Architecture and Other Things 2019

lisa liang architecture and other things lisa liang architecture and other things l

li

hi, i am lisa liang and I’m a designing person, a middle child, and a frequent grocery shopper in Southern California. I graduated with a Bachelor of Architecture in 2019 from SCI-Arc. I thought that I would have a lot more to say but I assume if you’re reading this you’re most likely a visual person so please enjoy the work of my early 20s, hopefully there is much more to come.

CONTENTS CH.01

conceptual explorations Back of House

PG.06

Playdoh’s Republic

PG.17

Nightless

PG.27

Senior Thesis

Chambord Inacheve (Competition) Film Visual Studies

CH.02

architectural explorations Boyle Heights Housing

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Berkeley Library

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Mexico City Tower

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Senior Thesis

Chambord Inacheve (Competition) Film Visual Studies

CH.03

visual explorations Figure Fields

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Twoness

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Cyborg Misprision

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Senior Thesis

Chambord Inacheve (Competition) Film Visual Studies

01

The following projects focus on personal conceptual development, each one being fundamentally rooted in architecture. Though not premeditated, the use of video as a medium became an optimal way of representing these three projects, and through them I’ve discovered my fascination of storyboarding, directing, and writing. Of all of the skills I’ve acquired during my time in SCI-Arc, I’m most excited by my ability to share visual worlds that come from how I see certain topics.

CONCEPTUAL eXPLORATIONS Senior Thesis_Competition for the Chateau de Chambord_Short Film

Back of House Senior Thesis

Spring 2018 Advisor_Peter Testa

Instead of treating the theater as an audience centered experience, I’ve sought to understand it from the other side; from the mechanical and technical apparatuses that make the space work.

I’m testing this through an existing theater in Los Angeles. The Vision Theater is a historical building which is undergoing renovation, so I interpreted this prompt as an opportunity to expand on how the developing needs of theatre correspond with evolving culture and technology.

PG_8 CH01_CONCEPTUAL EXPLORATIONS

d

e t I crea

to put inside the theater that helps me understand how theatre works and serves as the driver of different spatial ideas within the building. I’m building upon classic theatre references, such as the Endless Theater, the Total Theater, and play works by Brecht, in search for new possibilities in fictions, constructions, and audience exchanges. The feature being shown comes in three acts. The first is my overall design proposal,

PG_9

artifacts from the play

the second is about the possibilities of new kinds of media that could come out of it, and the third is a prototype I have made for one interior experience. Each act explores interactions between the audience, the spectacle (or performer), and the environment, while also exemplifying my three roles as the architect, set designer, and director.

CH01_CONCEPTUAL EXPLORATIONS

a

play

CH01_CONCEPTUAL EXPLORATIONS

Act I : Design Proposal The Vision Theatre in Leimert Park first opened in 1931 as a small performing arts venue. [The only condition of the renovation brief was to include a youth center in the building for local after school partnership programs to have a space.] I’m proposing to add additional office space and a sound stage behind the theatre. Since I’m looking at the theatre from the back, I’m expanding on the developing needs and making the program fully expressive of the technical possibilities available today.

PG_10

act 1.mp4

CH01_CONCEPTUAL EXPLORATIONS

SOUND STAGE 2

26,462 sq ft

SOUND STAGE 1

8,700 sq ft

MISCELLANEOUS OFFICE

Loading docks, parking ramp, storage

MANCHESTER JR. ARTS CENTER Specialized area for local youth programs

BACK STAGE / FLY LOFT

Orchestra pit, green rooms, women and men’s dressing rooms, trap room

AUDIENCE CHAMBER

750 seats to accomodate theatrical, film, concert, and dance productions

LOBBY

Public restrooms, concessions, ticket booth

The

added stag

e

would enhance the scope of productions that happen in the original proscenium theater and expand viewership to beyond.

So with the added youth center, sound stage, and miscellaneous areas for different departments of, say, a film crew, the new Vision Theater is projected to take up triple of the existing 25,000 sq ft foot print.

