Wanqi (KK) Loy Portfolio_UTK by K.k. Loy

WANQI (KK ) LOY (865 ) 621-8605 loy.wanqikk@gmail.com 5200 City Park Dr. Lenoir City, TN 37772

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architecture

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graphic design

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artwork

architecture

p04 Workspace for a Writer (2nd yr) p10 McQueen Hostel (3rd yr) p18 Downtown Retreat in the WoodsMarket (3rd yr)Hall (4th yr) Knoxville p26 Downtown Market Hall (4th yr) Street Knoxville Arts Center (4th yr) 8 18th p36 Passive Solar Housing Design (5th yr)

Working Space for a Writer meeting room of the confabulatores nocturni Charlottesville, VA Professor Brian Ambroziak Spring 2012

The project’s objective is to design a writing and reading space for the current Edgar Allan Poe Professor, a meeting space for the Society of the Confabulatores Nocturni, an exterior courtyard for reading and gatherings, and to extend Jefferson’s Lawn beyond the west range. The location of the site is on the island of grass between the room of Edgar Allan Poe and McCormick Road at University of Virginia. The concept was to design a tower for the writing and reading space with a wall of books that is thirty feet tall. The intention is to strengthen and magnify a writer’s mind as he walks into the space, similar to the story “A Glass Tower” by Alexander Brodsky and Ilya Utkin. While the tower is covered by stacking strips of concrete blocks with glass slits sandwiched in between, it contains a transparent ceiling to let in light and allow it filter through the entire space in order to light up the tower. Furthermore, the appearance of interior glowing light behaves as a floating lantern at night.

The meeting space of the Confabulatores Nocturni is placed underground, as a void carved out of the earth, to endure its sacredness and provide a quiet environment for the individuals to congregate. Both spaces are connected by an outdoor amphitheater seating element where people can gather to read, communicate, and share stories. In addition, the bridging element helps to accommodate integration between the two, from solid to void and dream to reality.

This night perspective shows the lantern effect of the tower with arcade in the background. The construction method of concrete blocks sandwiching thin glass strips allows the light to â&#x20AC;&#x153;sliceâ&#x20AC;? through the solid concrete facade, which performs as a giant, floating lantern. As the building facade moves from bottom to top, it progresses from solid to void. The glass structure on top helps to open up writers imagination, and functions as a major attraction for others due to is brightness.

This plan cuts through a thirty feet tall bookcase, which is one of the primary elements of this design project. It assembles as a tower of knowledge, which corresponds to The Academic Village Thomas Jefferson designed for University of Virginia.

The physical model is primary composed of plexiglass and basswood. The arcade site model is constructed by sandwiching layers of plexiglass, an arcade collage on mylar, and a block of poured concrete.

This longitudinal section shows both cabanon for the Edgar Allan Poe professor for creative writing (on the right) and meeting room of the confabulators nocturni (on the left). While the cabanon sitting above ground reaching the sky and meeting room is burying underground, both rooms are connected by an amphitheater seating element. Furthermore, the angle of the roof is created in relationship to the angle of the sun. The objective is to take in the sunlight through the slanted piece of glass on the top, then alternate it from the piece of solid, angled concrete structure on the left, allowing it to travel through the building to create warmth and illumination.

McQueen Hostel live + work space for fashion designers Chattanooga, TN Professor Sean Martin Fall 2012

The client for this Downtown Chattanooga, Tennessee project is the famous British fashion designer, Alexander McQueen. The program includes housing units for fashion designers, studios, a runway, gallery spaces for both Alexander McQueen and hostel users’ work, a cafe, and gathering spaces for both public and private use. Since Chattanooga is a modern city that primary focuses on the mechanical industry instead of fashion and styling, the proposal of a fashion hostel could raise city’s awareness of styling and introduce a new prospect to attract both national and international tourists through an enhanced modern experience. The intention is to create a combination of working and resting spaces for the designers who will be living and practicing fashion within the hostel. Both fashion and architecture revolve around luxury and design, as well as the feeling of being comfortable in one’s skin and in one’s habitat. As both of them are charged with achieving

greater sustainability, efficiency, and value, it is a necessity to design a space which is imbued with imagination to capture a moment of magic. The project is desired to design architecture’s skin and bones with clothing, making the actions of sewing, wrapping, weaving, folding, and printing, in which the users can relate, as well as the concept peeling through each layer and exploring more greatness. The hostel includes both public spaces, where designers can collaborate and be involved with each other, and private spaces, in which they can focus on their work. Eventually the designers’ finished projects can be displayed and evaluated through gallery and runway spaces.

