architectural plots 2017

architectural plots Ruth Chang 2017 Compiled works 1

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content resume extrahome in the swamps 6 cloud ten 12 chora 18 campus bus stop 24 studio reimagining shop life, singapore 30 cranberry bog in middleboro, ma 36 oyster condo, nyc 46 veil hotel in phoenix, az 54 rare books library 62 brookline athletic center 72 exercises hidden room 82 laboratory 84 flight hotel 86 professional peter rose & partners 88 neri & hu design and research office 90 kris yao | artech 92

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“Into the invention of the plot, the reality (and the architecture inside) appears in a special way, with special light, in a special frame, in a special context.”

— Josep Lluís Mateo August 2011, dAP – Issue 4. Cinema

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our common swamp Harvard University Spring 2017 This thesis comes out of a settler’s story in Middle America.

It tells of the search for identity in a divided country, and of the search for belonging in that place we call home.

The Toledo metropolitan area is similar to many post-industrial, decaying towns in the US. These were industrial powerhouses that could not sustain itself without global impetus. They functioned as a network between places, as a nexus and port, rather than as self-sustaining, politically formed cities. In Toledo, the loss of auto and glass industries resulted in depopulation, increasing class stratification, an economy faltering to diversify, and a donut-effect as suburbs grow and the core decline. And just like other cities, Downtown Toledo has invested in redevelopment plans seeking to draw people back, including a new cable-stayed bridge, the Huntington Center, Fifth-Third Field.

In 2014, a major algal bloom in Lake Erie came like a plague.

Its green slime infiltrated the drinking water supply, making it undrinkable for three days. Harmful blooms now return every summer as fertilizers feed into the lake from the corn belt. These economic and ecological crises beg us to question the way we have settled on this land, and to again reinvent our sense of home.

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Collages and Representations of Great Black Swamp of Northwest Ohio:

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Toledo herself had risen out of the feared Great Black Swamp only 150 years ago. Indeed settlers had dreamed up the lush garden of endless corn that exist today. The Midwest, monotony and samenwess, is really a place of fluid transformation and of reinvention. What other home (collective manifest) can we imagine here?

This architectural thesis responds to the question of settlement, and uncovers how to make a wasteland a home. Home here means more than affordability or security. What I seek is an architecture that gives collective identity through Home, a shared “sense of place, a sense of time.” ( J.B.Jackson) The thesis searches for an architecture that settles us, not with the givens of sameness and monotony of the Midwest, but by seeing and designing for the region outside those assumptions.

In 2007, my Harvard interviewer asked me to “not forget Toledo.”

We were in the middle of an economic recession, the Jeep industry was dead, and the city had long suffered from depopulation. Toledo was a nexus of raw goods and materials no longer, but of crime, drugs, and human trafficking.

As an immigrant, what allegiance do I have to this sprawl, to this place of corn fields and tornados? How does one return to a dying city? And yet this was Home.

Aren’t we all settlers? Must not we all reinvent our world and ourselves for Home?

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Great Black Swamp of Northwest Ohio: Northwest Ohio, standard of the Middle America, is a place of flows. Few choose to stay here, and those born here dream of leaving. In the 1800s, sustained by the port city of Toledo, populated with towns that were rest stops for settlers en route to better lands, brief stays were the norm here in what was the Great Black Swamp region. Submerged under water for millennia, a thickly forested freshwater swamp, neither water nor land, stood ominously between the industrial east and the American West. Today corn fields stretch on endlessly towards the horizon, while thousands of miles of drainage tiles channel agricultural chemicals directly into the lake, resulting in harmful algal blooms. The project attempts to destabilize the apparent sameness of this region, and to uncover the profound effects of culture, civilization, and identity on the material, real landscape. Here the story of a region can be understood through the transformation of liquid to solid, wet to dry, sublime myths and incomprehensibility to delineated territory and fertile resources.

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Towards Settlement: NWO as Seat of War of 1812 & Toledo Metropolitan Area

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“Two Americas of 2016� (Tim Wallace, NYTimes 111616) Two concepts of home per national ideology. Two countries that do not coexist.

Separate collectivity and identity. Flyover, forgotten, hidden, uncertain, swamps need reconciling into United States, not Divided America.

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cloud ten Harvard University GSD 6328 with Hanif Kara & Andreas Georgoulias, Spring 2016 The Yard is the oldest area of the campus and consists of the largest part of the dorms. The Yard is rigidly organized, flanked by century-old solid brick dormitories. Yet the Yard is also a site for youthful and spontaneous encounters. The concept of the design is a soft subversion of the hardness of Harvard Yard, capitalizing on ephemerality, flexibility, and seasonality as drivers for campus transformation.

Cloud Ten includes ten helium-filled cloud canopies amongst the elm trees of the Yard, contrasting heavy brick of the buildings with light pillows levitating above the ground, enclosed only with curtains.

The project is a part of a series of collaborative exercises in course GSD 6328: Interdisciplinary Design in Practice. This assignment was completed in collaboration with Maia Peck, Bryan Yang, and Gerry Ip.

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Site and Design Inspiration: Solid vs. Cloud; Brick vs. Pillows; Heritage vs. Moment; Institution vs. Pavilion

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Roof Detail Summer Condition + Typical Anchor Detail

2.

WINTER

bolted steel plate tensile cable system at tree

6" 1" 2.

open weave base cloth, PVC laminated

WINTER

pressurized air chamber 1" steel plate

6"

aluminum box, 6”x6”, 1” thick bolted steel plate

4"

heavy duty double hanging track system extruded aluminum thermal-acoustic 3” curtain (winter) gauzy curtain (summer) 10mm cable

1. Ground Cable System (Tension in Summer ) 1.

WINTER

2. Tree Cable System (Tension in Winter)

10mm cable

motorized tensile cable system

concrete and footing

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Seasonal Pavilion Types

Diagram by Bryan Yang

During the summer, the seasonal pavilion is completely supported by the helium roof structure, which is tied down by mooring cables in tension. The pavilions will be covered by gauzy, semitransparent curtains that billow in the summer wind and allow for an open, breezy space to sit, chat, work, and eat.

