Sealant Concrete Moulding Precast Concrete Slabs

WALL SECTION DETAIL ‘B’

WALL SECTION DETAIL ‘A’

Scale: 3/4” = 1’-0” Illustrates details for ground floors with glazing walls.

Scale: 3/4” = 1’-0” Illustrates details for the second, third, and fourth floors.

exhibition space

WALL SECTION DETAIL ‘C’

studios

Scale: 3/4” = 1’-0” Illustrates details for the ground floors with concrete walls.

WALL SECTION DETAIL ‘C’ 1 2 3 4 5 6 7 8 9 10 11

Roofing Membrane Rigid Insulation Top of Parapet Concrete Slab Recessed Gutter Concrete Slab Sand Crushed Rock Visqueen Concrete Column Concrete Footing

1 2

artist group kitchen

artist residences artist bathrooms

storage/ materials

WALL SECTION DETAIL ‘D’ 1 2 3 4 5 6 7

Drainage Cover Cast In Place Concrete Concrete Column Water Pipe To Drainage Basin Lowered Grade Beam Pile Cap Pile

reference library + map room exhibition space

studios

3 indoor lecture space

conference room meeting room

CIRCULATION: stairwells and elevators

artist group kitchen

6 artist residences artist bathrooms

STRUCTURE/PASSIVE SYSTEM: roof canopies

studios exhibition space

storage/ IT staff kitchen

admin office

storage/ janitorial

outdoor lecture space

CIRCULATION: circulation arrows

WALL SECTION DETAIL ‘D’

Scale: 3/4” = 1’-0” Illustrates details for the connection between the ground and the roof canopies.

public restrooms

bookshop

cafe

outdoor seating area

performance auditorium public restrooms

STRUCTURE: columns

ticket office

outdoor entry area

info desk public restrooms

ARCH 487 Fall 2016 Instructor: John Southern Student: Jia Er Lin

DESIGN DOCUMENTATION Design Studio 4A Eaton Canyon Center for the Arts (ECCA) Altadena, California

ARCH 487 Fall 2016 Instructor: John Southern Student: Jia Er Lin

(in)organic nomenclature: typology in and of crowds

There is an organization within the crowds of people, and the non-humans, such as spirits, furries, and characters. In addition to shrines, many natural places, such as mountains, trees, unusual rocks, and rivers, are considered to have an unusually sacred spirit about them and are objects of worship. Anime and manga characters is a subculture, in which the â&#x20AC;&#x2DC;otakuâ&#x20AC;&#x2122; has influenced many to participate in cosplay. All these elements influence the organization and types of crowds. Likewise, there is an organization to modular housing, they are fabricated and could be seen as a crowd. In modular construction, the units are set onto the buildingâ&#x20AC;&#x2122;s foundation and then joined together. Similarly, groups of people, pairs, and those who are alone come together to form shapeless crowds.

objects objects

relationship of people within crowds relationship of people within crowds

obj e c ts relationship of people in crowds (top) vs. travelling not as an entire group, but in small groups, in pairs, or alone (bottom) travelling not as an entire group, but in small groups, in pairs, or alone travelling not as an entire group, but in small groups, in pairs, or alone

objects

scattered people people scattered

people in in narrow narrow alleys alleys people

obj e c t s (c ontâ&#x20AC;&#x2122;d ) scattered people (top left), people in narrow alleys (top right), field of ghosts (bottom left), and people in lines (bottom right) field of of ghosts ghosts field

people in in lines lines people

shops closing closing shops

train taking taking aa long long stop stop train

time

t ime shops closing (top left), train taking a long stop (top right), occupation of people in office spaces (bottom left), and short line at a temple (bottom right) occupation of of people people in in office office spaces spaces occupation

short line line at at aa temple temple short

isometric continuity

is ome t r i c c ont i nu it y projection lines (left), and sectioning (right) projection lines

sectioning

atmospheric field

at mo sphe r i c f i el d structures, such as buildings, railway infrastructures, and bridges (left), and patterns, such as roofs, stone tiles, and more structures (buildings, (buildings, railway railway structures infrastructures, bridges, bridges, etc.) etc.) infrastructures,

patterns (roofs, (roofs, stone stone tiles, tiles, etc.) etc.) patterns

chromatics chromatics

Drawing DrawingbybyHasegawa HasegawaTohaku, Tohaku,1539-1610 1539-1610

ch romat i c s light yellow background, with brown shapeless masses, and full color to highlight specific moments light lightyellow yellowbackground, background,with withbrown brownshapeless shapelessmasses masses

the trus(st) of los angeles

The materiality and structure of this project is inspired by the structural system that holds the traffic lights for trains. Trusses are used as the only structural system for this train observation platform. An occupant would travel to observation platform by walking through the ramp and then either taking either the elevators or the stairs up. The top platform runs parallel to the train tracks below. The observation platform not only signifies the elongation of trains, but also allows any visitor to view both sides of the city of Los Angeles.

