Portfolio 2011

Page 1

so.xi.chan 2011


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M A N - M A D E

N A T U R A L L Y

A C T I V [ A T E D ]

A R C H I T E C T U R E

P A R T T O W H O L E P A V I L I O N U R B A N C O R R I D O R

C I T Y I P I F

N A N L

N R H E

O A A X

A N D V M B I

A E I B

T T T L

S E L F

I N G G R I C P A B L E E F O R

E A S M

O T T W

M T R O

E E U R

T R I E S R N I N G C T U R E K


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M A N - M A D E

N A T U R A L L Y

Instructor| Karl Daubmann September - December 2008 UG3 Rock, Paper, Nature Studio, TCAUP January - May 2009 Construction


Lobby

Sheltered Courtyard


The artificial and the natural become indistinguishable in a quarry on Kelley’s Island, a place where even nature has been created by man. Where the ground has already been stripped of all its useful limestone, a new landscape appears. Quarry walls become strikingly beautiful cliffs over pools of spring water and vegetation emerges from strangely desert-like land. At this place where man and nature meet, a new kind of eco-tourism emerges. Kelley’s island is located off the shore line of lake erie at a point where wind speeds are some of the highest in the US [dark blue].

Cafeteria Behind

EcoHotel Suites



By seeing the site as an organism within the human ecosystem, the dependence of humans on wind for ventilation, energy, and recreation is magnified. The wind is shaped and harvested by the buildings and landscape. Leaf filled branches form a barrier gathering the wind in the summer but then emptying and releasing the wind in the winter. When approaching the complex, the tall limestone face of the

building stretches across the rear of the quarry, linking itself to the quarry wall.


1

2

3

4

4 longest common egress route (71 ft)

longest egress route (71 ft)

Bearing Wall

First Floor

Open-web steel joist. 6” deep, 3’ o.c. Structural steel girder. 6” deep

S2 U A1 A2 A3 100 gross 2. Offices B R1 200 gross 1. Suites (incidental)

R2

100 gross 300 gross

Structural steel girde 19 “ deep 51 ft sq ea. 76 ft sq ea. 51 ft sq ea. 194 ft sq ea.

3. Offices/Suites 4. Storage

1 person 1 person 1 person 1 person

1 exit min. 1 exit min. 1 exit min. 1 exit min.

1 exit actual 1 exit actual 1 exit actual 1 exit actual

Open web steel joist. 26” deep, 3 o.c. Structural steel girde 30 “ deep

Open web steel joist. 32” deep, 3’ o.c. Open web steel joist. 22” deep, 3” slab, 1/2” deck, 3’ o.c. Custom structural steel truss. 8’ deep, 3” decking, 6” slab, 12’ o.c.

Basement:: Structure

Clear-span rigid steel frame. 81” crown depth, 11’ shoulder, 21” base Bearing wall

2

1

Pros: -Rigid frame system is less complex -Rigid frame minimizes need for columns -Permits construction under adverse weather conditions. -Minimizes on-site erection and construction time -Avoids the need for diagonal bracing and shear walls

Cons: -The rigid frame takes up much of the window area and blocks the natural light from getting into the lab. -Steel does not have a high fire-resistance rating -Does not minimize the number of separate trades needed to complete a building

3

10

10

longest egress route (71 ft)

longest common egress route (40 ft)

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5

6

7

8

9

Basement

S2 U A1 A2 200 gross 4. Kitchen 15 net

A3 100 gross 100 gross

100 gross B R1 200 gross (Incidental)

300 gross

R2 200 gross

1

5. Restaurant 6. Cafe 7. Stacks 8. Stacks/Reading Area 9. Biotech Laboratory 1. Suites 3. Suites/Cells 10. Laundry Room 2. Cells

782 ft sq 2330 ft sq 605 ft sq 605 ft sq 1601 ft sq 10,024 ft sq 112 ft sq ea. 112 ft sq ea. 351 ft sq 112 ft sq ea.

3 people 155 people 40 people 6 people 16 people 100 people 1 person 1 person 1 person 1 person

1 exit min. 2 exits min. 1 exit min. 1 exit min. 1 exit min. 2 exits min. 1 exit min. 1 exit min. 1 exit min. 1 exit min.