In the winter, these pavilions change into an interiorized space with the addition of heavily insulated thermal curtains.

The extra weight of these curtains means the aluminum frame of the roof requires extra support from the tree cable system.

The static pavilions are non-changing structures composed of translucent polycarbonate panels. This provides a sturdier interiorized space for offices and galleries while still maintaining lightness and transparency. These pavilions require a square portal frame inscribed within the pavilion’s outer circle to provide extra structure stability.

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Office

Black box

Cafe

Gallery 1

Gallery 2

Gallery 3

Site plan 16

Plan by author; Renders by Maia Peck

Overall plan shows a constellation of small enclosures, placed strategically on site, rather than a singular logic of a monolithic structure. Balloon clouds are placed such that they can attach to three trees, and make contact in three locations to the ground. To each cloud group, there is also auxiliary support structures for services, such as mechanical, kitchen or bathrooms. They take on the GSD logo in the grid panelling of the roof. Program was zoned based on sizes and in consideration of current occupation of yard (where most circulation and noise occurs, where there is less etc.)

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CHORA Radcliffe Institute for Advanced Studies Public Arts Competition 2016 Chora is an interactive sound installation that gives voice to members of the Radcliffe community from its inception in 1879 through our present day. The aim is to create a “khora” - a space or interval - in which to pause and hear these varied voices, which are currently archived in the form of oral histories, personal and scholarly texts, creative works, letters, and other writings. Chora provides the platform to lift these artifacts out of the muteness of the archive, and into the world for the community to listen to, ponder, and share.

The idea for the project was inspired by the research on coral reefs of the first President of Radcliffe, Elizabeth Agassiz. When the tiny individual corals stand alone, she observes, they are dwarfed by their environment.

But when bonded together into reefs, these small organisms become vital and enduring “communities... that have helped to make a world.”

Chora’s garden of voices celebrates that endeavor by highlighting both the individual and the collective, through 30 motion-activated sound pieces.

These sound pieces, this garden’s flowers, create whispering sound spots in the garden that respond to passersby as they traverse the world of Chora.

Chora is a competition proposal conceived and presented in collaboration with Maia Peck, making it to the final round in the Radcliffe Public Arts Competition. Special thanks to Royce Perez for technical advice, to Jamie Michalski for audio device programming, and to Acentech for their guidance on sound systems.

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Proposed Composition

CHORA

A Soundscape Installation for the Radcliffe Public Art Competition

~ Presented by Ruth Chang & Maia Peck The Radcliffe Institute for Advanced Studies April 4, 2015

I have told you that these strange little beings have built up large islands and parts of continents, and I hope with what I have said of their way of growing, of their solid frame, and of their living in such crowded communities, forming large hard masses, you would be able to understand how these busy little animals, who in order to fulfill their appointed works have only to grow, have helped to make the world. — Elizabeth Agassiz, A First Lesson in Natural History (1859)

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Site Strategy

primary diagonal crossings

islands

funnel, clearing, and quiet zone

archipelago

Renders by Maia Peck

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Plan

The speakers are located at the peripheries of each island in our final proposal. Each sound piece is offset 10 inches from the stone dust path. This distance allows for passersby to be close enough to activate the motion sensors within each sound piece, but not impede pedestrian traffic. Bright red indicates the tallest 6 ft variation, the burgundy the 5 foot variation, and the mute purple the lowest 4 foot variation.

Every 4-foot soundpiece is always accompanied by a bench seat.

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Sound Piece

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Audio System Flow Chart This system includes intelligence at both ends of the system – at the central computer as well as at each of the 35 locations– which will simplify troubleshooting throughout the two year installation.

Audio System

P Power

Power wiring

Long Ethernet

π

(to send feeback) Short Ethernet / WiFi

Copper wire

Sensor (infra red)

Speaker (passive)

Computer

(Program to monitor Rasperberry Pi)

Buckingham House

Sound

Garden

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campus bus stop Harvard University GSD 6328 with Hanif Kara & Andreas Georgoulias, Spring 2016 This all-weather bus shelter stands across from the Carpenter Center, alongside Lamont Library. The concept of the design is that the shelter serves the flow of two user groups: the pedestrian and the commuter.

The design took inspiration from the geometry and materiality of the Carpenter Center from its curvilinear form to the slender columns to the ondulatoires (the narrow windows). It aims to situate itself sculpturally and functionally in its context.

The project is a part of a series of collaborative exercises in course GSD 6328: Interdisciplinary Design in Practice. This assignment was completed in collaboration with Maia Peck, Bryan Yang, and Gerry Ip. Concept Ondulatoires (narrow windows)

Concept The concept of the design is that the shelter serves the flow of two user groups: the pedestrian and the commuter.

Curvilinear form

Slender columns (pilotes)

precedent analysis | site & context | concept | design solutions | material | structure | construction | cost

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The design took inspiration from the geometry and materiality of the Carpenter Center from its curvilinear form to the slender columns to the ondulatoires (the narrow windows).

Design Operations

Step 1 : A vertical plane (A) was drawn perpendicular to Quincy Street and parallel to sidewalk.

Step 2: A second axis (B) was drawn perpendicular to the Carpenter Center ramp axis.

Step 3: A lofted connection was made between the A and B axes to create the roof of the bus shelter.

Step 4: An S-shaped overhang was added.

Step 5: The sidewalk was extended to provide a bumpout, allowing passage for pedestrian passage on the sidewalk and room and generous space for bus commuters.