PROGRAM PARTNERS • • • • • • •

Los Angeles Institute for Film Education (LIFE) Crenshaw High School Dorsey High School Audubon Middle School View Park Prep Middle & High School Los Angeles Urban League Culture and Language Academy for Success

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CH01_CONCEPTUAL EXPLORATIONS

Act II : The Production Now I’ll be taking you inside the building, into the construction of the play. Which I envision being showcased through different mediums- live shows through the traditional proscenium theater, with stage props and an audience chamber, online web series involving vgx effects and other post productions, and phygital hybrids for fluid and experimental theatre.

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act 2.mp4

CH01_CONCEPTUAL EXPLORATIONS

e at n Th is er o i s

T he

Vi

not a singular building, but a machine for a myriad of performances happening simultaneously.

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CH01_CONCEPTUAL EXPLORATIONS

Act III : The Prototype I envisioned the play being viewed through different devices- through the traditional proscenium theater, online webisodes, or phygital hybrids. This is a prototype I created for a real hybrid experience inside the building in which the physical set is projected inside of a different room and the performance is happening somewhere else in the theater where spectators could walk through it to follow the story.

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act 3.mp4

As

CH01_CONCEPTUAL EXPLORATIONS

Audience Chamber Unroll

itect arch n a I’ve built a

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play, and as a set designer I’ve renovated a building. Perhaps this multidisplinary approach could provide possibilities for how we think about the discipline.

Playdoh’s Republic Chambord Inacheve (Competition) Fall 2018 Instructor_Elena Manferdini

Utopia cannot exist as a place, but as a state of mind. There is a kind of golden age in human development, when one has yet to be completely confined into understanding the world as fixed to specific functions. Perhaps as neuroplasticity began to stretch, cracks began to surface to allow reality to flood in, and self driven creativity began to fade away. But maybe what really happened was the outer simulation invaded our inner utopias and ever since we have viewed things as boring, dirty, stupid, or scary. To disassociate from these notions completely is impossible, but there could be ways to redefine them to be playful.

If a utopia is a place without flaws, then that place can only be arrived at through a personal journey of the mind, as flaws are subjective. How can these learned traits, good, bad, or neutral, be extracted from the mind and implemented back in through redefining the visual components?

The competition, held by Dominique Perrault for the Chateau de Chambord, calls to re-envision the existing castle with the understanding that, nowadays, utopias are no longer driven by unitarian rules, geometrical proportion, capital or bureaucracy, but by an invisible force of social participation, and that they therefore do not require a virgin ground but a situation to adapt to.

T

eau de Cham

bo

r

d

he

at Ch

was constructed through a lineage of adopted classicism. By changing the visual components of these motifs, we want to open up the perception of the viewer and distort the functional fixedness that was taught very early on; that the pen is for writing, the bowl is for eating, the pillow is for sleeping.

We want to create a new interior of Chambord by reappropriating the symbolism, not for the purpose of returning to naiveté, but as an attempt to find new life in static objects.

We have taken an experimental approach with the architecture of Chambord, reappropriating scale, materials, and forms, to provoke moments of utopia through a playful lens. As every object in the Chateau becomes transformed, the Palace will begin to suggest something entirely different.

Something that can’t precisely be named, which is exactly where we set our trajectory. Because in the golden age we’re channeling, there is the ability to see one thing as many things when it isn’t given a name and a function.

chateau tour.mp4

CH01_CONCEPTUAL EXPLORATIONS

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A catalog of different architectural and non-architectural materials and color palettes is created to draw from in the process of refashioning the Chateau.

The qualities of vacuum-formed plastic, plushies, ceramic, foam, latex, felt, cardboard, acrylic, clay, and so on, were integrated with the forms of French furniture to suggest invitation for playing.

By starting with the furniture, I was able to understand the proportions of different forms together. Forms being not just the shape of the objects, but the different qualities each possess.

CH01_CONCEPTUAL EXPLORATIONS

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Nightless Film Visual Studies

Fall 2016 Instructor_Alexey Marfin

Our perception of cities is shaped by how we seen them in fiction, films, and literature. Our built environment is a potpourri of shared fictional references; of film scenes and novel chapters. A city’s fictional portrayal plays as much of a role in determining our emotions towards that city as the physical buildings of which it consists. This hyper-realistic city exemplifies the desensitization to city lights created by advertising/marketing, social media, and digital escapism.

