Jia Er Lin - Architecture Portfolio by Jia Er Lin

Jia Er Lin Architecture Portfolio Woodbury University

Table of Contents

Studio 3B: Structure, Systems, Space, and Form........................................1

(Spring 2016, Instructor: Madhi Alibakhshian)

Studio 3A: House and Housing...................................................................5

(Fall 2015, Instructor: Eric Olsen)

Studio 4B: Design Build.............................................................................11

(Summer 2015, Instructor: Lauren Lynn)

Studio 2B: Site Orders...............................................................................15

(Spring 2015, Instructor: Mark Ericson)

Studio 2A: Program and Space..................................................................21

(Fall 2014, Instructor: Al Zepeda)

Studio 1B: Natural Tendencies..................................................................25 (Spring 2014, Instructor: Doug Young) Studio 1A: Principles and Processes, Bodies and Object...........................29 (Fall 2013, Instructor: Louis Molina) Materials and Methods..............................................................................31

(Fall 2014, Instructor: Eric Olsen)

Design Communications 2........................................................................33

(Spring 2014, Instructor: Mark Owen)

Design Communications 1........................................................................35

(Fall 2013, Instructor: Gerard Smulevich)

Studio 3B: Structure, Systems, Space, and Form The Truss 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 the elevators up or the stairs. 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

Elevation from the west

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

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

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

Vignettes of perspective views, highlighting the structure Perspective Jia Er Lin / ARCH 384 / Madhi Alibakhshian / Spring 2016 and the program

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

Final model

Hybrid Quadruples Jia Er Lin and Heather Loew

Hybrid Quadruples

The formal concept of the Hybrid Quadruples is inspired by OMA’s Hyperbuilding, where a series of thin towers are structurally joined above ground level. These skyscrapers avoid the dreaded dark cores of tower buildings while creating spatial knots for program massing. In this project, the three systems of horizontal, vertical, and oblique are united and integrated together. The vertical spaces are the support of the system, conceptually and physically, as it houses the mechanical operations and structurally aligns to the ground. The horizontal spaces are for storage of inventory and drones. Finally, the oblique are mechanical systems that connect the vertical to the horizontal as it transports all goods through conveyor belts.

Vertical Diagonal Horizontal Public Space Drones

Primary Secondary Tertiary

Program

Structural Diagram

Group Project (Heather Loew)

d Quadruples

Circulation

The Loew formal nd Heather

concept of the Hybrid Quadruples is inspired by OMA’s Hyperbuilding, where a series of thin towers are structurally joined above ground level. These skyscrapers avoidof the dreaded dark cores ofis inspired tower buildings creal concept the Hybrid Quadruples by OMA’swhile Hyperbuilding, for program massing. this project, the eries ating of thinspatial towersknots are structurally joined aboveInground level. These ers avoid thesystems dreaded cores of vertical, tower buildings whileare creating spatial three ofdark horizontal, and oblique united program In together. this project, thevertical three systems of horizontal, vertical, and and massing. integrated The spaces are the support re united and integrated together.and The vertical spaces the support of the of the system, conceptually physically, as itare houses the onceptually and physically, asand it houses the mechanical and mechanical operations structurally aligns to operations the ground. ly aligns the ground. The horizontal spacesofare for storage Thetohorizontal spaces are for storage inventory andof inventory and drones. e oblique are mechanical systems that connect the vertical to the horizontal as drones. Finally, the oblique are mechanical systems that conrts all goods through conveyor belts. nect the vertical to the horizontal as it transports all goods through conveyor belts.

Circulation diagrams, from left to right: depicting the conveyor belt system, office spaces, and lift systems

Vertical Diagonal Horizontal Public Space Drones

Program and structural diagrams

Primary Secondary Tertiary

Massing models showing program development

Model depicting structural support

Model depicting skin and frame system

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scale: 1/64” = 1’-0”

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scale: 1/64” = 1’-0”

Section

scale: 1/64” = 1’-0”

Roof plan

Studio 3A: House and Housing Case Study: Hagen Island Housing Project

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.

