Yuchuan Chen Portfolio 2016

Portfolio of Yuchuan Chen Master of Architecture University of Southern California

Yuchuan Chen Tel:

213-321-5450

E-mail: trumpetcyc@gmail.com Add:

325 W Adams Blvd, Apt 3099, Los Angeles, CA 90007

Preface

Index

Culture used to be referred to as mosaic representing human differences being conceptualized as pieces that are restricted to a certain geographic area. But now it is no longer the case, due to the de/territorialization of culture driven by globalization. Capital, people, commodities, images, and ideas have become unhinged from particular localities. The isomorphism between culture and places is challenged and eroded. The force of globalization expose and attract one to more and more social-cultural circles, but at the same time push one away from the center of those circles to the extend that one could no longer claim that he/she belong to certain social-cultural group. He/she is marginalized.

Part 1

The form of Architecture, and the message carry by Architecture is crucial to how we should understand the world and how we could situate ourselves in the world. What form should Architecture have, under the background of globalization and marginalization, is of great importance for me. I have been trying to find Architectural forms that is “neutral”, so that such form offer a sanctuary for the marginalized.

This portfolio is a demonstration of some of my thinkings. The works range from highly practical to bravely conceptual, from full scale building designs to architectural installation fabrication. Through these works, I exposed myself to a variety techniques and know-hows that may be useful to create a “neutral” Architecture.

Architectural Design

Campus Library Design

03-12

USC Wrigley Center for Advanced Environmental Study

03-12

PACK - Los Angeles New Museum

13-22

Part 2

Installations & Explorations

Explore on New Wooden Structure

35-40

Thermo Wall

41-51

Polyomino - A Form Creating Agenda

59-60

Supplemental Works

59-60

Picture of Themo Wall Exhibition: Think for Future - Interactive Architecture, Thermo Wall, RedtoryEMG.ART, Guangzhou, Jan. 2013

1

2

PART 1 Architecture Design / Fundamental and Comprehensive

Campus Library Primitive Geometry, Program, Circulation, Shading

USC Wrigley Center for Advanced Environmental Study Landform Architecture Humble towards the Nature but Ambitious towards the Future

PACK - Los Angeles New Museum Surface, Volume, Parametric, Morphophonemic

3

4

Campus Library Design Academic Imformation: Design Studio 4 132035 Location: Campus of SCUT, GuangZhou, China Type: Personal Work Construction Area: 9120M2 Tutor: Jiayi Lin This design focus on designing campus building that can adapt to the sub-tropical climate in Guangzhou. The site is on the central vacant land of the school's main axis. Taking these two main factors into consideration, the design is given a regular form to obtain a sense of serenity while utilizing three types of sunshade to tackle with the fierce sun light in sub-tropical region.

5

6

Strategy Concept

Site

Spacious

Introversive

Regular

Above are three key qualities of the space that in this design. The design hopes to bring about a comfortable (spacious) and quiet (introversive) study environment, while achieving a sense of serenity by using a regular form.

Zone Factor 1

Stream of People

Factor 2

Stream of Vehicles

Factor 3

Activities

Influen on Design

Positioning

Positioning the building on the back of the site is a strategy to separate the stream of people from the stream of vehicles and to create a frontal square for public activities.

Climate Factor 1

Factor 2

面积分析

后勤部

专业阅览

Wind direction

Sun direcion

综合阅览

Site Plan

技术部

60%

40%

Lanscape

Reading area Layout

教师阅览 电子阅览 专业阅览

60%

40%

善本阅览 基本书库 教师阅览 电子阅览

善本阅览 基本书库

后勤部

门厅 技术部

善本阅览 综合阅览

7

流线分析

教师阅览 Base on the wind direction and sun direction of the site, the design place its reading area on流线分析 the frontal part of the building. By doing so, it also help to achieve a 办公部 面积分析 better landscape for the reading area. 专业阅览

There are three elements that mainly influence the design strategy. They are my design concept, the seperation of zones in the site, and the climate. The design strategy is the result of the consideration balancing all these elements.

Service area

技术部

面积分析

12M 24M

Influen on Design

流线分析

综合阅览

6M

Factor 3

60%

40%

办公部 储藏室 后勤部 门厅 设备间 办公部 储藏室

门厅 设备间

阅览流线

工作流线

8

Plans 6M

12M

Reading Function Service Function

24M

1

2

3

4

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1/6

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10

L

L

K

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2

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H 1/G

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G

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1/E

10

E

8

D

D

11

C

C

12

B

B

A

A 1

2

3

4

5

First Floor Plan 1: Air Conditioning Systems 2: Switch Board Room 3: Water Pump Room 4: Fire Protection Control Room

1

2

3

6

8

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9

10

Sction position

4

5

5: Sterilizing Room 6: Office 7: Storage Room 8: Cataloging

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1/6

7

Model Pictures

9: Projection Room 10: Lecture Hall 11: Gallery 12: Art Design

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1 2

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B A 1

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Second floor plan

B

B

A

A

F

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1/E

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6 1

1/G

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4 D

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7 6

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B

B

A

A

10

Third floor plan

1: Basic Stack Rooms 5: Internet Reading Room 2: Newspaper and Journals Reading Room 6: Science Reading Room 3: Cafe 7: Literature Reading Room 4: Office

1

2 1

2

3

4

5

4 6

7

Fouth floor plan

8

9

10

D

D

C

C

B

B

A

A

D

5

C

2

B

2

A 1

2

3

4

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10

Fifth floor plan

1: Office 5: Computer Center 2: Self Study Room 3: Multemedia Reading Room 4: Rare Book Reading Room

The shape of the plans is almost a square. The first floor and the north side of third to fifth floor contains most of the service functions, while the reading functions are deployed on the south, east, and west side to attain better sun light. Four staircases together with four elevators can meet the basic need of circulation, and the stair in the lobby can make the travel between different reading rooms easier.