CH01_CONCEPTUAL EXPLORATIONS

Nightless shows a world in which capitalism has hijacked the usage of technology to create a dystopia in which the night is an extension of the day.

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nightless.mp4

CH01_CONCEPTUAL EXPLORATIONS

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Tectonics II_Articulations ons & & Tec i t a l u tonic c i t r A sI _ t c e j o r P sing u o Co-H

R A

L T I E C A T UR CH

02

L O P R X A E TION L

S

These projects are centered around some of the more traditional representations surrounding the architectural process. Legible diagramming, physical model making, and technical drawings, are crucial ways that architects communicate non-verbally. Design can often be ambiguous, frustrating, a rabbit hole of self doubt that makes you wake up in an involuntary anxious state. The value of the architectural process, I find, is the ability to compartmentalize the different aspects of free-flowing creativity with coherent representation. The following work was created in three core studios at SCI-Arc.

Boyle Heights Housing Co-Housing Project

Fall 2017 Instructor_David Ruy This project is exploring the blurring of lines between landscape and building. By putting a familiar mountain range landscape in Boyle Heights and making the inside habitable, new functional and visual conditions are formed through the fusing of different elements.

This is being proposed as a co-living space divided into 4 general chunks, being further subdivided depending on the feasible area. Occupying the interior of this solid mass begs the question of what remains the same in conventional housing, and what changes. In the scenario of camping, the user is often organizing themselves into the space that is given, with few fixed restrictions; water tap, fire pit, etc. how might that way of organizing inform the way residents live in the mountain?

CH02_ARCHITECTURAL EXPLORATIONS

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C ASA MI LA, GAUDI

ROOF AS IT S OW N E N T IT Y

SINGU L A R F I X T U RES MA K I NG A L A NDS CA P E

CH02_ARCHITECTURAL EXPLORATIONS

Beginning With The Precedent

ROOF AS LANDSCAPE

LANDSCAPE AS ROOF

INVERTED LANDSCAPES AS HABITAL SPACE

The Casa Mila in Barcelona, Spain, is one of the few architectural marvels where the roof stands alone as its own entity. As a spectator, the roof gives the building its distinct “quarry”-like silhouette. Up close, the roof is a playground of sorts, allowing tourists to interact up close to the chimneys, as well as experience the city scenery at the high elevation.

By taking the familiar, yet sublime mountain range landscape, making the inside habitable, and putting it in the context of Boyle Heights, it begs a question of what kind of living situations would come from the fusing of different conditions. Externally, the form would need scaling adjustments to match that of the congested suburban neighborhood of Boyle Heights.

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CH02_ARCHITECTURAL EXPLORATIONS

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PHOTOG R APH C AP T U R E D V IA T IM E M AC H IN E

CH02_ARCHITECTURAL EXPLORATIONS

PH OTOG R APH C AP T U R E D V IA T IM E M AC H IN E

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1/32" Chunk Model

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CH02_ARCHITECTURAL EXPLORATIONS

1/32” Chunk Model

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05 04 03

CH02_ARCHITECTURAL EXPLORATIONS

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GROUND

25' 10' 1'

N

01

N

02

GROUND 01 02 03

10' 1'

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CH02_ARCHITECTURAL EXPLORATIONS

Green Space Context With Los Angeles being the second largest city in America with almost 4 million people within the city limits, it is ranked #45 out of 60 in park space to resident ratio. (http://www.dailybreeze.com/2014/06/01/los-angelesranks-45th-out-of-60-us-cities-in-park-space/ )

Like most congested, middle to low income neighborhoods, Boyle Heights lacks green space as it is considered a luxury to use city money to develop a park. When looking at a breakdown of residents’ proximity to green space, the distance of ones’ home to that space is almost entirely dependent on their socio-economic status.

According to the National, predominately white neighborhoods have 12.9 hectares of park space for every 1,000 people.

African-American neighborhoods have 0.7 hectares, and Latino neighborhoods have 0.2 hectares. For the children of Boyle Heights, that’s 10,000 residents for every one playground.

(https://www.thenational.ae/arts-culture/green-spacesremapping-los-angeles-1.139812 ) GREATER CONTEX T

PUBLIC GREEN SPACE

PG_48

PROJECT SITE

With the addition of a familiar, natural form, how Boyle Heights change in reaction to this affecting the skyline of the city?