Step 6: Slender columns and glass louvers were added to provide enclosure and visual transparency.

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Detail A 8" 4 1/2"

2 1/4" 1 3/4"

reinforced concrete 8" 4 1/2"

2 1/4" 1 3/4"

1/2"d pin reinforced concrete track and frame

3 3/4"

drip 1/2"dedge pin track and frame

3 3/4"

8" glass panel bracket drip edge 1/4" laminated glass 8" glass panel bracket 1/4" laminated glass

12"

12"

Design Solutions

Detail B

All-weather

Detail A

1/4" laminated glass 8" glass panel bracket 1" louver stop 1/4" laminated glass 1/2"d pin 8" glass panel bracket track and stop frame 1" louver brick 1/2"d pin 4 1/2"

track and frame

The reinfo superstructur against the m forces - w sunlight.

brick

4 1/2"

Detail B

A

B

precedent analysis | site & context | concept | design solutions | material | structure | construction | cost

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Due to Ca continental c summers an winters, it w design an shelter to pr comfort from well as de system that needs of eac

A glass louv can be open summer respectively either ventila heat. The lam helps provi breakage. materials w glass pr transparency openness.

Design Solutions

Function

The basic bus shel design. T from the providing approach louvre s ventilation cool inha closed d help kee overhang for both pedestria

precedent analysis | site & context | concept | design solutions | material | structure | construction | cost

Plan view of operable brise-soleil

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reimagining shop life Harvard University Option Studio with Christopher Lee, Spring 2016 Team Project with Ni Duan Observing the directionality of traditional shophouse and Housing and Development Board (HDB) housing types of Singapore, this project reinvents existing vernacular housing types by inhabiting its directionality and strips with small-scale maker’s program. The project recognizes the importance of collectivity and the experience of the public life in face of an impending post-work future, in which economic, and therefore cultural, decline endangers the fabric of our cities and our societies. Reimagining shop life is an optimistic look towards a future in which the job is replaced by vocation, and monetary motivation by sense of fulfilment.

The project is located in a new development in the northern region of Singapore, in the Woodlands district. Situated between residential, institutional and industrial city parcels, the project envisions four city blocks of ground level small-scaled manufacturing with housing slab towers at top.

: Design Operation on Shop fabric : Introduce green and transparency layers in traditionally opaque shophouse fabric to enhance experience of diversity and variety in horizontal cuts

: ::

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SITE

Duan NI & Ruth CHANG Reimagining Shop Life 14

Site Plan: On the site, we wanted to enact a city for makers that overlap and accommodate industrial, institutional and residential zones. Note crisscross structure of Singaporean housing.

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Singapore Shophouse and HDB Void Deck

Singapore’s old city fabric is defined by an extreme compactness and narrowness within a given block so that each shop entity, while separated by party walls, has an interface with the street via the five-foot-way.

Composed of a shop at the ground floor with living and making spaces above, the type is an excellent example of how a maker’s society had once informed the deep structure of the city life of Old Singapore. Its distinct trait however, also led to its downfall, as its unrelenting depth, its lack of light and its narrowness could not sustain the demands of modern living.

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Plan Porosity and interval between banded entities of the shophouses increase as you move from W to E, transitioning from institutional to industrial scale programs. To encourage greater variety and opportunity for amenities within the rigid system, we made porous the tightly banded entities of the shop house, by adding open green strips next to solid bands. The public, which had long been excluded to the periphery of the block has opportunity to enter in, between the grain.

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Fragment Plan: Amenities Where the vertical N-S strips indicate discrete entities, we located collective spaces of working along the horizontal cut throughout the rigid banding system to locate moments of openness that straddle multiple programmatic strips.

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Fragment Plan : Central Pedestrian Street The expansion along the roads provide leisure and open spaces, such as pool, playgrounds, assembly hall that stands out as exceptions in the rule, around which people gather.

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Shop Life Scenes: Strips of shophouses are crosscut with public leisure thoroughfares, to promote maximum experience of heterogeneity in the city.

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PROGRAMMATIC DENSITY

Duan NI & Ruth CHANG Reimagining Shop Life 22

Programmatic Density: The design captures the power of the Shophouse to inform a city that’s dense not only in built form but also in its programmatic experiences, as vastly different programs are squeezed together and experienced in the cross cut, openings, and shifting of the program strips.

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cranberry bog Harvard University Option Studio with Kersten Geers & David van Severen, Fall 2015 The project is a design for a cranberry bog located in Middleboro, MA. It aims to create a spatial enclosure that best support the theatrics of the farm while taking into account the pragmatic specificities of dikes, bog dimensions, resources and seasonal patterns necessary to the cranberry operation. I wanted to capture the poetics of a working farm that disappoints neither farmer nor visitor, by designing thresholds that mediate the scenes of the spectacular, once-a-year cranberry harvest.

The intervention therefore is purposefully minimal, almost imperceptible.

Borrowing from Jefferson’s UVA and Monticello, the bog establishes boundaries and thresholds across the vast landscape through delicate extensions of architecture (such a trees, fences, sand piles, dikes and ditches). Layers of the threshold from nature to artifice overlap and sometimes gap, becoming an intermediary architecture with windows, doors and offering precise scenes of engagement with the cranberry fields.

The design constraint was to work exclusively in perspective and plan/ section drawings at the four scales of 1:10000, 1:1000, 1:100, and 1:10.

Water control structures from Paul J Whippel 1950 Patent (Left); Dike section from National Park Service (Right)

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Process image: Into the bog, from flanking country road

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Process Perspectives

The project began with the interest in the phenomenological potential inherent in the cranberry farm. I was particularly drawn to the notion that, within a studio whose aim was dealing with the industrial sized agriculture, I could nevertheless select a large-scale operations that operate within very small architectures. Early, the project was crafted around man, nature, delight and folly in the park.

