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SUNSET ARTS COLLECTIVE

WORLD WITHIN WORLD FUTURESTAGE MANIFESTO

Instructed by Mariana Ibañez

DEC. 2022 / M.Arch I 3rd-year Advanced Topic Studio, fall term, UCLA AUD Group Project. Collaborating with Stijn Cuevas

Looking into the future of stages we see a vision of truly immersive experiences of a world within a world, with each world containing its own unique characteristics, strengths, and weaknesses. Situated at the intersection of three infrastructures, the site aims to provide its audience with a choice of being among multiple dynamic theatrical worlds. By providing the audience with a choice of worlds, they have the ability to experience each world separately by simply jumping between them or simultaneously engaging in multiple.

Within our FutureStage / Performance Orbs, we have established a strong relationship between ground conditions, zoning distribution, and connections relative to each other. Our concept begins to question these relationships and see how we can build upon the notion of worldbuilding. By looking at the variety of the parts we can start to distinguish each part as its own world with its own characteristics from our part-to-whole, and part-to-part research. Our focus has been to treat each part as its own and try to nd a way to either extend it or cut down on it to achieve a di erent part-to-part relationship.

OFFSET LINES BY WIDTHS ABOVE GROUND

IDENTIFY LINEAR OBJECTS ON SITE

RECOGNIZE SPATIAL ATTRIBUTES OF LINES

OBJECTS ARE UNSTABLE, GROUND IS STABLE OBJECTS ARE STABLE,

Section studies of the relationship between the object and the ground

GROUND IS UNSTABLE

BOTH ARE UNSTABLE

Conceptual Sections

The ideas is that every performing space, which we called it perfoming sphere, is stitched together by a continuous pathway (gold). It allows visitors walk from

Physical Models of Perfoming Sphere

from sphere to sphere, browsing different performances before deciding which one to go.

As the main elements of the site, the infrastructures act as dividers and connectors at the same time. However, tather than seeing them as constraints, we take such attribute as an advantage to create a Stage Village, where the divided islands are connected by a designed common ground, allowing its visitors to wander among each stage.

CITY ARBORETUM

CITY ARBORETUM

Instructed by Julia Koerner

MAR. 2021 / M.Arch I 1st-year studio, winter term, UCLA AUD

The plan is strung by a circular path switching alternately between interior, semi opened space, and exterior throughout the site. On the other hand, the transparent envelope and the plants inside and outside of it illude people' s perception of what is the interior and what is the exterior.

The envelope of is fixed on a set of branch-like structures. While the columns bear the loads from the above, the branch-like structure and the cables atop take the moment. The Roof, Fabric structure and the walls are then attached onto the structure.

The core concept of this project is that the building and the plants are tting to each other. Aside from the space that required arti cial oors, the building spares most of the earth to the plants. On the other hand, the plants become the secondary envelope system that shades the building from excessive sunlight. Based on their geometrical properties, each plant could serve as a part of architecture. For instance, the wide and shallow canopy of Acacia could be the roof of the library, whereas the short, dense shrubs could be the wall that prevents wind and lters polluted air from the outside.

Extracting a chunck of the precedent, transforming it into iterations while remaining the same column-spacing (conducted

Examining fitness between the building and plants in each iterations

(conducted with Grasshopper).

STRUCTURE AND COMPONENTS (Tensile Structure was modeled with Grasshopper Kangaroo).

SUNSET ARTS COLLECTIVE

SUNSET ARTS COLLECTIVE

Located on Sunset Boulevard, LA’s most vibrant roadway, the project inherits the brutalist language of its previous building while creating contrast through various materials. The existing bank building is a one- oor hybrid building with an iconic concrete spandrel ying between the ground oor and roof-top parking deck.

The project vacuums the interior ground floor and opens it to the sky. Meanwhile, the concrete spandrel is replaced by a concrete mass serving for the new program. To accommodate the new arts collective’s program, the project adds additional building mass on top of the existing one and divides it into 2 L-shape pavilions interlocking with each other, one serves arts creators and sta , and the other opens to the public for temporal exhibitions and conferences. The points where the 2 intersect are the fire stairs and elevators. The glass elevator gives public access from the sculpture garden on the ground oor to the exhibition spaces above. On the other hand, the sta and material supply enter the building through the service elevator at the parking deck. The cafe, serving both private and public populations, connects the 2 pavilions by a roof terrace.

The facade of the new building, along with its structural system, attempts to create illusion and contrast for its visitors. The exterior facade is constituted by precast concrete panels, which give a sense of opaqueness and heaviness. However, the building is highly transparent and light on the side facing the courtyard. The visitors would not know the essence of the building until they go through the deep threshold and see the glossy glazing and red-tint steel frames. The building is monolithic and mute during the day, while the alternation of translucent concrete panels and traditional precast concrete panels give voice to it in the bustling night on Sunset Boulevard. The unparallel light stripes, illuminated by the interior lights penetrating the translucent concrete, defamiliarize the straight edges and act as spotlights that highlight the building in the meantime.

Plan Figure Section Figure

Instructed by Neil Denari JUN. 2022 / M.Arch I 2nd-year studio, spring term, UCLA AUD

Atrium view from the back corridor

Atrium view toward the south entrance

Ceramic shop

Woodshop

SOUND REACTIVE SKIN

FIT FOR THE FUTURE

SOUND REACTIVE SKIN

The architectural strategy of noise reduction and fenestration have always been a dilemma of building envelope in the urban context. The most used method to reduce noises is insulation, which usually comes with an increase of wall thickness. However, the apertures of the envelope, which are the devices of ventilation, attenuate the effect of noise reduction. The research aims to find an innovative envelope system that builds the two functions together. To seek for the resolution, the research is looking into two elds of studies that investigate the resolution through the physical principle of sound waves: Cymatics, Active Noise Reduction.

Instructed by Julia Koerner Ongoing / M.Arch I 3rd-year Research Studio, UCLA AUD

ORGANIZATION OF APERTURES: as reference points to the pattern