CH02_ARCHITECTURAL EXPLORATIONS

LOCAL CONTEX T

ACC E S S I B L E PA R K S PAC E P E R 1,000 P E O P L E (PRE DOM INATELY)

LATINO NEIGHBORHOODS AFRICAN AMERICAN NEIGHBORHOODS WHITE NEIGHBORHOODS

= 2,000 SQ METERS

PG_49

CH02_ARCHITECTURAL EXPLORATIONS

Programmatic Organization The formal arrangement allows for several options as to how the building can accomodate residents. The near symmetrical volumes urges for unit types that are seperated in chunks.

Keeping symmetrical organization in mind, the insertion of a spanning bar going across the building attempts to ground the landscape chunks so that a bypasser could not find them so unfamiliar looking. The project is being proposed as a public use space as well as residential housing.

PG_50

A

Explicitly draws attention of the public to the mountain-esque form, but does not provide a ground level accesway.

B

Attempts to blend itself into the environment, and provides an interesting tunnel feature, but does not optimize the utility of the roof.

C

U NI T 1 U NI T 2 U NI T 3 U NI T 4

Allows for the bottom space to be walked through, while the top still contributes a distinct form to the contextual silhouette.

CH02_ARCHITECTURAL EXPLORATIONS

Local Proximities & Transportation RETAIL SCHOOL PROJECT SITE VEHICLE / BIKE BUS ROUTES PEDESTRIAN

PG_51

Berkeley Library Articulations & Tectonics II Spring 2017 Instructor_Jenny Wu

This studio focuses on the design, development and tectonic of the building envelope and its ability to articulate contemporary formal organizations.

Neither vertical tower nor flat mat, a more ‘spherical’ building typology is explored using a methodology of aggregated assembly, pursuing issues of part to whole relationships and the notion of an awkward or less coherent whole. Assemblage vs. monolithic form, surface vs. mass, iconicity and image, the intentional obscuring of hierarchical mass, layered and graphic assemblies, tectonics and materiality constitute a range of concerns in the work.

CH02_ARCHITECTURAL EXPLORATIONS

Programmatic Division

primitive 1

primitive 2

PG_54

Starting primitives come from curvalinear lines in space, lofted at various angles.

crop boundary

setback form

interrupting volume

Primitives are configured so that some primitives extend and push, while others receive those curves.

They meet and are cropped at the ends to create a homogenous form, which is interrupted with a fourth volume.

This volume punctures through the homogenous setback form, creation voids in the interior space.

Subdivisions

A further breakdown of parts occur with the seams. These create volumetric relationships between parts and/or suggest material differences. Breaking down the volumes create Massing programmatic hierarchy; open galley around void, closed auditorium in the center, reading rooms around the perimeter.

CH02_ARCHITECTURAL EXPLORATIONS

1/64” Model 1/32” Model

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PG_56

1/64” Model

1/64” Model

CH02_ARCHITECTURAL EXPLORATIONS

With a relentlessly curvilinear massing, the form is broken up through seams and seperations to make the overall reading of the figures more ambiguous. These carves into the massing create volumetric relationships that relate certain programs with each other and make for an interior system that is legible on the exterior.

The interrupting volume creates an atrium space that creates an organizational hierarchy within the library, and serves function as it responds to different envrionmental factors that change throughout the year, such as daylighting.

CH02_ARCHITECTURAL EXPLORATIONS

Massing

1/32� Model PG_57

CH02_ARCHITECTURAL EXPLORATIONS

NORTH ELEVATION

PG_59

NORTH EAST ELEVATION

CH02_ARCHITECTURAL EXPLORATIONS

Site Response The library’s site is an existing building on the UC Berkeley campus.

This region typically has an overcast most of the year, but the weather still has opportunity for performance enhancement throughout the building.

The system of the seams allows for a logic of projecting a striated facade across the building. The perforated facade responds to the interior programmatic needs of reading rooms, galleries, etc.

