ARCHITECTURE PORTFOLIO 2018
PATORN SANGRUCHI
HISTORY OF ARCHITECTURE AND URBANISM I
PATORN SANGRUCHI 213 713 4689 tae_patorn@live.com 601 E 2nd st. Los Angeles CA 90012
PATORN SANGRUCHI ARCHITECTURE PORTFOLIO SCI-Arc: 2016 - 2018
HISTORY OF ARCHITECTURE AND URBANISM I
STATEMENT I am fascinated by the working of the natural environmental systems and how it affect our built forms, both visually and functionally. Such premise also implies that architecture could also be conceived of as an animate form, one that can actively respond to the dynamism of its surrounding. For me to be able to do this and to expand my form development and computational skills, I decided to join the M.Arch 1 course in SCI-Arc. My next step is to speculate how these forms could reconfigure existing programmes or create new ones. I am also interested in developing codes which would allow the building to adapt and reconfigure itself according to the environment that it’s in. Outside in the professional world, I want to speculate new and fantastical architecture - namely those seen in films and documentaries. Although such environment might not be viable in the real world, it’s creations would require an amazing amount of research and development on the same scale as real buildings. This 1st year portfolio contains a range of works that challenges the current notion of what is architecture. In the design studios, I reconcile functionality with form, the latter taking priority. Each design is resulted from a set of inquiries dealing with how we perceived form and how each form relates to one another. Other works deal with how architectural interventions can adapt to the original structures while inserting a tectonic or philosophical dimension to the work. Moreover, the works in visual studies classes attempt to explore how 2-D representations can inform and help shape the final design.
HISTORY OF ARCHITECTURE AND URBANISM I
CONTENTS
009
WALT DISNEY ANIMATION STUDIO
BURBANK, CALIFORNIA
017
DUPLEX IN FROGTOWN
023
HYDE PARK LIBRARY
031
ILLINOIS STATE GOVERNMENT BUILDING
037
LOVELL BEACH HOUSE INTERVENTION
043
EXPLORATORIUM ANALYSIS
047
DESIGN DOCUMENTATION
LOS ANGELES, CALIFORNIA
LOS ANGELES, CALIFORNIA
CHICAGO, ILLINOIS
NEWPORT BEACH, CALIFORNIA
SAN FRANCISCO, CALIFORNIA
BURBANK, CALIFORNIA
051
‘ACTIVATED SURFACE’
ROBOT HOUSE WORKSHOP
055
RIGGING-BASED COMPOSTIONAL STUDIES
059
‘RANGES OF LEGIBILITY’
VISUAL STUDIES
VISUAL STUDIES
TITLE
WALT DISNEY ANIMATION STUDIO I N F O R M AT I O N
Date - Fall 2017 Instructor - Kristy Balliet Location - Burbank, California DESCRIPTION
The Walt Disney Animation Studio explores the cutting-edge and aggressive corporate character with powerful primitive volumes that is both massive and light. Its entry into the digital and virtual reality era is reflected in the oscillation between physical and non-physical spaces, created by activated surfaces on the faรงade, which creates spaces for public use. The horizontal office culture is translated into the idea of multiple grounds, whereby the elevated bars begins to mimic the ground below.
Left: Isometric drawing
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DESIGN STUDIO III
Below: Aerial view render
DESIGN STUDIO III
Top: 3D chunk cutaway Opposite, top: Upper floor plan
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Opposite, bottom: Ground floor plan
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DESIGN STUDIO III
The structural strategy of the project is a steel box-truss suspended on two 40 feet concrete cores. These ‘mega cores’ contain all building service, egress and MEP facilities as well as meeting rooms, sound booths and other sound-sensitive, semi-private functions. The main truss is cantilevered in two directions and is tied back to each megacore.
Bottom: West section Top: North section
DESIGN STUDIO III
Top, first and second: Massing model
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Top and right: Detailed section model
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DESIGN STUDIO II
TITLE
DUPLEX
IN FROGTOWN, LA I N F O R M AT I O N
Semester Year - Spring 2017 Instructor - Margaret Griffin DESCRIPTION
The duplex acts as an architectural diptych which question the formal relationship between the two-dimensional profiles and its three-dimensional projections. Each house starts off as a simple ‘primitive form’ which starts to mutate according to the changing inputs. The final composition of each house is resulted from the ‘active’ intersection between two forms whereby the intersection process itself changes the form of each component and thereby affected the final, fused form.
Top: Final model of the duplex
DESIGN STUDIO II
As with a diptych, each house bears a relationship to each other while exhibiting qualities that makes them an inverse of each other.