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Process image: Along central axis from road, through farmhouse gates

For the 5-week cranberry harvest phenomenon, the farmers need 47 weeks of prep work. In a few hours everyday during this time, America celebrates pilgrims and Native Americans, Thanksgivings in the USA, and Cranberries, forever. This kind of spectacle, the removal from reality, and the temporal activities of the farm, calls for an architecture whose function is to provide a platform for the theatrics on the farm. It wants to celebrate and partake of the energy of the day. The project believes that farms are not industrial parcels but integral and valuable systems to enjoy: like a park. And on this park, Architecture changes like the bog, sometimes dormant, sometimes abloom with the seasons

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Process Drawings

Five farm units take root amongst organically-shaped bogs that have existed for 100+years. These new farm units choreograph the entrance into the landscape, and are key to reframe the industrial farm as an agricultural park. Each unit encloses an 80-acre farm. The farms are rooms, that have the potential to unveil oceans of cranberries in the autumn months in New England. Trees orchestrate the views and the cranberry landscape. A long, flat facade of the farmhouse conceals the phenomenon of the cranberry harvest from the street. It acts like a thin shell containing an unknown interior.

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Sketches: Sense of enclosure on the territory at strategic moments

Sketch of dikes and dike-ditch-dike variation (Lower): Design considered how pragmatic elements of the farm could be redirected towards architectural desires.

The access points and doors are located on the main dikes, which also organize the travel paths of the farmers and machines.

Flume gates form transportation intersection over the cranberry beds, and structure precise intervals in the landscape that reflects back to the orchestration of the farmhouse and truck strorage design.

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Final Perspectives

10 km

1 km

The intervention is purposefully minimal, almost imperceptible. Borrowing from Jefferson’s UVA and Monticello, the bog establishes boundaries and thresholds across the vast landscape through delicate extensions of architecture (such a trees, fences, sand piles, dikes and ditches).

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100 m

10 m

Layers of the threshold from nature to artifice overlap and sometimes gap, becoming an intermediary architecture with windows, doors and offering precise scenes of engagement with the cranberry fields. Ultimately, the aim is to produce a sense of farm-ness, via the outdoor enclosure of a vast territory with a set of small outbuildings.

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Final Drawings

1:10,000

1:1,000

Two axes were established. Working dike and ditches running North-South and visitors walking path running West-East. To the north, a band of farm buildings including, garage, tool sheds, temporary housing, warehouse and offices is the central core of the farm. Using tractors and trucks, farmers move tools and replacements up and down the central axes, through which the bogs are also flooded via a series of dikes and water gates. Outside the gridded bog system, workers also move in large amounts of sand before freezing, as a part of the cultivation of cranberry.

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1:100

1:10

Visitors infiltrate the bog from the side, with parking just off the side of the road, where they can walk in on the elevated dikes.

Along the main East-West axis there is store where jam and cranberry goods are made and sold. A necklace of trees and a wire and post fence separates the park from the farm except for platforms that are set up for viewing located throughout the park (alternating with toolsheds to store gear for workers for convenience). This is the moment where farmers and visitors can occupy the same boundary line in the off season.

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oyster condo, nyc Harvard University Core Studio with Renata Sentkiewicz, Spring 2015 Team Research with Maia Peck and Chang Su Team Statement: With the threat of rising sea levels, water pollution, and increasingly frequent weather emergencies, New York’s coastline requires an alternative model for the future.

Our proposal is a development prototype for the inhabiting of the New York coastline. By integrating water treatment system and oyster farming with housing blocks, the project reinvents new, amphibious living conditions for the city.

Each team member in this studio focused on a productive living housing model that derived from our midterm proposal. Our vision entailed a living in the city that would not panic but embrace flooding as new opportunities for programming along the coastline that capitalizes on the specifics of the oyster industry.

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Group Vision of Living Oyster Reef

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Oyster Production Cycles

Oyster Pool Prototype Process

OYSTER SPECS

Oyster Production Specs

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Individual Proposal for Oyster Living:

The Oyster Condo

The three members of the team took on three approaches towards the powerful shaping of the site for oyster farming.

My stance was one that involves a water-centered, oyster-informed lifestyle, in which housing form is organically shaped around particulars of the oyster industrial pools below. The curvilinear form is lifted up from the ground, accomodating and capitalizing on its potentials for a rich housing culture. Water, therefore, became a primal concern as reuse of the greywater informed the residential units not only formally but also programmatically.

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Process Model

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Section through Residential units, commercial floor and oyster industry at ground

The unit design took into considerations the creation of a ‘culture’ from the particulars of oyster farm living. The sectional cant of the block provides opportunity to curate views; the kitchen, therefore, enjoys a view of the oyster farms below, while the greywater filter gardens look up at the sky. Moreover, every apartment has two levels with designated wet and dry zones, projecting the need of oyster farm workers to clean up shoes and garb before proceeding into the furnished domestic comforts of the dry zone.

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Condo Plans:

Oyster industry at ground; Residential typical above; Block motor access at lifted second level

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veil hotel in phoenix, az Harvard University Core Studio with Maryann Thompson, Fall 2014 This hotel, situated in hot and dry desert of Phoenix, Arizona, questions the binary relationship of fantasy and reality.

It acknowledges that so much of reality is a constructed fantasy: the persisting human reliance on mechanical cooling, the pretense of abundant waters, the paradox of the hotel program, in which the fantasy of the served sometimes collides with the reality of service.

The project poses an alternative fantasy, between air conditioning and unmediated heat, between served and serving. It unveils the systems that support us. The architecture of the desert hotel loosens and unseals itself, and leaves its doors slightly ajar.