Site Plan Scale 1/8” = 1’-0” ^ Jia Er Lin / ARCH 384 / Madhi Alibakhshian / Spring 2016 N

Perspective Jia Er Lin / ARCH 384 / Madhi Alibakhshian / Spring 2016

Elevation Scale 1/8” = 1’-0” Jia Er Lin / ARCH 384 / Madhi Alibakhshian / Spring 2016

ing city: towers constitute human spaces, horizontal elements are the storage spaces, and diagonals are the boulevards of transportation. Unlike traditional factory spaces and towers, the proposed building is made up of thin elements that avoid the dark cores while creating spatial knots for program massing.

The project site is located in the pocket of the US-101 Hollywood Freeway at the Vermont Avenue intersection in East Hollywood, California.

the knot of the hybrid quadruples: merchandise and drone storage The formal concept of the proposed building is a mimicry of the concepts of a Hyperbuilding. It functions as a self-contained city for the storage of drones and merchandises as well a warehouse, but it is still connected to the urban dynamic as it is structured like the surrounding city: towers constitute human spaces, horizontal elements are the storage spaces, and diagonals are the boulevards of transportation. Unlike traditional factory spaces and towers, the propsed building is made up of thin elements that avoid the dark cores while creating spatial knots for program massing.

operate from dozens of warehouses located in and around cities some 10 miles apart from each other. The FAA has authorized retailers such as Amazon and Google to utilize flight corridors within these cities located between 200- and 500- foot altitudes in such a way that does not conflict with fixed-wing air traffic and police/emergency response helicopters.

al aspect of modern economies o purchase anything online, yet ble goods and food must still be eality, the shipping and delivery vily on a means to organize, stock around the world.

ew era of shipping and delivery smaller items within highly comdrone-based delivery system twill n and around cities some 10 miles d retailers such as Amazon and ities located between 200- and t conflict with fixed-wing air traffic

Program: Drones and Storage

Inventory Intake

Inventory Storage

Drone Storage Floor plan illustrating the inventory being brought up by conveyor belts, moved and organized in storage shelves by drones and workers, and then delivered to consumers by drones; the visitor center where people can observe the drones hard at work; as well as office spaces. Scaled 1/64â&#x20AC;? = 1â&#x20AC;&#x2122;-0â&#x20AC;?.

Inventory Storage

Electronic commerce has become an essential aspect of modern economies across the planet, as it has made it possible to purchase anything online, yet unlike downloadable music and movies, durable goods and food must still be delivered. Because of this digital-to-material reality, the shipping and delivery stages of online commerce must still rely heavily on a means to organize, stock and Humans physically Program: Drone Storage deliver goods to customers all around the world. Online retailers will enter a new era of shipping and delivery by using low altitude electric drones to deliver smaller items within highly competitive time-frames of one-hour or less. This drone-based delivery system will operate from dozens of warehouses located in and around cities some 10 miles apart from each other. The FAA has authorized retailers such as Amazon and Google to utilize flight corridors within these cities located between 200- and 500- foot altitudes in such a way that does not conflict with fixedwing air traffic and police/emergency response helicopters.

Vertical/elevators

Office Spaces

Visitor Center

Floor plan illustrating the inventory being brought up by conveyor belts, moved and organized in storage shelves by drones and workers, and then delivered to consumers by drones; the visitor center where people can observe the drones hard at work; as well as office spaces. Scaled 1/64” = 1’-0”.

Program: Drones and Storage

Program: Humans Drone Storage

Inventory Intake

Vertical/elevators Program: Humans

Floor plan illustrating the inventory being brought up by conveyor belts, moved and organized in storage shelves by drones and Inventory Storage Drone Storage workers, and then delivered to consumers by drones; the visitor center where people can observe the drones hard at work; as well as office spaces. Scaled 1/64” = 1’-0”.

