Tian Hui Wen's Portfolio

Page 1


sci-arc fall 2014-Fall 2017


tian hui wen



This portfolio showcases works I have done at SCI-Arc as an undergrad student.



Contents

4A Design Studio 01 3B Design Studio 09 3A Design Studio 19 2B Design Studio 25 2A Design Studio 37

1B Design Studio

47

1A Design Studio 59 4A Design & Development 75

3A Tectonics & Materiality

109

4A Environmental Systems II

115

3A Visual Studies

125

2B Visual Studies

131

2A Visual Studies

137

1B Visual Studies

143

Seminar Essays

153



Studio/4A

4A Design Studio AMIGAA: Positions Fall 2017 David Ruy

This final studio in the core sequence introduces students to independent thinking and integrative design through an open yet defined framework. This provides an experimental platform for students to test ideas and their execution, with the crafting of a position having as much currency as the crafting of the project and its representations.


Studio/4A

Bus Line 030/330 Metro Gold Line Bus Line 720 Bus Line 106 Bus Line 781 Bus Line 018 Bus Line 071 Highway 60 1/10 Mile Radius Immediate Surrounding Project Site Community Center / Park School Retail

The site is located on 3060 E 6th street, in the residential area of Boyle Heights. It is in the hub of community living, surrounded by schools, parks, and community centers. It is walking distance to retails and has bus lines a few blocks down. Being in a neighborhood that is dense in housing, with houses feet apart from each other. The typical Boyle Heights lot is introduced with a duplex that has a full wrap of skin so it is visually separated from the neighbors. The house stands at an indifferent point of view that it does not try to isolate itself completely from the neighborhood nor will it actively interact with it.

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Studio/4A

E6

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th

’ fro

yard

Str

ee

t

etb

ack

5’ s

etb ack

nt

5’ s

Site Setback Site Outline

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’ re

Pedestian Path Traffic Path

ar

yard

Parking Private Outdoor Space Residential Buildings

1’

The front of the duplex faces East 6th Street, it is a two-way street that is not usually busy. From the street both units of the duplex have separate entrances yet they both share the same parking garage. Other than the front and back yard, each unit has a private balcony/patio space that is not visible from the other unit to ensure privacy. The immediate surroundings do not show signs of retail or public transit routes. This context shows the 8am,12pm, and 4pm ondiagram the site’s surroundings throughout the year. sun position at 8am,12pm, and With no houses in close proximity in the rear of the site,on there the is an abundant amount of sunshine 4pm site’s surroundings avaliable from the south. Which also effects the choice of placing most programs in the south end throughout the year. of the site. With no houses in close proximity in the rear of the site, there is an abundant amount of sunshine avaliable from the south. Which also effects the choice of placing most programs in the south end of the site. This context diagram shows the sun position at

March Equinox

June Solstice

September Equinox

December Solstice

4A Studio / SCI-Arc / Fall 2017

Student: Tian Hui Wen

Context Diagrams

4


Studio/4A

June Solstice

Unit 1

Unit 1

Indoor Area: 2970 sq ft Outdoor Area: 154 sq ft # of Floors: 3

# of Bedrooms: 4 # of Parking: 1

Unit 2 Outdoor Space Unit 1 Unit 2 Dining Bedroom Living Parking

5

December Solstice

Indoor Area: 5647 sq ft Outdoor Area: 203 # of Floors: 3 The two units are one in front of another. The two units share one main car entrance on 6th street with a circulation path to the backdoor unit. Each units has a private balcony / yard.

Unit 2 # of Bedrooms: 6 # of Parking: 2


Studio/4A Wih the study of Japanese joinery, the parts of an object is seen as a way for the project to organize its volumes so that the volumes would interlock with each other. Because of the manipulation of the pieces, gaps are being introduced. Instead of thinking of gap spaces as unused space, it will be potentially considered as exterior space for the project.

Kabuse-Meji-Tsugi

Osaka-Jo-Otemon-Hikae-Bashira-Tsugite

Mata-Juji_Mechigai_Tsugi

Hira-Inro-Tsugi

Kawai-Tsugite

Project

4A Studio / SCI-Arc / Fall 2017

Student: Tian Hui Wen

Wih the study of Japanese joinery, the parts of an object is seen as a way for the project to organize its volumes so that the volumes would interlock with each other. Because of the manipulation of the pieces, gaps are being introduced. Instead of thinking of gap spaces as unused space, it will be potentially considered as exterior space for the project.

Precedent Diagrams

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Studio/4A

7


Studio/4A

8



Studio/3B

3B Design Studio AMIGAA: Articulation and Tectonics II Spring 2017 Maxi Spina in Collaboration with Xun Lu

This studio is an advance on pedagogy established in previous studios, AMIGAA: Architecture as Mass, Interiority, Ground, Aperture, and Articulation) The studio focuses on the design, development, and tectonic logic of the building envelope and its ability to articulate contemporary formal organizations. Assemblage versus monolithic form, surface versus mass, iconicity and image, the intentional obscuring of hierarchical mass, layered, and graphic suitability.


Studio/3B

Bancroft Way

Collage Avenue

Bowditch Street Durant Avenue

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The massing is composed so figures are exposed towards the center of the building and hidden as it reaches the boundaries. To accommodate the site which is on a slope, the ground is designed so the building can be accessed on two different level as well as from both Bancroft Way and Durant Ave so it does not disturb the flow of pedestrians. The ground has a series of steppings on the side of Bancroft way to lead visitors down to the café and gallery areas while the library’s lobby is on the higher side. The steppings are designed to be coherent to the stepping that is visible in the massing. The steppings in the massing are used to defamiliarize the generic geometry and create a connection with the bounding figures. The outline of the ground’s steppings are taken from the building’s projection. The loading area is located on Durant Ave since it is a less busy street.

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Massing Strategy

figures.

he sameedge edgeororsurface surfaceinin e same

e figure in encased.

peofofthe thebox boxare aremore more pe

Studio/3B

Massing Strategy

Iteration 3: Iteration 1: The number of figures are reduced and reconfigured to accomo-

Iteration Iteration 1: 4: Iteration 2:

Massing isBoxes joined which of figures encase that theshare figures theare same connected edge or by surface steppings in which Massing is joined of figures that share the same edge or surface in A larger mass inscribes the massing of the figures. date the site geometry.its shape is taken from the original figures. geometry.

Iteration 2: Iteration 3: A larger mass inscribes the massing of the figures.

The number of figures are reduced and reconfigured to accomodate the site

Iteration 3:

Ite

The number of figur Bo date the site its

Iteration Iteration Iteration 2:2:1:

Iteration Iteration Iteration 3:3: 2:

Iteration4: Iteration 3:4:

It

largermass mass inscribes themassing massing the figures. AAlarger Massing is joined inscribes of figures the that share ofofthe the figures. same edge or surface in geometry.

Thenumber number figures arereduced reduced andreconfigured reconfigured accomoThe A larger ofoffigures mass inscribes are the massing and of the figures. totoaccomodatethe thesite site date

Boxes whichencase the figures areconnected connected bysteppings steppings which Boxes The number which ofencase figures the are figures reduced are and reconfigured by to accomowhich itsshape shape takenfrom fromthe theoriginal originalfigures. figures. its date the site isistaken

B it

Iteration 7: Iteration 5: Boxes are encasing more of the outer edge of the figures and the

Iteration Iteration 5: 8:

Iteration 6:

Iteration 7:

Iteration 6:andaretheintroduced Iteration 7: Ite A series areof forsteppings dense shape of the to connect box are generic more which chunks Boxes become more controlled, more of figure in encased. Boxes are encasing m The building mass is made upThe ofsteppings several articulated figures are confined with atheouter generic Boxes become more controlled, more of the figure in encased. Boxes are encasing more of the edge of the figures and the As visible. with figures to become a monolithic mass. center becomes mo center becomes more exposed, this regulates the outline of the wit massing. geometry. Above are massing iterations, our design of the massing began with self-similar massing. figures that interlock and intersect with each other. After realizing the munber of figures should 3B Design Studio/ AMIGAA: Articulation and Tectonics II/Baumgartner, Spina, Thomsen, Wu 3B Desig Iteration Iteration Iteration Iteration Iteration 6:6:5: Iteration Iteration 7:7: the 6: figures to create an illusionIteration 8: 7:8:figure being It be around ten, we began to add casing to of the Boxes becomemore more controlled, more thefigure figure encased. Boxesare areencasing encasing more theouter outeredge edge the figures and the Aseries series steppings areintroduced introduced connect generic chunks Boxes Thebecome steppings are controlled, for dense and more theofof shape the of theinin box encased. are more Boxes Boxes become more more ofofthe controlled, more ofofof the the figures figureand in encased. the ABoxes are ofofencasing steppings more are of the outertoto edge connect of the generic figureschunks and the A centerbecomes becomesmore moreexposed, exposed, thisadded regulatesthe theoutline outline the stock material withfigures figures tobecome become monolithic mass. theto visible. center this regulates ofofthe with center becomes to more exposed, aamonolithic this regulates mass. outline of the w “carved� out of stock material. Steppings are then to the encased figures massing. massing. massing. create connection between the figure and generic massing. (order: top left to right, continued bot3BDesign DesignStudio/ Studio/AMIGAA: AMIGAA:Articulation Articulationand andTectonics TectonicsII/Baumgartner, II/Baumgartner,Spina, Spina,Thomsen, Thomsen, Wu 3B 3B Wu Des tom left to right)

The steppings are for dense and the shape of the box are more center becomes more exposed, this regulates the outline of the visible. massing.

