INDEX: Flow: An Installation 2 The Drawings of Things 3
PEERAYA SUPHASIDH'S PORTFOLIO RISD B.Arch 2014 Risd BFA 2014
psuphasi@risd.edu suphasidh.com
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Integrated Building System: A Solar Envelope
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Design Principles
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Bagsvaerd Chair
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ﾃ郎ABRIDGE
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*Transformer Studio: A Japanese Pavilion
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Structure and Chances
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*Computed Drawing Studio: Animating Thick Surfaces
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It Has Been Here: A Response
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Digital Representations
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*Constructed Landscape Main & Gold Pocket Park Proposal Remmington Arms Site Proposal Remembrance
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FLOW: An Installation Critic: Nade Haley Fall 2009 Providence, RI
Utilizing the flow of both water and air on site, lines of yarn are suspended on floating wooden pieces. The wooden pieces danced with the flow of the river, at the same time, the lines of yarns glide with the wind. The installation integrate and render visible the relationship of the dynamism.
Right: Final Site-Based Installation
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THE DRAWINGS OF THINGS Critic: Silvia Acosta Fall 2013 Selected Works
An instigation with the regular and the irregular. The definite and the fanciful. I traversed the page with lines, two at a time. The two lines are of the same origin, and were made at the same instant. The first held true to the edge it is pushed against, the second strayed and wondered. I repeated them to fill the entire page. The drawing embodies the linkages to the invisible origin of these lines. Each line made in-between my blink of an eye and the tips of my fingers, each has its definite path it's allotted, appearing and disappearing as the viewer move closer and farther away from the drawings.
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INTEGRATED BUILDING SYSTEM Works in collaborations with Alexander Diaz & Shalini Vimal Providence, Rhode Island
A hypothetical exercise in which the system that breath life into the building is also used as the driver of the project. The project investigate a strategy to improve the building performative constrain with both a mechanical and natural system. The proposal utilize the building circulatory path as a part of its envelope, protecting the lab spaces from direct sunlight and allowing it to maintain a relatively constant temperature. The heat gained with the solar exposure is absorbed with the Solar Wall material and is then used as a primary heat source for the building. The solar Wall not only acts as a shading device but also as the building's HVAC system that naturally attain its energy.
Top: View of the Building on Site Lower Left: View of the Solar Wall Circulation Envelope Right: View of the Lab Space
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WINTER MONTHS
CLOUD COVER
SUMMER MONTHS
SUN ANGLE EASTERN VIEW
Mean of 50% in the summer of 85% in the winter Clouds usually fill the sky during the afternoon after 3:00 pm, while the least amount of coverage occurs in morning until noon.
DIRECT SOLAR RADIATION Direct sunlight is consistent throughout the year with the summer gaining more solar radiation. Maximum ranges of DSR range from 550 to 650 W/m2
SUN ANGLE SOUTHERN VIEW
TEMPERATURE Providence is in a humid continental climate. Highest temperatures in the summer have a mean of 90 F and winters have a lowest mean of 29 F.
SHADED AREAS
WEEKLY RAINFALL Highest readings are during the early summer with about 28-35 mm/day and the lowest in the winter with 8 mm/day. Rain events occur over long spans rather than scattered showers.
HUMIDITY Humidity is consistent throughout the year. The highest point of humidity is 75% in the morning and lowest 57% in the afternoon. Summers are more humid than the winters.
WIND SOURCE
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DETAILED SECTION
SECTIONS
Circulation
PLANS
Lab Space
Circulation
Lab Space Ground Floor
South - North Section
FLOOR BOARD
CELLUOSE
PLYWOOD
TYVEK
AEROGEL
AIR
ALUMINUM SHEET
AIR
GLASS
Typical Floor
Southern Facade
Eastern Facade
CONCRETE
Roof
CONCRETE
Mechanical Floor Northern Facade
Western Facade
CONCRETE
GLASS
West-East Section
R-VALUE FOR INTERIOR SOLAR WALL
Lab Space
Glass 4.00 Air 1.00 Aluminium Sheet 0.61 Aerogel 3.75 Tyvek 0.60 Plywood 0.60 Plywood 0.50 Cellulose 6" 37.50 Concrete 1.00
Solar Wall
Circulation
Total 48.96 Circulation Envelope Section
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Component Diagram
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DESIGN PRINCIPLES
Critics: Scheri Furtineer, Thomas Gardner Fall 2010
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The logic of making was derived from a knot, in this case a sheepshank. Each bend turns into a folds, a dimensioned rope translated into flat sheets of bristols. These knot aggregates into a mass. The mass then meets the ground to form an enclosure. Finally comes the space.
