PORTFOLIO 2019 Tony Gao | B.Arch Cornell University
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TABLE OF CONTENTS Designed by Tony Gao
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DTI CENTER OF PERFORMING ARTS 3
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SEA.SIDENCY
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KIN-SHA v1
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H.I.D.E.N.H
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RESIDENTAL 26TH 31
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PROFESSIONAL
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DTI CENTER OF PERFORMING ARTS Studio IV | Katharina Kral
Located in downtown Ithaca, this is a mixed-use public building that features an auditorium, practice rooms, cafe, and office space. Inspired by the idea of a vertatile wrapper, the building envelope takes an organic shape that responds to the programatic elements on the inside. The Music Hall studies the relationship between skin and program. Challenging the conventional auditorium typology of having an envelpe and interior as two seperate entities, my design pushes the idea of almalgamating the two to create various “thickening� conditions that would otherwise distinguish program and circulation. This is made explicit in both form and material. In the end, the interior of the project is traces back to the urban fabric of the site.
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The scale of the DTI is correlated to the existing conditions of downtown Ithaca. The building, although different in exterior language, is in scale with the rest of the city and has element embedded such as courtyards and passages. Downtown had a lot of gaps between buildings that allowed for pedestrian circulation between alleys and major streets. In order to perserve that continuity, a major tunnel is carved through the ground floor of DTI. To enforce this notion, the shape and programs direct people towards that tunnel, which also is the entry to DTI.
VOLUMETRIC PROGRAM
The programatic is set up so that the northwestern side has to do with auditorium neccesities such as ticketing, southwestern side has to do with rehearsing, and eastern wing has to do with secondary programs such as office and cafe.The actual music hall is harness in the middle of everything held by the fluid and continuous double heighted atrium. CONTINUOUS SKIN PROPGRAM PROPOSAL
FORMAL BOUND
SKIN SHRINKAGE
PROGRAMATIC ASSEMBLY
DOWNTOWN ITHACA
MEMBRANE CIRCULATION
MASSING PROGRESSION
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A
B
C
C
A
SECOND FLOOR PLAN @ 15’-0”
B
THIRD FLOOR PLAN @ 23’-0”
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After establishing the formal aspects of the continuous skin, the next challenge was to assign qualities to the duality. With the materials wood and concrete given at hand for insulation and structural purposes, I found how maple wood might benefit the inside of the skin more due to its insulation qualities and ability to curve from kerfing studies done from the instrument project. The concrete is saved from orthogonal interiors of programs to regulate sound and to support the building. The wood of the organic face eventually grows to satisfy all surfaces such as seating in the lobby, handrils of stairs, and even steps of the interior.
SECTION A - A
A
B
C
DETAILING AND CONNECTIONS
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CUSTUM SHEET-METAL PARAPET
INTERIOR MAPLE WOOD LINING EXTERIOR CONCRETE
CIRCULATION ENVELOPE WOOD ROOF CLADDING
PROGRAMATIC ENVELOPE
MECHANICAL LAYER (HEATING, ETC)
There are series of detailing within the model that might not be visible to the nakes eye. For example, notice the detailing of benches emerging out of the wall in the sectional model to the right. Another example is the continuity of stairs and stabs. 3D printing allowed me to test the continuity of shapes and how one surface might extend to beyong its plane and become multifunctional within architecture. This application was a finding that inspired me to have the duality of wood and concrete.
MATERIAL AXON
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CONTINUOUS APARTMENT
ALTO EXPASNSION
VERTICAL EXPANSION ON POINTS OF INTERSECTION
COLUMN OVER-RIDE
MULTIPURPOSE PUBLIC AREA
SEA.SIDENCY Studio V | Jerry Wells
SEA.SIDENCY is a social housing project located just south of the Guidecca in Venezia, Italy. Designed for locals who had been gentrified from the islands, the serpentine apartment takes advantage of the isolation from central while mimicking the organization of Venezia. The apartment complex stretched across the lagoon and intersects with the existing transportation system via new dock spaces near major canals. One can find retail and public facilities on the first level of the complex while apartments are located in higher floors with rooftop gardens. Each unit enjoys the benfit of a unique and undisturbed view of the southern sea due to the curving facade and staggering of the levels.