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Studio/3B

@ 67’-7 1/8”

@ 72’-4 3/4”

@ 56’-6 3/4”

@ 39’-9 1/8”

@ 27’-7 1/8” @ 38’-7 3/4”

@ 14’-8 1/8” @ 27’-3/4”

@ 0’-0”

@ 15’-9 3/4”

@ 0’-0”

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Section A

The interior of the building is organized according to the figures, which suggests ways to divide the space. Where the figure and generic box intersect, then becomes an atrium for circulation and natural lighting. The main vertical circulations of the building are located on the north and south side. The book stacks and outdoor atrium spaces provides the connection between the vertical circulations. As the building’s entrances are on two different level, the floors in the building are also separated with a shift in height. Because the separated floor plates offer more privacy, therefore, the programs that require privacy are housed. The north side of the building receives very little daylight, which creates an ideal location to place programs that requires little light, such as media rooms and computer labs. The reading areas and bookstacks are designed side by side so the areas closer to the windows that can receive natural lighting will have reading chairs while the center the building is mainly for book shelves. The auditorium is located on the top floor where it is separated from the other side of the building. 0

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The seams and tectonics are oriented according to the figures to introduce a monolithic effect between the articulated and generic. The exterior consists of extruding and concaving seams to created different shadow effects and hierarchy between different panels.

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Section B


croft Way

Level 5

Level 2

Studio/3B

Bancroft Way

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Durant Ave

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Lobby Gallery Cafe Reading Room Reading Area Children’s Reading Area Book Stacks Media Viewing Room Auditorium Storage Parking Loading Zone Freight Elevator

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Bancroft Entry 1 Bancroft Entry 2 Courtyard Entry Loading Entry

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Ground Level

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Lobby Gallery Cafe Reading Room Reading Area Children’s Reading Area Book Stacks Media Viewing Room Auditorium Storage Parking Loading Zone Freight Elevator Bancroft Entry 1 Bancroft Entry 2 Courtyard Entry Loading Entry

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Level 3

Ground Level

Bancroft Way Bancroft Way

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Computer Lab

11 down

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Office

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up

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Reading Area

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Reading Room

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Book Stacks

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Storage

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Lobby Gallery Cafe Reading Room Reading Area Children’s Reading Area Book Stacks Media Viewing Room Auditorium Storage Parking Loading Zone Freight Elevator

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Bancroft Entry 1 Bancroft Entry 2 Courtyard Entry Loading Entry

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Level 2

Durant Ave

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Durant Ave

Ground Level

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Durant Ave

Level 2

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Bancroft Way

Bancroft Way

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Level 3

Ground Level

Lobby Gallery Cafe Reading Room Lobby Area Reading Gallery Reading Area Children’s Cafe Stacks Book Reading Room Room Media Viewing Reading Area Auditorium Children’s Reading Area Storage Book Stacks Parking Media Viewing Loading Zone Room Auditorium Freight Elevator Storage Parking Entry 1 Bancroft Loading Zone Bancroft Entry 2 Freight Elevator Courtyard Entry Loading Entry Bancroft Entry 1 Bancroft Entry 2 Courtyard Entry Loading Entry

Durant Ave

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Ground Level

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Studio/3B

Urban Strategy

CONNECTIVITY The library is designed so pedestrian connectivity is not interrupted between Durant Ave and Bancroft Way.

MASSING SITE STRATEGY ENTRANCE The massing & is SITE placedACCESS to maximize the site, the array of the geomThe site can be accessed from both streets. etry touch edges of both east and west of theThe site.north, east, and southwest entrances are for visitors. Southeast entrance is for loading. 15


Solar Geometry The sun is traveling from east to west that the morning sun shines through programs such as the office and the reading rooms. As the sun travels is will shine through the center atrium as well as the rest of the reading rooms located towards the west. The sun will never shine directly at the book stacks to protect the books. Media rooms and computer lab face the north so it is dark. The cafe also faces the north so it has plenty of shade during the hot seasons.

Studio/3B North

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North

30 West

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East

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South

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Active Passive Design

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South

The building’s natrual ventilation creates during the day, ceiling radiation and cooling will contribute to maximum comfort during the day. The space is designed to programs such as offices and reading area can have sufficient light to decrease the hours of mechanical lighting. Main circulation areas are cooled by natural ventilation.

3B Design Studio/ AMIGAA: Articulation and Tectonics II/ Xun Lu & Tian Hui Wen

Daylighting The morning sun introduces natural daylighting into spaces such as children reading room and the office space as well as the west side reading areas. As the day progresses the office space will recieve daylighting for the most of the day and the atrium will become nicely lit at noon. Most of the book stacks will not recieve direct sunlight in order to protect the pages. Media viewing room and computer labs are located on the north side of the building to avoid bright sunshine. 3B Design Studio/ AMIGAA: Articulation and Tectonics II/ Xun Lu & Tian Hui Wen

8:00 a.m.

4:00 p.m.

8:00 a.m.

4:00 p.m.

4:00 p.m. 8:00 a.m.

November 21st March 21st June 21st

3B Design Studio/ AMIGAA: Articulation and Tectonics II/ Xun Lu & Tian Hui Wen

16


Studio/3B

Steel Beam 1.50’ x 3.00’ Bead Blast Aluminum Panel 6.00’ x 3.00’

Structural Steel Tube 1.00’ x 1.50’ Gypsum Board 0.25’ Framing System

Waterproofing Panel Steel Column 1.50’ x 3.00’ Thermal Insulation

Metal Deck

2“ Argon Filled Double Pane Glass, Low E Insulation Value

Mullion, high strength aluminum Concrete Floor for long life span I-Beam 1.50’ x 1.00’

Suspended Ceiling

Structural Steel Tube 0.85’ x 1.00’

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Studio/3B

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Studio/3A

3A Design Studio AMIGAA: Articulation and Tectonics I Fall 2016 David Freeland in Collaboration with Ziyi Zhao

The studio focuses on the design, development, and tectonic logic of the building envelope as a tower. Lots of research have been put behind it to understand what a tower should have, how the coding works. The drastic change in height also adds challenge to proper shading during the day as well as multiple circulation routes.


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Studio/3A

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Level 41 1’=1/16”

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Level 36 1’=1/16”

2 Site Diagram 1’=1/100”

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The tower is located in Mexico City. The surrounding of the site consists of low buildings so the tower stands out on the corner of the street. Inspired by the Lippo Center in Hong Kong, the mainly white tower stands out from other towers near the site due to its strange regularity and carefully articulated geometry.

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Level 5 1’=1/16”

The massing of the building consists of a series of concave and convex surfaces, providing shading during the day as well as balconies. The building sits on top of plinth to separate itself from the streets. The tower houses programs of retail, offices, and hotel. This means multiple entrances and circulation paths must be considered. The hotel entrance is on the north side of the site with a designated loading area and the office entrance is on the south. The facade of the building is made up of a generic grid which ties the massing of the building of three pieces into one. Though the grids may seem to be a single pattern on each side of the facade, every depth of the surface has its own set to generate a shift. 21

Ground Plan 1’=1/16”

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Studio/3A

686 ft

658 ft

646 ft

634 ft

622 ft

610 ft

598 ft

586 ft

574 ft

562 ft

550 ft

538 ft

526 ft

514 ft

502 ft

490 ft

473 ft

466 ft

454 ft

442 ft

Hotel

427 ft

Skyroom Transfer Floor

412 ft

397 ft

382 ft

367 ft

352 ft

337 ft

322 ft

307 ft

292 ft

277 ft

262 ft

247 ft

232 ft

217 ft

202 ft

187 ft

172 ft

157 ft

142 ft

127 ft

112 ft

97 ft

82 ft

67 ft

Office

52 ft

37 ft

22 ft

Section

Commercial

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Studio/3A

Hotel Cooling Tower

RTUs

Skyroom / Transfer Floor Chillers

Condensing Unit

Office

Commercial

Program Diagram

Massing Diagram

Return Air Conducts

Supply Air Conducts

Level 11

Level 34

Ground Floor

Level 19

Air Handlers Water Heaters

Rain Water Storage Tank

HVAC diagram

Egress Diagram

Column-Grid Diagram

Pre-Cast GFRC 1.5’ GFRC

Anchor to Mount Fins

Mullion

Aluminum Fins

2.5’ GFRC

Balcony

Concrete Slab

Plenum

2’ Columns

Hotel Entrance

Office Entrance

Office Entrance

Chunk Diagram 1’=1/8”

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Studio/3A

24 Section 1’=1/16”



Studio/2B

2B Design Studio Frameworks: Programs Spring 2016 Anna Neimark

Different from other studio work in this portfolio, a new way of designing is being experimented. Instead of designing the exterior shell then packing with programs, the interior is established first and a rather regular exterior shell is wrapped around it. This allows me to put more consideration into the programs as well as the relationship between each other. Scaling of mterials and strudcutres also begins to change the definition of them and starts to transform into wall patterns and even walls.


