Timothy Wong Portfolio by Timothy Wong

Wong, Timothy Chum-hin ambiguities and multiplicities

Projects,

Ambiguities and Multiplicities Not seeking a holistic resolved whole of a singular system, this body of work is an investigation into the degrees of interactions, intersections and contradictions of multiple parts. Through the interplay between the multiplicities of forms, histories and narratives, ambiguities become desired.

INDEXICAL CINEMA instructors: Joe Day & Violette de la Selle / location: Los Angeles

ROOMS WE SHARE instructors: Heather Roberge & Daisy Ames / location: Los Angeles

PALIMPSEST OF SHADOWS instructor: Peter de Bretteville / location: New Haven

DOMESTIC AMBIGUITY competition / nomination: editorial pick

INTERFACE instructor: Elisa Iturbe / location: Brooklyn

OSCILLATING PARTS instructor: Nicholas McDermott / location: New Haven

IN-SYNC, DE-SYNC, RE-SYNC exhibition/ Yale School of Architecture North Gallery

Yale School of Architecture, Spring 2021-22 ARCH 1112b Advanced Design Studio: VERI_PLEX Center for Alternative Cinema Instructors: Joe Day + Violette de la Selle Location: Los Angeles Individual Academic Work

INDEXICAL CINEMA between text and metatext

Indexical Cinema is an alternative model of cinema architecture that rejects the conventional typology of the abstract black box, and instead proposes an architecture that reveals, indexes, and embraces its cinematic apparatus. Learning from both Dziga Vertov’s ‘Man with the Movie Camera’ as well as Dan Graham’s installation of ‘Time Delay Room’, these precedents capture and showcase the realism of their technical construct. Utilizing the framework of text and metatext Lev Manovich utilized to study Vertov’s film, the way in which these parts flicker rapidly and weave the realism of the city life and the realism of the movie camera served as the conceptual basis for the project. The cinematic space is divided into both the text (viewing space) and the metatext (projection space), through the formal gesture of the loop, it collapses the two spaces onto each other as one circulates between them, casting the shadow to capture your presence onto the screen as part of the filmic assemblage. The design consists of two types of cinematic viewing conditions, a conventional single screen experience and a multi-projection condition. The multi-projection condition questions the image consumption habit of our contemporary age where we are often consuming multiple images all at once. Through these provocations the project asks: How can we translate our image consumption habit into the cinematic space? And more importantly, how can we become more aware of media apparatus of the endless stream of static and moving images that construct our contemporary digital age.

Man with a Movie Camera Structure

Dan Graham’s Time Delay Room

between text and metatext

media assemblage of temporal defamiliarization

Cinematic Module Design

Projection Study

looping between text and metatext

indexing projection through light and shadow

Front Axonometric reacting to urban morphology

Section office, courtyard, golden globes cinema (multi-projection space)

Porous Urban Ground Condition corner as urban thresholds

Looping within the Cinematic Assemblage intertwining multi-projection and conventional cinemas

Projection + Circulation Diagram into the assemblage of the multi-moving-images

Interior View

Courtyard View

transversing through projected images

entrance to multi-projection cinematic space

Street View indexing the cinematic forms

Yale School of Architecture, Spring 2021-22 ARCH 1104a Advanced Design Studio: Climate Caravan Instructor: Heather Roberge + Daisy Ames Collaborator: Joshua Tan

ROOMS WE SHARE prefabricated housing

“The Rooms We Share” is a housing model that taps into the flexibility of the prefabricated housing to introduce the concept of sharing across scales and environments. Inspired by the Iroquois Longhouse and its linear arrangement of collective hearths, our project prioritizes communal living through the creation of an extended enfilade of social spaces flanked by private dwelling spaces. These spaces are composed of volumetric modules for different spatial configurations. Designed as a model that can be moved and redeployed at different sites, it provides residents with a platform for sustaining community if they move from one city to another as climate change worsens. The project’s organization forms habits that connect members of households to one another and to their neighbors through leisure and labor. Facing the disruption and instability of climate, our project builds family and community resilience by strengthening the social networks we need to support one another.