9

10

Space and Circulation

Distribution of area

Circulation

Literature

Service

Science

Multimedia

Storage

60%

Internet

40%

Office

Lecture

Book storage

Self Study

Main Entrence Readers' Route Personnels' Route

The studio has an area limit for the design, so it is important to make a careful distribution. The distribution of area of both the reading and service area is decided based on how many functions the area contains. After making the distribution and organizing the area based on the concepts stated before, the space of the library is formed. The library has five floors which together form a subtractive terrace allowing the sun light coming from above to disperse evenly in every reading room.

View from the Reading Room

Section pespective

View of the Patio and Skylight

The interior design is focused on creating a spacious and bright environment for readers, to achieve this goal, glass is frequently used to separate space. At the meantime, wooden furniture is used to create a friendly interior environment.

11

12

Sunshade System Detail Pespective of the Sunshade System

Top Sunshade Adjustable Louver Truss Louver Mounting Truss Glass Pivot

Louver Frame Beam Louver Frame

Vertical Sunshade

Stile Glass

Louver Mouting

Mutin Louver Frame Louver

Floor Slab Beam Stile Louver Frame

Horizontal Sunshade

Column Beam Beam Stile Ceiling Louver Louver Frame Glass Mutin Floor Slab Stile Stile

Sun light is perhaps the most suitable light source for a library, and Guangzhou has no shortage of sun light. However, under the influence of sub-tropical climate, sun light could be very fierce creating extra heat. In order to utilize the sun light while avoiding extra heat, it is important for building in Guangzhou to have sunshade. This design has three different kinds of sunshades each of which is designed specifically to deal with the sun light coming from its direction. Together this sunshade system can efficiently reduce heat while maintaining brightness of the interior.

13

Sun light coming from the sky can help to create a bright interior environment. The adjustable top sunshade can adjust its angle so that dazzle light will be blocked and the diffused light can get through. Readers in rooms facing east or west are prone to horizontal dazzle light. A vertical sunshade can effectively prevent this from happening. Likewise, a horizontal sunshade can effectively prevent Readers in rooms facing south from being prone to vertical dazzle light.

14

USC Wrigley Center for Advanced Environmental Study Academic Imformation: USC Arch 605a Type: Personal Work Tutor: Selwyn Ting

Location: Santa Catalina, California Construction Area: 15000Ft2

Three major elements of the site are taken into consideration during the design process, accessibility from the existing route, nature light and wind direction, and view. The intent is to create a new building for the Wrigley Institution, an institute that concerns itself with the environmental issues and conveys the idea of sustainable development for following generations. Three objectives are to be achieved through this design. The first one is to create a form that is humble towards the nature as if it emerges from the surface of the site, this reflects the environmental friendliness aspect of the institute. The second one is to provide an efficient organization of the programs, which will help the building to facilitate its educational function. The third one is to create connections between the newly established building and the pre-existing labs on the site, and to generate new connections between the buildings and the ocean, which will not only enable the scholar in both buildings to communicate better but also stimulate the space between the inner space of the building and the outer space of the building . The syntactic strategy is to manipulate the land surface, through a sequence of fold, unfold, extract, protrude, and peel, to create a geometry that is both architectural and performative.

15

16

Diagrams

Site Design

82 - 0

78' - 0" 76' - 0"

86' - 0"

78' - 0"

84' - 0"

76' - 0"

66' - 0" 64' - 0" 62' - 0" 60' - 0" 58' - 0" 56' - 0" 54' 0" 52' 0" 50' 0" 48' 0" 46' 0" 44' 0" 42' 0" 40' - 0" 38' - 0" 36' 34' 0" 32' 0" 30' 0" 28' 0" 26' 0" 24 0" '22 0" ' 20 - 0" ' 18 - 0" ' 16 - 0" '14' 0" 12' 0" N 135' - 2 3/8" 10' 0" E -146' - 0 11/16" 8' - 0" 0" 6' 0" 4' 0" 2' 0" 0' 0" -2' 0" -4' 0" -6' - 0"

82' - 0"

74' - 0"

80' - 0" 78' - 0"

72' - 0"

76' - 0" 70' - 0"

74' - 0"

68' - 0"

72' - 0"

66' - 0"

N 169' - 10 11/16" E 33' - 3 9/32"

64' - 0"

70' - 0"

68' - 0"

62' - 0"

66' - 0"

64' - 0"

60' - 0"

62' - 0"

58' - 0"

60' - 0"

56' - 0"

N 135' - 2 3/8" E -81' - 11 7/32"

N 133' - 1 3/32" E -10' - 5 7/32"

58' - 0"

54' - 0"

56' - 0"

52' - 0"

50' - 0"

/32"

'26

4 31 46' -

11

39' - 0"

-2

9/1

6"

18' - 7 5/8"

6"

0"

14' - 0"

116' - 11 13/16"

32' - 0"

1 7/8"

50 '-

N 97' - 11 11/32" E 150' - 7 7/32"

115' - 8 1/16"

N 77' - 1" E 33' - 7 3/8"

30' - 0" 28' - 0"

05 /32 "

26' 24'

22'

14' - 0"

- 0"

36' - 0"

- 0"

- 0"

'-

0"

0"

0"

-0

0"

14 '

-0 "

42' - 0"

12 ' 0"

44' - 0"

'-

30' -

42' - 0"

"

0"

4' - 0"

0"

6' -

-8' - 0" -6' - 0"

-4' - 0"

2' -

N 9' - 4 17/32" E 202' - 5 15/32"

0"

N 9' - 4 17/32" E -169' - 6 17/32"

10

1/2"

8'

19' - 10"

7 53' -

32' - 0"

0"

38' - 0"

16

N 23' - 2 21/32" E -43' - 5 13/16"

'-

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18

41' - 9 1/16"

46' -

34' - 0"

20' - 0"

48' -

46 '-

21' - 5 3/8"

6' - 1 13/32"

N 97' - 11 11/32" E 34' - 11 5/32"

N 83' - 2 31/32" E -62' - 6 11/16"

33' -

-2' - 0"

0"

23' - 10 19/32"

-10' - 0" -11' - 0"

52' -

26' - 0"

/1 13

1/8 "

54' - 0"

N 121' - 4 17/32" E 202' - 5 15/32"

48' - 0"

6' 5' 2

-4' - 0"

88' - 0"

80' - 0"

74' - 0" 72' - 0"

70' - 0" 68' - 0"