Studio/2B

The theatre is located in Alhambra, California. The location is surrounded with retail attracting different groups of people. The building sits on the corner of Main Street and Chapel Avenue with exits facing both streets. It houses two theatre spaces, the first floor theatre has 100 seats and the theatre on the second floor has 300 seats.

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Studio/2B

From the 1/8” = 1’ model you can see that the building is about edges and how they meet. Since the theatres are made up of boxes that were already exists, rotation of surfaces of the box produces visible edges which are identified with three different colors, yellow being the original interior wall of the box, orange being the original exterior, and brown, which shows that a piece of material is separated from the wall. Edges have the characteristic of folding clean on the interior when the box is completely closed. The partial unroll of the two boxes produce space for public programs. Although two boxes are not at the same scale in size, the structural grid and thickness of the faces are kept consistent. Different depth of the structure from original boxes are also translated into the theatre. Scaling of the structure produces space that is large/tall enough to house programs which then gives room to create a second floor with circulation access to the larger theatre and projection rooms. The exterior shell of the theatre acts as a cover up box that hides what is going on in the building but has some faces that sits exactly against the interior theatre which suggests some idea of the interior shape from the exterior. The “fin” which is rotated from a box pushes through the exterior shell to act as a billboard for advertisement and such. 28


Studio/2B

Chapel Avenue

Main Street

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Studio/2B

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Studio/2B

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Studio/2B

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Studio/2B

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Studio/2B

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Studio/2B

5.375"

5.625"

2"

7.625”

3.875"

7.625”

3.75"

9.25"

35


Studio/2B

5.375"

5.625"

2"

7.625”

1/32" 1/4" 1/32"

3.875”

5.70"

3.75"

9.25"

1/16"

1/32" 1/8" 1/32"

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Studio/2A

2A Design Studio Formworks: Sites and Contexts Fall 2015 Jake Matatyaou

This studio’s goal is to design a bar building which represents the development of modern architecture. With reference to well known bar buildings, characteristics of bar buildings are observed and studied, which leads to my later design.


Studio/2A

up

up

Starting by studying Le Corbusier’s Unite d’Habitation, the interior of how each apartment interlocks with another caught my attention and I decided to start working with the long hallways that connected the apartments which occurs every other floor. After transforming the “hallway bars” into a shape with two kinks in its body, scaling of the bars then transformed into hallways of the new building. With grids that were produced during the precedent study, they were proected onto the new building creating a facade. The building has two entrances and sits on a site that changes in elevation.

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Studio/2A

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Studio/2A

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Studio/2A

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Studio/2A

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Studio/2A

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Studio/2A

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Studio/2A

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Studio/1B

1B Design Studio Conceptual Strategies for the Physical World Spring 2015 Constance Vale

The Los Angeles Center for Architecture is located in the heart of the Arts District, Los Angeles. It is a museum where it exhibits works of local architects to the general public. The museum contains public facilities such as the gallery, bookstore, and cafĂŠ. It also houses programs such as office area, archive, restrooms, and kitchen.


Studio/1B

The alignment of the interior such as walls and furniture are traced back to the grid which was found in the Glyptothek’s floor plan. In this project I am interested in a reduced articulation on the exterior and a highly articulated interior void. The void’s geometry is maintained by moving private program into the solid.

2 2.5 2.5 2 2.5 2 2.5 2

7.25

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Studio/1B

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Studio/1B

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Studio/1B

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Studio/1B

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Studio/1B

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Studio/1B

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Studio/1A

1A Design Studio Material Strategies for the Physical World Fall 2014 Betty Kassis

This studio starts with a series of geomerty studies which help explore the relationships between form, space, and its effect. Through careful observation many unforseen characteristics of the original geometry is revealed. The second half of the studio is to create a personalized space that is specific to my body dimensions.


Studio/1A

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Studio/1A

The dodecahedron has twelve regular pentagon surfaces and thirty edges which are exactly the same, this categorizes the dodecahe-dron to be a platonic geometry. Exploring the dodecahedron’s construction tracing it back to the construction of a single pentagon, I discovered that it was only built with circles and the rotations of them. Looking at the dodecahedron as lines and surface figures led to the further transformations in this project.

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Studio/1A

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Studio/1A

The dodecahedron is transformed by rotating surfaces and adding in new planer surfaces, keeping the same number of pentagons.

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Studio/1A

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Studio/1A

The transformed dodecahedron is transformed again by adding in apertures, creating more planer surfaces while remaining the same number of pentagons from the beginning of this project.

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Studio/1A

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Studio/1A

By introducing contour lines to the figure, visible edges are blurred and the new figure now becomes soft, eliminating the number of planer surfaces.

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Studio/1A

HEAD 5’-3” (160 cm) EYE LEVEL 4’-10” (147 cm)

3’-6” (113 cm)

1’-9” (73.5 cm)

1’-0” (30.5 cm)

GROUND 0’-0” (0 cm)

1’-6” (46 cm)

1’-0” (30.5 cm)

4’-1” (125.5 cm)h

3’-9” (114.5 cm)

This project’s goal is to design a personal space for myself accord-ing to my body dimensions with space for specific uses. The building demonstrates contrast as the exterior has hard edges and the interior is soft. The concept of having the entire top floor open is to mimic the idea of a bulletin board. The building is placed at an intersection to emphasize this concept.

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5’-3” (160 cm)


Studio/1A

6’-1” (185.5 cm)

4’-6” (137 cm)

2’-11” (89 cm)

1’-7” (48.5 cm) 1’-1” (33 cm)

5’-3” (160 cm)

1’-2” (35.5 cm)

4’-3” (129.5 cm)

2’-4” (71 cm)

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Studio/1A

+ 8’ - 0” + 8’ - 0” Lounging

+ 8’ - 9”

Lying + 8’ - 9” Lying Art Viewing Art Viewing

Lounging

+ 8’ - 0”

+ 8’ - 9”

Lounging

Lying Art Viewing

+ 8’ - 0”

+ 8’ - 9”

Lounging

Standing Standing

Standing

Standing

Action

Lying Art Viewing

+ 7’ - 0” + 7’ - 0” Lounging Lounging

+ 7’ - 0” Lounging

+ 7’ - 0” Lounging

Action

+ 3’ - 8” + 3’ - 8”

Action

+Action 3’ - 6” + 3’ - 6” Standing

Working + Working+

3’ - 8” 2’ - 3” + 2’ - 3”

Standing Working

+ 3’ - 6”

3’ -- 3” 8” ++ 2’

Standing

Working

+ 3’ - 6”

Standing

71

+ 2’ - 3”


Studio/1A

72


Studio/1A

Lying Art Viewing

Lounging

Working

Action

Standing

Programs

Circulation

Lying Art Viewing

Working

Standing

73 Circulation


Studio/1A

Interior Massing Transformation

Axonometric Explodsion

Lying Art Viewing

Lounging

Interior Massing Transformation

Working

Action

Standing

74



Design Development/4A

4A Design Development Fall 2017 Scott Uriu & Pavl Getov with Matthew Melnyk and Jamey Lyzun in Collaboration with Chieh-Sheng Huang, Qianwen Liang, Xinxin Lin, Meng Wang

This course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, the development of building materials, the integration of building components and systems, fire/life safety and ADA planning, and the introduction of sustainability measures. The intent of this course is to develop a cohesive understanding of how architects communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architectural project and demonstrate Stewardship of the Environment..


Design Development/4A

2 A3

3 A3

77


Design Development/4A

1 A2

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTOS Scott Uriu Pavel Getov

CONSULTANTS Matthew Melnyk Jamey Lyzun

2625 Durant Ave, Berkeley, CA 94720

1 A3

MD LIBRARY

1 A4

TITLE

3D Mega Chunk DRAWING REVISIONS No.

Description

Date

SHEET NO.

A 01 78


Design Development/4A

SECTION 07 42 13.26 Perforated Metal Wall Panels SECTION 07 76 00 Roof Pedestal 07 21 26 Thermal Insulation SECTION 05 31 00 Steel Roof Deck SECTION 05 12 13 Architectural Structural Steel Framing Duct 7/8� Furring Channel SECTION 09 21 16 Gypsum Board

Concrete Composite Slab

08 51 13 Aluminum Window Framing SECTION 05 12 13 Architectural Structural Steel Framing

Maintenance Catwalk

SECTION 09 77 00 Glass Panel Systems

79


Design Development/4A

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

2625 Durant Ave, Berkeley, CA 94720

MD LIBRARY

Matthew Melnyk Jamey Lyzun

TITLE

3D Facade Chunk DRAWING REVISIONS No.

Description

Date

SHEET NO.

A 02 80


Design Development/4A

81


Design Development/4A

03 45 00 Architectural Precast Concrete 07 76 00 Roof Pedestal

MDZZ 07 14 00 Waterproofing Membrane Bonding Adhesive Insulation Insulation Adhesive 05 31 00 Steel Roof Deck 05 12 13 Architectural Structural Steel Framing Duct

ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

1-1/2” C-Channel

Matthew Melnyk Jamey Lyzun

MD LIBRARY

Pendulum Lighting

2625 Durant Ave, Berkeley, CA 94720

09 21 16 Gypsum Board Main I-Beam 33 40 00 Drainage

07 21 26 Thermal Insulation 09 22 00 Non-Structural Metal Framing 09 21 16 Gypsum Board TITLE

6” C-Channel, 16” O.C. 08 51 69 Interior insulating windows 08 51 13 Aluminum Window Framing

3D Wall Section Chunk Wall - Roof DRAWING REVISIONS No.

