MAY NGUYEN M. ARCH ADMISSIONS PORTFOLIO
23 September 1993 2520 Warring Street Berkeley, CA 94704 maynguyen23@gmail.com 510 776 3523 University of California Berkeley BA Integrative Biology Spring 2015
MN Table of Contents
Part 1: Visual Representation and Drawing
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Part 2: Scandinavian Architecture
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Part 3: Construction Projects
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Part 4: Zoology Works
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Part 5: Personal Works
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Part 1. Structured Observations
Visual Representation and Drawing Under instruction of Professor Darell Fields and Graduate Student Instructor Brooke Hair ED 11A at University of California Berkeley
Crop drawing with pencil on 11” x 14” bristol board. 08 September 2014 The main objective is to practice cropping an observed object. The crop must be ambiguous in that the audience can recognize the idea of the object but not the exact object.
Shadow with pastels on 11” x 14” bristol board. 17 September 2014 The main objective is to portray shadows from an observed object. Ambiguity is preferred and can be portrayed using previous techniques such as crop and void.
Reflection with pastels on 11” x 14” bristol board. 22 September 2014 The main objective is to portray reflection and refraction from an observed object. Ambiguity is preferred and can be portrayed using previous techniques such as crop, void, and shadows. 3
Part 1. Structured Observations
Visual Representation and Drawing Under instruction of Professor Darell Fields and Graduate Student Instructor Brooke Hair ED 11A at University of California Berkeley
Time/movement with pastels on 11” x 14” bristol board. 24 September 2014 The main objective is to portray time and movement from an observed object. Ambiguity is preferred and can be portrayed using previous techniques such as crop, void, and shadow.
Time/movement flat with cut paper on 11” x 14“ bristol board. The main objective is to portray the same object in the time/movement assignment two dimensionally moving across the board. Ambiguity is preferred and can be portrayed using previous techniques such as crop and void.
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Visual Representation and Drawing Under instruction of Professor Darell Fields and Graduate Student Instructor Brooke Hair ED 11A at University of California Berkeley
Part 2. Contours and Ambiguity
Mechanical Elements 1920 Fernand Leger
Figure/ground. 06 October 2014 The main objective is to analyze Leger’s 1920 Mechanical Elements in figure/ground. Phenomenal transparency and the use of contours should be evident in the analysis.
Line Contour. 08 October 2014 The main objective is to analyze Leger’s 1920 Mechanical Elements with line contours. Using void, transparency must be shown.
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Visual Representation and Drawing Under instruction of Professor Darell Fields and Graduate Student Instructor Brooke Hair ED 11A at University of California Berkeley
Part 2. Contours and Ambiguity
Spatial Composition. 13 October 2013 The main objective is to analyze Leger’s 1920 Mechanical Elements spatial compositon based on the line contour analysis. The use of alignment was definitely emphasized to strengthen the line contour concept.
Color. 15 October 2014 The main objective is to analyze Leger’s 1920 Mechanical Elements using Goethe’s “serene” color group. Moments such as portraying Alber’s subtraction of color and haptic illusion.
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Visual Representation and Drawing Under instruction of Professor Darell Fields and Graduate Student Instructor Brooke Hair ED 11A at University of California Berkeley
Part 2. Contours and Ambiguity
Proportion. 20 October 2014 The main objective is to analyze Leger’s 1920 Mechanical Elements proportions. Contour, construction, and regulating lines are used to emphasize alignment.
Layering/depth. 21 - 27 October2014 (one week) The main objective is to analyze Leger’s 1920 Mechanical Elements layering and depth. The goal is to reorient the original portrait orientation from vertical “stacking” to horizontal “stacking,” as well as emphasize secondary objects while de-emphasizing the original order of the portrait.
Extrusion. 27 October - 03 November 2014 (one week) The main objective is to analyze Leger’s 1920 Mechanical Elements extrusion based on the previous layering/depth analysis. 7
Part 3. Axonometric Projection
04 November - 03 December2014 (four weeks)
Visual Representation and Drawing Under instruction of Professor Darell Fields and Graduate Student Instructor Brooke Hair ED 11A at University of California Berkeley
Top left: Horizontal cut of extrusion model. Top right: Vertical cut #1 of extrusion model. Bottom left: Vertical cut #2. Bottom right: Vertical surface produced from vertical cut #2.
The objective is to create an axonometric drawing that shows three voids (shown in 7th image in process drawings) using the cuts and surfaces from Part 2’s extrusion model. Left: Summary of process drawing from the cuts and surfaces to axonometric drawing. Right shows final axonometric drawing.