PG_61

(photos on the right are of 1/8� final model)

PG_62

n

CH02_ARCHITECTURAL EXPLORATIONS

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2nd floor

3rd floor

4th floor

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ground floor plan

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1/8" Section Model

CH02_ARCHITECTURAL EXPLORATIONS

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1/8” Section Model

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1/8" Section Model

CH02_ARCHITECTURAL EXPLORATIONS

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1/8” Section Model

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CH02_ARCHITECTURAL EXPLORATIONS

Connectivity

open connection through site pedestrian pathway car pathway

PG_70

Site Shading

The tallest points of the massing (the atrium) and the reading rooms are facing South East, which would receive the most direct sunlight.

CH02_ARCHITECTURAL EXPLORATIONS

Entrance & Site Access

The pedestrian pathway leads into lobby, office, and cafe entrances. The orientation of the entrances are convenient for students coming from the campus side. The open connection allows users to walk under the building to cross the block.

Massing Site Strategy

PG_71

The footprint of the building allows through space from the bottom for pedestrians and from the West for cars.

CH02_ARCHITECTURAL EXPLORATIONS

Daylighting

summer solstice (june 21st) equinox (march 21st)

PG_72

winter solstice (december 21st)

At different stages of the year, the sun enters the building at different angles. When it penetrates through the two main atriums, it naturally lights the space at different intensities. The data is based off of the parameters in Berkeley, CA, at noon (12 PM).

The low sun during the Winter Solstice penetrates at the angle of the atrium, while that of the summer is able to reflect off of the surfaces, illuminating the space longer.

Cool air is able to enter at the lower levels, through mechanical openings on the floor slabs, operable windows, or various other seams. Any hot air trapped within a room can escape through the opening next to the atrium, and leave the building like it would a chimney.

CH02_ARCHITECTURAL EXPLORATIONS

Ventilation

cool air hot air

Active & Passive Design While it is convenient to have reading rooms in areas that receive the most natural light, it is problematic to receive too much sunlight without any buffers. With the South East wall having too high of a transparency percentage, user comfort would decrease due to too much heat. By changing the material of the glass to a different glazing, the transparency percentage was reduced allowing cool air to remain inside.

Mechanical vents on the floor slab allow fresh air to enter the space, and an insulated roof allow radiant heat to be trapped in the roof. The floors provide heating and cooling, and the hot air inside the space can escape through the atrium. floor cooling / heating cool air hot air

PG_73

CH02_ARCHITECTURAL EXPLORATIONS

1 11

Programmatic Organization 36

5

11

8

PG_74

6

22

Stacks

Gallery

Office

Lobby

Reading Room

Auditorium

Other

Parking

Cafe

Core

The breakdown of large volumes in the building determines the programmatic hierarchy of the library. As the volume interrupts and creates voids throughout, interesting circulation pathways are situated around them, also acting as transitional space from, for example, the open exhibition into the reading rooms. The auditorium is in the center, where no light penetrates through. The galleries are at the bottom of the atrium space so natural light can penetrate through. The stacks are placed all throughout, and the reading rooms are around the perimeter to receive the most light.

CH02_ARCHITECTURAL EXPLORATIONS

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Mexico City Tower Articulations & Tectonics I Fall 2016 Instructor_David Freeland

The main investigation of this studio examines the particular impact of the building envelope and its material and geometrical determinations on the site and the Tall Building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making. The Tall Building envelope exposes us to the tight dependency existing between serial determinations of both geometric and material order- of the outermost surface, and the spaces it encloses, including the building’s core and structure.

PG_78

2d tectonic study

CH02_ARCHITECTURAL EXPLORATIONS

CH02_ARCHITECTURAL EXPLORATIONS

massing influenced by facade treatment

hatch study

Facade First The design of the tall building took a backwards approach, where the first step was looking at the tectonic systems of an intricately built tower with a multi-layered facade. The logic of the extruded brise soleil is applied at many scales, affecting the seperation of the facade and the massing.