1. Knot into Units 2. Aggregations 3. Mass Meets Ground 4. Enclosure 5. Spatial Body
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BAGSVAERD CHAIR Critic: Jonathan Knowles March 2013
The sinuous concrete curves of the Bagsvaerds Church's ceiling is scaled down to hold a single human body - a tribute to Jorn Utzon.
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ØYABRIDGE: 120 HOURS COMPETITION Works in collaborations with Robert Christian Poules & Caterina Belardetti Oslo, Norway Øyafestivalen 2014
Throughout the day people are constantly burning energy from their own movements and dancing - Why not turn all that effort into power? ØyaBridge is a human-powered interactive structure that brings free light and energy to the Øya Festival. It is an elevated walk that provides festival goers a great perspective of both the park and the city. The top surface is a 25 meter-long translucent trampoline that transforms a fun experience into usable energy and uses it to illuminate the dance space below as well as provide additional charging stations for cell phones. The brightness and output of the bridge are completely dependent on user activity and free of the city grid. It promotes sustainable practices while encouraging a healthy lifestyle. Beneath the trampoline is a lounge area that provides shade during the day and becomes a dance pavilion at night. The translucency of the trampoline fabric probes interactions between the people who are energizing the unit and people who are utilizing it. The structural columns light up with different colors to display the level of charge that the station is obtaining. When the ØyaBridge is at it’s peak performance, the columns reveal a vibrant light show to present the jumpers’ achievement.
Right: Final Submission Boards
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TRANSFORMER: A JAPANESE PAVILION Critics: Warren Schwartz and Laura Briggs Fall 2013
Boston, MA This studio explores and develops an extension to the Boston's Museum of Fine Arts by proposing a Japanese Pavilion. The pavilion houses its own exhibition space, a audio and visual hall, a public library, research center, and a cafe. The development of the project is strongly tied back to the initial analysis of Boston and its siting as well as the Japanese crafted toy robot. The crafted toy, inspired by its original "Mechanical Television Space Man" contain a piece of fabric tightly rolled inside of its belly. The fabric is in fact a bag just large enough to fit the robot toy inside. It's paradoxical that one could ever carry something so small yet so vast it encompasses one's own entity. The building attempt to reinvent thresholds by allowing various topographical changes within its interior. Perhaps like cutting a piece of land and placing it onto the site. The project proposes to extent the existing Japanese and with it continue the growth into the architectural spaces. Public programs are placed on the Northern wing that spans over the extended Cherry Blossom Garden while the ticketed exhibition spaces are rooted the Southern wing. The Thin cafe connects the two.
Right: Final Vision of the Pavilion
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Boston depicted with color pixels collected from Google Earth images
Sections along the Emerald Necklace
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Sections along the intermediate site context
Crafted transformer toy
Process models moving through the articulations of the massing and spatial qualities of the pavilion.
1/8" Model of the Final Enclosure Volumetric Lines View of the Final Pavilion Elevation of the Final Pavilion
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Exposed Structures
Components Diagrams
Site Plan
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Site View
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Floor Plans
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1. Longitudinal Section G 2. Final Model 3. Final Model on Site 4. Site Cross Sections
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1. View of Museum Street Entrance 2. View through Lobby toward Visual/Audio Hall & Main Stairs Case
3. View into the Tall Gallery from the Small Gallery 4. View into the Tall Gallery from the Light Gallery
5. View from the Special Gallery mezzanine space 6. View through the Cherry Blossom Public Garden and Public Reading Room
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Structure and Chance Critic: Lisa Young May 2010
93 orange peals are collected over a period of two weeks - each pealed to make a continuous surface. Not a single one of them resulted the same. In the installation curates these orange peals according to the date and time of day in which they were de-bodied.
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ANIMATING THICK SURFACE: COMPUTED DRAWING STUDIO Critic: Carl Lostritto Spring 2013
The studio explored computation as a mean of both thinking and making. Interdependency between digital operations (computation) and the design processes in this studio instills an explorations into our understandings of space and architecture. Python programing language was used to compute drawings which tested the stretch of our dimensioned realities. What would it mean to inhabit a drawing, to read the depth expressed within the lines, and to finally cultivate its underlying logic and put it out in the sited world? The following body of work is an unfolding of an investigation.