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Part 1. St. Petri Church, Klippan
Group Members: Jeffrey Po Sun, Morgan Petrovich, and Charles Taylor Contribution: Research on reception, lighting study, study model of roof, building walls and windows of 1:50 model Project Date and Duration: 17 - 24 June 2014 (one week)
Scandanvanian Architecture Under Instruction of Birgitte Borup Architecture Foundations at Danish Institute of Study Abroad
The objective is to analyze St. Petri Church in Klippan Sweden using Danish archietect Erik Nygaard’s research and analysis model which incorporates 1) conception 2) form 3) reception and 4) socio-cultural determinants. A scale model (1:50) of the building was built. The church was built by architect Sigurd Lewerentz in 1963. Architect Lewerentz’s past works won based on his exceptional use of the natural landscape to create picturesque scenes allowing visitors a place to reside. The same principle was used when Lewerentz designed St. Petri’s Church. When a new minister was installed in 1960, Klippan Municipality handed the church site to City Park as a gift in 1962, and thus the Church Building Committee asked architect Lewerentz to design the church. Brick patterns of St. Petri’s Church.
Study model of the roof of the main chapel.
Lewerentz architectural intentions was to celebrate the local culture and identity. All the materials used were from the site. Lewerentz also wanted to express the “naked building.” Lewerentz left all bricks cut curved and all extra cement plaster still. This idea was also expressed in our model- we left all of our pencil marks, extra glue, or curved cuts visible in the model to emphasize Lewerentz’s “naked building” concept. St. Petri’s Chuch was very much similar to Lewerentz’s first work: St. Mark’s Chapel. Both churches actively expressed the brick material, and the overall impression of the build were very dark and complex. Because the inside of the church is so dark, it is rather a reflection of Klippan’s environment and location since Klippan is a rather remote town of Sweden. This dark has an immediate appeal to any vistor’s emotions. Because the church is so dark, visitors would tend to look for the light and help.
Lighting study of the main chapel interior between sunrise and sunset and how users and visitors respond to the lighing effects.
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Part 2. Blooming Crocus
Project Date and Duration: 07 July - 04 August 2014 (five weeks)
The objective is to design a temporary pavillion in Kongens Have located in the center of Copenhagen. The pavillion should consist of a shelthered area from wind, rain, sun, an open area, and have possibilities for seating/laying down. The design is limited to Nordic wood and glass. The pavillion must be freestanding, accessible from all sides. And it should be inspiring and challenging for the user to experience the N pavillion.
Scandanvanian Architecture Under Instruction of Eva Frederickson Architecture Foundations at Danish Institute of Study Abroad
Front of pavillion in 1:50 scale.
Right: Rosenborg Castle Top: Crocus flowers
The concept of this pavillion was inpsired by the crocus flowers that blooms in front of the Rosenborg castle every spring (shown on the top left.) Because this is a temporary pavillion in the summer when the crocus flowers are not blooming, the placement (marked by the red star) of the pavillion was decided in remembrance of the crocus flowers. Also, this area is a rather remote of the park because it is not near the main entrances, so the pavillion would attract park visitors to this area.
Back of pavillion in 1:20 scale.
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Part 1. Wooden Cube
Group Members: Marie Barron and Adrien Grigorescu Contribution: Decision in type of wood, cutting the cube sides, gluing dowels for weight and structure strength, soaking, and study of post-soak Project Date and Duration: 03 - 21 February 2014 (one week for project construction and two weeks soaking period)
Pre-soak
Construction Projects Under Instruction of Professor Dana Buntrock and Graduate Student Instructor Peter Samuelson ARCH 160 at University of California Berkeley
Post-soak
The object is to construct the largest wooden cube weighing one pound and made of only wood and glue. We originally decided to use softwood due its lightweight characteristics. However, it was difficult to find softwood within our budget, so we looked at less dense hardwoods: balsawood and basswood. The decision was settled on basswood, a very common, lightweighted hardwood due to low density of wood grains. Also, we realized that balsawood was too fragile and more costly than basswood. The final product is an 8� x 8� cube weighing exactly one pound, and the largest cube. The two-week soaking period was to observe how wood deteriorates when exposed to moisture. Our cube underwent immediate disintegration and slight cupping deformation (image to the right). This may be because we used very minimal glue and pressure during the construction to keep the cube lightweight.
The cube in its early construction, with right angle clamps to hold the cube while drying.
To add weight to the cube, we used rectangular basswood dowels, which also supported the structure.