Office Spaces Vertical/elevators

Office Spaces

Program: Humans

Visitor Center Visitor Center

Circulation

Structure

Primary and Secondary

Secondary and Tertiary

Drone Fly Zone: 200’ - 400’

Connection between the vertical and the horizontal, showing the beams and trusses

Crossbracing system of the horizontal

Conveyor belts of the horizontal that move packages for delivery from the inventory storage to the exterior for drone takeoff

Skin system of the horizontal wraps into the vertical, the verticalâ&#x20AC;&#x2122;s skin system is consisted of glazing and llions, along with crossbracings used for structural support

Connection of the vertical and the diagonal, showing the structure system Conveyor belt within the diagonal brings invetory from trucks into the storage

Shelving systems for inventory storage within the horizontal

The diagonal rests on the horizontal beam that has been extruded outwards

hagen island housing project (case study)

The Hagen Island Housing Project was developed by the Netherlands-based architecture firm MVRDV and finished its completion in 2003. It is located on the Hagen Island of Ypenburg near Rotterdam, in the Netherlands. Furthermore, Ypenburg is made up of six different islands. The Hagen Island Housing Project is identified by its unique characteristics of houses based on a grid system. Because the Netherlands is a country known for its friendly system for pedestrians and bicyclists, the circulation diagram very much reflects this. The main access of Hagen Island is the road at the perimeter. This road provides access for vehicles and for pedestrians as well. The parking for all cars are found at the perimeter of the island as well, at the inner side of the main road. There is an ambiguity in the grid system of the project: two boxes are pushed back so there are negative spaces, these negative spaces are used for areas of recreation; in addition, another box is split into two, this process adds to the variety of sizes.

for ma l c onc e pt top left to right: Perimeter access for the land is made by having roads surround the land; The land is divided into four vertical strips; Zig zag lines are ran through horizontally: first one being down, up, and up, and second is backwards of the first, up, up, and down; Two boxes are pushed back so there are spaces for recreation, and another box is split into two; Buildings are placed in a left-to-right fashion going down each column, except for five areas so that it will be seemingly random; Greenhouse buildings are placed adjacent to the buildings depending on its length

Hagen Island Typology: Location: Year: Architect:

formal conc

Carpet Ypenburg, Netherlands 2003 MVRDV

(1)

(2)

mass i ng The mass is very similar to the shape of a Monopoly house. The shape is based on the combination of a triangle and a rectangle. It is then extended to form (5) (4) mass. the

1 Massing The mass is very similar to the shape of a Monopoly house. The shape is based on the combination of a triangle and a rectangle. The shape is then extruded to form the mass.

2 Layout of Buildings 123-

(6)

Perimeter access for the land is made by hav The land is divided into four vertical strips. Zig zag lines are ran through horizontally: the second is the backwards of the first, being u

x2 x3 x4 x5

en Island

p ar t - to - w hol e rel at i onship x8

Carpet Ypenburg, Netherlands 2003 MVRDV

The extrusion of the mass is multipled two, three, four, five, six, or eight times to form a building.

2 Multiplication Scale: 1/128” = 1’-0” The extrusion of the mass is multiplied two, three, four, five, six, or eight times to form a building.

p ar t - to - w hol e rel at i onship (cont’d) Each unit could be divided into three subunits, which are the three floors.

^ N 3

^ N park / green space parking space building space

u rb an f abr i c : Yp e nbu rg Maste r Pl an Ypenburg is consisted of six different islands, and is connected to The Hague (the third largest city in the Netherlands) by tram, and Delft (a historic center known for its canals) by bus.

u rb an f abr i c : c it y rel at i onsh ip s

^ N 3

The orange lines represent the roads and infrastructures of the city, and the blue splotches represent the water, as most of the land in the Netherlands is below sea level. 1- The Hague is a center for conurbation and is approximately four miles away from Ypenburg. 2- The location of Ypenburg. 3- Delft is known for its canals and is a little less than two miles away from Ypenburg.