Hotel is not hermetically sealed and, except for private hotel rooms, are not conditioned artificially. The entire building is shaded under a ceramic screen, and takes advantage of the mandatory water pools and thermal sequences by capitalizing on the phenomenon of evaporative cooling, which is especially effective in the dry heat of Arizona.

The laundry sequence is a part of this process, where workers’ spaces are lifted into view and are part of a separate circulatory path in the hotel.

Instead of using machines, cleaned laundry is hung out to dry.

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Phoenix as a site of constructed Paradise:

In the hotel the fantasy is supported by a host of workers and hotel staff.

In the desert, the fantasy is the mirage sustained by imported water, and sprawling infrastructures.

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Early Collage: Manifesto for a tower in Phoenix. The tower program is clear from the inside out. There is no more hermetic seal, no distinction between the standard glassed-in interior and the environmental exterior.

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Locker rooms and ending Laundry sequence (Sort, Package and Distribute) Locker rooms and ending Laundry sequence (Sort, Package and Distribute)

Beginning Pool Sequence with Tepid Pool 1, Poolside Apartment, and Washers Beginning of of Pool Sequence with Tepid Pool 1, Poolside Apartment, and Washers

Screened Basketball Courts, Path down running track Screened Basketball Courts, Path down to to running track

Ground Plan , Restaurant and View into Kitchen, Garden Ground Plan , Restaurant and View into Kitchen, Garden

Locker rooms andLobby/Directory ending Laundryand sequence (Sort, Main Building Training poolPackage and Distribute) Main Building Lobby/Directory and Training pool

Beginning of Pool Sequence with with Staff Tepidlounge Pool 1,and Poolside Hotel Lounge overlapping officesApartment, and Washers Hotel Lounge overlapping with Staff lounge and offices

Screened Basketball Court

NN

Selected Floor Plans: Plans selected to demonstrate the shift of program that accomodates the service elevator on a cant, shifting and informing other served hotel programs

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Renders: Planar organization was determined by a turn of the service elevator that effectively interrupted and lifted the services into view. In this case, the laundry sequence is lifted above the basement level into plain view, as a part of the pool sequences in the hotel.

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Thermal Baths- Hot

Hotel rooms

Thermal Baths- Cool

Elevated Park

Basketball Courts

Lap Pool

Diving Pool Thermal Baths- Tepid Laundry Sequence Staff Lounge

Ground Level Restaurant Kitchen

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rare books library Harvard University Core Studio with Jeffry Burchard, Spring 2014 This is a proposal for a library to house Boston’s Museum of Fine Arts rare books collection, preserving important rarefied documents while serving the general public on Boston’s historical Emerald Necklace.

The project embraces the contradictions of being a monument on park grounds privy to less imposing architectural solutions. The facade tells the story of this dissolution, in which an abstracted pediment-column type (housing the main reading room and rare archives) cracks open and ramps upwards through general stacks, until it concludes in a private treehouse among the treetops of the park. An outdoor staircase sinches the treehouse back to the beginning.

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Els pub

ELSA MORANTE PUBLIC LIBRARY ANALYTIQUE: PARTS TO WHOLE RELATIONSHIP, EXTERIOR / INTERIOR

READING THE FACADE

abstracted tin shed

unfinished belltower

gable roof barn

oratory

classical residence

Varese Italy 2008

skybridge existing plans

service a

General reading study a newspa check o Library

Multipurp REGISTRATION POINTS BETWEEN INTERIOR SPACES AND LOCATION ON EXTERIOR FACADE / BETWEEN FLUID SPACES AND SINGULAR PARTS OF WHOLE

My projec mapping volumes dealing w whole of (some of are pulled

For the a Library, I the stack sequentia Through the parts their spac

simple flip

no vertical circ,rooms only dedicated vertical circ to nowhere sample path of travel,repeating rooms

program by numbers

reverse programs

follows original sequence generally

visual connection sills and doorways

Ruth Cha

Analytique study of Elsa Morante Library, Varese, Italy (2008): Exploration on how the discrete elements of the facade register on various fluid cognitive mappings of the interior. The building is unrolled sequentially into one planometric drawing.

Demonstrates an early interest in how exterior/facade fragments to reflect the interior, and how the user in discrete spaces register with the entirety of a building

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Site plan: Project is located on peninsula site across a small stream askew from the classical facade of the Museum of Fine Arts

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Early concept models

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LEVEL -1 GROUND ENTRY FROM BRIDGE

Rare Books Library, MFA/Emerald Necklace: BALANCING MONUMENT AND TREEHOUSE

|

Ruth Chang | J Burchard Studio | Spring 2014

Plan Level -1

Entry from bridge

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Rendered View (Opposite): The corridor is like an alleyway between two discrete buildings; it cuts straight through the mass of the building to see the trees outside. This view strikes you as soon as you enter the monumental facade.

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LevelLEVEL 22

Rare Books Library, MFA/Emerald Necklace: BALANCING MONUMENT AND TREEHOUSE

|

Ruth Chang | J Burchard Studio | Spring 2014

LevelLEVEL 0 0 ENTRY GROUND FROM PARK Ground Entry from park B

LEVEL Level 33

Level 1

LEVEL 1

A

Rare Books Library, MFA/Emerald Necklace: BALANCING MONUMENT AND TREEHOUSE

|

Ruth Chang | J Burchard Studio | Spring 2014

Plans: The stacks are situated on platforms, which themselves are stacked. The upper stackes are arranged perpendicular to passage and accessed via a ramp system; they do not have a direct view of the exterior. The lower stacks are arranged to create nooks and accessed from individual platforms via stairs; they receive full view of the exterior.

