S I R I N A L AW PORTFOLIO SPRING 2018
ARCH 253 | Casey Benito California Polytechnic University San Luis Obispo
TA B L E O F CONTENTS BIOGRAPHY - 03 P R EC E D E N T S T U DY - 0 4 C I R C U L AT I O N - 0 5 O P E R AT I O N A L - 0 6 PROGRAM - 07 F I G U R E D R AW I N G S - 1 0 WIDGETS - 14 S LO M A - 1 8 S T U DY M O D E L S - 1 9 O P E R AT I O N A L - 2 0 DIAGRAMS - 21 SITE PLAN - 22 PLANS - 23 LO N G I T U D I N A L S EC T I O N - 2 5 TRANSVERSE SECTION - 25 1/16th MODEL - 26 1/8th MODEL - 28 REFLECTION - 35
BIOGRAPHY S I R I N A L AW Sirina is currently a second year Architecture student at Cal Poly San Luis Obispo. She was born and raised in Hong Kong for 11 years before she moved to Cupertino, California for middle and high school. Her passions were always more geared towards the artistic side. She dances, plays a Chinese instrument at senior homes as a volunteer, and she loves working with kids at an art school back at home. Even though she hasn’t really gotten the chance to pick up any of those in college, being able to express her creativity and working at studios for architecture has definitely satisfied her artistic needs here in college.
Sirina Law
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PRECEDENT S T U DY GUGGENHEIM,
NEW YORK
An analysis of our museum precedents through axonometric diagrams. We used these diagrams to discover, communicate and catalog complex relationships within our precedents. These diagrams helped become a resource for our museum proposals.
C I R C U L AT I O N
PUBLIC
P R I VAT E
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O P E R AT I O N A L Additive Connectors
Cylindrical Form
Overall Form
PROGRAM
FRONT
GALLERY
LOBBY/ RECEPTION
RETAIL
EDUCATIONAL
CIRC PUBLIC
OBSERVATION
ARCHIVES
RESTORATION
UTILITY/ STORAGE
ADMIN
CIRC PRIVATE
CRITICAL
BACK
GALLERY
LOBBY/ RECEPTION
RETAIL
EDUCATIONAL
CIRC PUBLIC
OBSERVATION
ARCHIVES
RESTORATION
UTILITY/ STORAGE
ADMIN
CIRC PRIVATE
CRITICAL
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VITRA DESIGN MUSEUM
C LY F F O R D S T I L L MUSEUM
FRANK GEHRY WEIL AM RHEIN, GERMANY 8,000 SQFT 1989
ALLIED WORKS ARCHITECTURE DENVER, COLORADO 28,500 SQFT 2011
ASPEN ART MUSEUM
MUSEO JUMEX
SHIGERU BAN ASPEN, COLORADO 36,000 SQFT 2014
DAVID CHIPPERFIELD M E X I C O C I T Y, M E X I C O 43,000 SQFT 2013
ROSENTHAL CENTER FOR CONTEMPORARY ART
GUGGENHEIM
NEW MUSEUM
MET BREUER
FRANK LLOYD WRIGHT N E W Y O R K C I T Y, N E W Y O R K 52,400 SQFT 1959
SANAA NEW YORK, NEW YORK 58700 SQFT 2007
MARCEL BREUER NEW YORK, NEW YORK 82,000 SQFT 1966
TEL AVIV MUSEUM OF ART
STUDIO LIBESKIND DENVER, COLORADO 146,000 SQFT 2006
PRESTON SCOTT COHEN T E L A V I V, I S R A E L 199132 SQFT 2010
SAN FRANCISCO MUSEUM OF MODERN ART
WALKER ART CENTER HERZOG + DE MEURON M I N N E A P O L I S , M I N N E S OTA 260,000 SQFT 2005
S N O H E T TA S A N F R A N C I S CO, CA L I F O R N I A 235,000 SQFT 2016
DE YOUNG MUSEUM
NINGBO MUSEUM
AFRICAN AMERICAN MUSEUM
HERZOG + DE MEURON S A N F R A N C I S CO, CA L I F O R N I A 293,000 SQFT 2005
WANG SHU N I N G B O, C H I N A 320,000 SQFT 2008
DAV I D A DJ AY E WA S H I N GTO N D. C . 400,000 SQFT 2016
200’
E D U C AT I O N
PUBLIC C I R C U L AT I O N
ARCHIVES
R E S TO R AT I O N
UTILITIES
ADMIN
P R I VAT E C I R C U L AT I O N
CASEY LARRY MULLER
100’
MAX BECHTEL O B S E R VAT I O N
BENITO MICHELLE HUANG MICHAEL LABERINTO
ARCH
253-05
TREVOR ALLEN AMANDA RADNER
ALAN MAEDO
R A FA E L G A L I
AMY OH
SPRING KRISSY VELARDI OLIVIA YOUNG
2018 SIRINA LAW
CARLOS HERNANDEZ
CRITICAL
ALI HARWOOD
Sirina Law
HERZOG + DE MEURON LONDON, ENGLAND 120,000 SQFT 2016
DENVER ART MUSEUM
50’
R E TA I L