Description

Date

SHEET NO.

A 03.1 82


Design Development/4A

83


Design Development/4A

03 45 00 Architectural Precast Concrete

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin

08 51 69 Interior insulating windows 08 51 13 Aluminum Window Framing

APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

2625 Durant Ave, Berkeley, CA 94720

MD LIBRARY

Matthew Melnyk Jamey Lyzun

09 21 16 Gypsum Board 07 21 26 Thermal Insulation 6” C-Channel, 16” O.C. Composite Concrete Floor 09 22 00 Non-Structural Metal Framing Duct

TITLE

3D Wall Section Chunk Wall - Floor DRAWING REVISIONS

Cat-Walk Main I-Beam 07 42 13.26 Perforated Metal Wall Panel

No.

Description

Date

Brace 09 77 00 Glass Panel Systems SHEET NO.

A 03.2 84


Design Development/4A

85


Design Development/4A

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin

Composite Concrete Floor

APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

MD LIBRARY

Matthew Melnyk Jamey Lyzun

2625 Durant Ave, Berkeley, CA 94720

09 77 00 Glass Panel Systems

Cat-Walk Steel Pipe Brace Concrete Slab Foundation

TITLE

07 42 13.26 Perforated Metal Wall Panel

3D Wall Section Chunk Wall - Ground DRAWING REVISIONS

Structural Steel Tube

No.

Description

Date

SHEET NO.

A 03.3 86


Design Development/4A

07 14 00 Waterproofing Membrane 07 21 26 Thermal Insulation 09 21 16 Gypsum Board Composite Concrete Floor 05 31 00 Steel Roof Deck Duct Furring Clips Pendulum Lighting Adjustable Clip 1-1/2” C-Channel 7/8” Furring Channel Conduit 05 12 13 Architectural Structural Steel Framing

87

Channel Bracket


Design Development/4A

03 45 00 Architectural Precast Concrete

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

08 51 69 Interior insulating windows

CONSULTANTS

2625 Durant Ave, Berkeley, CA 94720

MD LIBRARY

Matthew Melnyk Jamey Lyzun

Bonding Adhesive Insulation Adhesive 07 76 00 Roof Pedestal 33 40 00 Drainage 08 51 13 Aluminum Window Framing Main I-Beam 6” C-Channel, 16” O.C. 09 22 00 Non-Structural Metal Framing TITLE

09 21 16 Gypsum Board

Concrete Wall to Roof Detail DRAWING REVISIONS No.

Description

Date

SHEET NO.

A 04 88


Design Development/4A

07 14 00 Waterproofing Membrane 07 21 26 Thermal Insulation 09 21 16 Gypsum Board

Composite Concrete Floor 05 31 13 Steel Floor Deck Adjustable Clip Channel Bracket Duct Pendulum Lighting 1-1/2� C-Channel 7/8� Furring Channel Sprinkler 05 12 13 Architectural Structural Steel Framing

Conduit Furring Clips

89


Design Development/4A

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS

6” C-Channel, 16” O.C.

CONSULTANTS Matthew Melnyk Jamey Lyzun

MD LIBRARY

03 45 00 Architectural Precast Concrete

Scott Uriu Pavel Getov

2625 Durant Ave, Berkeley, CA 94720

08 51 69 Interior insulating windows

08 51 13 Aluminum Window Framing

09 22 00 Non-Structural Metal Framing Main I-Beam 09 21 16 Gypsum Board

TITLE

Concrete Wall to Floor Detail DRAWING REVISIONS No.

Description

Date

SHEET NO.

A 05 90


Design Development/4A

LEVEL 6 Area: 20466, 78 SF Occupancy Type: B Occupancy Load: 2

LEVEL 5 Area: 19034, 52 SF Occupancy Type: B Occupancy Load: 1

LEVEL 4 Area: 18547, 33 SF Occupancy Type: B Occupancy Load: 1

LEVEL 3 Area: 15793, 29 SF Occupancy Type: B Occupancy Load: 1

LEVEL 2 Area: 15535, 21 SF Occupancy Type: B Occupancy Load: 1

A 09.1

LEVEL 1 Area: 17619, 40 SF Occupancy Type: B Occupancy Load: 1

Sixth Floor Plan

Bancroft Way

Entry

Bowditch St Exit

Durant Ave 0 10’ 20’ 40’

A 09.2 91

Parking Plan


Design Development/4A STAIR 1 Width: 4’-6” Occupancy Capacity: 180

F B 205

APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTOS Scott Uriu Pavel Getov

CONSULTANTS

F B 190

Matthew Melnyk Jamey Lyzun

F B 185

ChiehSheng (Jason) Huang Meng (Mona) Meng (Mona) WangWang Qianwen (Sammi) Liang Liang Qianwen (Sammi) Tian Hui (Vicky) Wen Wen Tian Hui (Vicky) Xinxin (Cheryl) Lin

MDZZ MDZZ ChiehSheng (Jason) Huang

Xinxin (Cheryl) Lin

STAIR 2 Width: 4’-6” Occupancy Capacity: 180

F B 158

MD LIBRARY MD LIBRARY

INSTRUCTORS

To Public Way

F B 155

Scott Uriu Pavel Getov

CONSULTANTS Matthew Melnyk Jamey Lyzun

To Public Way

A 09.3

Egress Diagram

TITLE

.2625 Durant Ave, Berkeley, CA 94720 2625 Durant Ave, Berkeley, CA 94720

F B 180

APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017

Egress

SCALE

TITLE

1/32“ = 1‘-0” Egress DRAWING REVISIONS

DRAWING REVISIONS

No.

Description

No.

Date

Description

Date

SHEET NO.

SHEET NO.

A 09.4

Ground Floor Plan

AA 09 09 92


Design Development/4A

Assembly Occupancy Groups

A3 (Assembly Area): Lobby and Library B (Business): Cafe B (Education): Reading

A 10.1

Fire Separation Diagram

1 Hr Fire Separation

1 Hr Fire Separatio

1 Hr Fire Separatio 1 Hr Fire Separation

1 Hr Fire Separatio

1 Hr Fire Separation

1 Hr Fire Separatio

1 Hr Fire Separation

A 10.3 93

Fire Separation Diagram


Design Development/4A

Smoke Exahust

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

Fire Separation Diagram

2625 Durant Ave, Berkeley, CA 94720

A 10.2

MD LIBRARY

Matthew Melnyk Jamey Lyzun

on

on

TITLE

on

Fire Separation Construction Type

on

DRAWING REVISIONS No.

Description

Date

Fire Sprinkler SHEET NO.

A 10.4

A 10 94


Design Development/4A 69

101

36

52

51 11

96

132

24 44

41

99

12

37

92

42

60 42

48

37

27

17

64 37

2. ADA Restroom

4

1. Refugee Area- Egress Core

8

9

8

9

3. ADA Parking

2

Bancroft Way

9

4

1

Entry

4

4

Bowditch St

11

14

4

Exit

A 11.1 95

Parking Plan

60


Design Development/4A

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS

From Public Way

Scott Uriu Pavel Getov

CONSULTANTS

MD LIBRARY

Matthew Melnyk Jamey Lyzun

A 11.2

2625 Durant Ave, Berkeley, CA 94720

From Public Way

ADA Diagram

TITLE

ADA DRAWING REVISIONS No.

Description

Date

SHEET NO.

A 11.3

Ground Floor Plan

A 11 96


Design Development/4A

90’ OFFICE

OFFICE

75’

BOOKSTA

61’ EXHIBITION

44’

CAFE

30’

EXHIBITION

15’

0’

A

97

40’

B

40’

C

30’

D


Design Development/4A

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017

ACK

INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

MD LIBRARY

Matthew Melnyk Jamey Lyzun

READING AREA

1:96

0’

10’

5’

2625 Durant Ave, Berkeley, CA 94720

READING AREA

20’

AUDITORIUM

TITLE

Building Section DRAWING REVISIONS No.

30’

E

40’

F

40’

G

Description

Date

SHEET NO.

A 15 98


Design Development/4A

Composite Concrete Floor

99


Design Development/4A

Perforated Stainless Steel Scrim 07 76 00 Roof Pedestal Insulation Composite Concrete Floor 05 31 13 Steel Floor Deck 05 12 13 Architectural Structural Steel Framing Two-way I-Beam Connectors

Ducts Furring Clip Sprinkler

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

MD LIBRARY

Matthew Melnyk Jamey Lyzun

2625 Durant Ave, Berkeley, CA 94720

Perforated Stainless Steel Scrim 08 51 69 Interior insulating windows

Cat-Walk Structural Steel Tube

TITLE

Stainless Steel 2D Details DRAWING REVISIONS No.

Description

Date

Brace SHEET NO.