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Bottom: Form development models
DESIGN STUDIO II
Because of its geometric properties and graphic richness, each house is treated as an ‘object’ that is disconnected from its environment and stands on its own. Both houses are connected through steps and shallow pools. The interior of the house contains cavernous volumes where occupants can experience the geometric quality of the house. This is reinforced by staircases which are designed as sculptures in itself [see section] and placed so that they caress the curved walls , thus allowing the occupant to experience the space vertically as well.
Left: Site plan Right, top: 2nd floor plan
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Right, bottom: 1st floor plan
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DESIGN STUDIO II
The section reveals interior spaces that is visually disconnected from the outside surface, thus, signifying a different set of form at work (in the formal intersection scheme). At various angle, the patterns also penetrate into the inside and thus blur the seams between the outside and the inside.
TITLE
HYDE PARK LIBRARY I N F O R M AT I O N
Semester Year - Fall 2016 Instructor - Anna Neimark DESCRIPTION
The Hyde Park Library project questions the perception of forms to produce architecture that is not ‘static’ in its reading. Essentially, the library is a cube that is cracked open and contorted to produce interior spaces on its faces and edges. This contortion also produces various interpretation of the form when viewed from different angles, so that the ‘cube’ is not longer static and permanent.
Left: Final section model, Hyde Park Library
Next page, left: Hyde Park Library axonometric render
2. Thick foam core model of the initial form, to represent floor and wall slabs 3. ‘Skin’ model of the initial form, to represent facade
DESIGN STUDIO I
Next page, right: 1. Wireframe model of the initial form
5, 6. Final section model
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4. Initial section model
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DESIGN STUDIO I
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DESIGN STUDIO I
In order to keep the ‘cube’ form as pure and uninterrupted as possible, only the edges and the interior faces are utilised as habitable spaces, while floor plate addtions are minimised. The facade of the library is developed from the same starting geometry but is formally differentiated from the concrete components to produce areas of light and dark.
Left: South section
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DESIGN STUDIO I
Right: West section
DESIGN STUDIO I
Top: Screenshots from air movement simulation software Autodesk Flow
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Right: Air movement diagram
TITLE
ILLINOIS STATE
GOVERNMENT BUILDING I N F O R M AT I O N
Status - In Development Semester Year - Spring 2018 Instructor - Darin Johnstone DESCRIPTION
The Illinois State Government Building not only houses the governmental office, but also a shopping mall, a hotel, an auditorium and also a subway transit. The project investigates the potential of exterior and interior architectural voids in mega-scale buildings. This is done through the formal operation of slicing and bending, which produces a relationship between the two masses where occupants will have a visual connection to the opposing spaces.
DESIGN STUDIO IV
The project also creates an elevated urban fabric in order to bring the occupants above the density of the city. The facade is a result of the layering of various Chicago facade typology. The layer shifts in an undulating fashion to produce readings of implied spaces.
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Left: Isometric render
DESIGN STUDIO IV
Top, left: Precedent building combination grid Top, right: Formation diagram Opposite, top: 33rd floor plan
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Opposite, bottom: Ground floor plan
Bottom: South elevation
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DESIGN STUDIO IV
Opposite: South section
TITLE
LOVELL BEACH HOUSE AN ENERGY-BASED INTERVENTION PROJECT I N F O R M AT I O N
Semester Year - Spring 2017 Instructor - John Bohn DESCRIPTION
The interaction between local energy sources and the Lovell Beach House by Rudolf Schindler in Newport Beach studied in order to understand the local energy conditions and how it interact with the architecture of Lovell Beach House. Using weather data and onsite observations, each energy types - visible light, natural light, sound, air flow, and heat - are simulated and mapped onto the three-dimensional model of the house.
Top: Original Lovell Beach House, Newport Beach, Los Angeles
E N V I R O N M E N TA L S YS T E M S
With this understanding, the house is moved to Cape Horn, Brazil, and changed with this understanding of energy interac-
37
Bottom: Adapted Lovell Beach House, Cape Horn, Argentina
The Lovell House is moved from the urban beachside setting of Los Angeles, USA, to the barren cliffside of Cape Horn, where the weather is more severe. The house is adapted to the new setting in response to each energy types while still retaining Schindler’s visual expressions in the house.
E N V I R O N M E N TA L S YS T E M S
Each diagram shows how each specific energy interact with the new Lovell House design to produce a more efficient and environment-conscious architecture.