TAT E M O D E R N S W I TC H H O U S E
ZAHA HADID ARCHITECTS C I N C I N N AT I , O H I O 91,500 SQFT 2003
DILLER SCOFIDIO + RENFRO LOS ANGELES, CALIFORNIA 120,000 SQFT 2015
HERZOG + DE MEURON MUCHENSTEIN, SWITZERLAND 215,000 SQFT 2003
LOBBY
ZAHA HADID ARCHITECTS EAST LANSING, MICHIGAN 46,000 SQFT 2012
BROAD MUSEUM
SCHAULAGER
GALLERY
ELI AND EDYTHE BROAD ART MUSEUM
ARCH 253 | Casey Benito
SERAFINA CINTI
ELENA FOX
JESSICA HAECHERL
CLAIRE ADAMS
DARLENE IFEORAH
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F I G U R E D R AW I N G
These figure drawings help us be cognizant of and sensitive to the subtle ways in which builldings are shaped. These drawings helped us understand the link between posture and shape. We then used the shapes as it relates to the legibility of posture as an entry point to building massing.
CONFIDENT
S Q U AT
OPEN
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GRACEFUL
TENSE
DROOPING
RECUMBENT
AGGRESIVE
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WIDGETS
WOOD,
FOAM,
PLASTER
Applying the understanding of 2D characteristics from the figure drawings to create a series of 3D massing models. These massing models should retain and convey our chosen postures. These widgets were to fit within a 3� bounding box and stand of its own free will.
WIDGETS
CONFIDENT
S Q U AT
OPEN
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WIDGETS
GRACEFUL
TENSE
DROOPING
RECUMBENT
AGGRESIVE
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MUSEUM OF ART
SAN
LUIS
OBISPO,
USA
To apply the knowledge we’ve learned with program organization and entry threshold from our precedent study and designs from our widgets to redesign the existing Museum of Art in San Luis Obispo; also known as SLOMA.
S T U DY M O D E L S
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O P E R AT I O N A L AGGRESIVE
T I LT
ADDITIVE
ADDITIVE
SLICE Gallery
Archives
Observation
Lobby / Reception
Restoration
Critical
Retail
Utility / Storage
Educational
Admin
Circ - Public
Circ - Private
COMPRESS & MIRROR
DIAGRAMS
PROGRAMS
G A L L E R Y O R G A N I Z AT I O N
ENTRY THRESHOLD
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S I T E P L A N & F LO O R 1
monterey street
admin
store
lobby
gallery
restroom
plan 1 0
2
4
broad street 8
10
PLANS
education archive
storage
plan 2 0
2
4
8
10
gallery
plan 3 0
2
4
8
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10
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PLANS
archive
storage
plan 4 0
2
4
8
10
LO N G I T U D I N A L S EC T I O N
TRANSVERSE SECTION
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1/16th PROGRAM MODEL
1/16th MODEL
U P D AT E D 1 / 1 6 t h PROGRAM MODEL
1/16th MODEL
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1 / 8 t h S T U DY M O D E L
1 / 8 t h P L AT E M O D E L
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1/8th MODEL
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RENDERS
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REFLECTION
I really enjoyed this quarter’s project. I really enjoyed doing precedent studying of existing museums before we designed ones of our own. It was the first time I really felt that a precedent studying was directly beneficial to my design process. In addition, I really enjoyed designing SLOMA. It was a small scale project (since it was a museum for San Luis Obispo) yet very different; in comparison to housing or a research building. Overall, I really enjoyed seeing how a cohesive flow in my ideas and design through process work in the figure drawings, widgets and then to my museum.
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