SARA-ANN YONG SELECTED WORKS // 2014 - 2018
PREC EDENTS OF
N ITO B E M EM O R IAL H A L L
O BJ ECT:
R OO M :
DOM ESTI CITY
p. 8
A N IM ATE / I N A N I M AT E
SU BJ E CT I N SPAC E
p. 12
p. 13
p. 4
LI BRARY: COL L ECT ION
KAYA K C LU B + C AF E
H US K M ITN AV N
HOM E
p. 15
p. 18
p. 20
p. 23
PR ECEDEN TS OF DOMESTICITY Intro to Architecture, Fall 2015 Instructor: Professor Jean Jaminet
This project took Marcel Breuer’s Laaff House as a design precendent and analyzed its design through formal analysis and a series of indexical explorations.
AXES
HIERARCHY
DATUM
9-SQUARE
SOLID-VOID
PARTI
CENTER-PERIMITER
A concept from the original building incorporated into this design is the courtyard entrance. The concept is maintained
through
the
addition
of a downward ramp leading to the underground compound where the entrance is located. By selectively placing faceted structures on the landscape, the courtyard is further established by creating a flow of space a person has to go through in order to enter. 4
Formal Analysis of the Laaff House
REGULATING LINES/ PROPORTION
Indexical Sequence From my formal analysis, it is apparent that there is a diagonal shift in the Laaff House’s floor plan that causes disruption and compression to the space, illustrated through rotation and repetition of the floor plan elements in an indexical diagram. I took the dirsuption in the form to be the massing of the building, while the compression of the field took on the form of the ground. A dynamic figureground relationship emerged as the center-perimeter of the compound was altered: due to the faceted nature of both the house and the ground, the building itself can be seen as part of the ground condition, yet distinct enough to be identified as its own.
FLOOR PLAN ILLUSTRATED WITH CUBES AND BARS
ROTATION
REPETITION
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Ground Condition
Building Mass
The ground is characterized by a hole shaped in the general
The geometrical house is shaped like an arrowhead, forming two
outline of the base of the house
separate wings
Process Models
Decline in Ground Condition A declining ramp connects the landscape and the house, and leads to the entrance
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A
B B
A Top View
Plan
Section A-A
Section B-B
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NITO BE MEMORIAL HALL Senior Capstone Studio, Spring 2018 Instructor: Professor Naomi Darling
The design for the Nitobe Memorial Hall was completed over two phases: the building’s form was developed in the Design V studio at UMass Amherst in the fall, while its construction and materiality evolved with research for my thesis in the spring. Japan’s architecture is deeply rooted in its history and religion. In Shintoism, kami are spirits that manifest in nature as elements of the landscape. Kami are said to be of nature rather than separate from nature, which alludes to Japan’s reverence for all that is natural.
“Nature and architecture, outside and inside, are always blurred. This is not a superficial Japanese style - it is
My thesis explored two ways in which
more of a fundamental concept.”
Japan’s
traditions,
religion,
and
reverence for nature can be presented within architecture: First, through the incorporation of traditional
Japanese
architectural
elements that create flow between an exterior and interior space, mirroring a close relationship between man and nature. Second and more prominently, through the use of a natural building material like wood, which is especially apparent
in
traditional
construction and carpentry.
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Japanese
- Sou Fujimoto
Traditional Architectural Elements There is a recurring theme of blurring the lines between the inside and outside that is quite prominent in
Japanese
architecture.
Certain
A
traditional
architectural elements serve the purpose of creating this connection. 5
6 4
3
1st Floor
2 1
Engawa 掾側
1
Genkan Entrance
2
Lobby + Reception Area
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Nitobe Information Center
4
Classrooms + Office Space
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Dining + Kitchen
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Tea House
A
The engawa is a transitional space that is neither completely covered nor completely open. It is a covered exterior corridor that runs around the outside of a building’s main space, and acts as an extension of the interior space.
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9
8 7
2nd Floor 7
Large Classroom
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Exhibition Hall
Shōji 障子
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Food Drying
The shōji is a sliding door or window placed on the inner side of the
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Outdoor Dining
engawa and can be slid open to allow for movement between the inner tatami clad inoors and the engawa itself.
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Layering The biggest design change to the completed design from phase 1 in the fall semester was to the plan. I initially designed the main circulation to be linear along the program of the memorial hall. However, after analyzing my completed design, I realized that a winding circulation was present through each program as well. I pushed the notion that the building is connected with its environment by emphasizing this circulation and pushing it past the bounding walls. To achieve this, I broke down the solid walls along the building and utilized the structural system and shoji screens instead to form the edge of the interior spaces on the first floor. This resulted in a layered experience for a user walking through the memorial hall.
Section A-A 10
Structural Design I based the design of the structural system on the Japanese wooden toy, chidori. These wooden joints are dryfitted without the use of other fasteners like glue, nails or screws. Japan is a seismic nation, sitting on the belt of the Pacific Ring of Fire. The traditional joints allow the building to sway with and absorb the energy of the earthquake instead of resisting it through rigidity as concrete or stone constructions must do.
Model of Wooden Joint
Axonometric View of Structure 11
OBJ ECT : A N IMATE / INANIMATE Harvard GSD Career Discovery Summer 2016 Critic: Nancy Nichols In Object: Animate Inanimate, a box knife is illustrated in plan and section. The knife is then ‘sliced’ along its vertical length to depict the motion of the cutting object being cut as the knife’s blade slides up and outward. I used tape to identify where the knife should be cut. The result was represented as sectional segments along the body of the knife.