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ABOVE
BELOW
1 BED
TWO BED A
TWO BED B
THREE BED
ABOVE
ABOVE
BELOW
BELOW
A series of elements within the city can be found on SEA.SIDENCY to provide for a self-sustaining lifestyle. Shopping and and regilious activities can be found on level one while inbetween apartments above there are larger spaces for schools and even offices. SEA.SIDENCY contains three duplex unit types: single, double, and triple. The philosophy behind duplex is allowing each unit to enjoy both the view of the city and the ocean. The gallery acces is place on the northern facade so the duplex level above gains a view towards the city.
map of venice
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LEVEL 5 A
B
GROUND FLOOR A
SECTION A - A 1/16� = 1’
B
SECTION B - B
A series of diagrams show the structural detail during the intersection of two curves coming together. Vertical access is placed where floors become parallel. As the levells begin to diverge, the irregularity of the columns begin to map out hybrid spaces such as public pools, offices, lounges and schools as shown in the diagram above. These public spaces on the roof of a level are translated to cafes, artificial terrains, and park spaces.
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LEVEL 3 (Roof Top Garden)
LEVEL 1 (Lower Duplex)
Ground Water Llevel
LEVEL 2 (Upper Duplex)
Detailed series of plans to show the connection piles of parallel and diverging apartments. areas of intersection are transformaed into public spaces that are different on each level. areas above a volumn is transformed into roof top bars, pools, and gardens.
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KIN-SHA v.1 Elective | Martin Miller
In collaboration with Michael Xiong and Adam Zhang
KIN-SHA v.1 is a prototype design for kinetic facades. The project examines the relationship between simple kinematics and folding for architectural efficiency and usage. KIN-SHA deals with the simple movement of rotation at a single point and how that can change the transparency resolution of a folded geometry. Piecing a series of KIN-SHA, we visualized a coverage condition where it can provide unique lighting conditions for facades while measuring to the movement of people in proximity The technical aspect of each unit includes hinges and colfers to accomodate for real life material thickness.
Motion senser. Battery Circuit. Grasshopper. Museum board. Acrylic. Wood.
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Final Module Unit Final Module Unit
SAMPLE III SAMPLE TRIANGULAR FOLDS HOMOGENEOUS FOLDS
SAMPLEIIIII SAMPLE MIRRORING TRAPEZOID TRIANGULAR FOLDSFOLDS
SAMPLE SAMPLEIV III SCALENE TRIANGULAR MIRRORING TRAPEZOIDFOLDS FOLDS
SAMPLE V IV COMBINATION FOLDS SCALENE TRIANGULAR FOLDS
SAMPLE SAMPLEVV COMBINATION COMBINATIONFOLDS FOLDS
SAMPLE V COMBINATION FOLDS
FLIP FLIP
FLIP FLIP
FLIP
FLIP FLIP
FLIP FLIP
FLIP FLIP
STACKED ORGANIZATION HOMOGENOUS ORGANIZATION
SHEARING ORGANIZATION STACKED ORGANIZATION
INCREMENTAL ORGANIZATION SHEARING ORGANIZATION
APERTURE SPACING ORGANIZATION INCREMENTAL ORGANIZATION
Preliminary Final Form
OVERLAPPING ORGANIZATION APERTURE SPACING ORGANIZATION
OVERLAPPING ORGANIZATION
Preliminary Final Form
PHYSICAL MODELS
1. Form finding and folding strategies 2. Paper model / Thickness testing 3. Kinematic mechanism 4 Final model in when approached by object in motion
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H.I.D.E.N.H Studio III | Ruben Alcolea
H.I.D.E.N.H is designed for the client Nadir Pochinski, a fictional character whose day occupation is a botonist while at night time is a spy for the USSR. H.I.D.E.N.H explicitly deals with the dichotomy of the double life and the discrepency from one use of space to the next . When approaching the pavillion dwelling, one would only see discreet landscape, reavealing nothing of the underground infrastructure. However, when arriving at the entrance of the dwelling, one would slowly see the intricate underground botlogy and geometry, but never everything. The deeper into the dwelling, the more hiden quarks are found.
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Interior Render
Preliminary Form Finding
massing placement
Nadir’s house moves from organic to orthogonal, as the surface is wild and spreading while the pool/sauna is regulated and tamed, representing the spy’s contrasting inner self to the outside. The three box like pavilions are physically disconnected but they merge with the garden spaces to form a complete house. The semi-indoor gardens are bounded by glass that also controls circulation.