Top left: Appearance & Visible light diagram Bottom left: Natural Light diagram Top right: Heat & Humidity diagram
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Bottom right: Sound diagram
E N V I R O N M E N TA L S YS T E M S
Top: Screenshots from air movement simulation software Autodesk Flow
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Right: Air movement diagram
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E N V I R O N M E N TA L S YS T E M S
TITLE
EXPLORATORIUM
ENVIRONMENTAL SYSTEM ANALYSIS I N F O R M AT I O N
Date - Fall 2017 Instructor - Russell Fortmeyer Site - Exploratorium, Pier 15, San Francisco DESCRIPTION
Top: Overview section and plan
Bottom, left: Envelope section analysis
E N V I R O N M E N TA L S YS T E M S
The Exploratorium analysis project breaks down the systems involved in creating a net-zero energy building in an otherwise environmentally-unfriendly historic building. The specific chunk of the building at the South-West end is analysed in terms of its facade design,lighting, heating, ventilation, mechanical, and water conservation systems.
Bottom, right: Ceiling envelope analysis
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Bottom, middle: Envelope chunk analysis
From Top left downwards: 1. Daylighting and electric lighting section analysis 2. Daylighting study, September 21st 3. Mechanical HVAC system section analysis
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E N V I R O N M E N TA L S YS T E M S
4. Water conservation section analysis
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D E S I G N D O C U M E N TAT I O N
TITLE
WALT DISNEY
ANIMATION CENTER DESIGN DOCUMENTATION I N F O R M AT I O N
Status - In Development Semester Year - Spring 2018 Instructor - Herwig Baumgartner, Scott Uriu DESCRIPTION
Top: 1. Roof and ceiling chunk 2. Typical wall chunk
D E S I G N D O C U M E N TAT I O N
Through design documentaiton, this set of work investigates issues related to the implementation of design such as technology, the use of materials, systems integration, and basic structural engineering. Considerations also include building codes, the design of structural and mechanical systems, environmental systems, buildings service systems, the development of building materials and the integration of building components.
3. Lower wall chunk
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Left: Tertiary structure system
Level 2 Level Area: 19897 sq. ft. Floor Type: A3 19897 / 15 = 1236 Maximum Occupancy: 1236
Level 8 Floor Area: 16546 sq. ft. Floor Type: A3 16546 / 15 = 1100 Maximum Occupancy: 1100
Level 6 Floor Area: 7674 sq. ft. Floor Type: B 7674 / 100 = 77 Maximum Occupancy: 77
Level 5 Floor Area: 9066 sq. ft. Floor Type: B 9066 / 100 = 91 Maximum Occupancy: 91 Level 4 Floor Area: 9774 sq. ft. Floor Type: B 9774 / 100 = 97 Maximum Occupancy: 97 Level 3 Floor Area: 9340 sq. ft. Floor Type: B 9340 / 100 = 93 Maximum Occupancy: 93 Level 2 Floor Area: 11502 sq. ft. Floor Type: A3 11502 / 15 = 767 Maximum Occupancy: 767
D E S I G N D O C U M E N TAT I O N
Level 1 Floor Area: 7572 sq. ft. Floor Type: 7572 / 100 = 76 Maximum Occupancy: 76 Level -1 Floor Area: 6302 sq. ft. Floor Type: 6302 / 20 = 315 Maximum Occupancy: 315
Top: Material selection and building chunk Middle: Fire Safety Bottom: ADA drawings Right: EGRESS diagram
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Small Slab Stair Width: 4’-6” Capacity: 180
Level 1 Floor Area: 5809 sq. ft. Floor Type: B 5809 / 100 = 58 Maximum Occupancy: 58
Egress
Architects:
Andrew Chittenden Nicholas Perseo Dasha Ragimova Patorn Sangruchi Rafa Tarabichi Maximillian Tavdi
Consultants:
Level 5 Floor Area: 4834 sq. ft. Floor Type: B 4834 / 100 = 48 Maximum Occupancy: 48
Herwig Baumgartner Scott Uriu Matthew Melnyk Jamey Lyzun
Level 7 Floor Area: 32908 sq. ft. Floor Type: B 32908 / 100 = 329 Maximum Occupancy: 329 Level 9 Floor Area: 5319 sq. ft. Floor Type: B 5319 / 100 = 53 Maximum Occupancy: 53
Notes:
South Tower Stair Width: 4’-6” Capacity: 180 Level 8 Floor Area: 5177 sq. ft. Floor Type: B 5177 / 100 = 52 Maximum Occupancy: 52
Level 7 Floor Area: 32908 sq. ft. Floor Type: B 32908 / 100 = 329 Maximum Occupancy: 329
North Tower Stair Width: 4’-6” Capacity: 180 Level 5 Floor Area: 4834 sq. ft. Floor Type: B 4834 / 100 = 48 Maximum Occupancy: 48