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Plan
Section
Section Segments
R OO M: S U BJECT IN SPACE Harvard GSD Career Discovery Summer 2016 Critic: Nancy Nichols In Room: Subject in Space, circulation was designed for a room so that a user can get from portal X on the lower level to portal Y on the upper level. The concept for the design was adapted as a continuation from the previous project, ‘Object’, where the curves of the knife’s body and cutting motion of the thin blade are represented respectively by undulating masses consisting of walls and platforms, and a series of juxtaposing thin stairs that cut through them.
Y
Cutting motion of blade +
Curves represented through
Blade represented through
curves of the knife’s body
habitable space + platforms
thin stairs and ramps that cut through the curves
X
Concept
Material Exploration
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Plan + Circulation
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Section + Interior of the Room
LIBRA RY: COLLE CTIVE Harvard GSD Career Discovery Summer 2016 Critic: Nancy Nichols
Located on a site in between Dudley Square and New Market in Roxbury, South Boston, the library focuses on the concept of collection at two scales: a permanent archive of books and digital
Building Typology
CIVIC INDUSTRIAL RESIDENTIAL
media within the interior of the library, and a temporary collection of urban spaces in a series of indoor and outdoor sites. I analyzed the surrounding buildings and categorized them into three major typologies: industrial, residential and civic. Then, looking at how the building typologies influenced the type and
Traffic Flow
LIGHT TRAFFIC
flow of traffic, I analyzed how traffic
MODERATE TRAFFIC
translated into levels of noise at the site.
HEAVY TRAFFIC
LOUD | QUIET | BUFFER
The given programs were divided into quiet and loud. The library’s massing formed a juxtaposition of its own as monolithic programs broke away from more porous ones, but were bridged on the first floor by the cafe, which acts as a noise buffer. It was also important to preserve the relationship between the residential and civic areas, so a path was created at street level through the building,
Noise Level
QUIET MODERATELY QUIET MODERATELY LOUD LOUD
RESIDENTIAL | CIVIC | PATH
allowing clear access between the two zones.
Site Analysis
Concept + Programmatic Diagrams
Process Models 15
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Ground Floor
1st Floor
2nd Floor
3rd Floor
Section A-A
Section B-B 17
B
A
KAYA K CLUB + CAFE Architecture Foundations Studio
1
Fall 2016
3
Instructor: Birgette Burop
2
The primary objective of this assignment
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is to explore the connection between water and built environment and to explore
this
connection/spatiality.
In the city of Copenhagen, public life
Ground Level
along the harbor front along Havnegade Promenade is particularly key. The kayak
1
Entrance
club is designed to provide facilities for
2
Cafe + Dining
the community and tourists, such as
3
Kayak Rental
kayak rental and a small cafe. The club
4
Bathroom
aims to reconnect the promenade (and
B
people) with the water by exploring
A
spatial relationship. On ground level, the kayak club features a cafe with a window, where people who pass by can grab a coffee. People interested in kayaking may rent one from
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the rental counter then proceed down
6
the steps, which also serve as the deck for people who want to rest and be near the water, and grab their rented kayaks
5
10
Water Level
from the kayak storage located on water level underneath the steps. Changing
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rooms are located on this level as well.
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On the other side of the deck, a splash zone shielded from the wind is located. Here, the waves are calmer and so is a safer area for younger children to play.
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9
9
5
Changing Rooms
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Store Room
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Kayak Storage
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Deck + Steps
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Deck
10
Splash Zone
Section A-A
Section B-B
Model 19
H US KMITNAVN Architecture Foundations Studio Fall 2016 Instructor: Birgette Burop The assignment calls for development
Parti extrapolated from site
Creating segments
Pushing and pulling motion
of an urban gallery space underneath the train tracks in the neighborhood of Nørrebro in Copenhagen, Denmark. The site is filled with graffiti due to years of neglect, but is most known for the work of graffiti covering an entire wall. The art was done by Husk Mit Navn, a popular Danish street artist known for his graffiti works.
Typical Scandinavian home
Modifying the shape of the typical Scandinavian home form
The form of my gallery takes after the modified form of the typical houses surrounding the site. The parti of the
FROSTED GLASS Emphasizes entrances and rest +
gallery was formed by extrapolating
reflection areas
the lines of the site, breaking the mass into segments then using pushing and
CONCRETE
pulling forces to distort the parti. My concept revolves around
Provides a solid surface for graffiti artists to create works
the
materials chosen for the gallery. As graffiti is characteristic of this area, concrete provides a solid surface for graffiti artists to work on, turning the gallery itself into a work of art. I wanted to maintain Husk Mit Navn’s work and visibility and glass provides that. Finally, due to the gallery’s form, I incorporated frosted glass to emphasize entrances and circulation points, as well as rest
GLASS
Provides visibility, allowing visitors to see the entire site and the feature graffiti wall despite the gallery space
and reflection areas while still allowing natural light in. 20
Concept
Ground Floor
Site As the parti of the gallery building was extrapolated from the site, the new site is designed by extrapolating the lines created by the segmentation of the gallery space, segmenting the surrounding park into smaller areas. This allows it to be be broken down to a more human scale, and lends itself to the context of the gallery, instead of remaining as one big green space.
Mezzanine Floor 21
Concrete
Glass
Frosted Glass Material Distribution
Section A-A
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H OME Japanese Papermaking, Spring 2015 Instructor: Professor Rie Hachiyanagi
Home is a 10” high geodesic igloo comprising of a structural skeleton made of wooden cra sticks enveloped in Japanese paper (washi) I made. The base of the igloo, treated to be water resistant, is translucent and alludes to the snow invading the home. However, an opening in the protruding triangular ‘entrance’ draws the viewers to look inside to see that snow has in fact, not seeped through. The translucency also adds to the image of the igloo as a home; the seeming interaction between the snow and the walls of the igloo mirror the interaction of a home’s outer facade with its natural surroundings despite its interior remaining intact.
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THANK YOU FOR YOUR TIME! saraannyong@gmail.com