A 18 100


Design Development/4A

1 A19.1

A 19.1

1 A19.2

A 19.2

A 19.3

1 A19.2

1 7/8�

101


1-1/2” C-Channel ” Furring Channel

Design Development/4A

07 21 26 Thermal Insulation 20 Gauge Metal Sheeting 07 14 00 Waterproofing Membrane 09 22 00 Non-Structural Metal Framing 6” C-Channel, 16” O.C. 08 51 13 Aluminum Window Framing

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS

03 45 00 Architectural Precast Concrete

Scott Uriu Pavel Getov

CONSULTANTS Matthew Melnyk Jamey Lyzun

MD LIBRARY

05 31 13 Steel Floor Deck

2625 Durant Ave, Berkeley, CA 94720

05 12 13 Architectural Structural Steel Framing

Adjustable Clip Pipe Bracket

TITLE

Concrete 2D Details DRAWING REVISIONS No.

Channel Bracket Furring Clips

Description

Date

SHEET NO.

A 19 102


Design Development/4A

05 12 13 Architectural Structural Steel Framing Structural Concrete Core

103


Design Development/4A

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

2625 Durant Ave, Berkeley, CA 94720

MD LIBRARY

Matthew Melnyk Jamey Lyzun

TITLE

3D Structural Axo Primary Gravitational Forces DRAWING REVISIONS No.

Description

Date

SHEET NO.

S 02 104


Design Development/4A

Steel-framing Support Grid for Slabs (Beams) Steel-framing for Pre-cast Panels

Steel Braced Frame Primary Steel Framing Perimeter Beam

105


Design Development/4A

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin

APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTOS Scott Uriu Pavel Getov

CONSULTANTS

2625 Durant Ave, Berkeley, CA 94720

MD LIBRARY

Matthew Melnyk Jamey Lyzun

TITLE

3D Structural Axon Seismic and Lateral forces DRAWING REVISIONS No.

Description

Date

SHEET NO.

S 03 106


Design Development/4A

Metal Deck

Steel-framing for Pre-cast Panels

Perimeter Beam Steel Braced Frame Primary Steel Framing

Mullion Catwalk Steel Framing for Panel

107


Design Development/4A

MDZZ ChiehSheng (Jason) Huang Meng (Mona) Wang Qianwen (Sammi) Liang Tian Hui (Vicky) Wen Xinxin (Cheryl) Lin APPLIED STUDIES DESIGN DEVELOPMENT FALL SEMESTER 2017 INSTRUCTORS Scott Uriu Pavel Getov

CONSULTANTS

2625 Durant Ave, Berkeley, CA 94720

MD LIBRARY

Matthew Melnyk Jamey Lyzun

TITLE

3D Structural Axo Secondary Structure DRAWING REVISIONS No.

Description

Date

SHEET NO.

S 04 108



Tectonics & Materiality/3A

3A Tectonics & Materiality Fall 2016 Maxi Spina & Ramiro Diaz-Granados in Collaboration with Qianwen Liang, Xinxin Lin, Ziyi Zhao

The class investigates tectonics and its effects and performance. With focus on the curtain wall-particularly on its forms of articulation and modes of assembly, a series of analysis drawings are produced. A change in location then results in the change of material used for the curtain wall and the design.


Tectonics & Materiality/3A

Reverse Shoji (grid system) Translucent fiber-glass panel

Transom (aluminum)

Thermally broken extruded -aluminum mullion Triple-pane insulating glass (low-E coating) Double-pane insulating glass (low-E coating)

Bracket Vertical aluminum channels

4 ft

3 ft

Sunshade louvers (aluminum) - 15°

2 ft

1 ft 2 ft

2 ft 1 ft

1 ft

Sunshade Louvers

Vertical aluminum channels

Mullion

Triple-pane insulating glass Vertical aluminum channels Operable windows

Anchor

4 ft

Bracket

3 ft

Sunshade louvers (aluminum) All calibrated to 15° to guarantee enough heat and light in winter and prevent too much direct sunlight in summer 2 ft

Double-pane insulating glass Bracket

1 ft 2 ft

2 ft

1 ft

4 ft

1 ft

3 ft 2 ft

Concrete slab on deck

1 ft

2 ft 1 ft

2 ft 1 ft

Precedent Study: Yale Sculpture Building, New Haven Facade System: Standard Stick System

Envelope Study Xinxin (Cheryl) Lin

Fiberglass Frame Inclosing the fiberglass

Fiberglass Panel Areogel insulated fiberglass to trap/release heat and and transmits natural daylight

Aluminum Chanel Connectecting the louvers, thermally broken aluminum for duribility

Double Pane Glass Argon filled glass for better insulation, low E IGU Horizontal Mullion Holds windows and window frames in place

Louver Sun shades for the south and east side of the building

Fiberglass Structural Grid Kalwall standard structural grid system, reverse shoji

Double Pane Window In front of the fiberglass, low E insulating glass

Mullion Connecting window panels, high strength aluminum

Triple Pane Window Vision area of the curtain wall Horizontal Mullion Small holes along the edge to let water out in rainy weather Fiberglass Energy saving, light transmitting tranlucent glass Vertical Mullion High strength, low maintence, long lasting

Triple Pane Glass Argon filled to created better insulation than glass, good for noise insulation, thermal comfort

I Beam Steel, supporting the roof and floor slabs, runs across the ceiling

Operable Window Alternating with the triple pane glass to create more wind flow if needed

Floor Plate Concrete slab for a long life span, can be cast on site

Window Frame Frame of the operable window with high strength, low maintence

2’

3’

1’

1’ 3’

3’

2’

1’ 2’

111 Precedent Study: Yale Sculpture Building Facade System: Standard Stick System

Tectonics and Materiality AS3033 Tian Hui Wen


Tectonics & Materiality/3A

Anchor Sunshade Louvers Bracket

screws

Double-pane insulating glass

4ft

Triple-pane insulating glass

3ft

2ft

2ft

2ft 1ft 1ft

1ft

Liberglass

Transom (aluminum) Fiberglass

Thermally broken extruded -aluminum mullion

Floor plate

Beams

Transom (aluminum)

Vertical aluminum channels

Double-pane insulating glass

4ft

Thermally broken extruded -aluminum mullion

3ft

2ft

2ft

2ft 1ft 1ft

1ft

4ft

3ft

2ft

2ft

2ft 1ft 1ft

1ft

Precedent Study: Yale Sculpture Building, New Haven Facade System: Standard Stick System

The Yale Sculpture Building has a curtain wall with an aluminum frame. It has a 8’ 4” tall triple-glazed glass filled with argon insulating glass at vision height. Below is a double-glazed insulating glass that is connect to a translucent fiberglass panel insulated with aerogel which then connects to the floor plate. The north wall and half of the east wall are glazed with flushed panels whilst the south wall and the other half of the east wall are shielded from sun with an addition of shades. The entire building aims to be energy efficient. Glass curtain walls maximizes the amount of sunlight the building can receive. The triple-pane insulated glass is good for insulation, is energy efficient, material such as argon is injected into both spaces between the panels of glass, this can increase the insulation value of the glass by 16% compared to air filled IGUs, and is also capable of canceling out outside noise. Low-E glass is one of the best ways to prevent heat escaping the building or vice versa. The envelope system for the Yale Sculpture Building is highly energy efficient. It is a successful result of experimenting with new materials.

Tectonics and Materiality AS3033 Qianwen (Sammi) Liang

Rainwater collecting cisterms

Radiant Floor

Operable windows and fans

Precedent Study: Yale Sculpture Building, New Haven Facade System: Standard Stick System

112


Tectonics & Materiality/3A

Anchors are removed and Anchors are removed and replaced with tracks replaced with tracks

Terracotta panel Terracotta panel frame with clipsframe with clips

Support ledgesSupport ledges

Terracotta panel west Terracotta panel west

Terracotta panel Terracotta west panel west

Terracotta Terracotta panel south panel south

Terracotta panel Terracotta south panel south

Terracotta Terracotta panel corner panel corner

Cable suspending Cable thesuspending ledge the ledge

Terracotta panel Terracotta panel frame with clipsframe with clips

Support ledge S

Aluminum Frame Aluminum Frame Clips slide into the track Clips to slide into thetotrack

Terracotta panel Terr

Cables for suspension Cables fo

Screws to and connect frame and panel Screws to connect frame panel

4.5 ft

2.5 ft

4.5 ft

Pattern 1

Pattern 1

2.5 ft

2.5 ft

2.5 ft

Corner Orientation South Facade Orientation Corner Orientation South Facade Orientation

Porosity:

Porosity:

70% (average) 70% (average)

Material Calculations: Material Calculations: 4.5 l.f. per tile 4.5 l.f. per tile

Performance: Performance: Terracotta it ato good Terracotta makes it a goodmakes material usematerial to use as shading the exterior as shading on the exterior on in hotter areas.in hotter areas. These soak upthe the heat from the These mate-rials soakmate-rials up the heat from to keep the interior cool. sun, helping to sun, keephelping the interior cool.

Durability: Durability: very long life cycle. Terracotta has Terracotta a very longhas life acycle. After firedbe thesealed tiles must After being fired the being tiles must to be sealed to prevent from rain and regular mainprevent water from rainwater and regular maintance cleaning.tance cleaning.