Floating was a problem during soaking, so a heavy object was placed on top to keep the cube down.
After just half a day of soaking, the cube is already disintegrated. 11
Part 2. Rube-Goldberg Fence
Group Members: Marie Barron, Cyrus Blankinship, and Lizbeth Ruiz Contribution: design/planning of part 3, 4 & 6 and construction of part 1, 4 & 5 Project Date and Duration: 07- 28 March 2014 (three weeks)
Construction Projects Under Instruction of Professor Dana Buntrock and Graduate Student Instructor Peter Samuelson ARCH 160 at University of California Berkeley
The objective was to build a Rube Goldber machine spanning seven feet of the Beatrice M. William fence at University of California Berkeley. The machine must transport one or more croquet balls from one group project to another. The project must be installed and uninstalled within fifteen minutes and demonstrate four wood characteristics.
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Wood is a natural material that changes its shape under moist conditions. It warps, cups, and splits. We put thin pieces of balsawood in water overnight and applied soft pressure to have them cup into a flexible, curved flap to slow down the ball. It was especially difficult to nail the balsawood to the first incline.
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Wood is easily worked with simple tools. The wedge in image 2 shows how we were able to quickly install the machine with a small wedge. Notice how the peg is not perfectly straight, demonstrating how angles is difficult to create with wood. Image 3 shows how we were easily able to work with nails.
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Wood is ductile and will yield/buckle rather than shatter. This is our curved corner-turn piece that has a cut path for the ball’s route. This pathway increased the yield of the wood under the ball’s weight without shattering. As a matter of fact, the ductility was so powerful so we had to put barriers to prevent the ball from falling.
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Wood can be loaded in tension or compression. This connection has compression in the triangular member that supports the incline and a responding tensile force in the lower wood pieces that pull the system upwards. 12
Wood is built of a system of weak joints; moment or other stresses at connections that may cause structural distortion. This joint is a dowel that is free to rotate upon impact, but it is weak against forces parallel to the dowel.
Group Members: Marie Barron, Cyrus Blankinship, and Lizbeth Ruiz Contribution: Design process of footstep/footrest, construction of legs and seat of stool Project Date and Duration: 21 March - 18 April 2014 (three weeks)
Part 3. Aluminum Stool
Construction Projects Under Instruction of Professor Dana Buntrock and Graduate Student Instructor Peter Samuelson ARCH 160 at University of California Berkeley
The objective is to build a small aluminum frame that is capable of safely supporting a person in a standing or sitting position. The frame must be at least 42 inches above the ground. The frame should have a high ratio of the total weight/volume of stool to the supported weight/volume. We proposed to build a simple stool made only of 4’ x 4’, 16-gauge aluminum sheet because we were aware that aluminum is fairly expensive. Our design is a four-legged stool to maintain efficiency during construction since all angles are 90 degrees. Our design splayed the legs outwards at a slight angle so that it would add stability and reduce overturn, thus increasing safety. Our final product of “The Stool” weighs 5.314 lbs and safely supports a person sitting or standing 42 inches above the ground.
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We originally designed to have an angle brace at the bottom of the stool to act as a connection between the four legs (Image 1.) The legs would be connected by steel cable from the top of one leg to the bottom of the adjacent leg to prevent wracking (Image 2.) During construction we realized that the legs were incredibly strong when folded 90 degrees, so steel cables were no longer needed. We moved the angle brace upwards to also function as a footrest. Once the footrest was fully secured by rivets, it was strong enough to function as a step onto a 42” high stool as well. This new placement of the footstep/footrest provided better resistance against the leg’s tendency to pop outwards due to the aluminum’s natural ductility. We were initially concerned that a person’s weight would cause the seat to bow downwards, so we originally planned to place a z-brace underneath the seat. It came to our surprise that the seat was incredibly strong once the sides were bent (Image 3). The z-brace was then excluded from our final design.
3 Scale: 1” = 1/8” Key: = edges, cut = edges, bent 11.1”
10” 1” 3”
1.5”
3”
(4) angles top
10”
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6”
(4) legs
42”
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2”
We relied on rivets as connections (Image 4 & 5). The most challenging part was rivet the seat to the four legs because the legs would not align (Image 5). This allowed this to experience to several tools such as a puncher and hand drill to complete the installment.