Ground Plan @+4’
programatic circulation
interstitial biology
interstitial Pathing
Level I
Level II
LEVEL III
Guest Room . Study
Kitchen . Living
Bedroom. Sauna
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B1 Plan @ -3’
B2 Plan @ -13’
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Av en ue ng to n W as hi
RESIDENTIAL 26TH Studio II | Zachary Porter
Residential 26th is a housing structure on a circular roundabout site in Santa Monica, California. The form of the building is derived from the contextural angles of the neighborhood, in particularly roofing systems. In a climate that is always exposed to sunlight, the refracting angels of roof planes are very meticulous. Often suburban housing deals with an extreme number of surfaces condition. Residential 26th becomes a pavillion that plays with light sources. They become ambiguous due to the multiplicity of openings and redirecting planes. Light rays become distorted upon entering the medium of architecture. The interior becomes programatically divided, based on the existing forms, into circulation and living space. This dichotomy is furthur enforced via materiality. The exterior responds to sun angles to maximize refraction and the structure falls on a grid derived from street axials to guide the seemingly spontaneous form.
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Qualitative Analysis
Quantitative Analysis
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n @ 3’-0”
28’-0”
17’-0”
Raumplan I 0’
4’ 2’
Plan @ 16’-0” 8’
Raumplan II 16’
0’
4’ 2’
Plan @ 24’-0” 8’
17’-0”
Upper Bedroom III 16’
0’
4’ 2’
16’ 8’
3’-0”
35 - 4’-0”
0’-0”
3’-0”
Initial designs of House No.4 included spliting two halfs of the building into different levels, as well as having changes in thickness of facade. Having many awkward corners, many areas were shared such as the kitchen and living room. But they are also indirectly seperated by the geometry of the bending plan.
HOUSE NO. 4 Weather Projects | status: built
Project Team: Hunter Knight, Kyle Stuart-Willis, Matthew Rivera, Tony Gao
House No. 4 is a 4-story structure in a secluded hillside neighborhood off mulholland drive. The home was reconceptualized to take advantage of light, view, and height within the existing envelope. The new structure is more open and free flowing taking advantage of expansive views off to the north, while internally connecting the lower floors vertically through a continuous stair and atrium. The facade takes an minimal dark theme that meets a bright interior that cascades downwards, as the building sets on a corner lot of a very steep hill.
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EXTERIOR VIEW ACCESS FROM THE PARK MASSING DEVELOPMENT AXONOMETRIC VIEW
AN EXCAVATED OBJECT: A SUNKEN BUILDING Inspired by African churches built from the solid ground, the project concentrates in producing a negative void that allows enough space for the new building to illuminate and ventilate naturally. Two linear courtyards delimit a linear slab organization parallel to Wilson Blvd. We felt it was important for the project not to disappear, but to assert itself as a new kind of ground: a sunken building that integrates the existing MALI with the pedestrian traffic of the busy streets and yet claims independence from both.
LIMA ART MUSEUM
GALLERY FELXIBILITY SCENARIOS
Competition | P-A-T-T-E-R-N-S
LINEAL Placing a building of such civic meaning as a terminal in
LINEAL
OPEN CORRIDORS
INDIVIDUAL ROOMS
INDIVIDUAL ROOMS
DIAGONAL
MASSING DEVELOPMENT AXONOMETRIC VIEW
AN EXCAVATED OBJECT: A SUNKEN BUILDING Inspired by African churches built from the solid ground, the project concentrates in producing a negative void that allows enough space for the new building to illuminate and ventilate naturally. Two linear courtyards delimit a linear slab organization parallel to Wilson Blvd. We felt it was important for the project not to disappear, but to assert itself as a new kind of ground: a sunken building that integrates the existing MALI with the pedestrian traffic of the busy streets and yet claims independence from both.
P-A-T-T-E-R-N-S proposal for the New MALI Contemporary Art Wing is a direct response to the insurmountable conundrum of the brief: the need to accommodate building spaces contiguous to the existing building but which will have almost zero presence on the ground‌ The project does not to disappear, but to assert itself as a new kind of ground. Serving as a kind of negative plinth, the project is predicated on resolving an urban condition rather than simply creating an object. The circulation between Exposition Park and Dammert Park is now encouraged with a pedestrian access to an underground passage under the street. Running in parallel to the existing MALI building, this circulation spine affords park users and museum visitors a clear sense of orientation and direction. MALI Lima Art Museum I New Contemporary Art Wing MALI Lima Art Museum I New Contemporary Art Wing
VOID
PROGRAM
CIRCULATION
VOID
PROGRAM
CIRCULATION
EXPOSITION PARK
EXPOSITION PARK
10151 | 2
MALI Lima Art10151 Museum | 2 I New Contemporary Art Wing
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