Level 4 Floor Area: 4731 sq. ft. Floor Type: B 4731 / 100 = 47 Maximum Occupancy: 47
Level 3 Floor Area: 6932 sq. ft. Floor Type: A3 6932 / 15 = 462 Maximum Occupancy: 462 Level 2 Floor Area: 8395 sq. ft. Floor Type: A3 8395 / 15 = 560 Maximum Occupancy: 560 Level 3 Balcony # of Fixed Seats: 100 Maximum Occupancy: 100
Level 2 Theater # of Fixed Seats: 200 Maximum Occupancy: 200
Level 1 Floor Area: 15386 sq. ft. Floor Type: A3 15386 / 15 = 1025 Maximum Occupancy:1025
Client:
The Walt Disney Co. Project Name and Address:
Millennial Rock
500 S. Buena Vista St. Burbank, CA 91521 Date: Scale:
02/19/18 Not to Scale
Sheet Content:
Egress Diagram Sheet Number:
A9
TITLE
ACTIVATED SURFACES I N F O R M AT I O N
Semester Year - Fall 2018 Instructor - Devyn Weiser DESCRIPTION
‘Activated Surfaces’ explores how the emerging role of robotics in architecture can shape our perception of architectural volumes and their relationships to each other. Geometries from the Walt Disney Animation Studio project are ‘phygitally’ animated in space based on a pre-designed choreography in Grasshopper, with the resulting footage being fed back into the computer again for animation generation.
VISUAL STUDIES III
This research culminates in the design of the activated facade utilised in the Walt Disney Animation Studio Project.
Left: Robot movement sequence
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Right, top and bottom: Positions in the sequence
Bottom: Photograph of the robotics workspace
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VISUAL STUDIES III
Opposite: Series of stills from the animaiton sequence
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VISUAL STUDIES III
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VISUAL STUDIES III
TITLE
RIGGING-BASED
COMPOSITIONAL STUDIES
OF FIGURES IN POPULAR CULTURE I N F O R M AT I O N
Date - Fall 2017 Instructor - Devyn Weiser DESCRIPTION
The compositional possibilities of Claes Oldenburg’s ‘Geometric Mouse’ is simulated and animated digitally using Rhino Grasshopper Kangaroo. This is done via digital rigging in a physics-based environment that also involved real time vector mapping which questions the increasingly aumated procedures of computer graphics.
From top left, downwards: 1. Geometric Mouse drawing 1 2. Geometric Mouse drawing 2 3. Geometric Mouse render 1 4. Geometric Mouse render 2
5. Geometric Mouse render 3 6. Geometric Mouse render 4
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VISUAL STUDIES III
The second set of studies employs a similar set of techniques but with a contemporary figure of Walt Disney’s Mickey Mouse. A large-scale model is produced as a final product of the studies.
Bottom: 3D mouse drop sequence render
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VISUAL STUDIES III
Opposite: 3D mouse figuration model
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VISUAL STUDIES II
TITLE
RANGES OF LEGIBILITY I N F O R M AT I O N
Semester Year - Spring 2017 Instructor - Anna Neimark, Matthew Au DESCRIPTION
The project takes the 17th century Le Romain du Roi typeface and attempts to push the limit of its legibility through rigorous distortion of the character. Through stretching, curling, and folding, the rigid form of the letter ‘A’ is given a character and various degrees of legibility. The transformed letter ‘A’ is also merged with a transformed letter ‘B’ to create a hybrid that contains the defining characteristics of both letters so that the figure can be read differently from different views. The idea of scalar understanding of pictures is also explored using parametric bitmapping.
Bottom: Curled letter ‘A ’ Next page, left: Diagram showing the merging process between letter ‘A ’ and ‘B’ Next page, right: Textured phtysical model of the hybrid letter
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Top: Original letter ‘A ’
VISUAL STUDIES II
Left: Folded letter ‘A ’
The bitmapping of the image greatly distorts the details and eliminate any definitive edge that might be used to define the form althogether. The effect is replicated threedimensionally [last page] by adding texture onto the physical model, thus allowing an independent, different readings from close-up.
Left: Close-up of bitmapped image
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VISUAL STUDIES II
Right: Full scale bitmapped image
HISTORY OF ARCHITECTURE AND URBANISM I