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MAJOR PROGRAM DISTRIBUTION

TREETree HOUSE / SYNCH STAIRS house/synch stairs

LG READING RMRm Lg Reading TOP LEVEL / CIRCULATING STACKS

Top level/Circulating Stacks

SECRET GARDEN Secret Garden

Sm Reading Rms SM READING RMS

Auditorium RARERare STACKS Stacks

Offices/Workshops OFFICES/WORKSHOPS CAFE/BOOKSTORE Cafe/Bookstore

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A

B

Emerald Necklace: BALANCING MONUMENT AND TREEHOUSE

|

Ruth Chang |

J Burchard Studio | Spring 2014

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brookline athletic center Harvard University Core Studio with Jeffry Burchard, Spring 2014 The proposed gym is situated off a small downtown street of Brookline, MA, a narrow parking lot squeezed between a raised main street, a local bank and sunken train tracks.

The project explores the ideas of fantasy to create desire in the ordinary streetscape. As such, the project maintains a stance of being removed from the site, in two paradigms: by conspicuously floating above and by nestling under a constructed ground, as island and ant-hill.

The two paradigms took shape in a basic distinction of programs by scale.

The biggest programs (swimming pool, basketball court) are trussed and lifted above by large columns, while smaller programs (weights, wellness center, changing areas, squash courts) hang below through a field of thin columns. Though the structural systems are independent of each other, yet one is a response to the other, taking cues from the Mosque-Cathedral of Cordoba. Six large piers take precedence, to which the field of columns elongate and platforms ‘crush’ down to generate sectional difference in the underground. Thus the gym, in its audacious structure, entices interested passersby. But in the desire to go up, one happens upon its imprint below ground.

The design reflects a search during the second semester at the GSD for a methodology in which idiosyncratic spaces are the result of a consistent logic that is mined from the irrational desires of intuition.

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Floating in situ/Removed from the ground Brookline Community Athletic Center Floating in situ/Removed from thefrom ground Floating in situ/Removed from the ground Floating in situ/Removed the ground Brookline Community Athletic Center Brookline Community Athletic CenterCenter Brookline Community Athletic Floating in situ/Removed from the ground present access/FLOW

Floating in situ/Removed from theCenter ground Brookline Community Athletic Brookline Community Athletic Center present access/FLOW present access/FLOW present access/FLOW present access/FLOW present access/FLOW

Floating in situ/Removed from the ground Brookline Community Athletic Center

++

present access/FLOW

++

ISLAND

ISLAND +

ISLAND ISLAND ISLAND ISLAND

ISLAND

+

+

= =

==

ANT HILL

ANT HILL =

ANT ANT HILLHILL ANT HILLANT HILL Projecting 2 potential systems: The island and the ant hill

=

=

Brookline presents munity and yet the with a one sided ac ready busy Boylsto maintains a stance digms; by conspicu site invisibly (Ant tems must negotia ground, striving to meeting, new strati craters of open sp tions, and new “is moments rising up

Collage (lower right): Floating castle and inversion underneath

ANT HILL

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Process Image: Structure from above and platforms below

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Field of columns

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Rule for sectional difference

1

0

4

-8 5

-11 -14 -17

Plans

Plans Plans

-8

-8

-8

-8

-14'

-17

-8

-14'

-8

-17

-8

-17

-8

-8

-8

-8

-8

-8

-8

-8

-17

-8

-8

-8

-8

-11'

-8

-11'

-8

-8

-11'

-17

-8

-8

-14'

-8

-8

-8

-8

-8

-8

-11'

-11' -11'

-11' -11'

B2

-17

-14'

-8

-8

-8

-14'

-8

-14'

-8

-8

-8

-14'

-17

-8

-8

-8

-8

-8

-17

-8

-8

-8

-8

-8

-8

-8

-8

-14'

-14' -14'

-8

-11'

-8

-14'

-8

-8

-8

-8

-8

-8

-14' -14'

-17

-8

-8

-17

-8

-8

-17

-14'

-8

-8

-14'

-8

-17

-14'

-8

-8

-14'

-17

-8

-8

-17

-14' -14'

-8

-8

-17

-8

-8

-14'

-17

-14'

-8

-8

-8

-8

-8

-8

-8

-8

-14'

-8

-17

-8

-8

-8

-8

-14'

-17

-8

-8

-14' -14'

-14' -14'

-8

-8

-8

-8

-17

-14'

-17

-8

-8

-8

B2 B2

B1 B1

Stretching Open spaces

B1

-11'

-11'

-11'

-11'

-11'

-11'

B1 B1

GGG

Sauna Steam Lockers Machines Elevators

G G

Street level Entry

Rules for Sectional Difference (Top); Plans (Bottom): Piers and Pilotis

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F1

F1 F1

F1 F1

Wading and Lap Pool

F2

F2 F2 F2 F2

Basketball

Ruth Chang Burchard Ruth Ruth Studio Chang Chang RuthSpring Chang Ruth Burchard Burchard 2014 Chang Burchard Studio Burchard Studio Studio Spring Spring Studio Spring 2014 2014 Spring 2014 2014

Basement Level Plan

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Basketball court

Suspended Pool

Piers, accomodate elevators, stairs

Hypostyle Hall, small column 4”d configuration organizes circulation Shifting module 10’x10’

Squash courts

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Process Sectional Model

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Process Image Sectional Model

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“ I mounted into the window seat: gathering up my feet, I sat cross-legged, like a Turk; and, having drawn the red moreen curtain nearly close, I was shrined in double retirement.”

hidden room Harvard University Core Studio with Megan Panzano, Fall 2013 In defining ‘Hiddenness,’ I was drawn to the idea of the boundary in Jane Eyre, in which Jane hides to read in a windowseat and “sits precisely at the point where inside and outside meet, converting a boundary line into a new interior space” (Peter Bellis, “Vision and Power in Jane Eyre”).

At the moment of seeking and finding a personal space, the hidden room reveals itself.