113

Tian Hui Wen, Ziyi Tian Zhao Hui Wen, Ziyi Zhao

Porosity:

Porosity:

40% (average) 40% (average)

Material Calculations: Material Calculations: 2.5 l.f. per tile 2.5 l.f. per tile

Performance: Performance: Terracotta it ato good Terracotta makes it a goodmakes material usematerial to use as shading the exterior as shading on the exterior on in hotter areas.in hotter areas. This option of shading This option of shading panels replacespanels replaces These mate-rials soak up the heat from the These mate-rials soak up the heat from the Yale Sculpture Building’s aluminum Yale Sculpture Building’s aluminum to keep the interior cool. sun, helping to sun, keephelping the interior cool. louvers with porous louvers with porous terracotta pan-terracotta panels. Due each to thepanel matrial, els. Due to the matrial, caneach panel can be casted and fired into complicated be casted and fired into complicated forms. panels oriented to accoforms. The panels are The oriented to are accoDurability: Durability: modate of the sun throughmodate the angle of thethe sunangle throughvery long life cycle. a very longhas life acycle. out the day. Punctures out the day. Punctures are made to theare made to theTerracotta has Terracotta After firedbe thesealed tiles must After the being tiles must to be sealed to panel to incresase Thebeing fired panel to incresase natrual lighting.natrual The lighting. prevent water from rain and regular mainprevent water from rain and regular maintrack and clip system proaluminum trackaluminum and clip system protance cleaning.tance cleaning. a solution to attaching irregular vides a solutionvides to attaching irregular shaped panels.shaped panels. Curtain Wall Option Curtain 1 Wall Option 1 Liang,Qianwen Qianwen Ziyi ZhaoLiang, Ziyi Zhao

Pattern 2

Patter


Tectonics & Materiality/3A

Support ledges Support ledges

Terracotta Terracotta panel west panel west

Terracotta Terracotta panel south panel south

Cablethe suspending the ledge Cable suspending ledge

Support ledgeSupport ledge

Cable supportCable support

Terracotta panel racotta panel

Terracotta panel Terracotta panel

Cables for suspension or suspension

rn 2

Cables for suspension Cables for suspension

1 ft

1 ft

2.5 ft

2.5 ft

Pattern 3 Pattern 2

Pattern 3

Pattern 3

Pattern 4

Pattern 3

Pattern 4

Pattern 4

Pattern 4 2.5 ft 2.5 ft Porosity:

2.5 ft

Pattern 1

Pattern 1 Pattern 2

2.5 ft Pattern 2

Porosity:

40% (average)40% (average)

Material Calculations: Material Calculations: 2.5 l.f. per tile2.5 l.f. per tile

Performance:Performance: Terracotta makes it a good material to use Terracotta makes it a good material to use shading oninthe exterior in hotter areas. as shading onas the exterior hotter areas. The new terracotta panels are fashioned The new terracotta panels are fashioned These mate-rials soak up the heat from the These mate-rials soak up the heat from the into shapes resembling sheets paper sheets into shapespaper resembling helping to keepcool. the interior cool. keep the interior which have six different in hori-forms in hori-sun, helping tosun, which haveforms six different zontal or vertical orientation toorientation prevent to prevent zontal or vertical direct sunlight. The panels are perforatdirect sunlight. The panels are perforated to maximize amount ofthe indirect edthe to maximize amount of indirect Durability: Durability: lighting. Panels are suspended onsuspended ledges lighting. Panels are on ledges has a very Terracotta hasTerracotta a very long life cycle.long life cycle. which provides an extra shading. which provides an extra shading. After must After being fired thebeing tiles fired mustthe be tiles sealed to be sealed to water rainmainand regular mainprevent waterprevent from rain andfrom regular tance cleaning. tance cleaning.

Curtain Wall Option Curtain2 Wall Option 2 Lin, ZiyiXinxin Xinxin Zhao Lin, Ziyi Zhao

The new terracotta The new panels terracotta are fashioned panels are fashioned into shapes resembling into shapespaper resembling sheets paper sheets which have nine which different have nine forms different in hor- forms in horizontal or vertical izontal orientation or vertical toorientation prevent to prevent direct sunlight. direct The panels sunlight. are The perforatpanels are perforated to maximize edthe to maximize amount ofthe indirect amount of indirect lighting. lighting.

Curtain Wall Option Curtain3 Wall Option 3

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Environmental Systems II/4A

Environmental Systems II Fall 2017 John Bon in Collaboration with Xinxin Lin, Xun Lu, Kai Wang, Selina Zhang

The production of architecture can be considered the synthesis of performance and expression. This course focuses on more advanced and technically specific building systems and their environmental performance. Students will build on their conceptual understanding of energy systems and their behaviors. Applying professional practice standards to propose both active and passive modifications to a well-known work of Modern Architecture in Los Angeles.

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Green Grass 75°F Heat Gain

EPDM Roofing 93°F

Heat Gain

Single Pane Glass 81°F

Time

Ambient Temperature (°F)

Humidity (%)

11:30

80.9143

49.9692

11:35

81.5321

49.1147

11:40

82.5167

48.5959

11:45

82.8835

48.2603

11:50

82.8835

48.2603

11:55

82.8835

48.2603

12:00

82.8835

48.2603

12:05

82.8835

48.2603

12:10

82.8835

48.2603

12:15

82.8835

48.2603

Aged Redwood 105°F

EPDM Roofing 105°F

Concrete Floor 80°F Stucco 87°F Concrete Floor 75°F

109°F 103°F 97°F W

91°F 85°F 79°F 73°F

S

67°F

Infrared Image

Temperature Tian Hui (Vicky) Wen Group 5 117

Infrared Image

Typical from en


Environmental Systems II/4A

Heat Gain

EPDM Roofing 93°F Aged Redwood 108°F

Wooden Door 90°F

Single Pane Glass 70°F

Green Grass 95°F

l Meteorological Year 3 Data nergyplus.net

Heat Gain

Precast Concrete 99°F

Bush (Boxwood) 92°F

Precast Concrete 75°F

Green Grass 82°F

N

E

Solar Radiation

Schindler House 833 N Kings Rd West Hollywood, CA 90069 September 25th, 2017 11:30 a.m. Mild Marine Climate, California Climate Zone 9 118


Environmental Systems II/4A

1. Metal Roofing Shingles

7. Wooden Stu 4. Gypsum Wall 2. Double Pane Insulating Glass 6. Engineered Hardwood Florring

5. Re

83°F 77°F

N

W

71°F 65°F 59°F 53°F E 47°F 41°F

S

Typical Meteorological Year 3 Data from energyplus.net

Temperature Tian Hui (Vicky) Wen Group 5 119

Diva, Solar Radiation


In Vancouver, by the time it is noon, the sun will not have risen to an orientation where it provides full exposure to the house. Therefore, the Schindler House is rotated so the sides with more windows are exposed to the East, South, and West side. In this way the sun will provide some warmth to the building during the In Vancouver, by theTotime it is noon, the sun will notishave cooler hours. accommodate the cold weather, the house equipt risen with a to an floor systemfull where each room in house can be Therefore, controlled orientation radiant where it heating provides exposure tothethe house. individually. Because warm air rises from the floor, the cooler air is forced down the Schindler is rotated withHouse the ventilation system. so the sides with more windows are

Environmental Systems II/4A

exposed to the East, South, and West side. In this way the sun will provide some warmth to the building during the cooler hours. To accommodate the cold weather, the house is equipt with a radiant floor heating system where each room in the house can be controlled individually. Because warm air rises from the floor, the cooler air is forced down with the ventilation system.

ud Wall

3. FibrexÂŽ material

einforced Polymer Composite Siding 8. Precast Concrete

10. Boxwood 9. Fine-leaf

Schindler House 3783 W 23rd Ave Vancouver, BC V6S 1K6 September 25th, 2017 11:30 a.m. Moderate Oceanic Climate, British Columbia Climate Zone 8 120


Environmental Systems II/4A

A-5

A-6

A-2 A-4

121

A-3


Environmental Systems II/4A

Radiant Floor Heating System

A-7

A-8

Circuit

Manifold

A-1

1

1/2”

A-2

1 1

1/2”

A-5

1 1

1/2” 1/2”

A-6 A-7

1 1

1/2”

A-8

1

A-9

2

1/2” 1/2”

A-10

2

1/2”

A-3 A-4

Tube Type

1/2”

1/2”

Boiler Manifold 1 Manifold 2

A-9

A-10

A-1

Schindler House N

New Location: 3783 W 23rd Ave Vancouver, BC V6S 1K6 Moderate Oceanic Climate British Columbia Climate Zone 8 122


Environmental Systems II/4A

A.

Metal Roofing Shingles

B.

Soffit Framing

C.

Double Pane Insulating Glass

A. Metal Roofing Shingles C1. Krypton gas filling

C2. Heat Mirror速 film C. Double Pane Insulating Glass

solar gain A

B

B. Soffit Framing

C1. Krypton gas filling

East sunshine

C2. Heat Mirror速 film

D.

D. Fibrex速 material Fibrex速 material E. Wooden Stud Wall

E. C C1 C2

F. Reinforced Polymer Composite Siding

Wooden Stud Wall G. Engineered Hardwood Flooring H. Concrete Slab

F.

I. Granular CapillaryPolymer Break and Drainage Pad Reinforced Composite Siding J. Concrete Foundation Wall K. Concrete Footing

G.