20' - 10 5/16"

Site Analysis

-2' - 0" 0' - 0"

2' - 6"

0'

Circulation

-2 '-

0"

" -0

'-6

-4 '-

0"

'-8

0"

0"

N

Site Plan -0 "

200

38 '-

36 '

34' - 0"

0"

80

32' - 0"

0"

'28

0"

0"

0"

40

30 '-

26 '-

24 '-

- 0"

22 '0" 20 '0" 18 '0"

8'

0"

16 '0" 14 '0" 12 '0" 10 '0"

4' -

0"

6' - 0"

2' -

0' - 0"

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0

N

1

Architecture 526 Fall 2015

Project number Date

USC Wrigley Center for Advanced Environmental Study

Set #4

Drawn by Checked by

A1

Instructor: Karen Kensek Michael Hricak Scale

Arial View Form Generation

17

SITE 1" =

18

Technical Drawings

1

1 A107

/16"

A 01

7

23' - 4 11/16"

22

115' - 10 1/32"

38' - 11

UP

10' - 10 3/16"

26' - 2 31/32"

26' - 2 31/32"

26' - 2 31/32"

7' - 10"

6' - 8 3/16"

2

3RD FLOOR

7' - 10"

6' - 8 3/16"

11

3RD FLOOR

7' - 10"

6' - 8 3/16"

12

3RD FLOOR

7' - 10"

6' - 8 3/16"

14

7' - 10"

6' - 8 3/16"

18

5' - 5 7/16" 6' - 8 3/16"

19

3RD FLOOR Level 1

7' - 7 1/2"

5' - 8 1/4"

20

7' - 7 1/2"

5' - 9 1/2"

21

7' - 7 1/2"

5' - 8 1/4"

26

7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 6' - 8" 6' - 8"

5' - 8" 5' - 8" 5' - 8" 5' - 8" 5' - 8" 2' - 6" 2' - 6"

1 9 10 13 25 22 23

Level 1 Level 1 Level 1 2nd Floor 2nd Floor Level 1 Level 1

Single-Flush: 30" x 80" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Single-Flush: 34" x 84" Grand total: 40

Height

Width

Mark

Level 1 Level 1 Level 1 Level 1 Level 1 Level 1 Level 1 2nd Floor 2nd Floor 2nd Floor 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR

6' - 8" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0" 7' - 0"

2' - 6" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10" 2' - 10"

24 3 4 5 6 7 8 15 16 17 29 30 31 32 33 34 35 36 37 38 39 40 41 42

B

3

C

A108

D

E

59' - 1 3/32"

2 A107 51' - 8 17/32"

4

51' - 8 3/32"

A108

49' - 1 1/32"

49' - 8 15/16"

46' - 0"

Level 4 42' - 0"

39' - 0"

3RD FLOOR 26' - 0"

2nd Floor 14' - 0"

18' - 7 5/8"

17/32"

A

3RD FLOOR

Level

17' - 1 3/32"

2

Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Curtain-Wall-Double-Storefront: Door-Curtain-Wall-Double-Storefront Door-Double-Flush_Panel: 68" x 84" Door-Double-Flush_Panel: 68" x 84" Door-Double-Flush_Panel: 68" x 84" Door-Double-Flush_Panel: 68" x 84" Door-Double-Flush_Panel: 68" x 84" Single-Flush: 30" x 80" Single-Flush: 30" x 80"

Family and Type

16' - 0"

3

Mark

59' - 1 3/32"

4 11 46' -

4

Width

12' - 0"

9 10

5

Height

26' - 2 31/32"

2' - 1 9/16"

6

8

A

Door Schedule

Level

11' - 10 7/16"

Door Schedule Family and Type

1

1

7

'25

Equipment Room

Mechanical Room

106

107

07

Janitor Room 105

UP

1

55' - 3 1/8"

A108

2

51' - 8 5/8" 49' - 5 1/8"

49' - 3 1/8"

6

5

4

3

WEST ELEVATION 1/8" = 1'-0"

2

1

C

43' - 2 9/16"

Level 4 42' - 0"

D

Women's Room

5/16 "

104

4

16' - 0"

32' -6

56' - 0"

49' - 9 25/32"

108

5' - 7 19/32"

5

109

Communication Room UP

" /32

19

A108

59' - 0 5/8"

Administration Room

8

20' - 0 15/32"

R

100

2

6

72' - 9 7/8"

Auditorium

A107

2

9

10

11

Level 1 0' - 0"

A107

B

26 24

3RD FLOOR 26' - 0" 12' - 0"

20

42' - 0"

103

41 '-

Men's Room

102

22 3/3 2"

23

Entrance Hall

28' - 6 3/16"

3 21

UP

2nd Floor 14' - 0"

DN

14' - 0"

E

1ST FLOOR 1/8" = 1'-0"

Level 1 0' - 0"

Architecture 526 Fall 2015

1st Floor Plan

Set4 11/17/2015 Yuchuan Chen

Date

USC Wrigley Center for Advanced Environmental Study

Set #4

Drawn by

Yuchuan Chen

Checked by

A106 A105

Instructor: Karen Kensek Michael Hricak

Set #4

A104 1/8" = 1'-0"

Scale

6

5

4

3

2

Number

125

Office 124

42 41

1 A107 39

A 01

DN

Lab 123

Lab 40

122

37

38

23' - 10 19/32"

"

2" 1/3 92

6

5/8

A

6' -

'50

30

Office

10' - 2 31/32"

119

Lab

33

3RD FLOOR 26' - 0" 1 A108

2nd Floor 14' - 0"

Auditorium

Open to Below

102

6

5

4

3

2

1

SECTION 1 1 1/8" = 1'-0"

A107

2

26' - 2 31/32"

26' - 2 31/32"

26' - 2 31/32"

D

Level 4 42' - 0"

26' - 2 31/32"

115' - 10 1/32"

56 '-

31 7/3 2"

10' - 10 3/16"

C

Interpretive Center

28' - 6 3/16"

11

7

16' - 0"

10' - 4 23/32"

Entrance Hall 26

103

20' - 0 15/32"

114

UP 2

2 A108

A108

Interpretive Center

15' - 1"