figueroa village housing project

The Figueroa Village Housing Project seeks to provide a closer community for people living in the area of South Figueroa Street and West Slauson Avenue. Although this area is heavy with commercial development and traffic, over 80% of the population are children until the age of 18 and elderly citizens over the age of 60. Through the courtyard housing typology, residents are encouraged to interact with each other in the outdoor public spaces. Additionally, the central courtyard in the middle of the community could act as a farmersâ&#x20AC;&#x2122; market on certain days of the week, as this neighborhood lacks grocery stores. The formal concept and massing of the project comes from the trapezoid shape of the site. The division and the circulation of the site and the project is taken from the analysis of the Hagen Island Housing Project. Cars are only allowed at the perimeter of the site. There is parking at the outer perimeter of the site of the Figueroa Housing Project, which is different from the Hagen Island Housing Project, where cars are parked at the inner perimeter. The site is divided vertically into three, with the angle division being the same as the east side of the site; and the site is divided horizontally by the zig-zagging method inspired from the Hagen Island Housing Project.

u rb an c onte x t ^ N

Commercial densities of freeways, cross-streets, and commercial buildings are illustrated in orange; while the residential regions are shown in blue.

d iv is i ons The site divisions are inspired by the divisions found within the Hagen Island Housing Project.

mass i ng Development of the massing from a rectangle to a right trapezoid by slicing off a scalene triangle.

^ N

g rou nd f l o or pl an Illustrates the fludity of the housing units with the outdoor public spaces, the courtyards, and the outer perimter parking.

s e cond f lo or pl an

t h i rd f l o or pl an

Illustrates a variety of programs found within housing units, including bedrooms, bathrooms, kitchens, living rooms, and outdoor patio spaces.

Showing rooftops of most housing units, along with bedrooms and bathrooms .

The east side of the site is designated as the public space so it is used as a buffer zone from the freeway at the same time. The site is located right next to the freeway ramp, where a lot of noise are emitted from vehicles going onto and coming off from the freeway. By having its own road on the perimeter of the housing project, this allows the housing project to be safer as well as quieter for the residents. There are a total of fifteen housing units within the Figueroa Village Housing Project. Each housing unit is consisted of a one-car or two-car garage, and one to three trapezoid extrusions. Within these trapezoid extrusions are the actual living programs of the house. All housing units are variations from each other, and are different but similar. At the minimum, each house has a kitchen, a living room, a bathroom, and a bedroom. The number of bedrooms and bathrooms vary, as well as what floors these rooms are located on, as some housing units follow the layout of the modern townhouse, where the garage is on the ground level, with all other living programs on the upper levels.

s e c t ion Illustrating human interactions in the outdoor spaces, such as the pedestrian-only roads, the central courtyard, and the private patio spaces.

Each housing unit is accessible through the garage and has either a sliding door or a traditional exterior door that allows the occupant to go outside to the courtyard. Another feature of all housing units is that they all have floor-to-ceiling glazing to provide the sense that the rooms are much bigger than they actually are. In addition, each housing unit has a skylight similar to the one in Eric Owen Mossâ&#x20AC;&#x2122;s The Box.

mo d els Showing the composition and massing of a typical block of housing units.

pico-union color installation

This project serves to provide a space with shade for the Pico-Union community. The site is located at the intersection of West Pico Boulevard and Magnolia Avenue in the heart of Koreatown, near the El Salvador Community Corridor, the area is busy due to the surrounding businesses, and thus the space can also be used as a place of leisure and small gatherings. Additionally, the customers of the nearby businesses of the Metro Market, which sells soft drinks and ice cream of sorts, and the Pollos El Brasero, a chicken restaurant, can definitely benefit from the space as it provides shade and leisure for them to enjoy their quick bite. Pico-Union is known as a densely populated, low-income, youthful, Latino, and mostly immigrant neighborhood. The barricades of planters at Pico-Union was installed in the late-1980s as a means to stop the flow of drugs and drive-by shootings. Because of this, the roads are blocked for vehicle access to this day. This project, a temporary installation that re-imagines street ends, was made possible in partnership

with Koreatown Youth + Community Center (KYCC) and the Woodbury University Architecture + Civic Engagement (ACE) Center. The chain-link fencing materiality of the project aims to serve as an optical illusion as well as a canvas where colorful acrylic pieces are strapped, and daylight penetrates through these acrylic pieces to form shadows of various colors. The color scheme and gradient arrangement used within the project are the colors of yellow, green, blue, and purple, and are inspired by the mural to the west side of Magnolia Avenue, in which the colors of gray, blue, and purple are heavily used. Additionally, some of these colors in the acrylic bleed into the wooden structures.