PG_79

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1/8" Facade Model

CH02_ARCHITECTURAL EXPLORATIONS

CH02_ARCHITECTURAL EXPLORATIONS

1/8" Chunk Model

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1/16" Final Model

CH02_ARCHITECTURAL EXPLORATIONS

CH02_ARCHITECTURAL EXPLORATIONS

1/16” Final Model

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1/16” Final Model

CH02_ARCHITECTURAL EXPLORATIONS

Reforma Blvd The site is on a busy corner on Reforma Blvd in Mexico City. This main boulevard is a historical road for the city, but is also unique as it becoming a rapidly expanding corporate district. What also makes the site unique is that directly adjacent to the tall office towers are low rise residential buildings. There is no buffer area in between the two districts, the urban planning did not have inclusivity in mind when expanding Reforma. The tower is broken up in sections to address all different levels of buildings. Mid-rise and low-rise buildings get some form of acknowledgement through the explicit cut outs of the tower that sits at the corner of a significant boulevard.

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hotel office

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skydeck

ground level

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CH02_ARCHITECTURAL EXPLORATIONS

GREEN SPACE/ OPEN SPACE Sky Deck Outdoor Space Paseo De La Reforma

Combined

Re

Hotel

Ret

Sky Deck

Par

Office

Ped

Retail Parking

ROADS

Maximum distance:

164'

Paseo De La Reforma | 1 Calle Salamanca | 2 Tokio | 3 Praga | 4 Dublin | 5 Toledo | 6 6

3

5

2

1

ADJACENCIES

Maximum distance:

139'

St. Regis Hotel | 1 Ios Offices | 2 IMSS OďŹ cinas Centrales | 3 Cinepolis | 4 Fuente De La Liana Cazadora | 5 Embajada De Colombia | 6 Torre Reforma | 7 7

3

1 6 2 5

PG_94

4

TO KIO

DO LE TO

CombinedRetail

Hotel

Hotel

Retail

Retail

Parking

Parking

Sky Deck

Sky Deck Office

Retail

Retail

Parking

Parking

TO

DO LE

PROG

Office DIVISION PROGRAMMATIC Retail

Combined

Office

TO KIO

PROGRAMMATIC D

DO LE TO

Pedestrian

Office Sky Deck Parking

Pedestrian

Pedestrian Car

Maximum distance:

Maximum distance:

164'

164'

TO KIO

36'

TO KIO

48'

DO LE TO

UP

DN

UP

ATRIUM

TO

DO LE

56'

FIRE LIFT

70'

Hotel

Office ELECTRIC ROOM

DO LE

F RE

MA OR

Office

Hotel

Sky Deck

Parking

Parking

36'

36'

Parking

Pedestrian

Pedestrian

Car

Car

Maximum distance:

Office Office

Maximum distance:

140'

Car

Maximum distance:

164'

Sky Deck 139' Parking

36'

Car

TOWER E

Pedestrian Car

' 29

Car

' 29

Parking

Parking

Pedestrian

Parking Pedestrian

HOTEL

Hotel

Maximum distance:

36'

Pedestrian

140'

Hotel

Office

HOTEL

139' Sky Deck

164'

Pedestrian

Pedestrian

Maximum distance:

Maximum distance:

Parking

DO LE

TO

Pedestrian

Parking

Retail

Retail

Office

Retail Retail

Office

UP

ELECTRIC ROOM

Sky Deck

TO

Parking

Retail

Hotel

Retail

Office

Retail

Sky Deck

Pedestrian

LOCAL FAN ROOM

COMMUNICATION CLOSET

Parking

DO LE TO

Parking

Office

FIRE LIFT

Combined

70'

DO LE TO

COMMUNICATION CLOSET

56'

UP

Retail

Sky Deck

Retail

DO LE

DN

DN

Retail

Hotel

TO KIO

TO LE DO

TO

PROGRAMMATIC DIVISIO Office

LOCAL FAN ROOM

Combined

TO KIO

58'

PROGRAMMATIC DIVISION

ATRIUM

DN

48'

TO KIO

TO KIO

6

TO KIO

36'

TO KIO

DO LE TO

5

50'

50' 48' UP

TOWER EGRESS COMMUNICATION CLOSET

FIRE LIFT

DN

UP

UP DN

62'

South Egres

45'

48'

FIRE LIFT

MA OR

ELECTRIC ROOM

ELECTRIC ROOM

UP

ELECTRIC ROOM

48'

F RE

MA

R FO NorthREEgres

DN

UP

TO

DO LE

' 13

' 13

36'

LOCAL FAN ROOM

36'

ATRIUM

DN

UP

ATRIUM

56'

UP

COMMUNICATION CLOSET

STORAGE

58'