This section shows the major runway space on the right, which also serves as an atrium. The residential spaces are located in the mid-section of the building. The public restrooms and stair towers are located towards the back of the building.

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The red highlights represent dominant streets for traffic. The darker the color, the more predominant.

This diagram shows the location of entertainment areas. The darker the red, the more entertainment is concentrated.

The red infills represent the major clothing shopping zones.

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This floor plan (below) shows residential use in green and gallery and runway spaces in gold. The gallery space is rotated in a slight degree so it can overhang the entire building to attract people as they walk by the hostel, and potentially engage them with activities happen inside.

These sketches (below) show preliminary design concepts of the runway space. The intent is to place the stage in the center of the room to highlight its hierarchic moment, while distributing the audiences around it.

The inspiration of material use came from Alexander McQueenâ&#x20AC;&#x2122;s clothing collections. Due to the rigid texture and organic color palette, these particular dresses shown below share similarities with the hostelâ&#x20AC;&#x2122;s skin design. The primary material use is aged copper that can be alternated due to weathering. This can create an interesting, interchangeable facade for the building.

This perspective (below) shows the residential hallway that is connected by repeated bed cubicles which contain closets on one side and glass walls on the other, with a view into the indoor gathering space.

A bed cubicle

This perspective shows an overview of the entire gallery space. The McQueenâ&#x20AC;&#x2122;s gallery is placed in the center of the space to highlight its hierarchic moment, while the regular gallery is wrapped around it.

This perspective shows an overview of the runway stage. It is a U-shaped runway which places the audiences in the center of the space, allowing the models to circulate around them and be seen from multiple angles.

Knoxville Downtown Market Hall a new solution for a food desert city Knoxville, TN Collaborator: Christina Owens Professor Hansjoerg Goeritz Fall 2013

Downtown Knoxville continues to grow and change, from festivals to cultural attractions, Market Square is an area that constantly flows with activities year round. As more people start to move to and work in the downtown area, it will become increasingly difficult for food vendors to accommodate the growing population. Therefore, we propose the construction of the Downtown Market Hall to help solve the problem of the “food desert” by providing various goods, while at the same time providing a great sense of community in downtown Knoxville. The program includes various shops, a culinary school, visitor’s center, Chamber of Commerce, a pavilion, underground parking, Eask Park and West Plaza. The objective is to place Market Hall in the heart of the downtown Knoxville by relocating Krutch Park to combine it with East Park and placing the market hall in Krutch Park’s former location. The overall design of Market Hall is to preserve the openness of Krutch Park while continuing to enhance the connectivity of downtown. The pavilion is placed at the end of West Plaza to maintain the strong axis that stretches from TVA to the Court House and to provide a “cap” to enclose the site. Additionally, this “cap” houses a

public transit stop along the prominent axis, while the pavilion creates a space within a space by acting as a threshold from the city to the plaza. The primary design approach is to create spaces within spaces by dividing the programs into individual pods that are capped over, wrapped together within the building and distributing the market shops into each individual pod. In the case of the culinary school and Chamber of Commerce, these pods will be within the over arching building on the second and third floors. Day lighting and ventilation are not only used for practical purposes, but also to help connect the building to the site. Natural lighting from the sawtooth roof onto the culinary floor gives the interior of the building a warm atmosphere and the usage of a sunscreen and overhang on the southwest façade provides shading that responds to winter and summer solstice angles. As for ventilation, the ground floor is an open market space that allows prevailing winds to naturally flow through the site, the upper floors have operable windows on the southwest and northwest facades, and the movable awnings on the southwest façade provides fresh air along with a spectacular view.

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This sketch on the right shows different paving and vegetation elements in East Park. 01 concrete pavement

02 honey locust tree 01

03 rain garden 04 sculpture 05 porus pebbles 06 reflective water 07 2â&#x20AC;?-6â&#x20AC;? planters 08 patio

This southwest elevation (below) extends from TVA tower (on far left) all the way to East TN Historical Society building (on far right).The elevation shows the row of trees from West Plaza continues all the way through Market Square to help unify the space. The use of two distinctive materials warm wood and steel panels create contrast and variation.