^ N

s ite pl an Illustrates color scheme from yellow to green, green to blue, and blue to purple.

c ol ore d c anv as Strapping of acrylic pieces onto the chain-link becomes a colorful and playful canvas.

c ol or s che me (1 7 d i f fe re nt c ol ors)

a xonome t r i c Illustrates human interactions with the installation, populating the area as a community.

homebush bay (case study)

The Homebush Bay Public Domain, located in Sydney, New South Wales, Australia and the site of the Sydney Olympics 2000 events, was designed by Hargreaves Associates. This project employs the method of warping in the manipulation of the ground, as shown through the underlying geometries of rectangles and ellipses. The geometries are then WARP taken from the drainage flow, where water moves and then into various intoReider the ponds. These geometries DESIGNERS: George Hargreaves,diverges Gavin McMillan, Glenn areas Allen, Kirt are also influenced by the nearby Haslam’s Creek, which YEAR: 2000 wraps around the wetlands park. Interestingly, the shape LOCATION: Homebush Bay, Sydney, New South Wales, Australia of the ponds resemble the shape of water drops, in which shape of or thetwisted waterout in of itsshape, restful state isaswarped asthe it goes DEFINITION: Become or cause tothe become bent typically a result of effects of through These underlying geometries are heat or dampness; a twist or distortion in thesurface shape ortension. form of something (Oxford Dictionaries). still evident, but no longer explicitly present to the naked This project employs the method ofeye, warping in theitmanipulation of the ground, asand shown throughout theof because has been warped, or bent twisted shape. For example, through the intersecting points of ellipswater moves and then diverges into areas of intothe theponds ponds.are formed. And the shapes of the es,various the shapes the nearby Haslam’s Creek, whichcontours wraps around the that wetlands park. Interestingly, shapeof of Haslam’s the ponds follow of the pond, with thethe profile resemble the shape of the water drops, which the them. shape of thedrainage water in itsplants restfulare stateplaced is warped as it Creekineffecting The on the goes through surface tension. These underlying are still evident, but no longer explicitly present edges of the geometries pond. to the naked eye, because it has been warped, or bent and twisted out of shape. For instance, through the intersecting points of elipses, the shapes of the ponds are formed. And the shapes of the contours follow that of the pond.

ind ex: w ar p Become or cause to become bent or twisted out of shape, typically as a result of the effects of heat or dampness; a twist or distortion in the shape or form of something (Oxford Dictionaries)

ANALYSIS:

4 5 6 7 8 9 10

ana lys is

1- Asphalt path for humans to explore and navigate throughout the park. 2- Outlet pond used to contain water runoffs in the pond and for flood reduction. 3- Various types of sedges are used as wetland plants. 4- Boulder slope at the perimeter of the wetland used for flood control from the nearby Haslamâ&#x20AC;&#x2122;s Creek. 5- Lemon-scented gum plantings used due to its tolerance with well-drained moisture soil. 6- Inlet pond used to control amount of water flowing into pond. 7- Frog pond taking similar shape to the other ponds. JIA ER LIN//MARK ERICSON//ARCH 283//SPRING 20 8- Pre-exisitng frog pond located to the new frog pond. 9- Pier used for public access and interpretation of the landscape. 10- Irrigation systems for the wetland and to engage the surrounding landscape.

e x t ra c te d From top left to right: geometry, wet contours, dry contours, drainage, program, and vegetation.

c ol l ap s e d Plan projected to show a sectional drawing scaled 1” = 15’

COLLAPSE

JIA ER LIN//MARK ERICSON//ARCH 283//SPRING 2015

san pedro coastal athletic center

Warping, as derived from the Hargreaves Associatesâ&#x20AC;&#x2122; Homebush Bay project, is used as a manipulation process, causing something to be bent or twisted out of shape. This results in intersecting points having similar contours, and these contours then emerge outwards and inwards in incremental directions. The datum points are derived from the geometric diagram that covers the entire site, governing all relationships and conditions, along with the programmatic diagram. The basis of the design on the manipulation process is based on the stretching of contour lines and anchoring them at the various datum points. Similar to the Hargreavesâ&#x20AC;&#x2122; project, the San Pedro Coastal Athletic Center Project seeks to manipulate the site via the horizontal plane of representation, as it explores the many edge conditions. Elements from the existing site, as identified by the five distinct zones, are taken, and warped and wrapped in the manipulation process the separates the pathway and the basketball court. In another example, the original bluff is pulled and spread outwards. Additionally, the waters of both the high and low tides allow occupants to engage with water conditions, such as the pier directly being able to touch the waterline at the high tide, and being a platform for fishing during both the low and high tides.

pl ans Program includes parking spaces for 10 cars and 25 bicycles, locker rooms, shower rooms, bathrooms, lobby, adminstration offices, snack bars, exercise room, lap pool, basketball court, first-aid center, boat storage, equipment storage, mechanical room, maintenance storage space, and fishing pier.

e x t ra c te d From left to right: contours, drainage, geometry, program, and vegetation.