114

Level 1 0' - 0"

° 3.76 12

7' - 4 29/32"

32' - 4 7/16"

Interpretive Center 14

B

5' - 7 19/32"

7' - 9 25/32"

120

Level 4 42' - 0"

121

DN

° .91 69

A107

117

3 A108

1

14

2 A107

Men's Room

36

Storage

Level 1 Level 1 Level 1 Level 1 Level 1 Level 1 Level 1 Level 1 Level 1 2nd Floor 2nd Floor 2nd Floor 2nd Floor 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR 3RD FLOOR

100

72' - 9 7/8"

11

19' - 3 7/32"

34

Storage

Level

248 220 1 1 1 1 1 1 1 1 1 1 1 248 1 1 51 1 1 51 51 51 1 1

Lab

35

118

18

2

32

Office

116 2° 150.7

31

Occupant

18' - 7 5/8"

29

Area

14

18

114

3RD FLOOR 26' - 0"

° .91 69

° 3.76 12

Mechanical

4 A108

3 A108

110

Loading 15

111

16

12' - 0"

12

Communication

Storage

112

113

Communication Room

Administration Room

108

109

17

2nd Floor 14' - 0"

2

3RD FLOOR 1/8" = 1'-0"

Auditorium

Entrance Hall

100

102 1

Janitor Room Equipment Room 105

106

Mechanical Room 6

7

107

8

14' - 0"

E 82' - 5 3/32"

42' - 0"

8 9

Name

100 Auditorium 3145 SF 102 Entrance Hall 2007 SF 103 Men's Room 257 SF 104 Women's Room 189 SF 105 Janitor Room 195 SF 106 Equipment Room 186 SF 107 Mechanical Room 307 SF 108 Communication Room 307 SF 109 Administration Room 495 SF 110 Mechanical 186 SF 111 Loading 307 SF 112 Communication 307 SF 113 Storage 492 SF 114 Interpretive Center 4459 SF 116 Office 77 SF 117 Storage 71 SF 118 Lab 1029 SF 119 Office 77 SF 120 Storage 71 SF 121 Lab 1029 SF 122 Lab 394 SF 123 Lab 483 SF 124 Office 86 SF 125 Storage 68 SF Grand total: 24 16221 SF

Storage

10

E

Room Schedule

1

14' - 0"

USC Wrigley Center for Advanced Environmental Study

Instructor: Karen Kensek Michael Hricak

1/8" = 1'-0"

16' - 0"

Yuchuan Chen

12' - 0"

Set4 11/17/2015 Yuchuan Chen

Checked by

Date

Scale

11/17/2015 11:57:41 PM

Drawn by

Project number

Architecture 526 Fall 2015

SOUTH ELEVATION 1/8" = 1'-0"

Project number

11/18/2015 12:15:16 AM

1

Elevations

42' - 0"

1

Level 1 0' - 0"

Date

USC Wrigley Center for Advanced Environmental Study

Set #4

Drawn by

A105 Scale

19

Yuchuan Chen

Checked by

Instructor: Karen Kensek Michael Hricak

1/8" = 1'-0"

Architecture 526 Sections Fall 2015 11/17/2015 11:57:48 PM

Architecture 526 Fall 2015

Set4 11/17/2015 Yuchuan Chen

Project number

Date

USC Wrigley Center for Advanced Environmental Study

Set #4

SECTION 2 1/8" = 1'-0" Set4 11/17/2015 Yuchuan Chen

Project number

Drawn by

Yuchuan Chen

Checked by

A106 A107

Instructor: Karen Kensek Michael Hricak Scale

1/8" = 1'-0"

11/18/2015 12:15:24 AM

2

2nd Floor Plan

20

Wall Details

Aluminum Framing

Wide Flange Beam Aluminum Framing

Quercus Rubra

Quercus Rubra Cast-in-place concrete Floor

Light gauge steel framing, thermal air layer

Cast-in-place concrete Floor

Porferated Aluminum Panel

Quercus Rubra Cast-in-place concrete Floor Wide Flange Beam

Wide Flange Beam

Quercus Rubra

Soda Lime Glass

Aluminum 6061

Level 4 42' - 0"

Level 4 42' - 0"

Soda Lime Glass

Quercus Rubra

Aluminum 6061 Soda Lime Glass

Level 4 42' - 0"

Level 4 42' - 0"

Soda Lime Glass Aluminum 6061 Aluminum 6061

Floor Finish Floor Finish

Cast-in-place concrete Floor

3RD FLOOR 26' - 0"

3RD FLOOR 26' - 0"

Floor Finish

3RD FLOOR 26' - 0"

3RD FLOOR 26' - 0"

Cast-in-place concrete Floor

Curtain Wall Fixing

Soda Lime Glass

Light gauge steel framing, thermal air layer

Steel Truss

Steel Truss Floor Finish

Light gauge steel framing, thermal air layer

2nd Floor 14' - 0"

Cast-in-place concrete Floor

Wide Flange Beam

Light gauge steel framing, thermal air layer

Light gauge steel framing, thermal air layer

2nd Floor 14' - 0"

Cast-in-place concrete Floor

2nd Floor 14' - 0"

Floor Finish

2nd Floor 14' - 0"

Floor Finish

Floor Finish

Floor Finish

Level 1 0' - 0"

Level 1 0' - 0" Cast-in-place concrete Floor

Cast-in-place concrete Foundation

Gravel

DETAIL SECTION 1 1/4" = 1'-0"

Architecture 526 Fall 2015

Cast-in-place concrete Floor Gravel

Gravel Cast-in-place Concrete Footing

Gravel

1

Level 1 0' - 0"

2

DETAIL SECTION 2 1/4" = 1'-0"

3

DETAIL SECTION 3 1/4" = 1'-0"

Cast-in-place Concrete Footing

4

DETAIL SECTION 4 1/4" = 1'-0"

Drawn by

Set4 11/17/2015 Yuchuan Chen

Checked by

Yuchuan Chen

Project number Date

USC Wrigley Center for Advanced Environmental Study

Set #4

A107 A108

Instructor: Karen Kensek Michael Hricak Scale

21

1/4" = 1'-0"

11/18/2015 12:15:26 AM

Level 1 0' - 0"

Cast-in-place concrete Floor

22

Interior

View From Interpretive Centrer

View From Exterior Stairs

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24

Concept

Water Bubble

Tissue Cell

PACK - Los Angeles New Museum Academic Imformation: USC Arch605b Type: Personal Work Tutor: Patrick Tighe

Location: Los Angeles, California Construction Area: 60000Ft2

These project is about exploring architectural Surface & Volume.