In the project, four walls shift in plan through the four levels to clue and reveal the idea of another hidden room, as if hidden in the boundary. The four walls tighten into a single boundary at the top, revealing the void that has been present all along the upward trek.

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RUTH CHANG

SECTION A 3/32”=1’-0”

STUDIO PANZANO

CORE STUDIO

PROJECT HIDDEN ROOM

SECTION B

SECTION C

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microscopes & tubes laboratory Harvard University Core Studio with Megan Panzano, Fall 2013 As the last project in the first semester, students were asked to design a laboratory, with 100 hot and 100 cold rooms, aimed towards a “calibrated porosity.�

In a program implying a high-tech space of limited public access, and high-tech spaces that require the regulation of heat and air, I conceived of porosity in two ways: through microscopes (people view and access) and through tubes (flow of hot air in building).

My goal was to develop a mini culture, a porous city, in the laboratory—the devices are angled towers to maximize solar gain for hot labs and shading for cold labs. Within the towers, setback of six feet in every floor plate intra-towers/tubes supports the appropriate heating of each floor, as hot air rises and is drawn up through stack effect, but is retained at the top to maintain high temperature in the hot lab and cool temperature in the cold labs.

People, heat, and gazes, are caught between these horizontal and vertical pores, as a culture under the eye.

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hot direct hot direct lab lab hot indirect hot indirect lab lab coldcold indirect indirect lab lab coldcold no light no light lab lab offices offices public public event event + common + common space space

DIAGRAMS CALIBRATED POROSITY / MICROSCOPES AND TUBES, ENTRAPMENT AND FLOW RUTH CHANG STUDIO PANZANO FALL 2013 DIAGRAMS CALIBRATED POROSITY / MICROSCOPES AND TUBES, ENTRAPMENT AND FLOW DIAGRAMS RUTH CHANG STUDIO PANZANO FALL 2013 DIAGRAMS

form and shade

horizontal

vertical

access to above

form and shade

horizontal access to above

rake/angle/oblique gaze across void

vertical

divergent light

passing between towers

no access, gazed at

compression

release

divergent light

passing between towers

no access, gazed at

compression

release

rake/angle/oblique gaze across void

heat

light

access

view

heat

light

access

view

SECTIONS 1-16”=1-0’ SECTIONS 1-16”=1-0’

access to above

gaze across void

divergent light

passing between towers

no access, gazed at

compression

release

access to above

gaze across void

divergent light

passing between towers

no access, gazed at

compression

release

Microscopic Moments (Section B)

Microscopic Moments (Section B)

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flight hotel Princeton University Junior Studio with Paul Lewis, Spring 2011 Emerging from the base of the Wright Brothers Memorial (Kittyhawk, NC), the project is a 20 unit hotel for visitors of museum and monument.

The need to deal with flooding and summer sun led to a mat building design that both shades and lifts off from the ground.

Each hotel room is south facing designed to maximize winter sun and minimize summer sun. Additionally the room is reconceived as a part of the circulatory ramp. The experience of the hotel thus echoes that of the memorial at the top of the hill.

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peter rose & partners Cambridge, MA Summer Intern, Summer 2016 Peter Rose + Partners, Inc is an architecture and urban design firm that grew from the Office of Peter Rose, which began in Montreal in the 1980s, and since 1991 has been based in the Boston area.

I worked primarily on a residential project in St. Louis, updating CD documents in Revit and Rhino model, physical models on house millwork baseboard options and an unresolved garage link into the house, and assisting coordination on MEP and gravity vents used for passive cooling in the house.

Model: Determined alignment with window, truss, roof cladding, and garage door connection; Garage Link hallway modeled to determine materiality, ceiling and connection to the house. Collaborated with Ben Burdick.

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LVL 01 LOWER 601' - 3"

9 7/8"

5/8" CEDAR FINISH CEILING

AIR INLET

2' - 0 3/8"

FAN

10" GRAVITY VENT

REMOVABLE ACCESS PANEL

CONDENSATE DRAIN

WALL FINISH: CEDAR PANEL

3' - 4 7/8"

5/8" GYPSUM BOARD 1/2" PLYWOOD SHEATHING 2X3 WALL 2X4 WALL WATERPROOF SEALANT AT INSIDE OF CAVITY

Digital Model Renders (Top) Modeled interior alignment and material in Rhinoceros for confirmation with client

AIR OUTLET

1' - 0"

PERFORATED SCREEN

3 3/4"

Gravity Vent Section Detail (Right) Detailed wall sections in Revit in response to lowered ceiling heights and thickened wall due to specs from gravity vents, coordination with MEP and interior

BASEBOARD DETAIL

BASEMENT 592' - 0"

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dining area - Option 2 NH: MODIFICATION BASED ON REQUESTS OF HISTORICAL PRESERVATION COMMITTEE.

THE SHANGHAI

L1 ALL DAY DINING F&B retail - Option 1

15 OF 55

NH: PREVIOUSLY SHOWN CEILING CONFIGURATION.

08 JUN 2015

#181 DESIGN UPDATE

neri & hu Shanghai, China Summer Intern, Summer 2015 16 OF 55 #181 DESIGN UPDATE

08 JUN 2015

Neri & Hu is an interdisciplinary architectural design practice based in Shanghai providing architecture, interior, master planning, graphic and product design services, led by Lyndon Neri and Rossana Hu. I worked on an adaptive reuse project, taking a historical building and adjacent office building at the heart of Shanghai and transforming it into a luxury hotel brand under the partnership of Ian Schrager and Marriott International.

All-day Dining Ceiling Option Submittal: Designed ceiling option, and column cladding details in DD package, in response to request from Historical Committee to highlight existent structural columns from design intervention. Final renders by Neri&Hu render team.