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s ite pl an Illustrating manipulated contours, along with shadow lines of the Athletic Center: Blue: January 1st at 12PM Green: April 1st at 12PM Orange: August 1st at 12PM

h i g h v s . l ow t i d e s

man ipu l at i on The original contours of the site (far left) has been manipulated through warping, in which bending, twisting, pulling, and stretching were all methods used in the designing of the program for the San Pedro Coastal Athletic Center.

a consistent difference: suleymaniye mosque vs. sydney opera house (case study)

The Suleymaniye Mosque, located in Istanbul, Turkey, was completed in 1558 and designed by architect Mimar Sinan. The Sydney Opera House, located in Sydney, Australia, completed in 1973 and designed by architect Jorn Utzon. The two buildings are analyzed through comparison with Vitruvius’s Three Principles: structure, function, and beauty.

st r u c tu re (bl a ck) The structure of the Suleymaniye Mosque is comparable to the Hagia Sophia (located in Istabul, Turkey as well), its older archetype. The general structure of the Suleymaniye Mosque mirrors that of many Islamic mosques: a large prayer hall is adjoined to an open courtyard called the sahn with a fountain at the end; the mihrab, a niche in the wall indicating the direction of Mecca; and a minaret tower, one of the most visible aspect of a mosque, from which the call to prayer is announced.

f u nc t i on ( g ray) The Suleymaniye Mosque is designed around a central axis; the length is running from north to south while the width spans east to west, as this is appropriate for the purpose of the building, where Muslims must face the cardinal direction of Mecca during prayer.

b e aut y (w h ite ) The main, central dome of the Suleymaniye Mosque is further magnified by the surrounding half domes. This draws the attention towards the center. The dome becomes the spiritual focus, representing God’s “unity without distinctions.”

st r u c tu re (bl a ck) The structure of the Sydney Opera house is a series of large precast concrete “shells” that are set on a monumental podium and underground supporting pillars.

f u nc t i on ( g ray) Within the Sydney Opera House, there is a Major Hall, housing the bigger performances, and a Minor Hall. The intention of the program and circulation of the Sydney Opera House is that the visitor will pass around the stage towers to enter the auditorium and remain in the auditorium during intermission.

b e aut y (w h ite ) The beauty of the Sydney Opera House is its precast concrete “shells.” These shells may appear uniform from a distance, but they actually feature a subtle chevron pattern composed of more than a million tiles in two colors: glossy white and matte cream. In addition, these shells are the icon of not just the Sydney Opera House, but the continent of Australia.

museum of contemporary art: a circular proposal

In this project, the platonic form of the sphere is taken and proposed for the built environment as a proposal for the Museum of Contemporary Arts at the Pacific Design Center, in West Hollywood, California. The concept of the designed museum is based on the two precedents of the Suleymaniye Mosque and the Sydney Opera House. From the Suleymaniye Mosque, the central element of the cascading domes is taken, and from the Sydney Opera House, the central element of the clustered, vaulted roofs is taken. With these elements, modules are produced. In each module, a curved, rectangular surface is multiplied radially at its central axis. The vast majority of the artwork exhibited comes from the Impressionist Movement, where the brushstrokes show open composition and emphasize on the changing qualities of light. Though Impressionism is very different from modern arts, it can be considered the first disctinctly modern movement in painting, as Impressionists aimed to capture the momentary, sensory effect of a scene. The modules collectively assist and continue the language of the artworks as it provides a mysterious space and also different areas for the viewing of the artworks. It is important for the viewers to examine the afar and up-close of these Impressionism artworks, and each piece of artwork has its own area dedicated andallocated for itself, so that the viewer could focus on the overall meaning of the painting from afar, and examine and appreciate the various brushstrokes from a close proximity. Additionally, the modules are clustered and varies in the degree it multiples and in the locations. With these modules, spaces are created as they interlay and overlap. These modules will cut into certain floors to show continuity, and will be cut off to provide space for circulation. Each rectangular curved surface of the module will have one panel where it is perpendicular to the floor, and this is the panel where the artwork will be exhibited on.

pro c e ss mo d els

material studies: metal

“to i mpre ss” Patterns were made on the aluminum sheet metal by pounding the hammer. Because the aluminum sheet is quite thin, it is easy to make dents onto the sheet.

