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PROTFOLIO 2017
FALL
-
2019
S E L E C T E D
FALL
W O R K S
F R O M S C I - A r c S I C H E N G
( D E X )
H U
CONTENT :
01 · · · · · · · ·
PERSONAL STATEMENT
03 · · · · · · · ·
“The Little Dipper; The Big Dipper” - ❶ “THE LITTLE D
08 · · · · · · · ·
“The Little Dipper; The Big Dipper” - ❷ “THE BIG DIPP
14 · · · · · · · ·
“N-Plex”
20 · · · · · · · ·
“Contextual-Parasite”
29 · · · · · · · ·
“Look Ma, NO HANDS!”
PER”
Creation is a powerful skill, an intriguing ability evolving from our originalities and perspectives. By formulating our own unique creations, we may endeavour to create a parallel between our imagination and the world in which we live. Winston Churchill once emphasized the fact that “we shape our buildings, thereafter they shape us”. In my mind, these buildings personify and embody the diverse cultures that exist today, reflecting the power and endless potential of man’s genius. Self expression is what differentiates us as an individual. It is my passion for Architecture that acts as a catalyst for inspiration and therefore provides me with a prominent sense of ambition and desire. Five years in SCI-ARC I have been given an opportunity to appreciate the aesthetic beauty prevalent in the world today. This insightful demonstration has allowed my passion to evolve further, hence determining my decision to continue at a more advanced level. I believe the course will challenge my creative potential, culminating in the formulation of my own, authentic designs. In effect, Architecture is a potent, influential force in my life that has given me a sense of direction and meaning. I agree with the ideology that an individual will rarely exceed its own expectations. Architecture installs in me a belief that I can achieve and reach new heights, therefore acting as a foundation for success and fulfillment in the future.
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DIPPER”
PERSONAL STATEMENT
2017 Fall - 2019 Fall
DESIGN
- 02 -
STUDIO
2017 Fall - 2019 Fall
“The Little Dipper; The Big Dipper” 5A STUDIO 2019 FALL INSTRUCTOR: ERIC OWEN MOSS IN COLLABORATION WITH NICHOLAS WU
❶ “THE LITTLE DIPPER” Interrogatory: Size and Content — This studio is examining the relationship between building size and building content, and questioning whether there is a stable concept design model, applicable regardless of scales. The little dipper house project is dealing with domestic ancillary pieces, in this case - stairs. By studying different typologies of the stairs and the composition of these stairs on site it gives us an opportunity to let form of the project, structure of the project, enclosure of the project, and circulation of the project comform to these stairs.
5A
DESIGN
STUDIO
- 03 2017 Fall - 2019 Fall
The transformation of the project is solely based on the composition on site and each stair associates with different programs of the house. “The foundation steps” on the ground floor associates with dinning room and entry of the house. “The wooden steps” on the backyard serves as the extension of the dining room and leads to the backyard of the house. “The single-stringer stairs” becomes a kitchen serving as a transition between dinning room and living room of the house. “The spiral staircase” is being the connection between kitchen and bedroom also is the living room of the house. Lastly, “The hanging steps” becomes the bedroom that locates on the highest point of the house.
5A
DESIGN
STUDIO
② WOODEN STEPS These “Wooden Steps” were inspired from the Japanese courtyard and engawas. These steps serve to physically connect the dining room to the backyard, as well as expanding the footprint of the dining room, allowing the dining room to flow from the interior to the exterior.
① FOUNDATION STEPS Inspired by Rome’s Spanish Steps, we situated the “Foundation Steps” as both methods of entry as well as the primary structure for the entore project. By placing the stairs to the West side of the property, we create an immediate sense of hierarchy from one half of the site to the next. By elongating the last step, we directly lengthen the duration spent on a pause; transforming this step into the dining room for the entire house.
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③ SINGLE-STRINGER STAIRS The “Single-Stringer Stairs” serves as one of the pirmary structures for the entire house, sprouting from the “Foundation Steps” and circulating into the kitchen. The Southern wall is angled in relationship to its structure, directing the circulation from the west side of the kitchen into the living room.
⑤ STRUCTURAL LADDER ④ SPIRAL STAIRCASE This “Spiral Staircase” looks to challenge the typical usage of this typology of stairs. Generally intended to speed up the time of travel from location A to B. This Spiral Stair forces the occupant to slow down and casually lounge through from the kitchen to the living room, and eventually to the bedroom located above. This Stair also serves as one of the main structures for the entire house, it is centeral column runs from the “Foundation Steps” all the way up to the roof supporting the “Hanging Steps”.