When it comes to talk about surface or building envelope, we often consider elements like patterns and apertures. In regards to volume, or space, we discuss programs, gathering areas, circulation, recreational areas, etc. Therefore, how to organize these architectural elements so that they can generate a form that is unique and functional, for me, is of great importance.

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Surface Packing

Volume Packing

Surface Morphing

Volume Morphing

Form Generation

After a series of research, I come across the idea of “Packing� introduced by Benjamin Aranda & Chris Lasch. Packing, here, means to fill a region either two dimensional or three dimensional with intrinsically similar elements with little or no gaps, maximizing utilization of the region provided. It is an efficient and intellectual way of organization, and I intend to the applied this methodology to the project design.

I pack the main surface of this project with circles of different shapes and sizes, forming a seemingly organic yet functional and well organized facade. I pack atrium of this project with sphere of different volumes and forms, generating a central core with different activities which provide a coherence and unique spatial experience to the audiences and give identity to the building.

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Analysis

Technical Drawings

5th St

Hill St

6th St

7th St

8th St

Olive St

Broadway

1

1

1

13

Site Plan

0

280ft

70ft 35ft

N

1

13

Spring St

3rd Floor Plan

140ft

4th Floor Plan

10

10

12

11

10

10

6

5

9

10

7

10

Interior Core & Facade 8

8

4

1

1

N

1

Facade Shading & Sun Path

2

1st Floor Plan 0ft

27

3

N

2rd Floor Plan

20ft 10ft

40ft

28

Technical Drawings

11

5

2

Elevation

0ft

20ft 10ft

29

Section AA 40ft

10

1: Rest Room

6: Trash Room

11: Cleaning Room

2: Lobby

7: Kitchen

12: Locker Room

3: Coat Room

8: Workshop

13: Gallery

4: Souvenir Shop

9: Marketing Office

14: Street-View Balcony

5: Storage Room

10: Office

15: Roof Garden 30

Technical Drawings

Interior Rendering

Facade Panel (GFRC) Core Outer Cladding Facade Frame

Facade Main Beam Core Edge Beam

Core Secondary Frame Core Primary Frame

Floor Slab Slab Supporting Beam

Interior Core 4th Floor View

Core Inner Cladding (GFRC)

Conceptual Construction Detail

Interior Core 3rd Floor View

3D Printed Model 31

Interior Core 1st Floor View

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PART 2 Installation Design / Bold and Experimental yet So Pratical

Explore on New Wooden Structure Inspired by the Beauty of the Nature, Constructed with the Parametric Intellegence

Thermo Wall Interactive Architecture, Sustainable Future

Dynamic Force Not Just Form Making, But a New Way of Design

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34

Fabonacci Sequence

Ovary of an Anglerfish

Uncurling Caterpillar

Pinecones Nautilus shell Photos above comes from internet and are modified by the applicant.

Spiral Aloe

Romanesque Brocolli

Sunflower

Spores

The Fibonacci sequence is named after Leonardo Fibonacci. By definition, the first two numbers in the Fibonacci sequence are 0 and 1, and each subsequent number is the sum of the previous two, namely: 0, 1, 1, 2, 3, 5, 8, 13, 21... They are intimately connected with the golden ratio; for example, the closest rational approximations to the ratio are 2/1, 3/2, 5/3, 8/5, ... Fibonacci sequences also appear in biological settings, in two consecutive Fibonacci numbers, such as arrangement of leaves on spiral aloe, arrangement of cells in ovary of an Anglerfish, the fruitlets of Romanesque broccoli, the flowering of sunflower, an uncurling caterpillar and the arrangement of a pinecone. It is believed that Fibonacci is one of the sequences revealing the beauty of nature.

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55

8

5 11 2 3 21 13

Explore on New Wooden Structure Academic Imformation: 2011 Construction Competition of SCUT School of Achitecture Collaborators: Xiaobo Yang, Ji Wang, Jin Zhang Type: Collaborative Work Xianxiao Wen, Weihang Hu Position: Collaborator (Design, Drawings, Fabrication) Prize: Second Prize Drawing Credits: All Drawings and Photos except the Labeled Ones are Produced by the Applicant This competition requires each team to visualize the beauty of math or a certain law of nature. We choose to construct a wooden structure derived from Fibonacci sequence. Constructing intricate form with wood, a material environmentally friendly but hard to manipulate due to its rigidity, is a real challenge for us in the beginning. However, at the end of the competition we manage to overcome the obstacles by using algorithmic designing tools, and innovatively designing the junction of the structure.

35

Above is an approximation of the golden spiral created by drawing circular arcs connecting the opposite corners of squares in the Fibonacci tiling; this one uses squares of sizes 1, 1, 2, 3, 5, 8, 13, 21, 34, and 55. In mathematical terms, the sequence Fn of Fibonacci numbers is defined by the recurrence relation: Fn = Fn-1 + Fn-2 with seed values: F0 = 0, F1 = 1.

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Concepts

Form Generating Logic

X12

2

1

3 5 8

X12

X12

After discussion, we decide to use Yellow Chamomile, whose head shows the arrangement of consecutive Fibonacci numbers in: 21 (blue) and 13 (aqua) spirals, as the foundation of form study.

mirror

We also make several paper model developed from the Yellow Chamomile to find more possibilities for the final design and to explore the form generating logic.

37

In the final design, we use a concise form generating logic developed from research mentioned before. Firstly, we generate 8 circles whose radiuses are consecutive Fibonacci numbers, and we elevate them to different heights. Secondly, we divide each circle into 12 equal arches, and connect the end points of these parts between neighboring circles to generate spirals. Finally, we mirror the spirals along the line going through the center points of the circles. The last two diagram above also demonstrate the shapes of the wooden component used in the final constructions.