1 exit actual 3 exits actual 2 exits actual 2 exits actual 3 exits actual 3 exits actual 1 exit actual 1 exit actual 1 exit actual 1 exit actual

2 3

longest common egress route (52 ft) longest egress route (175 ft)

4

5

Lower Basement


Occupancy, egress, structure, HVAC, plumbing, cost and structure were explored and drawn up over the following semester with an emphasis on how code restrictions can influence design decisions.

grass soil waterproofing membrane rigid insulation roof decking coping bolts rigid steel frame custom steel truss

double paned window

A comprehensive set of documents can be found online:

limestone shale rigid insulation

http://issuu.com/soxichan/ docs/man-made_naturally

waterproofing membrane limestone block ties concrete foundation wall

drainage mat angle raised floor tile supporting beam bolts premolded filler and sealant gravel

cant strip

drainage pipe gravel footing

Student: Sophia Chang Unique Name: xiaofan Original Date: 3/28/2009 Date Revised: 3/31/2009 LAB Instructor: Michael Ezban

Structural steel roof joist. 6” deep, 1/2” decking, roofing membrane Exterior bearing wall. limestone

Clear-span rigid steel frame. 81” crown depth, 11’ shoulder, 21” base

Custom structural steel truss. 8’ deep, 3” decking, 12’ o.c.

Hollow partition wall. 1’ thick

Limestone tiling Open-web steel joist. 22” deep, 3” slab, 1/2” deck, 3’ o.c. Concrete bearing wall. 2’ thick

Open-web steel joist. 6” deep, 3’ o.c. Concrete bearing wall beyond section cut

Student: Sophia Chang Unique Name: xiaofan Original Date: 2/17/2009

07.01

Enclosure System Complex / 1/4” = 1’

Exterior bearing wall. limestone, maintain 6” continuous vertical bearing wall

Date Revised: 3/31/2009

footing ties

Structural steel girder. 2’ deep Footing beyond section cut

Concrete bearing wall. 2’ thick with limestone facing

Footing tie grouted into limestone

Code Structural Section Complex / 3/32” = 1’

Foundation footing with rebar reinforcement

04.02


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A C T I V [ A T E D ]

A R C H I T E C T U R E

Instructor| Ingeborg Rocker Coordinator| Preston Scott Cohen November 4 - December 9, 2009 First Semester Core, GSD



Stage 1. Pedestrian Crosses

Stage 2. Stage 1. Bridge Moves Apart Pedestrian Crosses

Stage 3. Boat Crosses

Stage 2. Stage 1. Bridge MovesPedestrian Apart Crosses

Stage 3. Stage 2. Boat Crosses Bridge Moves Apart

Stage 3. Boat Crosses

“This project is a study of movement in architecture. Architecture becomes the geometrical inscription of a series of actions and positions. As such, it kinetically redefines the fundamental tenets of stasis and permanence. -P.S.C. At the site, pedestrian and nautical passage intersect. Each pauses for the other to pass. The program is a building, parts of which are connected to and move with the gate of a boat lock.




Private Meeting Room

Private Meeting Room

Public Plaza

Public Plaza

Second Floor

Restroom

Private Meeting Room

Second Floor Second Floor

Second Floor

Restroom

Restroom

Restroom

Public Plaza

Restroom

Restroom

Safe Zone

Sheltered Viewing Platform

Gallery / Local Exhibition Space

Gallery / Local Exhibition Space

Plaza Extension

Sheltered Waiting Area

Public Plaza

Public Plaza

Public Plaza

Safe Zone

Personal Travel Planning Advisory

First Floor

Lobby

Personal Travel Planning Advisory

Information Center

First Floor

Lobby

Information Center

First Floor First Floor


Site/Roof Pla 1/8” = 1’


Section 1/16” = 1’

Elevation 1/16” = 1’

Elevation 1/16” = 1’

Elevation 1/16” = 1’

Elevation 1/16” = 1’


The Visitor’s center locates itself at a junction where people are entering and exiting into new urban environments. When the lock is closed, pedestrians pass through the building to cross the lock. When a boat comes, the building compresses into itself, creating smaller private spaces inside, but also bringing the boat into a new public space in front of the building.