A pen-plotter was introduced and used throughout the course of this studio as a mean to output drawings. Initial studies are done to test out the characteristic of the marks along with their spatial implications. Earlier drawings explore the path in with a line travels and intersects when its start and end point are constantly in motion,
Above: First set of output drawings
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Drawing studying overlaps with varying increment and densities
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Level 1 Connection By simplifying the directions of the generator lines or the "Screens", the resulted "Connectors" can be control with greater precision and thus architectural implementations begin to emerge. 5.
1. Diagonal Screen and Connectors 2. Vertical Screens and Connector 3. Test Facade Base Screens 4 Test Facade Connectors 5. Screen Behind
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Dimensions The connector lines are then given a third dimension in various ways to imply volume and eventually spaces. Screens that suggest structures or quality of a facade are made up of the same generative logic. Given the site as a resistance, these logic of making were put into a given place at a given scale. They were given tasks to complete when programs were implemented and thus will develop a different characteristic. Our program was a racquetball club housing 4 practice courts and 1 tournament courts with a public viewing area.
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1. Physical Model of the initial lines study. 2. Isometric Drawings of the Initial Lines Studies 3. Simplify Connector and Screen Wrapping 4. Variations of Dimensioned Connectors and Screens 5. "Architecture as Casing"
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Various Levels Connections The final set of drawings was made further illustrate the relationship between the Connector, Screens, and the layers of imprints of the "Ticks" that are created the same process is repeated. When married to a site and a program, these logic are confined to a set of parameter that solidify them. Different characteristics of the studies are put in different phrases of the project. Given more rounds that this process is run through, perhaps a less abrupt union would take place. The concluding drawings for this research are the perspectival views into the building; they depict spacial conditions that rely upon the logic explored in the earlier studies and at the same time give one a glance of what it would be like to be wombed by these different levels of connectivity.
From Left to RIght: Connected Three Level: Connector Connected Three Level: Screen Connected Three Level: Ticks
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1. 1. Plotted Roof Plan 2. Plotted Elevation 3. Roof Plan 4. Second Floor Plan 5. Ground Floor Plan 6. Axon of Components 7. Sections through Member Lounge 8. Section trough Tournament Court 9. Section through Practice Court
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Toward the Practice Court
Looking Down to the Tournament Court
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Upward from Tournament Court
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IT HAD BEEN HERE: A RESPONSE 2.
Critic: Pari Riahi Winter 2012
Grass produces neither flower nor sermon on the mountain, nor airplane carrier, but in the end it’s always grass that has the last word. It fills emptiness, grows between, and amongst other things. The flower is beautiful, the cabbage useful, the poppy makes us mad, but grass is overflow.� / Henry Miller The following body of work presents an on-going exploration and articulation of the land topography as a surface structure. Its curvatures, bumps, and burrows are used to initialize series of operations.. Abstracted completely from its context, the study attempts to ground about the land based neither on as a form nor a defined function, but rather as a hovering body that mimic its origin. 3.
Left: The allotted boundary of the site is printed with topographic lines. The red circles represent the reading of this curvature on the landscape, the intensity of the changes defined by the size of each circles. Differentiation between one area to the other is depicted with the rectangles.
4. 1. Site Boundary 2. East Elevation 3. West Elevation 4. North Elevation 5. South Elevation
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1. Topographic surfaces. 2. Vector of the displacement 3. Final Plan
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The fractionated site fabrics are pulled apart form their origins; distortion of the shape and orientation occurs among those parts. This in-between space between the origin and the projected is taken into interest.. The degree of articulation can be given interchangeably to various locations at different scales to emphasize of de-emphasize it. These outcomes present a formative departure from their natural given.
1. Displacement in plan from 0.1 to 2 2. Displacement in plan from 0.25 to 4 3. Displacement in elevation from 0.25 to 4 4. Vision from the side 5. Vision from above
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DIGITAL REPRESENTATIONS
Critic: Pari Riahi Spring 2011
This project serve as an introduction to digital tooling. Forms are discovered while context is being abstracted. Imaginary and dream-like spaces are imposed atop cities. It serves as a recreational hubs that activate skylines. Circular pattern are extruded based on the curvature of a surface, from that small petals spawns to activate circulations and points of pauses.
