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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Site Setback Site Outline
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Pedestian Path Traffic Path
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Parking Private Outdoor Space Residential Buildings
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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
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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
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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
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Studio/4A
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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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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
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Studio/3B
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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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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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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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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
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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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Active Passive Design
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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.
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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
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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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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
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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
5.375"
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3.875"
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9.25"
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Studio/2B
5.375"
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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/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.
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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)
70
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”
5°
2”
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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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Visual Studies/2B
Vicky) Wen
134
Visual Studies/2B
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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.
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139
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140
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141
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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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