“to i mpre ss” Patterns were made on the sheet metal by using the chisel. Compared to the patterns made with the hammer, these patterns are more separated because the surface area of the chisel is larger than the hammer, thus more weight is distributed throughout when the chisel is being used.

“to re move” A rusted piece of metal is put into a tub filled with rust removal solution, and is left there for an hour. Even though the pattern of rust is still evident, the texture of the rust is reduced significantly.

“to re move” A sponge is soaked with acetone solution and the rust is then scrubbed from the metal. A lint-free cloth dampened with cool water is then used to wipe the rust residue and acetone. It is then finally dried with a clean towel. The texture of the rust is still evident.

“to re move” By sliding the grinding wheel on the rusted metal, the rust is scrapped off. This leaves the metal with a smooth surface. However, a discoloration is then revealed as parts of the actual metal is gone.

“to bu nd l e” Paperclips of various colors are joined together by overlapping and interlocking. With over fifty paperclips interlocked and unitized together, the paperclips are stronger structurally.

schindler house: an analytique

“Slab-tilt” wall construction was used during the construction of the Schindler House, and this has been successfully represented with the “slab-tilt” concrete walls in the analytique construct. Like the construction of the Schindler House, concrete was poured into forms constructed from plywood. However, these “slab-tilt” concrete walls could have been more successful if it was taller than the allowable height of the project brief, because the wedge shape would be represented even more dramatically. There are three concrete walls, which represent the essential plan of the pinwheel. However, the pinwheel could have been more well represented, with four large and one small concrete slabs, or with three concrete slabs that are of the same size. This design of the construct has evolved signicantly, from something that’s very symmetrical to asymmetrical, representing the ideal of “A Real California Scheme” that Schindler had accomplished with his Schindler House, where no two spaces are alike.

In an earlier design of the analytique construct, the concrete slabs had wrapped around the wood pieces, and this would have not been successful. Even though the concrete does wrap around the Schindler House, this would not work in the analytique, as the Schindler House is known for its wood construction. Thus, the wood pieces wrap around the concrete slabs in the final design, but only on two sides, representing the windows and their framings of the Schindler House. Another side is left to have just the concrete, as the concrete slabs in the Schindler House act as the hard sheltering wall at the back of the house and a softer permeable screen at the front. The fourth side is left half open, with an “overhang” at the top, which furthermore represents the Schindler House’s integration with nature and the ceiling of the Schindler House. The piece at the top of the construct is probably the most well done, as it is a representation of the rooftop sleeping baskets of the Schindler House. These baskets of the Schindler House are made of four redwood post canopies with beams at mitered corners, which is exactly what the top of the construct has. The construct is made with redwood, which is the main building material of the Schindler House. Overall, the wood joinery of the many wood pieces could have been more successful if more research was; instead of using dowels for many of the connections, other types of wood joinery could have been used.

Isometric Diagram Scaled 1’-0” = 1” re pre s e nt at i ons

Tilt-up concre

Tilt-up concrete (gray), window framing (blue), sleeping baskets (orange), and overhangs (green). Representatio

Representatio Representatio

pro cess photos: t i lt -up c onc rete

pro c e ss photo s : wo o d

los angeles river project proposal

Based upon the notions of subtractions, editions, additions, and the layering of various units, an overall manifestation affected by infections and infestations are formed. The site intervention is based off a datum, and infections have influenced the site intervention through modifications in extrusions, extensions, and indentations along the x-, y-, and z-planes, making it extremely geometric. The construct not only collectively serves as a support base for parts of the site-- in which a symbiotic relationship takes place as the construct must exist for the site to exist, and vice versa-- but also functions as an infestation due to the vertical columns occupying a large area of the site, serving as the exposition of the infection as these vertical columns become horizontal columns, and later into geometries that no longer follow the Cartesian grid. Specifically, there is one area within the construct where the occupant is able to stretch his or her lower back and arms by grabbing onto and hanging on the plywood sheets. The arrival of this space requires the person to climb and jump down numerous large steps, and thus the space is useful for stretching after a hectic exercise. Each face of the rectangular prism consists of the layering of four 3/4â&#x20AC;?-thick pieces of plywood to make one unit, and these units are then joined together to form a rectangular prism. The layering of materials is shown through the nature of plywood, in which its production is done by lamination, an organized and formulated way of layering, of pieces of thin lumber. Besides the rectangular prisms, there are slabs of 6â&#x20AC;?-thick concrete piled on top of each other. The width and length of these concrete slabs vary to express the chaotic characteristics of layering. In the overall structure, layering is shown as a unit with different parts functioning together through the differences of materials.