38

Junctions

Details

Installation of Junction 2 1

Align the Notches 15mm 15mm 20mm

Junction 1 of Two components

2

Insert 1st PVC Ring

PVC Ring

Junction 2 of Four Components

Notch PVC Rings

3

Push up 1st PVC Ring

4

Insert 2nd PVC Ring

5

Push down 2nd PVC Ring

6

Insert 3rd PVC Ring

7

Push Down 1st & 3rd

Pictures of Construction

Photos above comes from Xiaobo Yang and are modified by the applicant.

There are only two kinds of junctions in the final design. The first one connects two components while the second one connects four components.

Since we use no glue or nails, every junction is adjustable to some extent, creating tolerance for flaws and flexibility for the whole structure.

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40

Case study Felix Candela's Restaurant Los Manantiales

Photo above comes from internet and is modified by the applicant.

Thermo Wall Academic Imformation: Design Studio 5 132149 Collaborators: Sen Dai, Hanna Type: Collaborative Work Tutor: Gang Song, Aidi Su Position: Lead Designer (Research, Design, Programming, Drawings, Fabrication) Exhibition: Think for Future - Interacitve Architecture, Thermo Wall, RedtoryEMG.ART, Guangzhou, Jan. 2013 DADA 2013 Digital Infiltration-Student Work, Thermo Wall, 751D_Park, Beijing, Sep. - Oct. 2013 Publication: DIGITAL WORKSHOP IN CHINA, p188-219, DIGITAL WORSHOP SCUT DESIGN INTELLIGENCE ADVANCED COMPUTATIONAL RESEARCH DADA 2013 SRUDENTS, p190-191, Thermo Surface Drawing Credits: All Drawings and Photos except the Labeled Ones are Produced by the Applicant Started with case study of the famous architect Felix Candela, this studio tries to understand the essence of a beautiful and time-tested form, then proceed to generate new form based on the studies. It also tries to explore on the relationship between form function and material performance.

Furthermore, at the end of the studio, it also tries to extend the relationship between man and architecture by making a wall that is possible to detect thermo signal of the environment and interact with spectators.

41

Photos above comes from internet and are modified by the applicant.

Felix Candela is keen on demonstrating the features of hyperbolic concrete shell. He tries to tap into the potential of the material and make it as Felix Candela is keen on demonstrating the features of hperbolic concrete shell. He tries to tap into the protential of the material and make it as could be. Meanwhile he is very rational as well, he combines his asthetic trend with acure mathematic intuition to deal with the problem elegant as could be. Meanwhile he is very rational as well, he combineselegant hisasaesthetic preference with acute mathematic intuition to deal with the he encounter in the process of realizing a project. Here one of his master piece ,Restaurant Los Manantiales, is used as an example to show how Felix Candelar use one of his prototype to create beautiful form and how he tackle pratical prolems. problem he encounter in the process of realizing a project. Above are pictures of Restaurant Los Manantiales, one of Candela's masterpiece.

42

Generating New Design Structure Layers

Geometry and Material

One eighth of the concrete surface, it's half of the hyperbolic paraboloids that consist the form.

The steel mesh showing the basic element of the form.

Each hypra is trimed and modified to a unique shape.

a

b

a

b

c a

。

45

b

d

d(c)

1

Using the method shown above, we are able to use 1 power-delivering machine to drive 2 PE surfaces, creating a variety of deformations while demanding resonable amount of driving-forces.

2

Using the method shown above, we are able to use 1 power-delivering machine to drive 3 or more PE surfaces, creating a relatively fewer variety of deformations while demanding considerable amount of driving-forces.

3

Using the method shown above, we are able to use 3 power-delivering machine to drive 10 PE surfaces, creating a great variety of deformations while demanding great amount of driving-forces.

The structure of Restaurant Los Manantiales can be mainly divided into two layers. The first layer is concrete less than 40mm. The second layer is steel framework providing assistantance and connecting the concrete.

a

b

a

b

c Logic and Preference

b

。

45

d

a a

a

。

。

45

d d

。

45

45

b b

d

Modified hyperbolic paraboloid is structurally efficient and asthetically elegant

a

b b

b

a a

a

b b

b

b

Candela's basic geometry for the restaurant is a diamond.

b

d(c)

c

c c a a

a

d(c)d(c)

d(c)

By moving point a,b upwards and point c,d downwards a hyperbolic paraboloid is created. Then Candela removes a fan shaped part from the botton of the paraboloid.

To further polish the basic element, Candela cut of some fringe of the paraboloid according to his preference.

By multipling and rotating a basic geometry the form of the restaurant is created.

a

b

a

b

c a

。

45 Candela is very rational when it comes to form. He has deep understanding of the concrete shell and makes careful structural calculation before making final decisions. However, he has his own aesthetic preference. There are some details and subtle punishments of the geometry can't be explain rationally. d

43

b

b

After the case study, we move on to design our own form based on the study. After studying Candela's theory and his works, we know that a good form is usually a combination of creating good shape and selecting right material. Felix Candela's geometry is very elegant, so we would like to do something similar. However, since the goal of the studio is to make interactive device, concrete is not a suitable material to be selected. We choose PE plastic according to the outcome of a series of experiments. Above are some form designs we do with the PE plastic, d(c) and we choose the first one to further develop.

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Reseach- Filex Candela

Construction Interaction Mechanism & Mockup

Final Design

the PROTOTYPE

设计原型由一个核心和两个臂组成，通过臂的移动对覆面的材料挤压而变形。 核心由 Arduino 控制板、IRsensor 以及两部舵机组成。舵机旋转角度分两种类型，同步和异步，同步时舵

#include<Servo.h> void loop(){ 机旋转角度相同，相互对称；异步则两个舵机分别接受不同信息。IRsensor 接收原型与某物件距离从而通 过 Arduino 对舵机实现控制，从而改变曲面形态。 int num = 2; signal = anlogRead(0); Servo以下为基本代码： servo[num]; servoangle = map(signal,0.1023,0,45); int signal; servo[0].write( servoangle); #include <Servo.h> Servo servo1; int servoangle; servo[1].write(180-servoangle); Servo servo2; int sensorReading; } int servoValue; void setup(){ void setup(){ for (intservo1.attach(5); i=0; i<num; i++) servo2.attach(6); servo[i]. attach(i+1); } } 2200mm

The prototype with one Brain and two Arms

void loop(){ sensorReading = analogRead(0); servoValue = map(sensorReading,0,1023,0,45); servo1.write(servoValue); servo2.write(180-servoValue); }

Above is a single component evolved from the picture on the left. It is also the basic component for the interaction device whose concept is shown below. The basic component consist two servos and a PE surface between them. Both servos can receive signals from the microcontroller, Arduino, and then stretch or bend the surface. Basic Arduino codes are also shown above.