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This floor plan (on the right) shows ground level of the building where the shops are being placed in the center and sandwiched between secondary spaces where stairs, elevators, restrooms, and loading zone, etc. are located. The building itself is placed in between East Park (green space above) and West Plaza (open space below). The separation between shops is created for people to filter though at all times. Moreover, it serves as a bridging element from East Park to West Plaza.

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This site diagram shows Downtown Knoxville; it is bounded by First Creek in the East, Second Creek in the West, the Tennessee River in the South, and the railway is the North. Due to the various axis that pierce through downtown, the area spreads into the surrounding neighborhoods. historic and hierarchial buildings green spaces knoxville area transit

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The exploded structure diagram above shows that the 8” x 8” steel hollow column is on a primary grid that lies on 20’ bays by a 5’ x 20’ x 35’ x 35’ grid layout. This is where the main structure rests, as well as the cores that are shifted off the grid. 3rd_chamber of commerce and roof 2nd floor_culinary school ground floor_market hall shops basement and founation

This exploded axon shows the basic design of the building and the structure of sawtooth roof. roof with solar panels steel joists and rafters steel beams sawtooth skin framing

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Vertical duct work 10”-12”depending on size of shop. For this shop 12” in diameter

Trane heat pump 2’6” x 2’6”

Horizontal duct 70” in diameter. This services the storage on the ground ﬂoor.

The ground floor uses a geothermal heat pump system. The geothermal system is a vertical closed loop system. It provides a constant temperature for the shops, lobby, and visitor center. supply

return The pavilion is on geothermal system

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Diagram shows the idea of space within a space, each primary program was designed into individual pods that sit off the building structure. The pavilion acts as a large pod that is extruded from the Market Hall.

Diagram shows the building is on a unique column grid that stands away from the interior. Due to the sawtooth and its large span in between, the column grid shifted to accommodate the load and still maintains an open space.

Horizontal duct 70” in diameter

Vertical duct for classrooms 10” in diameter Suspended lighting LumiStone 10’ O.C. Hanging 4’

Lighting is mounted to the structural beams on the second floor. These suspended lights lie 10’ on center. Linear suspended laminar florescent by Phillips hang 2’ from the beam.

Vertical duct for kitchen 18” in diameter

Vertical duct for lecture hall 16” in diameter

Exhaust fan (damper) 18” x 18” in diameter

Suspended lighting laminar ﬂuorescent 10’ o.c.

The second floor uses a single packaged roof system. There are two 10’- 3”x 7’- 3” to share the load of the floor. By having a roof unit it allows the duct work to run above the pods and through a VAV system, gives the user control of the temperature without interrupting other space. supply

return

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01 02 03 04 05 06

07 08 09 10

KEY 01 02 03 04 05 06 07 08 09 10 11 12 13

1/2” of standing seam steel 1/8” of waterproof membrane Solar Panels 5” thick batt insulation 2 x 4 strips of plywood Steel plate that is bolted to two wide flange beams I Joist Steel rafter Steel beam Steel bolt and threader to connect window to beam Insulated double pane window 6” deep drain, capped with standing seam steel and 1/8 on metal plate for water protection and resistance from thermal break Wide Flange I-Beam

Details taken from wall section (on the left)

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KEY

04 05 06 07 08 09 10 11 12 13 14 15 16 26

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58 59 60 61 62 63 64 65 66 67

68 69 70 71 72 73

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01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76