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1. Front Exterior View 2. Back Exterior 3. Interior View 4. Potential Site View 5. A Simplified Construct 6. Generative Pattern 7. Progression of the Components 8. Site Section
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CONSTRUCTED LANDSCAPE Critics Gina Ford & Eamonn Hutton Fall 2012
The objective of this studio is to explore how landscape design and operations can creatively respond to the constraints of limited funding and resources. To form a collective understanding of the city of Bridgeport- its history, built form, ecology, and community, we initiate our studies by first mapping out specific layers of the city context. The studio is divided into two parts. The first is the development of a downtown pocket park with an emphasis in a given material - the Main & Gold park. The second is a development of a 40 acre park in a residential district - The Remmington Arms Site. The two maps to the left depicts the ecologies present in Bridgeport. Traditionally, we think of ecology as only existing in the green spaces we allotted specifically for natural occupations - as park and forest lands. The second map presents the expanse in which ecology is present but that we do not account for. If we take into account these lots of vacant lands and even the fences as an habitable landscape for natural dwellings, the opportunities in which the quality of lives can be enhanced by these spaces is immense.
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Main & Gold Street: A Pocket Park
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Instructor: Gina Ford & Eamonn Hutton Fall 2012
Main & Gold Park is a pocket park situated in the most urban district of Bridgeport. The park is surrounded by stores, offices, and an adjacent residential building. The main users of park are thus the workers from the surrounding work spaces who traverse the neighborhood by day and the residences who lives and uses the space by night and weekends. Different fineness of gravel is used to define and allot different programs within this small site. 3.
1. Site Section 2. Site Plan 3. Seating Construction Details 4. Original Site View 5. Elements on Site 6. Study of Gravel as Material
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Main & Gold Pocket Park Final Model
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Remmington Arms Site Analysis
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30-40 YEARS 8-20 FEET
30-40 YEARS
Among the In-Betweens: A Productive Landscape
8-20 FEET
The analysis of the site bring to attention the already existing passive landscape bodies - Lake-View Cemetery, Success Lake, and Remmington Woods. Turning the Remmington Arms site into another passive landscape will create a surplus of these static bodies. The appropriate site approach is to turn this vacant body into an active/productive landscape which will not only provide the much needed recreational space but will also accumulate funding for its own future development. The project aim to provide the community with a shared orchard that will nest the active fields within its boundary.
15-20 YEARS 8-30 FEET 23 YEARS 20-40 FEET
20 YEARS 12 FEET
60 YEARS 60 FEET 150-250 YEARS 60-100 FEET
80-100 YEARS 60-130 FEET
1. Components Diagram 2. Site Approach 3. Program Diagram 4. Tree Lives Involved
60 YEARS 100 FEET
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The final phrase of the site development aim to condition the orchard into a space that can accommodate public recreations. Sport fields and open area are inserted to provide spaces for these needs. The site will regenerate not only income from its orchard but also the communal activities much needed in the area.
1. Site Sections 2. Site Plan 3. Detailed Section 4. Detail Plan of the recreational overlaps
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1. Density studies of tree lives 2. Pathway cutting trough the walnut trees and 3. Pathway along the black willow forest
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Remembrance October 2009 Oak Seeds, Yarn, Glue
I spend weeks gathering oak seeds; multiple trips to the same spot and spent as long as I could under the trees, picking every last broken wings. The piece was on memories - how things attained with time through the body continues to reflect upon the collected. I laid and glued each individual seeds, piecing one by one the fragmented into a flat square roughly 5 by 5 feet. This is done on a sheet of cardboard laid out across table and chairs of a double freshman dormitory room. I wrapped and shield the sheet of seeds with the corrugated cardboard and walked it downhill to our studio, trying to position my body and the kite-like item as aerodynamically as the length of my out-stretched arms allowed me to. At lunch hour of the review day, after the first half of the class had presented and headed out, I rushed my agenda of shutting all the window with black foam core and masking the sides with duct tapes. Tables, seats, the wall and everything else in the room sank and blend into one with the dark - the tiniest glimmer of light passing through the gap between few poorly placed making tapes present itself with the purest white I'd ever seen. Turning the electrical light switch on and letting the class in, I shafted pieces of paper underneath the door after them and turned off the light again. Having trained to the position of one specific foam core with has been cut and fixed with a piece of tin foil, I walked myself with a sharpened pencil in hand and poke a hole into the membrane of the foil, allowing a beam of projection into the chamber I've created. A very faint up-side down image of the building next to our studio and its light blue backdrop appear on the suspended sheet of seeds: a camera obscura. For the next twenty minute or so, things were silent. Nobody spoke, eyes caught on the image as they adjusts to the dark and makes out what is projected. Details of the building starts to appears, soon the moving clouds and the shadow they cast. All bleached and reappearing as the sun overcasts through the envelope of the earth. So resumed the day and my first experience of transforming a space - a place, with the simple-most materials and tools, and a naive logic of creation. Two and a half year later, those memories still lingers and have influences on others emerging ones.
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