R1 Lot Test Fit fourplex linear array

Corner Lot Test Fit linear and horizontal array with f&b space

Neighborhood Scale Propagation room-to-room

Urban Scale Propagation figure-ground porosity

Sectional Perspective solar chimneys as vessels for light

Prefab Assembly Diagram volumetric prefab modules

Construction Diagram type 5 wood frame construction

Interior Perspective

ceiling lighting

view to exterior

Courtyard Perspective

Street Perspective

exterior living room

programmed exterior rooms

Entrance Perspective communal spaces of casual encounters

Yale School of Architecture, Fall 2020-21 ARCH 1021 Architectural Design 3 Instructor: Peter de Bretteville Individual Academic Work

PALIMPSEST OF SHADOWS dwelling within times

120 River Street is a site of erasures; its historical traces demolished and overgrown with grass. This project attempts to uncover and speculate on what it means to dwell within the multiple pasts embedded within the site. In which the balance between indexation and reinterpretation requires critical examination through the design. Programmatically a civic space for an educational, mentor-based, diversionary art program for New Haven youth, the design seeks to reintroduce the rich identity of place for both the participants and the community. The design therefore becomes a site of exploration and discoveries – where moments of intentional awkwardness is charged with meaning. Ultimately, through weaving the multiple pasts together with the present, this project proposes an alternative form of engagement with history, neither preservation nor reproduction, to establish a means of belonging.

Palimpsest as Mapping

Roof Oblique

uncovering histories

landscape as index of the palimpsest past

Building Section

Landscape Section

street, gallery, studio sequence

public restroom & ampitheater

Daylight Model experience historical indexes through light

Skylight Section diffusing light through layered assemblage

Circulation Perspective framing exterior

Gathering and Event Space Perspective interconnections; landscape-buildings-pavilions-times

Design Competition Non Architecture: Social Distancing - Housing Block Team: Joshua Tan, Timothy Wong, Jessica Jie Zhou Nomination: Editorial Pick

DOMESTIC AMBIGUITY between safety, community and intimacy

Can housing provide a new form of intimacy with domestic spaces and each other? In the milieu of social distancing, conventional housing planned for efficiency and spatial rigidity no longer serves our highly interiorized rituals. We require a space of domestic ambiguity. Our proposal embraces awkwardness, indeterminacy, and ambiguity—necessary conditions for the interaction of our bodies with architectural form. While prioritizing these qualities, safety is ensured by establishing physical thresholds that are productive for intimacy and a gradation of cleanliness. Designed for two people, the unit is structured into three zones: cleansing, social, and intimate. The unit is an intersection between a rectilinear shape and an amorphous form. A dedicated buffer zone is placed upon entrance for initial sanitation and limited human contact. Through contraction, expansion, curtains and glass, the flexible form gently separates the social and the intimate, each preceded by cleansing pockets running through the unit. This fluidity extends to the hybridity of the architectural element, transforming into occupiable furniture. Extending towards the building’s central courtyard, it becomes balconies that are arranged to provide community in socially distanced ways. It is domesticity made safe, playful, and undefined.

Plan Perspective inhabiting ambiguities

Sectional Sequence movement and transformation

Yale School of Architecture, Spring 2020-21 ARCH 1022B Design 4: Urban Studio Instructor: Elisa Iturbe Collaborator: Alex Mingda Zhang

INTERFACE between (re)production and consumption

Characteristic within our current industrial paradigm, the separation between production and consumption is maintained by our urban forms as well as our modes of knowledge. In Brooklyn, we find the urban apparatus of the grid prioritizing the restrictive movement of the vehicle, which is exasperated by the introduction of the big box stores and their vast parking lots, enabling spaces of production and consumption to be further and further apart. Therefore, our project aims to critique this status quo of separation through the concept of the interface – the mediation and exchange between two parts – via the device of the countertop. Through appropriating the typology of the big box, starting with the Red Hook IKEA, we hope to transform it into a culinary school that integrates farming as well as the making and serving of food in the public cafeteria into its pedagogy. In addition to this, countertops are propagated across the once barren parking lot, activated as spaces of domestic reproduction where these forms of labor become visible across the porous ground. Ultimately, this project speculates how this intervention could multiply across the many big boxes of Brooklyn, transforming the urban form into a more granular and integrated scale, a field of relationships – between reproduction, production and consumption.