Engineered Hardwood Flooring

H.

Concrete Slab N. Cement-Sand Layer

I. Pad

Granular Capillary Break and Drainage

J.

Concrete Foundation Wall

K.

Concrete Footing

L.

Heating Pipe 150mm o.c.

M.

Floor Temperature Sensor

N.

Cement-Sand Layer

L. Heating Pipe 150mm o.c.

M. Floor Temperature Sensor D

E

C

F

G H I L M J N

K

123 Schindler House


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Visual Studies/3B

3B Visual Studies Informal Analysis Fall 2016 Anna Neimark in Collaboration with Owen Bradbury, Andy Han, Qianwen Liang

Mountains are full of wonder, they are unpredictable, they are not easy to analyse in a formal way. A Mondrian painting is carefully controlled, it is regulated through architectural conventions. Draw the objects in grid and it is not hard to find common ground between the two.The course plays with the tolerence of the analytical drawings, some deviating a little. Models of regulate mountain geomerty are produced.


Visual Studies/3B

8.17ยบ

81.83ยบ

45.00ยบ

45.00ยบ

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Visual Studies/3B

36” 102°

35.2°

15.5”

5.43°

138.8°

48.8° 86.3°

15.5”

45°

10.3”

2”

2”

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Visual Studies/3B

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Visual Studies/2B

2B Visual Studies Technology and Description II Spring 2016 Jackilin Bloom

With the introduction of Grasshopper, lines and patterns can be created more efficiently allowing one to produce patterns with more intricacies. I explored different fills, stokes, and weights of lines to create varying effects of the lines.


Visual Studies/2B

en

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Vicky) Wen

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Visual Studies/2A

2A Visual Studies Technology and Description I Fall 2015 Mira Henry

Trying to mimic the feel of drapery, a series of photographs, digital models, and line studies were produced. During the process I learned that the material (stiffness, relective properties) origianlly chosen to drape over a cube creates a big difference. There is also a change in the thinking of the mind of how to approach a digital model (using Maya) from modeling only a corner (crop) of the model (photo) and modeling the entire model. Sometimes lines (contours) can bring out features that were not seen in the model, both physical and digital.


Visual Studies/2A

139


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Visual Studies/2B

1B Visual Studies Fabrication and Delineations Spring 2015 Emily White

Through a series of three projects, the skills of learning to project lines onto an object to create new seams and transforming everyday objects into geometrically calculated figures were developed.


Visual Studies/1B

This first project experiments on different forms of cones as well as their relationship with the line projected onto them from a cut line.

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This project is inspired by the “dumpling”. Dumplings first start off being just folds in paper, then they transform into logical geometries that can be built with a pattern. Finally, the dumpling is made with plaster—as a material experiment—softened which result in the final model.

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Project 3 combines the first two projects together—creating a dumpling-like figure with only cones while also creating a projection of a cut line onto the figure itself. Color experimentation is also part of the project.

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Cultural Studies/Fall 2014-Spring 2016

Cultural Studies: Select Essays 2014 Fall-2017 Spring


Liberal Arts/OOO + Architecture

to bring convenience. We could go back to undo a step that we no longer want with a click of a button. Every object that we deleted or added into the screen is considered an object with its own identity, it already exists in virtually, the architect gets to decide whether it should be potentially built in the “real” world where humans can touch and feel.

How OOO Changes the Perceptions on Architecture December 15, 2017 Professor: Graham Harman

Technology has brought a digital turn to architecture. Not only does it change the way we design an architecture and how we present our designs to our clients, it also greatly influences how we perceive architecture. The digital age has now been so developed that we are now simply calling “digital design” as “design”, and “digital architecture” became “architecture. With Graham Harman’s Object-Oriented Ontology, architecture can be broken down into objects which are all equal to one and another, whether humans can perceive it or not, the object exists. The architect is seen as an object, and so is the human experience within an architecture. With this idea present in our mind, it opens up many possibilities for architecture design. With the modern technology we are facing daily, a lot of the times we are so focused on the technology that we only aim to design a piece of architecture that looks “cool”. Mark Foster Gage said, “Architecture is what I do, technology is how I do it, philosophy is why I do it.”1 The software we use today such as Rhino, Grasshopper, and Maya to attempt to create a utopia on a daily basis are tools developed 1 TEDxTalks. “Architecture That Challenges Your Concept of Reality | Mark Foster Gage | TEDxMidAtlantic.” 155

In the late 20th century, Gilles Deleuze and his idea of virtuality2 became the fundamental of digital architecture, forms are controlled and determined by the hidden logic behind it, and it continues to change from one iteration to the next to become the “most ideal”. “The fold is thus highly important for Deleuze, not merely as a philosophical concept, but as a practical means by which all manner of intersections between ideas and cultural and existential practices can be developed, maintained, and appreciated.”3 This idea from Deleuze greatly influenced the architecture practice, it became one of the great reasons of why there began to be an abundant number of architecture with curved surfaces, in a way the architecture was sought to also be a representation of the virtual, which is in the state of “perpetual becoming”4. Tom Wiscombe mentions he was dissatisfied with the “dissatisfies with the smoothness and chaos, [and] three million polygons”, he wanted to create architecture that does not look like it is just a big blob of goop sitting on the ground. “[He] was more interested in hard edges, and solids.”5 In Object-Oriented Ontology, architecture is seen as individual objects, and from that each object’s individuality should affect the overall “character” of the architecture. “OOO suggests that buildings, as objects, should be understood to have vast numbers of qualities, properties, and even relations but that their full reality can never be reduced to a single, simplistic observation”6 With this philosophy many 2 Smith, Daniel, and John Protevi. “Gilles Deleuze.” Stanford Encyclopedia of Philosophy, Stanford University, 23 May 2008 3 Stivale, Charles J. Gilles Deleuze’s ABCs: The Folds of Friendship, Johns Hopkins University Press, 2010. 4 Deleuze and History, edited by Jeffrey A. Bell, and Claire Colebrook, Edinburgh University Press, 2009. 5 Interview with Tom Wiscombe, Presentation by Group 2 6 Mark Foster Gage. “Killing Simplicity: Object-Oriented Philosophy in Architecture.”


Liberal Arts/OOO + Architecture

architects have now been able to focus back onto the architecture itself instead of the social contents such as sustainable politics, city coding. Though it is understandable that our society now relies on these aspects to benefit the well-being of the residents in the city, many architects and architectural students have lost interest in the design itself, and are consumed by the regulations which are required that we produce work that just hit all the bars, and that is it. In David Ruy’s fourth year undergrad studio review he mentioned he wanted to see where his students can go with their instincts and passion for architecture. He did not emphasis many boundaries this semester and all his students have produced projects that are differentiable visually from the rest of the class. The scale and perception of many projects are strange, yet they are interesting because the scale of the objects they are placing onto the site are not what we perceive in our everyday lives.

and the interior are both capable of existing on their own.

Architect Ole Scheeren believes that architecture should be able to tell stories, architecture should not be a fixed object where the architect defines a set of properties for it. The architecture would become more interesting if the architecture has had interactions with other objects, whether if it is people, or its surrounding context. When the CCTV Headquarters in Beijing was first built, the Chinese called the building “the boxers” because of the form. The news broadcasted it and now when you mention “the boxers” most people in China will know which building you are talking about. This object has been through a fire on the eve before the Spring Festival due to irresponsibly lit fireworks, this delayed the time of when the object can Human interaction with architecture change be fully interacted with other objects. Because of the with the scale of the architecture. In architecture large area space of the site, OMA did not have a conpractice most of the projects that were designedceptual idea of how a building would house and prowhether for competition or not-are not going to be gram for 10,000 people simultaneously. The architects built. This does not mean the projects that only lie in took a step back and put numerous amount of small our computers are not important. They are potential sticks representing people onto their model-a lot of projects that may even inspire the architect’s next small objects or one single pack of 10,000 sticks were built project. Each project has its own individuality interacting with the scaled architecture to visualize. and it can always be differentiated from the next. Ac- Both the model and the actual building are equally cording to Tom Wiscombe “Interior objects, as noted important in Object-Oriented Ontology, which is also above, gain formal independence from the outer how OMA approached this project: the digital model mass, potentially pushing into and inflecting it or even is used for creating a physical model which both help transgressing the boundaries of the outer mass to with the visualization of the project. Without the 7 exist on equal terms” In the example that he gave of visual aids of the project the CCTV building would the Tokyo Opera House it shows the interior of not have been built. The programming itself can also the opera be seen as objects, the diagram is differentiated with house being a different colors, showing offices, public circulation, different the master control room, and material from studios. If one day CCTV the exterior. decides to move their offices The photos of or studios into a different the project models are clearly showing the difference building, the CCTV Headbetween the inside and outside. If we were to take quarters would still look the same, it is not affected Tom’s words literally then the shell of the building by the change around it. Only the interaction between this building and the other building, or this building 7 Wiscombe, Tom. “Discreteness or Towards a Flat Ontology of Architecture.” 156


Liberal Arts/OOO + Architecture

and its remaining programs will change because one or more objects have moved. The building would still be standing in Beijing if one day it was not used as the headquarters anymore, the programs would be brought over to the architecture that inhabits CCTV and new programs would be introduced.