The “Structural Ladder” serves two major roles within the project: 1. Serving as the threshold from the kitchen and livingroom and 2. As the continuation of structure from the previous “single-Stringer Stairs” connecting to the roof and supporting the “Hanging Steps”.
⑥ HANGING STEPS Lastly, the “Hanging Steps” serve as the cap for the entire project, hanging off three vertical columns from the “Spiral Stairs”, “Single-Stringer Stairs”, and “Structural Ladder”. These set of steps houses the most private program of the entire project, the bedroom. The overall footprint is rotated at an angle from the center column out towars the pacific Ocean, creating vantage point towards both the mountains and the sea; this rotation also reinforces the West to East hierachy.
2017 Fall - 2019 Fall
5A
DESIGN
STUDIO
- 05 2017 Fall - 2019 Fall
5A
DESIGN
STUDIO
- 06 2017 Fall - 2019 Fall
5A
DESIGN
STUDIO
- 07 2017 Fall - 2019 Fall
“The Little Dipper; The Big Dipper” 5A STUDIO 2019 FALL INSTRUCTOR: ERIC OWEN MOSS IN COLLABORATION WITH NICHOLAS WU
➋ “THE BIG DIPPER” Interrogatory: Size and Content — This studio is examining the relationship between building size and building content, and questioning whether there is a stable concept design model, applicable regardless of scales. Due to the scale of the bigger dipper an office building project, an urban ancillary piece is being used to design the project. Different from the little dipper, Instead of studying the typology and composition of the ancillary piece on site, we are focusing on the one of the ancillary piece that belong to the city, in this case we are studying ramp as the drive for the project.
5A
DESIGN
STUDIO
- 08 2017 Fall - 2019 Fall
5A
RAMP ON SITE
TRANSFORMING THE FREQUENCY AND THE THICKENESS OF THE LOOP TO ADOPT VARIOUS PROGRAMS
LOOP AND BARS RELATIONSIP
ONE END OF LOOP GETS LIFTED OFF THE GROUND
LAYING THE RAMP ON ITS SIDE
TRANSFORMING THE FREQUENCY AND THE THICKENESS OF THE LOOP TO ADOPT VARIOUS PROGRAMS
MIDDLE LOOP ELEVATED FOR RETAIL
OTHER END OF LOOP ERECTED INTO A TOWER
THICKENING OF THE LOOP AND INTRODUCTION OF THE BAR
TRANSFORMING THE FREQUENCY AND THE THICKENESS OF THE LOOP TO ADOPT VARIOUS PROGRAMS
SPLITTING THE BAR INTO TWO
THE GROUND INFLUECNED BY THE LOOP
DESIGN
STUDIO
BASIC MASSING
PRIMARY STRUCTURE OF THE LOOP
LOAD BEARING STRUCTURE
PRIMARY STRUCTURE OF THE TWO BARS
SECONDARY STRUCTURE OF THE LOOP
SECONDARY STRUCTURE OF THE TWO BARS
GROUND INDENTATION BY LOOP
SITE CIRCULATION VERTICAL CIRCULATION
SITE CIRCULATION INTO BELLY OF LOOP
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SITE WITH SETBACKS
2017 Fall - 2019 Fall
5A
DESIGN
STUDIO
- 10 2017 Fall - 2019 Fall
5A
DESIGN
STUDIO
- 11 2017 Fall - 2019 Fall
5A
DESIGN
STUDIO
- 12 2017 Fall - 2019 Fall
5A
DESIGN
STUDIO
- 13 2017 Fall - 2019 Fall
“N-Plex� 4A STUDIO 2018 FALL INSTRUCTOR: RAMIRO DIAZ-GRANADOS By identifying oppositional aspects of a thing we reduce it to a confrontational problem which we then pick a side. This mode of making sense of the world is deeply ingrained in our individual and collective psyches and operates in a background capacity. It is part of a covert shared sense of engaging with each other and the world of objects that surround us. As far as strategies of abstraction go this one has served us well but perhaps its form of reductionism is keeping at bay possibilities for breaking the world down and putting the pieces back together into new kinds of objects. Rather than structure the pedagogy of the studio around oppositions, the studio will proactively nest them within a multi-dimensional four-fold (Precedent, Tectonics, Aesthetics) diagram for the purposes of abstracting and reimagining the world towards a contemporary architectural proposal.