2” of standing seam roof Solar mount clamp Solar panels - 38.5”x 58.5”x 1.5” Roof insulation fastener 12” deep gutter Exterior metal panel - Zinc Alloy Metal Plate Wall Panel, 1.5” in depth 3/4” thick gypsum board 1”x 5” Tongue & Groove oak wood exterior cladding Wide flange I beam, 2’-5” in depth L-shaped steel plate for connecting two beams 2”x 10” wood block 10” thick wall insulation 3/4” thick gypsum board Steel C-Channel Aluminum framing for operable wood panels Operable wood panels Motor for operable wood panels Track for operable wood panels Downspout Safety glass Aluminum window mullion 1 1/2” window shield Membrane Steel plate 8” thick steel column 10” thick return duct work 1/2” thick gypsum board 8” thick rigid insulation Membrane 2”x 8” wood joist 1/2” thick gypsum board Acoustic ceiling tile - 2’-6”x 2’-6” Aluminum ceiling frame Linear suspended fluorescent luminaire 10” thick supply duct work Tube shaped spot light fixture 15” think supply duct work Carpet Under carpet heating 1/2” carpet pad 1/4” insulating underlay 1/2” portland cement 4” thick rigid insulation 4” thick cast in place concrete slab Composite steel deck Wide Flange I beam, 2’ in depth Linear suspended fluorescent luminaire 1”x 3” wood siding ceiling Recessed light fixture Steel Suspension cable Punctual through concrete beam for running duct work Slate - 5’-0” x 5’-0” 1 1/2” motor Cast in place concrete beam, 2’-2” in depth T-rail for suspending wood siding ceiling 6” thick foam glass Drain grill 8” thick cast in place concrete slab 4” thick rigid insulation Membrane 4” thick cast in place concrete slab Vapor barrier Steel reinforcement CMU block for retaining wall Vapor barrier Membrane 4” thick cast in place concrete slab 8” thick cast in place foundation slab Steel reinforcement 1 1/2” thick concrete in fill Gravel Concrete foundation footing 2” thick foam glass Drain pipe that leads to a cistern Footing drain

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deep desire or poetic serenity and structural honesty.

1. Interior photograph of New National Gallery 2. New National Gallery’s front elevation 3. Interior photograph of New National Gallery exhibiting artwork 4. New National Gallery’s lighting design at night 5. New National Gallery’s side elevation 6. New National Gallery’s axis to the chapel in the background

Author of the article: Maritz Vandenberg

Double Page Spreads 18th Street Arts Center an national gallery by mies van der rohe live article + work about space new for merging artist’s community Santa Monica, CA Professor Diane Fox Collaborator: Hannah Daniel Fall 2013 Professor Lawrence Scarpa Spring 2014

The project’s project revolves around the 18th objective is to design twoStreet douArt in SantaonMonica. It isDer a growing ble Center page spreads Mies Van Rohe’s art withGallery. the Expo transit under Newdistrict National TheLine design intention construction to based it. While working is to constructadjacent the layout on the form with thebuilding client the opportunity arose to creof the in the style of the architect. ate a new master plan complex. The Since the building holdsfor anthe extreme contrast project focuses on dense utilizing most the transexistbetween its heavy roof andoflight ing structures parent body. while replacing some existing sites, and incorporating a new gallery building, a cafe, and mixed-use buildings containing artist studios and artist live + work housing. The unique characteristics of the Artists’ Community have led to an interesting approach on live + work housing. The building is designed in an “L” shape to hug the rest of the art community for privacy, while presenting its outer corner to a public street view. Primary living and working spaces are placed facing 18th Street, and contain the most public views. Two large double ceiling heights studio spaces are placed perpendicular to the primary living and working spaces facing Olympic Boulevard. The space is wrapped by channel glass to provide privacy while still being transparent. Vertical circulation is inserted in between living and working spaces, while main horizontal circulation is located along

the back of the building facing images the rest on of the The first spread contains top art community. which overhang from the dense text on the Artists’ living spacestoare to bottom which respond its designed unique roof be micro-units, combining and stacking four, structure. Moreover, the spreads are being twenty containers. intention dividedfoot intoshipping a rigid grid system The which is also was to enlarge shared studio space adjacent similar to the building’s layout. to the living units. The combined studios have generous floor-to-ceiling heights, and allow artists a more inspiring place in which to work. A variety of container arrangements create three types of housing units. The adjacent work space is designed in relation to each unit type. The Artists’ Community focuses on private versus public space. The gallery and first floor are for public use, including a cafe, a reception area, and parking. Shipping container units are private, and studio spaces are semi-private. Shared studios allow for events and for the public to view artists’ work in their studio.

Shipping containers

Studios

Public spaces

Y A DW A O BR

TH 20 ET RE ST

UE N VE A

PO EX

E LIN

ET RE ST

RE TU FU

TH 19

O D RA LO O C

TH 18 ET RE ST

TH 17 ET RE ST

C PI M LY O

RD A EV UL BO

TH 16 ET RE ST

A NT SA

CA NI O M

18th Street Arts Center - 18th Street and Olympic Boulevard

AY W EE FR

The plan shows the third floor of the building. Darker brown shows the living units while lighter brown represents the working space on its same level.