One-brain variation

mm

5800

one Brain,three Arms

one Brain,four Arms

one Brain,eight Arms

Exhibition Concept

Multi-brain variation

two Brains,five Arms

three Brains,five Arms

four Brains,five Arms

Above are concept drawing and mockup model for the final design.

SCUT-4th Year Studio Function of Interactive Prototype

Through research and experiments we generate our design. It divides a building interface into multiple voronoi panels on which several interactive components are placed. Through movement of this component system, we want to give building interfaces the intelligence to create a more delightful interior environment.

45

The final Design is derived from the mockup. However it is further developed and improved based on flaws and problems that are discovered in the mock up. It is a wall with a dimension of 2.2m by 5.8m, and has 55 interaction components

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Grouping and Structure System

Framework Installation

R O

P

S

Q

N M

L K J

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

I H

Group 1

Group 2

Group 3

Group 4

G

F E D C A

B

Panel System Installation Fram

Framework

e W ork

M4 Nut PVC Tube M4 Screw

Pan

el Sy

stem M3 Screw Inter

activ

e Co

Fixing M3 Nut

mpo

nents

Panel

Vertical Mouting of Panel

Horizontal Mouting of Panel

Interactive component installation

M3 Screw Servo Swing Arm

Servo

Swing Arm Extension

PVC Tube

M3 Screw A

A1 PE Plastic B4-6

In order to make the construction better-organized so as to benefit the construction process, we design a grouping and naming system for each component of this work. It consists 19 axes that are named separately by A to S. Each panel is belonged to one of these axes so it is named A1, B2, and S5 etc. The components on the panel are named A1-1, B2-3 and so forth.

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Panel

Fixed Arm

M3 Nut

To make the construction more efficient, we decide to prefabricate most of the parts needed and make clear diagram explaining how to assemble them. By doing so we have a better understanding about the whole construction process, at the same time, making it easier for other people who participate in helping us to finish the construction.

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Interaction Wiring maps

Picture of Construction Site

Mechanism

Panel Servo Sensor

Thermo Signals

Wiring for Sensor Primary Arduino

14 15 16 17 18 19 20 21 TX3 RX3 TX2 RX2 TX1 RX1 SDA SCL

13 12 11 10 9 8 7 6 5 4 3 2 1 0 PMW

TX RX

AREF GND

Electric Signals

RESE 3V3

DIGITAL

COMUNICATION

ANALOG IN 5V GND VIN

0 1 2 3 4 5 6 7

22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52

8 9 10 11 12 13 14 15

31 33 35 37 39 41 43 45 47 49 51 53 GND

Processed Signals

Secondary Arduino

Wiring for Arduino Primary Arduino

Movement Signals

.....

Wiring for Servoes Secondary Arduino

Photos above are shot by all members in the team and rearranged by the applicant.

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.....

.....

.....

Wavy Effect

The device has sensors that can detect thermo signal from the environment. When it is touch by a person, the triggered sensor will pass signals to the primary Arduino to translate the signals into electric ones. Then the primary Arduino will send the processed signals to secondary Arduinos to further translate them to movement signals. After receiving the movement signals, depending on sensor being triggered, the servos will move coordinately creating different kinds of wavy effects.

For vedio of Thermo Wall, please visit: http://youtu.be/YLNb3erT-XA 50

Polyomino - A Form Creating Agenda Academic Imformation: USC Arch705b Collaborators: Jiawen Ge, Qian Liu Yu Zhao Type: Collaborative Work Instructor: Jose Sanchez Position: Lead Designer (Research, Design, Programming, Drawings, Fabrication) This project is one of the third iterations of the Polyomino agenda. It builds itself on what has been done and tries to push the limit. Polyomino is a discrete way to build. It distribute the right to design to the users. The agenda used to rely on space-filling geometries and perfect-packing to fulfil its goal. Although perfect-packing can generate infinite amount of space sequences and patterns, it is often criticized as rigid and unadaptable due the fact that all the sequences and patterns have to be oriented in a fixed 3D grid. This project introduce a new level of complexity and ambiguity to the system by utilizing two new method that never exists in Polyomino before. The first one is “colouring”. Colour is a message embedded in the geometry, making it possible for the same geometry sequence to carry different message. The second one is “breaking and stitching”. It is a play between “the standard” and “the customized” which brings about flexibility and adaptability.

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Geometry Foundation Pattern #17

Fig.1 The Bisymmetric Hendecahedron

Fig.2 The hendecahedron form interlocking hexagonal “boat” shapes.

Fig.3 One layer (dashed) over another, showing the center of each translation unit.

Pattern #18

Pattern #19

Pattern #20

Pattern #23

Pattern #24

Fig.4 A general stack

Space Filling Geometry Pattern #1

Pattern #2

Pattern #3

Pattern #4

Pattern #21

Pattern #5

Pattern #6

Pattern #7

Pattern #8

Pattern #25

Pattern #26

Pattern #27

Pattern #9

Pattern #10

Pattern #11

Pattern #12

Pattern #29

Pattern #30

Pattern #31

Pattern #13

Pattern #14

Pattern #15

Pattern #16

Pattern #33

Pattern #22

Pattern #28

Pattern #32

Pattern #34

Variations of Space-filling Patterns The polyhedron we use shown in Figure 1 has two planes of symmetry, i.e. it is bisymmetric. This hendecahedron also has eleven vertices; polyhedra with the same number of faces as vertices are not very common. It has 2 large rhombic faces, a small rhombic face (which in the proportions used here is square), 4 congruent iscosceles triangular faces which meet along edges at right angles, and 4 congruent kite-shaped faces. Figures 2 and 3 shows how four hendecahedra together form a kind of hexagonal boat shape which will stack in interlocking layers. This boat shape is also a ‘translation unit’ - it can be regularly stacked in a lattice to fill space, without any rotation or reflection. This lattice is similar to the body-centred cubic, but scaled vertically by a factor which is here one-half (but see below). In Figure 4 the way the hendecahedra themselves stack together to form a space-filling ‘honeycomb’ can be seen.