Logistic Analysis

Urban Form Diagrams

ikea global logistic network

circulation centered urban developments

Interface Precedents

Conceptual Diagram

sectional studies

interface between (re)production and consumption

First Floor Axonometric

Second Floor Axonometric

porous communal ground

culinary school and food storage

Porous Ground ground as space for communal labor and bonding

Yale School of Architecture, Fall 2019-20 ARCH 1011a First Year M. Arch I Design Studio (Project Two: Plan, Unplanned) Instructor: Nicholas McDermott Individual Academic Work

OSCILLATING PARTS transforming Keith Haring

As our contemporary condition is shifting towards an image-centric one, this project contemplates the site of the image as the context for architectural design. Through engaging the image with disciplinary concepts of formal relationships, architectural precedents and program, a new formal typology is suggested. Taking Keith Haring’s ‘Pop Shop Tokyo’ as the project’s context, its composition of characters and squiggles was explored to suggest an organizational logic of a part to loose whole relationship. In which the figures inform each other’s form while not directly touching each other. Through a rigorous series of transformation, a set of figures with different formal property was generated. Composed out of this, two distinct spatial experience was developed for the two programs of the music hall and the day care while casually informing each other’s form.

Figure Ground Iterations Study transformation of haring’s figures through subtraction and axonometric operations

Axonometric

Physical Massing Model

drawing as keith haring

programmatic-formal relationship; color studies

Physical Model

south-east section: 1/f music hall interior

north elevation

Physical Model

north entrance to courtyard

2nd floor corridor, lighting study

First Floor Plan, Music Hall four distinct spatial condition

Second Floor Plan, Day Care flowing spatial condition

Yale School of Architecture North Gallery Exhibition (Self-Initiated Project) Role: Exhibition Organizer, Design Leader, Curator, Assembler Collaborators: Joshua Tan, Sangji Han, Dominiq Oti, Haorong Li Sponsors: Yale School of Architecture, Center for Collaborative Arts and Media, Digital Humanities Laboratory, Tsai Center for Innovative Thinking

In-Sync, De-Sync, Re-Sync technics of temporality

Our contemporary moment is structured thoroughly by the synchronization of information, time, and bodies. This synchronicity has become increasingly defined throughout history. From the structuring of the seven day calendar by the Babylonians to the 1883 standardization of railway time in the U.S, the coordination and organization of bodies have become increasingly precise and controlled. With the instantaneity of zoom calls and precision of calendar notifications on smart devices, real-time synchronization has collapsed space and time, allowing an unprecedented ease of connection between people and information. This rhetoric of synchronization and connection obscures the reality of frictions and disconnections that exist in the usage of these technologies. From disembodied interactions to awkward mismatches between audio and video due to unstable internet connections, the desynchronization we encounter today demonstrates a technical gap from total seamless synchronicity. The exhibition interrogates this narrative and asks whether synchronization can go beyond its current subjugation by our technical apparatuses. Only by speculating on alternative technics and other forms of media can new approaches, methods, and objects be put forward to manifest temporality beyond our current dogma of synchronicity. Thus, by reevaluating how we perceive, experience and express temporal rhythms, the exhibition suggests an alternative definition of togetherness (syn-) and time (kronos).

In-Sync (Entrance)

Re-Sync

synchronous screen projection

curated works from invited designers and students

MAIN ENTRY

WEST CORNER

2'-6"

3'-6"

3'-0"

6'-11 15/16"

0'-6" 6'-0"

12'-9" CLG. HT.

5'-7 7/8"

23'-0"

9'-0 1/4"

1'-3"

3'-7"

1'-

1'" '-0

2'-8"

10'-4 1/4"

5'-0"

15'-4 3/16"

16'-0"

4" CLG. HT.

2'-0"

9'-0"

3'-9"

3'-7 3/16"

2'-0"

6'-8"

3'-0"

27'-0 1/16"

9'-0"

6'-4"

4'-6"

5'-0"

37'-0" 43'-4 1/4"

7'-0"

36'-0"

12'-0"

4'-0"

12'-0"

4'-0"

6'-0 1/16"

12'-9" CLG. HT.

