LU CHIEH YOUNG PORTFOLIO 2019
contents
1. representation of Eshrick house 1
2. square spiral
13
3. taipei city's urban sprawl mapping 29 4. representation of geometric light
41
5. oblicube 49
6. disappeared native trees hut
59
7. barcelona pavilion extension 65
1
1 representation of Eshrick house, a house by Louis I. Kahn
"I think that a plan is a society of rooms. A real plan is one in which rooms have spoken to each other. When you see a plan, you can say that it is the structure of the spaces in their light." (Between Silence and Light: Spirit in the Architecture of Louis I. Kahn, page 36)
3
1.1 representation of Eshrick house by drawing
By visualizing the relationship between the rooms, the project aimed at discussing whether the rooms have spoken to each other. Since each room consists of vertical and horizontal lines, the identities of rooms were defined by diagonal lines and made them intersect each other.
5
c b
1.2 representation of Eshrick house by model
h
c b
It extended to the third dimension while retaining the quantity identities (vector and area) of the rooms, in order to represent the dialogue of the rooms.
7
1.2 representation of Eshrick house by model
Fencing off rooms by walls does not represent rooms spoken to each other. If the walls can be tilted like books on a shelf, the structure will be more stable, and the space begins to intertwine like exchanging knowledge.
9
1.2 representation of Eshrick house by model
The rooms which have spoken to each other could be considered as a good relationship of the space, but the intersection of the lines or planes does not necessarily means a good relationship. The good relationship of architecture comes from thoughtful making space, hierarchy, organizing, problem discussion and different things. The good relationship does not only present through visual form.
13
2.1 square spiral, by line model
It is an experiment of seeking dynamic stability, rhythm and harmony of mathematics, geometry and space.
15
z
y
y
a3
a4
a1
a2
x
x
i. a1, a2, a3, a4 .... 1, 2, 3, 4 .... → → +A,+A,+A,+A ....
2.1 square spiral, by line model
ii. x, y,-x, -y, x, y .... → x, y, z, -x, -y, -z, x, y, z ....
It is a three-dimensional square spiral that increases the constant length of each line part and changes direction according to the x, y, z, -x, -y, -z directions.
17
z’
i. +A,+A,+A,+A .... ii. x', y', z', -x', -y', -z', x', y', z' .... → x', y', z', -x', -y', -z', x', y', z' .... iii. a1, a2, √2a3, a4, a5, √2a6 .... → a1, a2, √2a3, a4, a5, √2a6 .... → a1, a2, √2b3, a4, a5, √2b6 .... x’
2.2 square spiral, by drawing
y’
To represent the three-dimension model into a two dimension drawing, it turned the z-axis an axis which makes angle 45 degrees both x and y axes, and changed the basic unit of the length of the line part which extending in the z-axis direction to √2 times.
W
19
L
L
W
The 45-degree angle parallelogram paperboards compose the model to represent the 45 degrees from the drawing and the three-dimensional square spiral again.
2.3 square spiral, by paperboard model
The long sides(L) of all paperboard and the short sides(W) in the x' and y' directions base on the drawing. The short sides of the the z' direction base on the previous x' direction paperboard.
21
coordinates
2.3 square spiral, by paperboard model
In order to make the vertebral board precisely, it integrated the series i to v as an algorithm to evaluate the threedimensional coordinates.
23
z’
i. +A,+A,+A,+A .... ii. x', y', z', -x', -y', -z', x' .... iii. a, a, b, a, a, b ....
x’
2.3 square spiral, by paperboard model
y’
The paperboard model extended to three-dimensional with keeping series i to iii. Moreover, the model on a horizontal plane and suspension presented quite different.
25
iv. c, d, c, c, d', c, c, d, c ....
....
5
5 ....
4
v. 4, 5, 4, 5 .... → e, f, e, f ....
4
i. +A,+A,+A,+A .... ii. x', y', z', -x', -y', -z', x' .... ....
iii. a, a, b, a, a, b .... iv. c, d, c, c, d', c .... v. e, f, e, f ....
2.3 square spiral, by paperboard model
The paperboard connection sequence followed the the series iv and v to represent the rhythm of square spiral. By integrating into the series i to v, the composition represent dynamic monumentality through space.
27
2.3 square spiral, by paperboard model
29
urban area 1895
1921
depth
3.1 taipei city's urban sprawl mapping
1895
1921 It is a project of Taipei city's urban sprawl history mapping and representation. The grey areas represented the urban areas, and the darker the grey, the earlier the development.
31
main street 1895
1907
1921
width
3.1 taipei city's urban sprawl mapping
The lines represented the main streets, and the thicker the earlier the development.
33
3.1 taipei city's urban sprawl mapping
overlapping the urban area and roads mapping
35
urban area 1895
→
→
depth
3.2
1921
height
taipei city's urban sprawl mapping by model
Transferred the grey areas to the transparent acrylic rods, and the higher the earlier the development.
37
3.2
taipei city's urban sprawl mapping by model
39
41
4.1 representation of geometric light
43
→
4.2 representation of geometric light by drawing
The drawing and following model represented the abstract composition and qualities of the geometries.
45
→
4.3 representation of geometric light by paperboard model
solid
void
47
4.3 representation of geometric light by paperboard model
49
5 oblicube
Oblicube is a construction toy which as oblique cube, came from tilting the cube to every plane as a 45 degrees parallelogram.
→
→
→
→
51
5 oblicube
Because the unit has directionality, combining the two will have the potential to be different from the cubes.
basic unit
basic unit
unit a
unit b
unit c
unit d
The combination logic here is to let two units share at least one plane and one edge.
53
→
→
→
→
5 oblicube
Unit c can continue with more units c, and unit d is also. Two units c can be grouped the same as two units d. Therefor, unit c can be continued with unit d.
→
→
→
→
→
→
→
55
→ → →
5 oblicube
By continuing this combination, units c and units d can be locked together to form a wall.
→
→
→
57
5 oblicube
59
5
3 3
6 disappeared native trees hut
5
4
It's a complaint of disappeared native trees, and it's also a representation of "primitive hut". The project attempted to arouse attention to indigenous tree species. Some said that architecture start from four trees, but three lines can define a pace in three dimensions.
N
plan: 1/100
The 3-4-5 triangle is the well-known right-angled triangle of the natural number. Therefore, the project began with it. Except for the floor-to-ceiling windows on the west side and the entrance room on the north side, there is no other lighting facility, so the rest of the floor-to-ceiling windows on the west side are dark, in an attempt to focus on this spot.
61
6 disappeared native trees hut
sketches
elevation north: 1/100
section: 1/100
63
corner sketch
6 disappeared native trees hut
The walls are made of various native tree wood. The interior walls are smooth and engraved with the species disappeared year of here and the outside is unprocessed.
window sketch
If people are attracted to the light and walked to the window, the scene in front of them will be a withered and long pool, trying to make people think about the importance of the tree.
65
7 barcelona pavilion extension
67
site plan
7 barcelona pavilion extension
The site of the extension is selected at the rear of the house, in order not to overly affect the original facade.
section
plan
69
a+b b a
geometry porpotion
a+b
grid and structure
symmetry and balance
7 barcelona pavilion extension
The design comes from the analysis of the pavillion attempt ing to dialogue with the original space.
enclosure
separated space
sight
circulation
71
rotation and cohesion
θ1= θ2 height and inclination
7 barcelona pavilion extension
The extension space tries to create a rotating and cohesive force that attracts people to stay and cross. The height of the extension is to not overly affect the original building facade, and the angle of the wall is from the stairs and the elevation difference.
73
7 barcelona pavilion extension
75