pro c e ss /stu dy mo d els

“to l ayer” Generally, a layer is “the formation or arrangement of parts or pieces of something on top of each other” (Merriam Webster’s Collegiate Dictionary). It is also “a usually horizontal deposit or expanse” (American Heritage College Dictionary). In social science, the layers of investment are the successive cycles of economic development of particular places or regions and it characterizes the changing spatial structure of the economy” (The Dictionary of Human Geography). In programming, a layer is one out of a set of hierarchically arranged groups that extends across all systems that conform to the network architecture (IBM Dictionary of Computing). In horticulture, layering is a process in which a new plant is plotted from its mother plant (The National Gardening Association of Horticulture). In graphic arts, layering is the separation of sheets of paper from the felts after the post of handmade paper has been pressed and the process of throwing away the defective sheets (Harper’s Dictonary of the Graphic Arts).

villa nm (case study)

The Villa NM project was built in Upstate New York in 2007 and designed by UNStudio, as a compact vacation house. The sloping site is used as a device for its programmatic and volumetric organization. A box-like volume bifurcates into two separate volumes: one seamlessly following the northern slope, the other lifted above the hill creating a covered parking space and generating a split-level internal organization. The project was inspired by the Moebius House as the â&#x20AC;&#x153;un-private house.â&#x20AC;? The property is a modern version of the duplex built in California during the 1950s, with no hierarchical differentiation between public and private spaces. While the smaller facades make it appear as modern and modest in nature, the long side walls of concrete deformations make it visible and different, rising like an abstraction in the surrounding landscape.

t h re e k i nds of su r f a c e Planar surfaces (blue), twisted surfaces (pink), and single-curved surfaces (orange).

plaster and chipboard: from void to void

â&#x20AC;&#x153;to atte nu ateâ&#x20AC;? To lessen or reduce in space, force, mass, intensity, quantity, or value.

fibonacci construct

Continuing with using the phrase “to attenuate,” the Fibonacci numbers are introduced and used. In the construct, the 1’ x 1’ “crate” serves as both a stepstool and a leg rest as one sits on the 2’ x 2’ “crate”. Because of the proportion of the human body, as explored in the Modulor Man, the area from the hips to the knee is about 1.5 times in length as the area from the knee to the ankle. The numbers 1 and 2 coincidentally are the third and fourth numbers of the Fibonacci series, and the ones that come after these are 3, 5, and 8. The 3’ cube also allows another seating for any possible occupant, yet it requires the usage of the arms as a leverage to bring the body up to the seat. With lumbers that are both 5’ and 8’ in height for the end of the construct, the human body can easily find a place to lean, especially at areas nearing the edge of the site, as the average height is approximately 6’. Additionally, the numbers of the Fibonacci series collectively show the notion of attenuation as 8’ is decreased into 1’.

eames house (case study)

The Eames House was designed by Charles and Ray Eames as part of the Case Study House Program. The Eames House reflected the household needs of the young married couple wanting a place to live, work, and entertain in one undemanding setting in harmony with the site. The design tucked the house sidelong into the slope near the coast in Pacific Palisades, California, with a concrete retaining wall on the uphill side. A mezzanine level is added, making use of the prefabricated spiral stair. The upper level holds the bedrooms and overlooks the double-height living room. A courtyard separates the residence from the studio space. The facade is broken down into a rigidly geometric, almost Mondrianesque composition of brightly colored panels between thin steel columns and braces. An existing row of eucalyptus trees was preserved during the construction of the house, providing some shading and a visual contrast with the houseâ&#x20AC;&#x2122;s bold facade.

photoconstruction: wind quarry

Wind is the movement of air, and it is generated through a mechanical system. This mechanical system is located in a place no other than a house by the quarry. Inside this house, pipes are drilled underground and wind is sucked out through a pulley system. This mechanical system is not perfect, as workers consistently need to fix pipes.