The perspective shows a double heights studio space with shipping container living units inserted above. Mezzanines help to divide the space up while still allowing for large openness.

The perspective presents a view of back side of the building. Horizontal circulations are placed for artists to navigate around.

deep desire or poetic serenity and structural honesty.

Author of the article: Maritz Vandenberg

Double Page Spreads Design Passive Solar Housing an article new unit national by mies van der rohe single familyabout residential at thegallery heartstone community Santa Fe, NM Professor Diane Fox Collaborator: Sam Kadiresan Fall 2013 Professor Mark DeKay Fall 2014

Heartstone createdtwo with a The project’sCommunity objective is is to design douseries of single housing, withRohe’s each ble page spreadsfamily on Mies Van Der house residing on one ofThe 24 lots. Theintention project New National Gallery. design is on an lot the (lot form 13). is located to construct theunique layout corner based on The community heavily around of the building inisthe style oriented of the architect. outdoor garden spaces, makes frequent Since the building holds and an extreme contrast use of passive heating intransboth between its heavy denseand roofcooling and light indoor outdoor spaces. parent and body. The design intentions were to design a building that responds to the attributes of the space, to incorporate passive sustainable strategies, and to retain the existing views. The main function was to make every space overlook a garden and to create openness. Supporting these aspects, the house is divided into three zones: Public, Semi Public, and Private. These divisions facilitates privacy. Gardens were strategically located in order to make maximum use of the Southern sun. Entering the property from North East through the stone garden wall, the main entrance is conceived as a warm and welcoming garden space on the South West. Past the entry porch towards the North East is a Sunspace which engages itself as an entry porch to the living room while also serving as the main solar collector for

the building. The portal room images next to on it acts The first spread contains top as a connecting porchthebetween the on public which overhang from dense text the and the private zones. Itsto roof is clad with bottom which respond its unique roof Photovoltaic panels tothe generate electricity. structure. Moreover, spreads are being Walking the grid closed porchwhich roomisleads divided intopast a rigid system also to the connecting portallayout. that links the semisimilar to the building’s private and the private zones on right and left. The narrow tunnel like space opens to a small garden on the right that knits the Casita and the guest bedroom together. On the left is the Master Bedroom which welcomes the warm morning sun that overlooks the Sangre de Cristo Mountains on the north east. The private zone is ventilated by clerestory windows both in the Master Bedroom and the office space. The connecting portal opens into a private garden space which also opens from the master bedroom, and marks the beginning of the Heartstone community and the northeast end of the house.

The perspective above shows the entry pathway. It is sandwiched between the primary courtyard and the guest room. It leads to the sunspace in the front of the living room and the solar portal.

Solar Axon Collect Store Solar Axon

Collect Store Distribute

Distribute

Lot 13

This floor plan (above) shows indoor space in light brown, outdoor space in dark brown, and gardens in green.

Rain water/runoff Diagram Blue arrows: rainwater drainage of buildings Blue dotted lines: rainwater drainage off site Green shades: rainwater collector

Sunrise & Sangre Cristo Mountains Sunset & Jemez Mountains

Undeveloped land

Wind Study

Site Properties

Views

July 10am

July noon

July 5pm

Dec. 10am

Dec. noon

Dec. 4pm

This longitudinal sectional perspective shows the primary spaces in public and private zones. It also shows stack ventilation in the living room and the adjacent solar portal.

graphic design

p46 McQueen Hostel Booklet (2nd yr) p48 Double Page Spreads (4th yr) p50 Exhibition Designs (5th yr)

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Site

Program

Client

Chattanooga is the fourth-largest city in the state of Tennessee, with a population of 167,674 as of the 2010 census. It is located in southeastern Tennessee, surrounded by various mountains and ridges. Its economy includes a diversified and growing mix of manufacturing and service industries. Since it is a city that primary focuses on mechanical industry instead of fashion and styling, it can raise its awareness by placing a hostel that will be used by fashion designers. The placement of this hostel also response to its urban context, since Chattanooga is a modern city that is growing among its current pace. As a result, it can attract more international tourists with an enhanced modern experience.

