Yiting Li
CONTENTS 01 Body, Site, Program, Structure Deisgn of pavilion
02 DRAFTING GEOMETRY From projection to paraline
03 CONSTRUCTING GEOMETRY From surface to space
04 ROOTED PRECEDENT
Study of American vernacular architecture
05 URBAN INTERACTION
Cabbagetown live-work houses for artists
06 Figuration and Decoration
From study of gothic tracery to building design Group project with Vivian Cannella
01
Body, Site, Program, Structure Design of pavilion
The goal of the project is to design a pavilion that serves as a communal space for people. The site is the context immediately surrounding Hua Art Museum in Shenzhen, China. The structure of the pavilion is required to be developed using a specific craft operation: slicing and folding. The design process starts with slicing-and-folding studies using cardstock at a scale of 1” = 1’. Then two-dimensional sheets of cardstock are turned into three-dimensional structure using the developed craft operation.
The final pavilion is about 10ft tall and 15ft wide. It is designed to be put in front of Hua Art Museum with the more opening side facing the road. It might serve as a place for people to wait for cars after visiting the museum. It also provide a space for people to rest in shade in summer.
02
DRAFTING GEOMETRY From projection to paraline
For this project, six objects shown in three projections( top view, front elevation, and side elevation) are provided. The first task is to construct two 30/60 plan obliques with view projections as well as a paraline drawing which can be an isometric, a plan oblique at 45/45, or an elevation oblique.
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4
2
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6
03
CONSTRUCTING GEOMETRY From surface to space
The project has two parts. The first part is about understanding surface and construction. Two sets of drawings of two objects from project 1 are given. Two pristine models that are made out of carefully composed, folded, and assembled cardstock are created based on the drawings.
Part 1
Model 1
Model 2
Part 2 The second part is to make a cardboard model with a bounding volume of 8” x 4” x 5”. Interior space are created by cutting and carving the cardboard, creating a series of thresholds and three distinctive spaces: one in transition, one for contemplation, and one as a place of arrival. N
Since the volume takes on a cardinal orientation, these spaces will experience different lighting qualities over the course of a day. Natural illumination will penetrate these spaces through the development of carefully designed apertures. The design of spatial composition represents the a strong narrative that guides the circulation and spatial organization.
Space 1: arrival
Space 2: transition
Space 3: contemplation
04
ROOTED PRECEDENT
Study of American vernacular architecture This project explores one of the American vernacular types of house -- shotgun house. After doing visual and textual research on shotgun house, a representative example of shotgun is created. The Kuntz Shotgun House is chosen as the prototype of the created representative example. The house is located in Louisville KY, and was built in the late 19th century. It is an typical example of camel-back shotgun house.
Kuntz Shotgun House Kuntz Shotgun House
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5
10
15
20
FEET
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5
10 FEET
05
URBAN INTERACTION
Cabbagetown live-work houses for artists This proposal for two neighboring houses in central Cabbagetown---one for a weaver and one for a stone lithographer---grows out of the research into the urban mill town’s history. The design process yields two primary parti directions---one for a linear plan shotgun type house, and one for a central plan, duplex-cottage type.
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Summer
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Winter
W S
Jan 21st
Jun 21st
08:00am
12:00pm
16:00pm Stone lithography studio light diagram
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1. Porch 2. Entry 3. Living-dining room 4. Kitchen 5. Studio 6. Bathroom 7. Wahser/dryer 8. Bathroom 9. Bedroom with closet 10. Mechanical closet 11. Balcony
Served Space
Servant Space
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06
Fifuration and Decoration From study of gothic tracery to building design
This project focus on deep-decoration -ornament and decoration which charge and form space. Starting with reasearch of gothic tracery, the project involves techniques of figuring and configuring of gothic tracery figures, producing sheets based on them ,and then multiplying the sheets by spacing them throughout a 60x60x120ft volume. A building is then designed in a selected site in San Francisco bay area based on the sheets which function as ornate porous walls.
Spherical Repetition & Hexa-leaves Raidal Repetition around Center Object
Dodeca-leaves Raidal Repetition around Center Object Mirroring around Vertical Axis
Wild Jasmine
Double centers without circle outline
Three centers alined vertically nesting with half flowers
Four centers in net form
Seven and two half centers in net form
Black Dahlia
One major flower nesting with six smaller flowers
Three Vertical centers nesting with four half flowers
Four vertical centers nesting with six smaller flowers
Eight centers in net form
Asymmetric form with differently scaled figures
Asymmetric form with differently scaled figures
Adding, shifting, scaling
Shifting and scaling
Adding, shifting, scaling
Rotating, scaling and shifting
Adding, shifting, scaling
Adding, shifting, scaling
CLUSTERING
Jan 21st
Jun 21st
California representative tribes of basket weaving
00am
Washo twined burden basket
The most prominent styles are plaiting, coiling and twining and they often used materials like willow shoots, sedge roots, swamp canes, saguaro cactuses, rye grass, the bark of redbud and more.
00pm Pomo twined cooking basket with beads
Paiutes beaded basket
00pm
Yokuts coiled water basket
Luiseino coiled bowl
Site 1-4 Floor Viewshed
California representative tribes of pottery making
Northwest view
Northeast view
The indigenous people in California have been gathering the special red dirt, working it into red clay, coiling and shaping the red clay into ollas and other objects with wooden paddle and pebbles, and pit firing their clay artifacts for thousands of years.
Yokuts and Mono pottery types
Mojave beaded pottery
Site 4-7 Floor Viewshed
Cahuilla style pottery Northwest view Ipal-Tipai pottery
Northeast view
California representative tribes of indian clothing
Because of the mild climate, indigenous people in California peoples wore little clothing. Women typically wore a short skirt made of animal skin and fur or plant fibers, especially those of bark. Men wore a breechcloth or nothing at all. Ceremonial dress included elaborate headdresses, skirts, and feathered costumes. Bead or shell are common ornaments
Yurok beaded shell clothing
Paiute beaded clothing Site 7-8 Floor Viewshed
Hupa shell dress Tyoical Miwok men dressing
Northwest view
Northeast view Chumash deerskin dress
Quechan and mojave men clothing Southeast view
Kumeyaay willow bark skirt
California representative tribes of basket weaving
ined burden basket
The most prominent styles are plaiting, coiling and twining and they often used materials like willow shoots, sedge roots, swamp canes, saguaro cactuses, rye grass, the bark of redbud and more.
Paiutes beaded basket
California representative tribes of pottery making
The indigenous people in California have been gathering the special red dirt, working it into red clay, coiling and shaping the red clay into ollas and other objects with wooden paddle and thousands of years.
Mojave beaded pottery
Cahuilla style pottery
California representative tribes of indian clothing
Because of the mild climate, indigenous people in California peoples wore little clothing. Women typically wore a short skirt made of animal skin and a breechcloth or nothing at all. Ceremonial dress included elaborate headdresses, skirts, and feathered costumes. Bead or shell are common ornaments Paiute beaded clothing
Tyoical Miwok men dressing
Quechan and mojave men clothing
2nd
Ground floor
3rd
4th
5th
6th
7th
8th
Floral Center to Floor Connection
Floral Center to In-Between Floor Connection
Ground floor
3rd
5th
7th
2nd
4th
6th
8th
Ground floor
5th floor
2nd floor
3rd floor
4th floor
6th floor
7th floor
8th floor