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P A R T

T O

W H O L E

P A V I L I O N

Instructor| Mariana Ibanez Jan 25, 2010 - February 15, 2010 Second Semester Core, GSD


b

90º

b

a ≥2b

b b xº

a

Rather than the increasingly common top down approach to architectural form, the design and modification of a masonry unit is a way to discover potential spaces. An effort was made to embed intelligence within the unit itself. Six parameters were determined in order to create a module which could aggregate both as a screen and solid condition. Foam positives were cut in the production of silicon rubber molds from which rockite bricks were cast.



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U R B A N

C O R R I D O R

Instructor| Mariana Ibanez March 22, 2010 - April 26, 2010 Second Semester Core, GSD


1:800 1:800

1:400 1:400


1:400 1:400 1:800

1:400 1:3000

1:400

The void of movement within mass occurs at many different scales. At the largest urban scale it is the river that defines void, while at the scale of the street a small park defines an urban corridor which moves through the given site. This void between buildings carves out a path which pulls into the Rare Books Library. The path defines both program and circulation, creating spaces of light and movement as well as places of shelter and solitude. In the heart of the building, the path opens up the space of a vertical plaza looking towards the jewel of the library, its rare book collection. A catalogue of angles defines relationships between people and spaces encouraging movement and public space towards the park, while creating spaces of stasis at the opposite end where the rare books are sheltered.

1:3000 1:3000


a,b

a,b,c

Angles of inhabitation: a,b,c,d

Independent of Ground (Flat)

Continuation of Ground a,b,c,d,e

Building\Barrier, Non Relationship

a,b,c,d,e

Programmatic extension of corridor

Building/Barrier Continuous view to interior Private Plaza Above

Building/Barrier from lifted ground

Physical extension of corridor

Building/Barrier Uninterrupted Space of Viewing Plaza Above

Interrupted Circulation w/Uninterrupted Space of Viewing

Extension of movement from corridor

Uninterrupted Space of Viewing Sunken Public Plaza Private interior from Street

Building\Barrier implying outdoor public space

45

30

a,b,c,d,e

a,b,c,d,f

a,b,c,d,f

a,b,c,d,f

a,b,c,d,f

Independent of Ground (Angles) a,b,c,d,f,g

?

Uninterrupted Space of Viewing

Private space viewing street from above

View towards Street above Clerestory

Clerestory Below Visual barrier above

No Space of Viewing Angle Directs view deeper

Interior pushed towards street View towards north above

Clerestory “Bleachers� towards north

No Viewing Private Space below with skylight

Building as Aloof Object

Uninterrupted Space of Viewing Auditorium with introverted view

Road as Stage, Building as seating Private below

Building as Aloof Object Private

Building NonPresent Shared View

Non-Presence View towards North Private Interior

Non-presence View towards north Private Interior

Non-Presence Shared View Private Lower Interior

a,b,c,d,f,g

a,b,c,d,f,g

a,b,c,d,f,g

a,b,c,d,f,g

a,b,c,d,f,g

?


Angles of inhabitation:

wall

Independent of Ground (Flat)

Continuation of Ground

seat

overhang

Building\Barrier, Non Relationship

stair

Building\Barrier implying outdoor public space

45

30

Programmatic extension of corridor

Building/Barrier Continuous view to interior Private Plaza Above

ramp

Building/Barrier from lifted ground

Physical extension of corridor

Building/Barrier Uninterrupted Space of Viewing Plaza Above

Interrupted Circulation w/Uninterrupted Space of Viewing

Extension of movement from corridor

Uninterrupted Space of Viewing Sunken Public Plaza Private interior from Street dropoff

cliff

Independent of Ground (Angles)



1. 2. 3. 4. 5. 6. 7. 8.

informal reading space lounge waiting area magazines upper gallery balcony lobby seating lower gallery reference desk

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2 3

4

7 5 6

8


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5

7 6 1

9 8 2 10

3

11 1


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13

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20

16

20

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16

15

17

16

15

17

15

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21

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23

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21

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18

14

2

12

5

8

1

13

1

1. mechanical/storage 2. auditorium 3. auditorium lobby 4. workshop/conservation 5. lower gallery 6. gallery display 7. reference desk 8. lobby 9. meeting room 10. administration 11. exterior courtyard 12. kitchen