TO

DO LE

LOCAL FAN ROOM

DN

DN

' 45' 70

FIRE LIFT

ELECTRIC ROOM

DO LE TO

TO KIO

STORAGE

FIRE LIFT

70'

3

56'

UP

7 48'

DO LE TO

COMMUNICATION CLOSET

62'

DN

7

TO LE DO

LOCAL FAN ROOM

UP

48'

LOCAL FAN ROOM

COMMUNICATION CLOSET

DN

LOCAL FAN ROOM

DN

58'

36'

UP

TO KIO

TO KIO

TO LE DO

ATRIUM

36'

ATRIUM

164'

58'

Maximum distance:

48'

164'

TO KIO

DN

Maximum distance:

DN

ELECTRIC ROOM

Sky Deck

140'

HOTEL

Maximum distance:

139'

Parking

Hotel

Office Sky Deck

Parking 36'

139'

Maximum distance:

Hotel

Office

Pedestrian

Maximum distance:

108'

OFFICE

Maximum distance:

Maximum distance:

South140' Egress Stair

HOTEL North Egress Stair

Hotel Hotel Parking

108'

PG_95

FIRE LIFT

70'

Retail

ELECTRIC ROOM

56'

UP

6

Office

56'

Maximum distance: COMMUNICATION CLOSET

Parking

COMMUNICATION CLOSET

FIRE LIFT

DN

1

70'

Office

LOCAL FAN ROOM

Retail

UP

58'

an

CH02_ARCHITECTURAL EXPLORATIONS

TO KIO

58'

ed

Programmatic Division

OFFICE

DN

FIRE LIFT

62'

7

TOWER EGRESS

ELECTRIC ROOM

Tower Egress ' 13

South Egress Stair

Maximum distance:

108'

North Egress Stair

OFFICE

Maximum distance:

140'

HOTEL 45'

UP DN DN

UP

36'

CH02_ARCHITECTURAL EXPLORATIONS

45'

UP

48'

COMMUNICATION CLOSET

STORAGE

DN UP

Maximum distance:

108'

OFFICE

Lower Egress Stair 75'

Retail Exit 43'

Lobby Exit

GROUND ground

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ROUND

IO

CH02_ARCHITECTURAL EXPLORATIONS

48' UP

DO LE

DN

TO

58'

DO LE TO

ATRIUM

LOCAL FAN ROOM

DN

FIRE LIFT

70'

COMMUNICATION CLOSET

ELECTRIC ROOM

Office

Retail

56'

UP

Office

Retail

Sky Deck

Parking

36'

Parking

Pedestrian

Hot

Hotel Park

Pede Car

Pedestrian Maximum distance:

140'

Car

HOTEL Maximum distance:

Maximum distance:

139'

164' 36'

' 29

TOW 50'

DN

UP

48' DN

UP

ATRIUM LOCAL FAN ROOM

DN

58'

FIRE LIFT

56'

UP

STORAGE

ELECTRIC ROOM

FIRE LIFT

70'

Nor

ELECTRIC ROOM

7

Sou

COMMUNICATION CLOSET

62'

DN COMMUNICATION CLOSET

45'

UP

48'

LOCAL FAN ROOM

' 13

36'

Maximum distance:

108' Maximum distance:

140'

OFFICE

hotel

office

HOTEL

Maximum distance:

139'

' 29 45'

50' UP

DN

DN

UP

LOCAL FAN ROOM

DN

DN

45'

UP

UP

48'

FIRE LIFT

62'

COMMUNICATION CLOSET

STORAGE

DN UP

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ELECTRIC ROOM

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Visual eXPLORATIONS Algorithmic Design_Designing with A.I. The final projects play around with technology available to us in the 21st century as an attempt to create new visuals and objects. To design in a digital age is to also acknowledge that we are at the mercy of our tools. I’d like for myself and for creatives around me to always be open to them, whether it be coding, artificial intelligence, virtual and augmented worlds, there is a lot to explore and these projects exemplify just a fraction of what is possible in design today.

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Figure Fields Algorithmic Design Spring 2016

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Algorithms are understood as a sequential written set of instructions. allowing a drawing procedure that can be installed in any time and context.