4A
DESIGN
STUDIO
- 14 2017 Fall - 2019 Fall
Taking on Church of the Year 2000 competition by Peter Eisenman as the precedent for the project. By merely changing the scale of the project and rotating the ground upside down, the core architectural problem is being transfer from objects and ground condition to roof and objects condition. It completely deflects the precedent programmatically (Church to Hosing Complex) while the formal approach is still intact.
4A
DESIGN
STUDIO
- 15 2017 Fall - 2019 Fall
4A
DESIGN
STUDIO
- 16 2017 Fall - 2019 Fall
4A
DESIGN
STUDIO
- 17 2017 Fall - 2019 Fall
4A
DESIGN
STUDIO
- 18 2017 Fall - 2019 Fall
4A
DESIGN
STUDIO
- 19 2017 Fall - 2019 Fall
“Contextual-Parasite� 3B STUDIO 2018 SPRING INSTRUCTOR: RUSSELL THOMSEN IN COLLABORATION WITH BRYAN GARCIA
The 3B Studio introduces students to the comprehensive design and development of a large scale, building on an urban site. Advancing on the pedagogy established in previous studios, this studio focuses on the design, development, and tectonic logic of the building envelope and its ability to articulate contemporary formal organizations. Assemblage versus monolithic form, surface versus mass, iconicity and image, the intentional obscuring of hierarchical mass, layered, and graphic assemblies, tectonics and materiality, constitute a range of concerns in the design work.
3B
DESIGN
STUDIO
- 20 2017 Fall - 2019 Fall
17.32 m 12.95 m 12.74 m
21.35 m
14.76 m 12.74 m
17.12 m
The surrounding building facades were analyzed to create a formal abstraction for our massing strategy. The abstracted figures maintain the uncontentious void spaces found in Mexico City. These void spaces were then utilized for other purposes like public gather spaces, although they were unintentional. The void space has a subtle presence of its original form with referential shapes suggesting its contextual identity to the surrounding buildings. Similarly the relationship of spacing and building height was maintained in order to create a scale which is driven by its surrounding environment.
Existing Market
Site and Surronding Facade Abstraction
3B
DESIGN
STUDIO
19.91 m 17.12 m 9.30 m
North Surroding Facade
21.35 m 13.73 m 12.74 m 9.68 m
South Surroding Facade
Stacking Abstracted Figures begain to create vertical incontingent space
13.66 m 12.74 m
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Colliding Masses with Void created from uncontingent spaces
West Surroding Facade
6.63 m
Atrium Entrances
East Surroding Facade
Large Public Spaces
Uncontingent Spaces begin to transform throught the mass creating difference in the void space
Uncontingent Spaces vary in fonal massing and creating a atrium with varying outdor scale of public spaces
Surronding Site Transformation
2017 Fall - 2019 Fall
3B
DESIGN
STUDIO
- 22 2017 Fall - 2019 Fall
3B
DESIGN
STUDIO
- 23 2017 Fall - 2019 Fall
6
6
6
9
9
3B
DESIGN
STUDIO
9th FLOOR
37 M
1
8th FLOOR
33 M
1
6 1
7th FLOOR
30 M
1
6
6th FLOOR
27 M
1
6
6 5th FLOOR
21 M
1
1
4th FLOOR
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7
17 M
8 2
5
3rd FLOOR
11 M
8 2nd FLOOR
6M
GROUND FLOOR
0M
1:100
SECTION
GALLERY
SHOPPING MALL
1. EXIBITION 2. LOBBY 3. ARCHIVE 4. OFFICE 5. GIF SHOP
6. RETAIL STORES 7. RESTAURANTS 8. LOBBY 9. ADMINISTRATION
2017 Fall - 2019 Fall
A
6
B1 B2
7
C
18.93 m
D
7
1
2
3 4
3B
DESIGN
STUDIO
18.93 m
4 5
6 7
18.93 m
A 4
3
18.93 m
4
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5 B1 B2
18.93 m 18.93 m 18.93 m
8
C
2
18.93 m
1 D
1
1
N
1:100
PLAN
GALLERY
SHOPPING MALL
1. EXHIBITION 6. RETAIL STORES 2. LOBBY 7. RESTAURANTS 3. ARCHIVE 8. OUTDOOR COURTYARD 4. OFFICE 5. CONFERENCE ROOM
5
2017 Fall - 2019 Fall
3B
DESIGN
STUDIO
- 26 2017 Fall - 2019 Fall
3B
DESIGN
STUDIO
- 27 2017 Fall - 2019 Fall
OTHER W
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WORKS
2017 Fall - 2019 Fall
“Look Ma, NO HANDS!” 4A DETAILS DETAILS... (Column to truss detail) 2019 SPRING INSTRUCTOR: DWAYNE OYLER IN COLLABORATION WITH NICHOLAS WU &SAUL KIM
According to Edward R. Ford in the Architectural Detail, he claims that “modern abstract building copings, molding, windowsills, drip molds, and gutters are often made minimal or invisible. Other elementjoints between panels or between materials may be exaggerated far beyond their necessary dimensions to ensure they will be read from a distance.” Ford is seemingly describing details as abstraction in modern architecture, attempting to hint at the interconnection between the various avenues of detailing. The implication of ones emphasis lies on the transition between detail as abstraction and detail as constrction logic, it can be drastically transformed into one another as seen in other projects, or it can be morphed discreetly into one another. This column to truss detail bridges the gap between Detail as an Abstraction as well as Detail as Construction Logic. Formally, the column and truss are rotated copies of one another; connecting through a single spine and providing the illusion of a single sheet metal bending and folding onto itself to create an almost impossible structure.