4

13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

cafe/shop upper gallery stacks computer research station carrel scanners/copiers multipurpose magazines reading room lounge informal reading space


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C I T Y

A N D

S E L F

Instructor| Jonathan Levi September 01, 2010 - December 07, 2010 Third Semester Core, GSD


The Boston New Center for Music, Dance and Drama is a building which both presents itself towards the city while opening up to the waterfront. A grand swooping roof brings the height of the building down towards the city, revealing spaces of artistic activity on the interior. Before touching the ground, it rises again, forming a restaurant pavilion to welcome the city inside whether a patron of the arts or just another community member.


Ground Floor 1/16” = 1’ Sophia Chang

Second Floor 1/16” = 1’ Sophia Chang

Third Floor 1/16” = 1’ Sophia Chang

Sophia Chang


Perforated steel roofing facilitates the collection of water on the large sloped roof surface for reuse within the building.

memb


S

The grand stair on the south end of the building leads up to two performance spaces. The promenade allows a space of viewing between the city and building inhabitants.



Within the spaces of performance, boundaries between performer and spectator are blurred: A twist in the geometry of the theatre allows the space of the audience to break through the proscenium and join the performer. In the concert hall, the smooth movement of stage spiraling up into seating links the two together. Outdoors, a sunken plaza brings people closer to the water while also creating tiered seating and giving street and park elevated views.

minor trusses supporting mullions large cable truss tied into steel truss and floor slab mid-sized cable truss minor trusses supporting mullions

Sophia Chang


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I N N O V A T I N G

G E O M E T R I E S

Instructor| Cameron Wu + Preston Scott Cohen Projective Representation in Architecture, GSD December 11 - December 15, 2009


DISCRETIZATION OF A SURFACE:: DISCRETIZATION OF A SURFACE::

OF OF A A SURFACE:: SURFACE:: OF A SURFACE:: F A SURFACE:: TRIANGLES STACKED AND ROTATED

TRIANGLES STACKED AND ROTATED triangles stacked and rotated

REPEAT ON THREE SIDES

VE

REPEAT ON THREE SIDES

E

CONTROL POINT CURVE control point curve

EDGESRF DISCRETIZATION METHOD ONE

VE

[DRAW DIAGONALS

REPEAT ON THREE SIDES

CONTROL POINT CURVE

EDGESRF EDGESRF

REPEAT ON THREE SIDES

REPEAT ONon THREE SIDES sides repeat three

EDGESRF

REMOVE ONE FACE AND LOFT EDGES

EDGESRF edgesrf

MIRROR OVER ORIGINAL FORM

REMOVE ONE FACE AND LOFT remove one face andEDGES loft

REMOVE ONE FACE AND LOFT EDGES

MIRROR OVER ORIGINAL FORM

BOOLEAN

COPY VERTICAL

BOOLEAN

REMOVE ONE FACE AND LOFT EDGES

MIRROR OVER ORIGINAL FORM

BOOLEAN

COPY VERTICAL

BOOLEAN

REMOVE ONE FACE AND LOFT EDGES

MIRROR OVER ORIGINAL FORM

BOOLEAN

COPY VERTICAL

BOOLEAN

BOOLEAN

COPY VERTICA

MIRROR OVER ORIGINAL FORM mirror

DELETE UPPER SURFACES DELETE UPPER SURFACES DELETE UPPER SURFACES

[EXTRUDE CURVES IN DIRECTION OF NEIGHBORING NORMALS

DISCRETIZATION METHOD ONE [ROTATE3D PLANES IN TOWARDS CENTER REPEAT ON THREE SIDES

[DRAW DIAGONALS

EDGESRF

SIXTY DEGREES

[TRIM PLANES OFF AT INTERSECTION LINES WITH OTHER PLANES

[EXTRUDE CURVES IN DIRECTION OF NEIGHBORING NORMALS

[ROTATE3D PLANES IN TOWARDS CENTER SIXTY DEGREES

[TRIM PLANES OFF AT INTERSECTION LINES WITH OTHER PLANES

DISCRETIZATION METHOD TWO [USE SECANT METHOD TO FIND PLANE WITH ONE STRAY CORNER [CORNER OF NEIGHBORING PLANES MEET AT MIDPOINT OF THE NORMAL LINE AT THE STRAY CORNER