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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.

park / green space parking space building space

Recreation of map, illustrating the Hagen Island and its surround islands

Analysis showing the underlaying grid and the placement of the houses in the project

Circulation diagram: vehicle access in the perimeter (orange), and public access for pedestrians and bicyclists (blue)

Figueroa Village

Renderings of the project Far left: aerial view Immediate left: perspective view from the southeast

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. Site division of the Figueroa Village Housing Project as inspired from the division of the Hagen Island Housing Project

Urban context of site: commercial densities of freeways, cross streets, and commercial buildings (orange), and the residential area (blue)

Development of massing from a rectangle to a right trapezoid by slicing off a scalene triangle

Developed section showing how the different trapezoid extrusions come together and the inner vertical circulation of each housing unit

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Ground floor plan illustrating the fludity of the housing units with the outdoor public spaces, the courtyards, and the outer perimeter parking

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 less quiet. 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,

Models made out of foamcore showing the composition of a typical block of housing units

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. 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.

Second floor plan, illustrating a variety of programs, including bedrooms, bathrooms, kitchens, living rooms, and outdoor patio spaces

Third floor plan, showing rooftops of most housing units, and bedrooms and bathrooms

Section illustrating human interactions in the outdoor spaces, such as the pedestrian-only roads, the central courtyard, and the private patio spaces

Studio 4B: Design Build Pico-Union Color Installation

Group Project (Nancy Arevalo, Daniel Ghattas, Nguonkeat Tiv, and Mayra Trejo)

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

Panoramic photograph depicting the Color Installation Project on Magnolia Avenue overlooking into West Pico Boulevard

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 the penetrates through these acrylic pieces and 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.

Axonometric drawing illustrating human interactions with the installation, populating the area as a community

Images taken during the installation

Seventeen different colors make up the color scheme of the roof canvas

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Site plan showing the color scheme

Colored canvas made by strapping acrylic pieces onto chain-link

Elevation drawing from the south side of West Pico Boulevard onto Magnolia Avenue

Studio 2B: Site Orders Case Study: Homebush Bay

Extracted drawings depicting analyses of the geometry, wet contours, dry contours, drainage, program, and vegetation (from top left to bottom right)

The Homebush Bay Public Domain, 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 taken from the drainage flow, where water moves and then diverges into various areas into the ponds. These geometries are also influenced by the nearby Haslamâ&#x20AC;&#x2122;s Creek, which wraps around the wetlands park. Interestingly, the shape of the ponds resemble the shape of water

drops, in which the shape of the water in its restful state is warped as it goes through surface tension. These underlying geometries are still evident, but no longer explicitly present to the naked eye, because it has been warped, or bent and twisted out of shape. For example, through the intersecting points of ellipses, the shapes of the ponds are formed. And the shapes of the contours follow that of the pond, with the profile of Haslamâ&#x20AC;&#x2122;s Creek effecting them. The drainage plants are placed on the edges of the pond. COLLAPSE

Collapsed plan of Homebush Bay (top), projected to show a section drawing (bottom)

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.

Aerial Plan, ground floor plan, and second floor plan (from left to right) of the San Pedro Coastal Athletic Center; the program includes parking spaces for 10 cars and 25 bicycles, locker rooms, shower rooms, bathrooms, lobby, administration offices, snack bars, an exercise room, a lap pool, a basketball court, first aid center, boat storage, equipment storage, mechanical room, maintenance storage space, and a fishing pier

Extract drawings showing contours, drainage, geometry, program, and vegetation (from left to right)

Section through the center, showing the locker rooms, shower rooms, bathrooms, exercise room, lap pool, and fishing pier; with the ADA path on top, along with the boat storage in the background; and the green lines depicting the locations of the high and low tides

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Site plan illustrating the 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

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 of the San Pedro Coastal Athletic Center

Studio 2A: Program and Space Case Study: A Consistent Difference The two precedents of the Suleymaniye Mosque (left), in Istanbul, Turkey, completed in 1558 and designed by architect Mimar Sinan, and the Sydney Opera House (right), in Sydney, Australia, completed in 1973 and designed by architect Jorn Utzon, are analyzed through comparison with Vitruvius’s Three Principles: Structure (depicted below in black): The structure of the Suleymaniye Mosque is comparable to the Hagia Sophia in Istabul, Turkey, its older archetype. The general structure of the Suleymaniye Mosque mirrors that of many Islamic mosques. 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. Function (depicted below in gray): 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.