DETAILS DETAILS......
According tural Deta abstract b sills, drip m minimal o between p be exagge dimension a distance details as ture, attem tion betwe ing.
The Implic the transit and detail drastically seen in ot discreetly
Our detail an Abstrac tion Logic. are rotate ing throug illusion of folding on impossible of this det edges as m serve as th against th
- 29 2017 Fall - 2019 Fall
0.125” Thk Steel Plate, Weld Joint
0.125” Dia Steel Rod Weld Joint, Detail 1 (Rod to Plate Joint Detail)
0.5” x 1.5” Steel Hollow Section (0.09 Thk)
0.75” x 2” Steel Hollow Section (0.09” Thk) 0.125” Thk Steel Plate, Weld Joint
0.125” Dia Steel Rod Weld Joint, Detail 1 (Rod to Plate Joint Detail) 0.25” Head Cap Screw Bolted to Base
0.125” Thk Steel Plate, Weld Joint
2”x 6” Timber Support Glue Joint
0.75” Thk MDF Wood Base Glue Joint
DETAILS DETAILS......
EXPLODED
- 30 2017 Fall - 2019 Fall
1.
0.125” x 0.5” steel plate
0.125” Dia Steel Rod
0.125” Thk Steel Plate, Weld Joint
0.125” x 0.5” Steel Plate Steel Plate Weld Detail
0.125” Dia Steel Rod Weld Joint, Detail 1 (Rod to Plate Joint Detail) 2.
Drill 0.125” dia hole on plate 0.125” Dia Steel Rod 0.125” x 0.5” Steel Plate
1.
3.
0.5” x 1.5” Steel Hollow Section (0.09 Thk)
0.125” x 0.5” steel plate
Drill 45° with counter sink
0.75” x 2” Steel Hollow Section (0.09” Thk)
0.125” Dia Steel Rod 0.125” x 0.5” Steel Plate Steel Plate Weld Detail
2.
Drill 0.125” dia hole on plate 0.125” Dia Steel Rod 0.125” x 0.5” Steel Plate
3.
Drill 45° with counter sink
Steel Weld Joint 0.125” Thk Steel Plate Steel Weld Joint 0.125” Thk Steel Plate
4.
Place 0.125” steel rod at Place 0.125” steel rod at desired angle desired angle
4.
0.125” Thk Steel Plate
5.
Steel Weld Joint
Weld joint
0.125” Thk Steel Plate
0.125” Dia Steel Rod
5.
Weld joint
6.
Grind off excess weld
0.5” x 1.5” Steel Hollow Section (0.09 Thk)
ROD TO PLATE WELD DETAIL
STEEL PLATE WELD DETAIL
0’
0”
0.0625 ’
0.125 ’
0.25 ”
Steel Weld Joint
0.125” Dia Steel Rod Weld Joint, Detail 1 (Rod to Plate Joint Detail) 0.125” Thk Steel Plate, Weld Joint
0.5”
0.125” Thk Steel Plate, Weld Joint
0.125” Dia Steel Rod 6.
Grind off excess weld
0.5” x 1.5” Steel Hollow Section (0.09 Thk)
0.25” Head Cap Screw Bolted to Base 2”x 6” Timber Support Glue Joint 0.75” Thk MDF Wood Base Glue Joint
ROD TO PLATE WELD DETAIL
STEEL PLATE WELD DETAIL
0’
0”
0.0625 ’
0.125 ’
DETAILS DETAILS......
0.25 ”
0.5”
- 31 2017 Fall - 2019 Fall