The intention is to create a combination of working and resting space for the students who will be living and practicing fashion within the hostel. Fashion and architecture both revolve around luxury and design, and the feeling of being comfortable in one’s skin and in one’s habitat. As both of them are charged with achieving greater sustainability, efficiency, and value, It is a necessity to design a space where it can be inspired with imagination, and can capture a moment of magic. The objective is to design architecture’s skin + bone by the action of sewing, wrapping, weaving, folding, and printing, in which the users can relate to. Peeling through each layer and exploring more greatness. The hostel will include both public spaces, where students can collaborate and be involved with each other, and private spaces, where they can focus on their work when it’s necessary. Runways and galleries will also be included since they are where the finished project will be shown and evaluated.

Fashion is a way of expressing your confidence and elegance. Fashion and architecture are based on structure, shape, and beautifying basic necessities: clothes and shelter. The client is McQ boutique. It is a store under Alexander McQueen’s legacy. McQueen as a world’s famous fashion designer has produced countless genius and astonishing clothing collections. Unfortunately, the tragic death of McQueen in 2010, at age 40, has shockingly saddened the media and left an unbillable void in the fashion world. While McQueen was alive, he started his own clothing line called McQ boutique, which has preserved all of his collections and are located in many major cities internationally, such as New York City, London, etc. McQ boutique also produces clothing that is in keeping with McQueen’s vision. The hostel will be designed for fashion designers, who travel around the global for practicing fashion. It is a space where designers can work and rest while being educated. (Citation 02)

(Citation 01)

ARCHITECTURE 370 PROGRAMMING PROFESSOR MARTIN FALL 2012 WANQI LOY (KK)

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Open Studio Space

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The objective is to create a large, open, design driven space for artistic creativities to engage among the designers in a technological atmosphere. There will be two open studio spaces. Each space contains a large volume as three combined regular classrooms. Each studio includes large working tables in the center for designing and constructing Required features:

clothing. It also embodies cabinet space for storage use which is located in the outer ring of each room. The studio will contain large operateable windows along the side of it to let in natural light and breeze. The space will be less decorative to avoid distracting and overwhelming users.

• A series of storage space that wraps around

Fig_8

• A fitting room

the room – 50ft. x 2ft. x 4ft. • 2 sets of blinds • 2 restrooms: one for male, one for female • 8 sets of sewing machines

Adjacency requirements: • Next to standard class rooms • Next to the runway • Next to the gallery • Away from the lobby/atrium to avoid noise and crowds • Away from noisy streets

Required features:

• 4 large trash cans Desired features:

• Book cases • A small space for snakes and drinks

• Away from the noisy streets

• 1 cabinet to storage food

Time / activity relationships:

• 1 kitchen sink

The space will be served as studio resting area the entire day, every day.

• 1 micro-fridge

Size needs:

Desired features:

• Each resting area contains 200 net square footage

• 1 green plant

Size needs: • Each studio contains 1000 net square footage • Total net square footage is 2000 square feet • Minimum heights of 8 feet

• 2 sofas • Green plants

• Next to a restroom

• Ceiling lights

Time / activity relationships: The space will be served as learning chamber for the entire day, every day.

• Ceiling lights

• 1 television set

Fig_10

(Citation 01)

• 1 operateable window – 3ft. x 2ft.

• Next to studio place

• 1 trash can

Fig_9

green and blue. Based on psychology studies, both of these two colors can cause human body to produce calming chemicals, therefore they can help to relax and refresh people; green also helps to improve vision. In addition, the space will also include a small refreshing area where users can have a drink of water or snakes.

• 1 book case

• 1 living room table

• 8 full body sized mirrors

Adjacency requirements:

• 1 chair set of two

• 1 set of speaker phone

• Total net square footage is 400 square feet

• 1 balcony – 30 sq. ft.

• Minimum heights of 7 feet

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ARCHITECTURE 370 PROGRAMMING PROFESSOR MARTIN FALL 2012 WANQI LOY (KK)

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McQueen Hostel

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Studio Resting Space

• 1 set of cornered sofa

ARCHITECTURE 370 PROGRAMMING PROFESSOR MARTIN FALL 2012 WANQI LOY (KK) 20

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(Citation 06)

• 1 set of rectangular sofa – 7ft. x 3 ft.

• 16 chairs

For the interior of the hostel, the objective is to create a pleasant space for the users to live and work at the same time. The design approach of its interior is to use classical decorations with contemporary elements. Since many of Alexander McQueen’s clothing collections are mainly focused on the richness of a woman’s inner beauty; moreover his clothing function as armor for females, therefore it is critical to include textured and rough elements while designing the hostel.