A representation of the Suleymaniye Mosque highlighting Vitruvius’s Three Principles

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. Beauty (depicted below in white): 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.” 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.

A representation of the Sydney Opera House highlighting Vitruvius’s Three Principles

MOCA: 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. 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 paintingfrom afar, and examine and appreciate thevarious 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.

Section of the museum showing human interactions with different programmatic spaces

Process models of how the form of the module was arrived

Third level, second level, and ground level plans (from left to right)

Hinged model

Studio 1B: Natural Tendencies Los Angeles River Project Proposal Group Project (David Huerta)

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

Overall view of the final model

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.

Closeup photos of the final model

Hand-drawings illustrating the underlying grid and the datum system

Study models showing different methods of layering and stacking

Analysis of the body in a stretching position

Word Study: TO LAYER 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).

Studio 1A: Principles and Processes, Bodies and Objects Plaster and Chipboard: From Void to Void

Orthographic projections in hand drawings of transverse, long, and horizontal sections

Original plaster constructs

Exploration in the attenuation of the void

As a warm up assignment into architecture school, plaster constructs are made through the folding of chipboards that form various shapes. At the end, two plaster constructs out of the many are taken and transverse sections are drawn and analyzed. Then, horizontal and long sections are drawn through orthographic projection. The void from the combination of these two plaster constructs is then explored through the phrase â&#x20AC;&#x153;to attenuate,â&#x20AC;? meaning to lessen or reduce in space, force, mass, intensity, quantity, or value. Through the exploration, a chipboard construct is created in almost the same size as the void, and masses in its middle is then taken out to show this attenuation.

Fibonacci Construct

Group Project (Alexandra Holguin and Andres Villalobos)

Final drawing illustrating how the Fibonacci numbers relate to the 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

Final construct

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’.

Process work

Materials and Methods Metal Studies Before

After materials: sheet of aluminum metal, hammer verb: to impress description/analysis: 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 on the metal sheet.

materials: sheet of aluminum metal, hammer, chisel verb: to impress description/analysis: 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. materials: rusted metal, rust removal solution verb: to remove description/analysis: 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.

materials: rusted metal, acetone verb: to remove description/analysis: 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. materials: rusted metal, grinding wheel verb: to remove description/analysis: 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. materials: paperclips verb: to bundle description/analysis: Paperclips of various colors are joined together by

overlapping and interlocking. With over fifty paperclips interlocked and unitized together, the paperclips are stronger structurally.

Analytique: Schindler House

Group Project (Bun Ben Ko, Heather Loew, Zeming Sun, and Olga Zakharova)

“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 even 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 SchinIsometric Diagram dler House’s integration with nature and the ceiling of the Schindler House. Scaled 1’-0” = 1”

Isometric diagram showing representations of various parts of the Schindler House: tilt-up concrete (gray), window framing (blue), sleeping baskets (orange), and overhangs (green)

The piece at the topTilt-up of the construct concrete slab is probably the most well done, as it is a representation of the rooftop sleeping baskets Representation of window framingof the Schindler House. These baskets of the Schindler House are madebaskets of four redwood post canopies with Representation of sleeping beams at mitered corners, whichofisoverhangs exactly what the top of the construct has. Representation 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.

Photos showing the “slab-tilt” concrete process

Process photos illustrating the many wood members used in the construction of the analytique

Design Communications 2 Case Study: Villa NM

The Villa NM project was built in Upstate New York in 2007 and designed by UNStudio, as a single-family housing project. 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. There are three kinds of surfaces in the Villa NM: planar surfaces (blue), twisted surfaces (pink), and single-curved surfaces (orange)

Sections

First and second floor plans.

Perspective renderings showing various views of the Villa NM

Design Communications 1 Case Study: Eames House

Axonometric drawing and hand rendering of the Eames House, showing interior spaces and the structural system.

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, 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.

Sectional model illustrating the interior spaces of the both the residence (left) and the studio (right) of the Eames House

Perspective sketches of the Eames House, done during a site visit

Photoconstruction: Wind Quarry

Photoconstruction of the wind quarry made through the collaging of various images

Through photoconstruction, a plausible situation is created. The narrative is as follows: 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.

Vignettes illustrating different perspective views within the the wind quarry