The project starts by looking at Sol Le Lewitt’s systematic approach to drawing with parallel development of contemporary computational drawing techniques. Figure-fields and patterns were produced in two ways: overlapping hatches and hatches with boundary edges.

2 The figure-field destabilizes the typical relationship between figure and ground, ambiguously locating the figure in a field of line work.

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Extruding 2D Figures The object (and the space) is described through a “perspective� drawing and a physical artifact.

The perspective is unrolled from the object to a flat picture plane, a composite drawing/thing, virtual and real. Imbrications between graphic and implied depth projects into the object to augment the surface. These transformations are registered through a final physical model.

By pulling out geometries from a 2-dimensional pattern and layering them with varied lineweights, depth is created on the cube by actual shadow as well as the gradient of the pattern.

6" x 6" Study Model PG_105

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geometries extruded through projection

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geometries extruded through projection

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15" x 15" Model

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15” x 15” Model

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Twoness Algorithmic Design Spring 2017

This project looks closely at the relationship between copy and original in architecture; in particular the class will build upon the argument formulated by Derida that a copy produces the original as the original.

To strengthen this position, one could argue that as architects, we operate in a society of duplicates and copies, where originality is merely a romantic deception.

Looking back at the practice of printing (silk screening, etching, stamping) copies have always been part of a process of disemination of ideas and creativitiy. The original is simply a tool to create copies.

The printed copy was the intended output.

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Color Interactions By recreating the color studies of Josef Albers digitally, it was possible to interact with the brightness, hue, and saturation by moving the mouse.

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Physical model of color study grids

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Cyborg Misprision Designing with A.I.

Spring 2018

This project is obsessing over the genetic makeup of the image. It is a sort of heartfelt notion that, these days, the architect produces anything more than an image. That is not to say that the model or the drawing is of less value, but that the minimum one needs to produce for a convincing project is a set of squares.

Pixel by pixel, Artificial Intelligence is able to produce something unthinkable to the human imagination. This machine is a crucial aspect for creating this hotel.

Much like the function of the Overlook Hotel in The Shining by Kubrick, this hotel merely serves as a vehicle for developing ideas about form and style.

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STYLE IMAGE

FORM IMAGE

COMBINED IMAGE

STYLE IMAGE

FORM IMAGE

COMBINED IMAGE

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Image Making With Artificial Intelligence

STYLE IMAGE

FORM IMAGE

To begin to understand this project, it is critical to go through the fundamentals of what it is attempting to explore. In an age of digital media being so easily accessible (where "Google" is used as a general action rather than referring to the site itself), images play a crucial role for the architect in 2 ways. One, to extrapolate them as resource in the design process, and two, to communicate to a client or viewer the idea and functions of the project.

COMBINED IMAGE

Artificial Intelligence can take two images, one form and one style, and blend the two together with no bias as to what is appropriate. In other words, the machine can make some funky sh*t that a human could never imagine.

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TYPICAL GOOGLE IMAGE OF 'HOTEL'

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To Make a Hotel We Need a Hotel This hotel begins with two parents: Google image 1 and Google image 2. What personally intrigued me about the outcome of the two was the extrusion that begins to happen on parts of the wall.

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COLORFUL MOSQUE

In learning about the technology, I realized that it reads the distinction between pixels as a signal of where to replace the style image into. At this pixel level, neural networks are calculating the colors and continuity of both images in order to blend the two together.

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REPTILIOUS RAINBOW BREATHING LSD HOTEL ROOM

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Manipulating the Machine In order to get a higher resolution out of the AI images, it is necessary to go back and change the variables. By splitting up the original form image and plugging it back in with the style image, the AI is able to read more pixels and replace them at a finer detail.

These tiles are then used to create the form of the hotel through a triple extrusion process. By adding "cheap" or "normal" furniture into the extruded tiles, spaces are formed to create the final "Overlook" Hotel. In the scenes, you will find the 3 most typical programmatic spaces of any hotel that is advertised through images: • hotel room • lobby • outside

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cyborg misprision.mp4

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EXTRUDED IMAGES

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IMAGES REASSEMBLED

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Bedroom 03

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Bedroom 02

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Lounge 01

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Lounge 02

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b.arch 2019

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isa liang architecture and other things lisa liang architecture and other things lis