2 12'-9"

2 MAIN GALLERY 23'-3" CLG. HT. WEST ALCOVE

Exhibition in Three Chapters coordinaating space, projection, and electrical outlets

EAST ALCOVE

6'-0"

5'-7 5/8"

9'-0 3/16"

3'-6"

7'-0"

15'-4 3/16"

Section projections organization

0'-6 1/2"

7'-9"

2'-3 3/4"

9'-4"

24'-0"

7'-4"

4'-0 7/8"

2'-0 7/8"

6'-4 3/16"

Exhibited Works top left: A/P Practice. top right: Outpost Office. bottom left: EXTENTS. bottom right: Mark Foster Gage.

Professional,

Lead 8 In the two years of working at the international design office Lead-8, the key project that I worked on is the project Skycity, later renamed as 11 skies. Working both in the RFP phase and later the design development phase with a focus on the envelop and facade design, it greatly taught me the intricate balance between different design intentions, environmental forces, and regulations.

Skycity RFP for New World Development

11 Skies SD & DD for Office Planning and Envelope Design

Lead 8 Position: Architectural Assistant Client: New World Development GFA: 3,775,000 sqft.

Sky City RFP for New World Development

Skycity will be the largest mixed use retail, dining, and entertainment hub in Hong Kong, located adjacent to the Hong Kong International Airport. Set to be a super-regional connector accessible by air, sea, and land via trains, cars and buses, it is connected by a series of sky bridges with adjacent buildings. The design aspires to use architectural forms and languages that is easily distinguishable from airport architecture when seen from the air or ground level. Its interior space is not designed as a conventional shopping mall, rather, it is experience driven to relate to the sky above and the zoned programs. During this phase of the project, my major responsibilities were the design of the façade, interior design, as well as coordination with external renderers. Working closely with my seniors at the architectural department and the interior design department, I learnt a lot about the intricacies of designing a large scale building that could relate to the human scale.

First Floor Plan

Third Floor Plan

transport terminal & entrances

footbridge access

Seventh Floor Plan

Roof Plan

exterior open space

green accessible space

View Analysis

Office Facade System

signage strategy

interior view analysis

Southwest Corner

Office Facade

key signage for vehicular access

clear glass & glass with back panel

Playscape Skylight

Office Skylight

soft interior atmosphere

campus interior atmosphere

Center Space Dome

Southeast Corner

ceiling projection anchor

retail pop-up boxes

Lead 8 Position: Architectural Assistant Client: New World Development GFA: 3,775,000 sqft.

11 Skies SD & DD for Office Planning and Envelope Design

Lead-8 was appointed as the design architect for New World Development after winning the bid to develop this lot. During my time on this project, I was responsible for assisting the development of the office plans and envelope design. Working closely in conjunction with the project architect, we had to navigate the limitations of fire escape regulations and gross floor area with the formal pursuit for the towers. Working closely with the client, we developed a narrative of paper airplanes as the key conceptual driver for the envelope design. Becoming the formal motif for the project, the folded triangulated geometry appears across different scales and materials to create a cohesive visual identity for the project.

Facade Module Diagram

Feature Corners

paper airplanes as motif

corners as visual anchors

Feature Facade Design

Type 2 Facade

aluminum module rainscreen system

integrating functional louvers

East Facade

West Facade

view from the road

view from the highway

South East Corner

Southern Entrance

view from the primary drop off zone

ground pedestrian entrance colonnade

Office Entrance Portal Drawing

Office Entrance Material Selection

signifying entry

curating brand image

Office Skylight Oculus

Roof Observation Deck

airplane motif

glass paper airplane envelope

Office External Facade

Office Internal Facade

louvers as pattern

podium facing configuration

General Elevation

External Facade Typical Module

managing louvers and operable windows

integrating louvers for flexibility

Tower 3 Plan

Tower 1&2 Plan

maximum subdivided configuration

Skylight Drawings

Footbridge Drawings

managing water flow

threshold negotiation