autonomy of the architecture is not affected by any social or political movements. As Mark Foster says in his essay “Focusing on the vast withdrawn complexities of an architectural project (...) would free architecture from its invisible servitude as equipment designed for functional solution to a limited set of perceived problems(...).”9 This leads us to review the Another Project by Ole Scheeren is “the work that we did when we first entered architecture Interlace”, this is an apartment project described as “a school. We never started with designing buildings, we vertical village of living and social spaces integrated always designed objects. We would explore the auwith the natural environment.”8 The stacked tonomy of the precedent and break it down so that it “boxes” are residential becomes smaller details that still has its own identity. units which The first year in architecture school was not about seem random but designing buildings, it was about how one object in from the top view we teracts with another object-the student. The students can see that they are are asked to design and object, and then bring it to a all aligned on a diagoscale where it becomes somewhat inhabitable. Then nal grid. This project introduces a lot of green spaces space for the human is carved out according to each that are in vertically stacked that even if you live in student’s dimensions. The sensual experience and a higher unit, you may only need to walk out onto quality in an object that way is completely different the patio on your floor to experience the outdoors to a building that is following all the restraints. Frank just like the people living on the first floor. Because Gehry once said his works which are built are workthe object is located in Singapore, avoiding the sun ing within the less than twenty percent of freedom in a very important aspect to consider, each block is from constraints.10 placed strategically. The people living in each unit are also objects, and so are their possessions. The entireIn all, architecture design with the considerty, the exterior of the building would not be affected ations of Object-Oriented Ontology will open new by the change of a neighbor moving out or someone approaches to design. We are not constrained by throwing a party and the apartment in packed with the political issues that we have to only follow those people. The seasons change in the environment the guidelines. Seeing architecture as objects and analyzarchitecture sits in, its pool water may be drained ing each object’s autonomy gives freedom to form as out for some reason, but we will not stop calling this well as gives a reason for those forms to exist. project “the Interlace”. One reason Mark Foster Gage’s work on Kitbashing is compelling to architects who agree with Object-Oriented Ontology is because it is literally made up of the most random objects we can find. This collision of work ends up giving each person a chance to interoperate it in a different way. One person might see a bird and another person would see a minion. He may see twenty things Kitbashed together while she may se thirty. The relationship between the object and humans completely rely on the object. The 8 Scheeren, Buro Ole. “The Interlace.” Buro Ole Scheeren, 17 Nov. 2015 157

9 Mark Foster Gage. “Killing Simplicity: Object-Oriented Philosophy in Architecture.” 10 “Frank Gehry Teaches Design and Architecture.” MasterClass


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Liberal Arts/Geographies in Fiction

The Hidden City with Chip April 21, 2017 Professor: Liam Young

The sky is purple today. “No, it’s blue. Just like yesterday.” The chip in my head tells me. The chip lets me see my city in a way I was never be able to, everything and everyone looked more fascinating and colorful. I rely on the chip daily, it tells me what I should do, where I should go, who I should talk to, life became so much easier. Everybody who comes to this city came because they wanted to experience this innovative technology. I now live in a unit in a building among the two-hundred. My building is a building among hundreds that looks exactly the same. They all looked green. I remember the days I could differentiate between them, but now, I would not know the difference since my chip malfunctioned a month ago. It does not bother me that much though, my chip will tell me where I should go, what function each building has. My walking pace is so carefully calculated that I can never be late. The streets are quiet these days, everyone is walking by me at a different speed. My chip is telling me not to approach anyone on the street since it failed at facial recognition. I am only able to interact with my “trusty” chip. I miss talking to other people on the streets, but I cannot because my chip controls my body, I try to open my mouth, I can do that, but no sound comes out.

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Liberal Arts/Geographies in Fiction

Chip Functioning

Chip Malfunction

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Cultural Studies/1A Collegiate Writing

Memoir September 8, 2014 Professor: Claire Phillips

I sat there silently, eyes welled up, the moon shined through the curtains. Mother and auntie watched me nervously after they have told me “Your father’s gone.” It was May 31st, 2012. I flew from Vancouver to Beijing as soon as I could. Mother flew back to Beijing a week before I did because we were told my father was in a car accident. I was told father was doing fine, just a broken bone or two, nothing life threatening, so I stayed in Vancouver to finish the last week of school before summer began. During that last week I had a large science project due, but for me it was more of an art project—we had to create our own creature. I grew up as a considerably artistic person, my favorite subject in school was art and my father was an architect, he always encouraged me to explore my artistic side—he would support me all the way when I wanted to do something “crazy”—such as printing thirty pages of templates at home just to make a craft every other day. If I wanted to go to the museum, my father would always find time to drive me there. I enjoyed making hands-on models, in fact, I was so obsessed with paper models that I was making a papercraft every weekend at that time. I truly loved how things made of paper could be so delicate yet strong. Ma161

terials were just regular home printing paper, x-acto knife, and glue. The models lasted a long time and were able to express what I liked. I was fascinated by how detailed I can make my models. I was able to make a model of a cartoon character’s hand that’s smaller than my finger nail—with individual fingers. This science project was practically waving an A at me. I worked late at night on my drawing board deciding if my creature should be lemon or mustard yellow; how large it should be, does it camouflage in its environment were all very concerning thoughts that prevented me from going to bed. Even though the process of making decisions was exhausting, I find the process of making the actual model very entertaining, it was fun. The results were also very rewarding. I did not know how I fell asleep that night, May 31st, everything was a blur, my world crumpled in three short words. I remember waking up at four in the morning the next day—my eyes completely red from all the tears— getting ready to be dressed monocolored, black. I was attending my very first funeral, it was not my grandparent’s but my father’s. Tears came out like an unattended water tap when I saw my father one last time before being cremated. I felt his body one last time, it felt so cold and hard that chills came up my spine. I did not know where to place my hands, I refused to let go of what is left of my father, but I was scared that I would never let go. I never knew that I was able to cry for over three hours. Everyone that knew my father showed up, everyone. From his middle school to university classmates to his colleagues in architecture, those showing up made me truly believe friendships can last a lifetime. Each of them knew my father well, they could go on hours and hours on stories of my father. When I got home after the funeral, I suddenly felt like my world collapsed, the feeling of something pulling on your heart like you were are a roller coaster, the pain and dizziness all came to me at once. The man that would be there for me whenever I felt troubled since I can remember will never be around anymore. I will never hear the voice of my father waking me up in the morning for school, I will never have the chance to call him to see if he is coming home for


Cultural Studies/1A Collegiate Writing

dinner again. I walked into my father’s office and all I see were books and magazines on architecture opened on the desk; his laptop has ran out of battery, the pen was still where he would pick up if he ever got back to his desk. Everything father has touched before felt cold, even if it was already June. I flipped through his calendar on the wall: February 21st, “Tian Hui’s birthday”; June 1st, “Children’s Day, buy Tian Hui’s present”; June 5th, “Tian Hui comes home, pick up at airport, 3:30”; the entire July calendar was filled with trips that father has planned out for me. I took the calendar off the wall and locked it in his desk drawer, those were memories I did not want to share with anyone else. I spent the summer reading through my father’s book cabinets trying to understand his job as an architect—his job was one thing I never really paid attention to. The building’s combination of art and geometry lures me in every page making me wish to learn more. I started to make models again, this time not for the sake of wanting to make a “craft” but wanting to explore the relation between different shapes, hoping that there was a slight chance of “father did this before”. School started again in September before I was able to construct my world without my father, I was not able to talk to someone about my father without choking up. I was not ready to accept the fact that my father was gone. The time to decide which colleges I wanted to apply to came around. I did not have to contemplate on what major I because I knew that I wanted to study what my father studied, architecture. This was my answer to the question “what do you want to do when you grow up?” ever since elementary school. In the beginning I was only using the answer “architect” just to be different from the typical answers such as “doctor” and “lawyer”; but after I spent the summer going through my father’s work and belongings related to architecture, I found that architecture was a way for me to get closer to my father, a way to experience my father’s life, and also a way to understand him more. Starting in October, I started to work on my portfolio, being pressured by classes at school, having to study a novel related to death in coincidence in English led me to experiencing anxiety. My teachers

suggested me to go into therapy but I did not, I knew that I would never be able to open up to a stranger in an isolated office. I soon discovered working on my portfolio was my therapy, it was a time where I can escape into my own world and not notice the environment around me. I can forget everything depressing I am experiencing at the moment and express my thoughts through my work. I spent endless hours working on the smallest details of my models without feeling frustrated. I would take transportation for over three hours just to meet new people who had the same interests as me at art meet-ups and still maintain a close contact with today. Whenever I submerge myself into the realm of art, I find myself being in the most relaxed position I can ever be. My way to end a day would not be typical entertainments such as watching television or playing games, but to make something out of my hands. Art and design to me was never frustrating, it was more of a soul healing process. I finished my portfolio in December, 2013. After over a year with mass producing art projects, I was finally able to tell stories of my father to friends without tears in my eyes. My father has been my inspiration since the day I told people “I want to be an architect.” and he will always be. I feel blessed for once having a father who would support me in the decisions I make. I truly believe that he will support my choice in studying architecture. Architecture was originally a word I loved to use to be different, but now it has become an entire field of study that I am going to love for the many, many years to come.

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