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Along with three other team members, we pushed to propose schemes and renderings, material palettes and design rationale to our multiple clients, and offered justification for wall cladding in an irregular pentagonal room with an off-centered column, to drawing up ceiling strategies that expressed the architectural concrete of a historical building in response to the DD stage package.

CURRENT SCHEMATIC DESIGN

PUBLIC AREAS PUBLIC AREAS L6 VIP ROOM PUBLIC AREAS L6 VIP ROOM L6 VIP ROOM

L7 ROOF TOP CLUB BAR OPTION 2

THE SHANGHAI THE SHANGHAI THE SHANGHAI THE SHANGHAI

N&H added trees per ISC instruction

PROJECT 项目: EDITION SHANGHAI

SKETCH NUMBER 编号: EDITIONSH-SKA-022

ITEM 名称: L6 VIP ROOM STUDY

PAGE 页数: 1 OF 18

DATE 日期: 20 July 2015

BUILT-IN

2600mm

Screen fins turned 90 degrees to serve backback display; Screen turned 90 degrees to serve backback display; screen isfins lit from front Screen turned 90 degrees to serve backback display; screen isfins lit from front screen is lit from front

parapet

1300mm

GARDEN

CINEMA

BAR

GARDEN

900mm

1000mm parapet

TOP OF RECOMMENDED SCREEN HEIGHT= 2.8 M. CANNOT BE ACCOMODATED HERE

DRAWN BY 制图: RC

GRASS BOWLING

VERTICAL PLANTS

GAMES

THE SHANGHAI

L7 ROOF TOP CLUB POSSIBLE SOLUTIONS FOR THE LARGE PLANTER (DIMENSIONS BY ASDS) 2600SECTIONAL mm

BIG TREE X 10 MIINIMUM HEIGHT 5M

parapet

STRUCTURAL COLUMN

Screen with inset Bronze boxes as barback display; Screen iswith insetbehind Bronze boxes as barback display; screen lit from Screen iswith insetbehind Bronze boxes as barback display; screen lit from screen is lit from behind

TRELLIS

Maintaining current bar design length per CKP Bar length = 24.3 M

N

PROJECT 项目: EDITION SHANGHAI

SKETCH NUMBER 编号: EDITIONSH-SKA-012

ITEM 名称: PA ROOFTOP LANDSCAPE UPDATE

PAGE 页数: 2 OF 2

DRAWN BY 制图: RC

5000mm DATE 日期: 26 JUNE 2015

Screen Behind boxes as barback display; shelving for Screen hung; Behindscreen boxes isaslitbarback display; shelving for bottles from behind Screen hung; Behindscreen boxes isaslitbarback display; shelving for bottles from behind bottles hung; screen is lit from behind

PROJECT 项目: EDITION SHANGHAI PROJECT 项目: EDITION SHANGHAI EDITION PROJECT 名称: 项目: ITEM L6 VIP ROOM SHANGHAI STUDY ITEM 名称: L6 VIP ROOM STUDY ITEM 名称: L6 VIP ROOM STUDY

1500mm

SKETCH NUMBER 编号: EDITIONSH-SKA-022 SKETCH NUMBER 编号: EDITIONSH-SKA-022 EDITIONSH-SKA-022 SKETCH : 9 OF 18 编号: DRAWN BY 制图: RC DATE 日期: 20 July 2015 PAGE 页数NUMBER DRAWN BY 制图: RC DATE 日期: 20 July 2015 PAGE 页数: 9 OF 18 DRAWN BY 制图: RC DATE 日期: 20 July 2015 PAGE 页数: 9 OF 18

750mm

1100mm

880mm

1500mm

450mm

PROJECT 项目: EDITION SHANGHAI OPTION 选项:

ITEM 名称: #181 ROOFTOP PROGRAM AND LANDSCAPE STUDY PAGE 页数: 17 OF 19

SCALE 比例:

DRAWN BY 制图: RC

VIP Space Moulding/Ceiling: Designed ceiling option, and column cladding details in an irregular pentagonal room with an off-centered column.

Final renders by Neri&Hu render team.

DATE 日期: 06/19/2015

Rooftop Club Landscaping: Submitted client and engineer package on rooftop structure capacity, negotiation of size, location of trees, furniture, and programming elements.

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kris yao | artech Taipei, Taiwan Summer Intern, Summer 2014 Kris Yao Artech is a large architectural practice with a wide range of built works in East Asia, based in Taipei, Taiwan. There, I worked closely with senior designers to update material selection, mock up façade mosaic tile layout, research reinforced concrete wall tie-back systems, and check for architectural accuracy in the main lobby of National Palace Museum of Taiwan, now under construction.

OMA’s Performing Arts Center, for whom Artech is the Architect of Record, was also ongoing, providing interns a chance to visit the project as it neared the end of structural construction.

National Palace Museum Southern Branch (Top) Tiling pattern and corner conditions of laying of mosaic tiles. Photo from Kris Yao Artech as built.

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Artech-OMA Construction Visit (Left) Taipei Performing Arts Center one year into construction.

Process Models Updated Sketchup digital model and mocked up pattern of perforated cladding in fragment lobby model with roof detail and connecting bridge. Collaborated with Su Fan Xuan. Top photo from Kris Yao Artech of National Palace Museum Main Lobby as built.

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“Ruth Chang� began in 1999 in a small suburban town.

She had just mastered English and was reading a book. The book was about memories, about granite, about names, about narratives, about the crafting of experience. In that pivotal binding of a young mind to her world, she found that architecture too spoke English. Ideas, sensations, lyrical water, poetic granite. The material world spoke and words can be materialized.

Since then, Ruth received a Bachelor of Arts in Architecture from Princeton University. She is now a candidate for the Masters in Architecture at Harvard Graduate School of Design.

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