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Part 4. Concrete Bridge
Group Members: Marie Barron, Cyrus Blankinship, and Lizbeth Ruiz Contribution: Design of bridge plank, construction of wood formwork, concrete mixture and pouring, and fixing broken concrete Project Date and Duration: 25 April - 16 May 2014 (four weeks)
Construction Projects Under Instruction of Professor Dana Buntrock and Graduate Student Instructor Peter Samuelson ARCH 160 at University of California Berkeley
The objective is to build a lightweight concrete bridge that achives maximum volume with minimum height. The raised platform must be at least 12 inches off the ground, minimum 4 feet long, and with an aggregate open area below the deck of 3 feet in length and minimum 10 inches in height. The bridge must hold a person walking across the deck. The bridge must weight less than 40 pounds.
The final bridge (to the left and above) weighed 34 lbs and held one person walking across the bridge.
Before we started designing our platform, we had to first experience with concrete and formwork. We did several pours of different aggregate and ratios of water and cement. In our test pours, we originally used a pre-mix concrete which had aggregate that exceeded the 40 lbs limit. Therefore we decided to replace all the big aggregate with fire rock, a much ligher and porous aggregate to maintain the variation of aggregate sizes in our concrete mix. The formwork we intially used was cardboard which deformed as the concrete cured, so we decided to use wood to prevent deformation.
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Our original design had the plank resting on two legs like a bridge, and the plank rested on the open space in the leg (Image 1). We realized this was not the best choice because mid-leg would not be strong enough to hold the weight of a plank and a person. Instead, we decided to have the plank go over the sides of the legs. The open space was kept anyways to minimize weight. The legs and plank would be bolted together.
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When it was time to take the bridge out of its formwork (Image 2 with #3 rebar and Image 3 with 1/4� threaded rod.) We accidently made several cracks (Image 4 and 5) by adding unwanted forces to push out the concrete. (We basically had to hammer out the concrete even though we used Vaseline before the concrete pour). All of the cracks were fixed with Elmer’s Super Fast Epoxy Cement. We learned that the concrete cracked because our formwork was too complex. Formwork should be as simple as possible, and it should be easy to remove without a lot of unwanted forces.
Snake Skeletal and Skin Preparation
Project Date: 19 November 2014
Zoology Works Museum of Vertebrate Zoology University of California Berkeley
Skeletal and skin preparation of Python constrictor. Measurements such as weight, total length, width of head must be taken before skinning. Skinning starts from the tail going towards the head. The body cavity must not be cut into until the complete skin is taken off.
Once skinning is complete, heart, muscle, liver, and kidney must be collected for DNA extractions. The middle image to the left shows the phyton’s heart. The image to the rightshows the phyton’s gallbladder, testes, and kidneys. Each organ observed must be measured in width and length. Other observations must be noted such as presence of parasites and stomach contents. Then the entire body cavity can be removed from the skeleton.
Once the skeleton is completely clean of tissue, it is tied tightly to be hang dried (image to the left.) Once dried to jerky, the skeleton is fed to beetle colonies so that all tissue would be eaten away (image on lower left shows a skeleton being fed to a beetle colony.) The skin is left to be preserved in 95% ethanol or tanned depending on the skin’s condition. Several processes of cleaning the skeleton and skin repeats until the skeleton is completely clean, cataloged, and put into the Museum of Vertebrate Zoology’s collection for research and education (complete snake skeleton and tanned skin shown on next page.)
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Snake Skeletal and Skin Preparation
Zoology Works Museum of Vertebrate Zoology University of California Berkeley
Project Date: 19 November 2014
Complete skeleton and skin of Epicrates exsul, Puerto Rican Boa
Zoology Works Museum of Vertebrate Zoology University of California Berkeley
More Skeletal and Skin Preparations
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1: Ornithorhynchidae, Platypus 2: Bubo virginianus pacificus, Great-horned Owl 3: Pyxis arachniodes, Spider Tortoise
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5: Chamaeleo lateralis, Carpet Chameleon 6: Ptiloris, Epimachus, Astrapia, Lophorina: Birds of paradise 7: Canis latrans, Coyote
Personal Artworks
Bench, 2014. Charcoal.
Exotic Hawaiian Orchids, 2014.
Sunset, 2014.
Watercolor.
Paint on canvas.
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Personal Artworks
Partner: Karineh Minissian Contribution: Construction of the wood, drawing and painting Project Date: April 2014
“...the failure to act against Turkey is to condone it...the failture to deal radically with the Turkish horror means that all talk of guaranteeing the future peace of the world is mischievous nonsense.� - Theodore Roosevelt, May 1918 Armenian Genocide Memorial University of California Berkeley, April 2014
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THANK YOU FOR YOUR CONSIDERATION. MAY NGUYEN MAYNGUYEN23@GMAIL.COM (510)- 776 3523