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
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First Floor Plan 1: Air Conditioning Systems 2: Switch Board Room 3: Water Pump Room 4: Fire Protection Control Room
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Sction position
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5: Sterilizing Room 6: Office 7: Storage Room 8: Cataloging
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Model Pictures
9: Projection Room 10: Lecture Hall 11: Gallery 12: Art Design
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Second floor plan
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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
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D
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B
B
A
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C
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2
A 1
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3
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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"
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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"
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N 169' - 10 11/16" E 33' - 3 9/32"
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N 135' - 2 3/8" E -81' - 11 7/32"
N 133' - 1 3/32" E -10' - 5 7/32"
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'26
4 31 46' -
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1 7/8"
50 '-
N 97' - 11 11/32" E 150' - 7 7/32"
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N 77' - 1" E 33' - 7 3/8"
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N 9' - 4 17/32" E 202' - 5 15/32"
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N 23' - 2 21/32" E -43' - 5 13/16"
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N 83' - 2 31/32" E -62' - 6 11/16"
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N 121' - 4 17/32" E 202' - 5 15/32"
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6' 5' 2
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20' - 10 5/16"
Site Analysis
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Circulation
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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. 25
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. 26
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
32
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.
34
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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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. 44
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.
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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. 51
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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. 53
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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. 55
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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. 57
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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
62
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. 65
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. 66
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.
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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
69
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