DISCRETIZATION METHOD TWO

[USE SECANT METHOD TO FIND PLANE WITH ONE STRAY CORNER

[CORNER OF NEIGHBORING PLANES MEET AT MIDPOINT OF THE NORMAL LINE AT THE STRAY CORNER

REMOVE ONE FACE AND LOFT EDGES

MIRROR OVER ORIGINAL FORM

BOOLEAN

COPY VERTICAL

BOOLEAN

DELETE UPPER SURFACES


ROR OVER ORIGINAL FORM

ERTICAL

BOOLEAN

BOOLEAN boolean

BOOLEAN

COPY VERTICAL

BOOLEAN

COPY VERTICAL copy vertical

DELETE UPPER SURFACES

DELETE UPPER SURFACES

BOOLEAN boolean

LOFT OPEN EDGES

DELETE UPPER SURFACES delete upper surfaces

LOFT OPEN EDGES loft open edges

LOFT OPEN EDGES

This project moves away from pre-defined methods of panelization. New ways are invented to define space. In this case, the form is the intersection of multiple undevelopable complex surfaces. One sits inside the other, suggesting the collapse or tearing apart of the outer surface. The form was explored as a possible enclosure for an outdoor pavillion. The method of panelization leaves gaps which allow for the dappling of light.


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P A R A M E T R I C

P A T T E R N I N G

Instructor| Andrew Witt (Gehry Technology) October 11, 2010 - October 18, 2010 Digital Media I, GSD


[Initial Knot]

line in z direction

[Defining Movement and Postiion of Reflect Line]

‘point A’ traces the boundary of the knot movement is based on the ratio of the b

A line normal to the knot surface is attac

line normal line normal

plane through lines plane through

lines

The ratio for ‘point B’ is ‘1-ratio from poin it to move in the opposite direction from

rotation axis normal to plane

The two points meet when the ratio is at


Digital Project was explored as a means to deviate away from regularized panelization. Two knots wrapped in relation to each other define a space. The intersection of two sets of reflect curves creates an irregular matrix which acts as a base for the distribution of various geometrical modules. The relation between reflect curve and inherent surface properties is a means to implement geometry where it is structurally most necessary.

[Resulting Reflect Curves]

10째

10 degrees

100째

100 degrees

180째

180 degrees

190째

190 degrees

310 degrees


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I N H A B I T A B L E

S T R U C T U R E

Instructor| Michael Meredith + Mark Mulligan October 1 - October 13, 2009 Materials and Construction, GSD Group project, 10 students Role: Project Manager


Conventions of structure are challenged in an 8 foot tall structure where columns and beams become tension members holding the form of an inhabitable air space Columns exterior to the air space occupy space interior to it and can be entered from below, playing with the boundary between exterior and interior.



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F L E X I B L E

F O R M W O R K

Instructor| Leire Asensio-Villoria November 12 - December 16, 2010 Refabricating Tectonic Prototypes, GSD Group project, 4 students Role: Digital Representation, Parametric Definition, Construction


30 degrees

original tessellation

60 degrees

90 degrees

finding intersections

120 degrees

150 degrees

165 degrees

circle packing around points (capitals)


Flexible fabric formworks create soft and tactile forms which capitalize on the initial fluid character of concrete and other cast materials. The flexibility of the fabric allows formwork to be minimal and reusable for a variety of configurations. In one of the many studies carried out over the course of a semester, we looked for potential uses of flexible formworks in the casting of columns.

1/8” steel plate(s) slots for rotation 1/4” steel plate top plate riser stops 1/2” threaded rod 4’-6”

4’-6”

steel tube

4’-6”

1’-6”

holes for support string

c

1/4” steel bottom plate

d

SCALING UP

CONSTRUCTION a

b

original tessellation

finding intersections

circle packing around points (capitals) 1’-6”

curve attractor to define column height

rotate: 130 deg.

rotate: 110 deg.


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