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Genes, Structure & Higher Structure Gene #1

Gene #2

Gene #3

Gene #4

Gene #5

Gene #6

Gene #7

Gene #8

Gene #9

Gene#10

Gene #11

Through coloring the developed 3D pattern, another level of combinations is created. A particular 3D pattern combined with a particular way of color coding generates a unique sequence that may represent certain functional component in actual construction. At the mean time, such combined â&#x20AC;&#x153;Geneâ&#x20AC;?, when aggregated in large numbers, can have very unique aesthetic.

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Construction Mechanism Roof

Connection Piece

Granular Base

Plain Condition

Granular Columns Base

Connection Piece

Column

Granular Columns

Granular Base

Plain Condition

Because Polyomino is a new way of design and construct, it is important for our team to figure out how to actualize such a design. By connecting certain “Genes” in certain ways, we are able to create medium structures. We named them the “Granular Base”, the “Plain Condition”, and the “Granular Column”. These structure can “grow” naturally (within their original space grid”), or mutate (breaking the original grid by branching new grid). Finally, we create a local customized unit called the “Connection Piece” to bridge all different components together to form a macro structure that defines space.

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Spacial Design

Elevation Utilizing the micro structure (the “Genes”), the medium structure (the “Granular Base”, the “Plain Condition”, and the “Granular Column”), and the macro structure. This new Polyomino agenda is able to create a wide range of spatial conditions with much more adaptability, creating a kind of crowd-sourcing architecture that is functional and beautiful.

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Section

61

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Supplemental Works

USC Arch410 Computer Transformations

H1

Academic Imformation: USC Arch410 Type: Personal Work

H2

USC Arch564 Descriptive and Computational Architectural Geometry

H3

H2

H4

Instructor: Andy Ku,Justin Brechtel

The course is focused on commanding the ability to navigate through a vast array of virtual applications, design media, and digital fabrication technologies, affords incredible potential to develop, test, produce and communicate both spatial ideas and their corresponding physical components with great clarity.

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Academic Imformation: USC Arch564 Type: Personal Work

Instructor: Dr. David Jason Gerber

Descriptive and Computational Architectural Geometry aims to address the various natures of the historical relationship between mathematics, geometry,computation, and architecture. Through the display of historical mathematical models with formal affinities to contemporary architectural production, the course will provoke discussion about the relevance of a history of form, the origins of design technique, the epistemology of geometry models, and the justification for mathematical surfaces in architecture.

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Arte Arte Cafe Cafe Interior Interior Design Design Arte Cafe Interior Design Interior Layout Plan Interior Layout Plan

First Floor Interior Design First Floor Interior Design

Interior Layout Plan

First Floor Interior Design

Second Floor Interior Design Second Floor Interior Design Second Floor Interior Design

Imformation: Inter work from Guangzhou Civil Architecture Research & Design Institute Arte Cafe is located in Zhujiang Newtown, Guangzhou a central CBD area. The aim of this project is to create a delightful cafe interior with limited 2 Type: Personal Workin Zhujiang Construction Area: 127M Supervisor: ChenThe aim of this project is to create a delightful cafe interior with limited Arte Cafe is located Newtown, Guangzhou a centralHaifeng CBD area. budget and within a relatively short construction time. This proposal utilize a diagonal plan to accommodate complex kitchen equipment, while crebudget andiswithin a relatively short construction time. This proposal utilize aThe diagonal plan toproject accommodate complex kitchen equipment, while creArte Cafe located in Zhujiang Newtown, Guangzhou a central CBD area. aim ofand thisconcrete. is to create a delightful cafe interior with limited ating a delightful interior by tapping into the potential of material such as wood, metal, ating a delightful by tapping into the potential material suchutilize as wood, metal, and budget and withininterior a relatively short construction time.ofThis proposal a diagonal planconcrete. to accommodate complex kitchen equipment, while creating a delightful interior by tapping into the potential of material such as wood, metal, and concrete.

77 67 77

78 68 78

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|

| park

建 筑 概 念 设 计

设 计

70

念 悬 挑 式 - 建 标 筑准概 版

2F H=3.500M H=3.500M

B1F H= ﹣ 3.000M H= ﹣ 3.000M

2F

3F H=7.000M H=7.000M Plans

B1F

3F

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M a P n Ln aI n | a SMT aE SR TP EL R n Gn I n G

Imformation: Inter work from GUANGZHOU HANHUA ARCHITECTS+ENGINEERS CO.,LTD Type: Personal Work Construction Area: 407M2 Supervisor: Jiasheng Liao Villa in the Forest is a small residential design. It intergrated some of the design principal of the western modernism with tradictional Chinese aesthetic. Together, the two sets of design languages render a living environment that is elegant the friendly towards the nature.

park

|u R B u a R nB a nD E SD I EG Sn I G n|

Back Perspective Seeing the Black Brick Wall, the Stainless Steel Window, and Wood Interior Wall

H=±0.000M 1F 1F H=±0.000M COMBINATION-STANDARD/560 ㎡ /700 /5 ROOMS COMBINATION-STANDARD/560 ㎡ /700 ㎡ /5㎡ ROOMS

L aL na Dn SD CS aC Pa EP E a RaCRh CI h T E I TC ET Cu TR uE R E |

Front Perspective Seeing the Transparent First Floor, and Opaque Second Floor

CaRChITECTuRE om B i n a tioCOnCEPT n -S t aDESIGn n D aR D

aRChITECTuRE COnCEPT DESIGn

h h a a n n h h u u a a

Villa in Forest