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This space mainly functions as a resting + socializing area. After working in studio for five hours straight, users can take a short break by going to the resting area. It will contain furniture that are large enough for people to lay down. The intention is to de-stress the users from being overwhelm with studio work. Accordingly, the space will be designed in a lighter tone of cool colors, such as

• Televisions

• 16 large studio tables – 8ft. x 3ft. x 3 1/3ft.

• 2 large operateable windows – 15ft. x 5ft.

Research Statement

head, such as war, religious, sex; things that we all think about but don’t bring to the forefront. He states, “We all carry both the dark and the light, I don’t see why it shouldn’t be reflected in my work.... I force people to look at things.” McQueen’s best work has certain toughness; he describes his clothes as “armour”, worn by women who want to look powerful. As he has put it, “I want to empower woman. I want to people to be afraid of the woman I dress. It is almost like putting armor on a woman. It is a very psychological way of dressing.” He often sees beauty in the apparently ugly; the force of life and death, of lightness and darkness are the dominant elements featured in McQueen’s designs. Unfortunately, the tragic death of McQueen in 2010, at age 40, has shockingly sadden the media and left an unbillable void in the fashion world. He left his only clothing line, McQ boutique, to continually feed people’s thirst with his profound creation, which has left a deep mark in the fashion industry. As he stated, “I want to be the purveyor of a certain silhouette or a way of cutting, so when I am dead and gone people will know that the twenty-first century was started by Alexander McQueen.” As he wished, he succeeded.

ARCHITECTURE 370 PROGRAMMING PROFESSOR MARTIN FALL 2012 WANQI LOY (KK)

Due to its site characteristics, L-shaped, cornered, sloped, and urban context site, partial of the building needs to be slightly elevated from the ground level, in order to incorporate the slope and include a small green, gathering space to serve as a public, socializing area, also to continue the emphasis of city’s green.

Alexander McQueen + McQ Boutique

For the facade of the hostel, the intention is to contain an unique and interchangeable skin that can easily attract visitors, draw attention from local residents, and raise the awareness of the existence of the building.

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McQueen Hostel

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As a fashion designer, McQueen’s intention is to use things that people generally want to hide in their

McQueen Hostel

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Alexander McQueen, both the man and the artist, was born in 1969, in London, England. His vision of fashion was centralized with the theme of love and beauty. For him, Love was the most blessed of human emotions. Fashion provided McQueen with a connection for the appreciative expression of love--“Both its agonies and its ecstasies”. He sees fashion as an intensified sensitivity, he stated, “there is no point in doing fashion shows if it is not going to create some sort of emotion.” Romanticism is a major influence on McQueen’s collections. He observes it as an inspiring art that is full of wonder, fear, terror, and philosophical concept of the Sublime. Hence, for McQueen, the Sublime is the strongest of passions, as it contained the potential for perfection. It provided a connection between Romanticism and Postmodernism, which he often expresses through runway presentations. Nature was also one of the greatest influences upon McQueen. “Everything I do is connected in one way or another,” he explained. It is a central theme of Romanticism.

04 PRECEDENTS Fig_11

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(Citation 05)

01 FRAMING / THE VISION

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McQueen Hostel

“Love looks not with the eyes, but the mind,” words from Shakespeare, was tattooed on Alexander McQueen’s upper right arm.

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La Defense Office Complex by UNStudio

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Administration Curricular Building Liceo Maria Auxiliadora by Surco Studio About The Building

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more public one condition under its own logic to where it belongs.

This building is located at a crossroads in the city of Linares, the school is named Liceo María Auxiliadora and the new building displays a statue of the Virgin Mary in the window above its wooden entrance. The project is part of the reconstruction of a building belonging to “María Auxiliadora High School”, which was seriously damaged by the earthquake of 27 / F. It was located on the corner facing the main square of Linares, Seventh Region,Chile, in an important position within the city.

Moreover, the building seeks, through architecture, a reading of the next emblematic elements that may influence your decision, where a rusty steel pediment stands up to the patina of brick Cathedral of the city and, on the opposite axis, a deciduous plant wall accompanies the green of the Plaza de Armas. The intersection of the two fronts forms a double height access that holds a picture of the virgin becoming a kind of urban cave.

The opportunity to rebuild on the same site enabled with the sort proposed building, a facility that grew without apparent order program according to the years; this way, it was concentrated in the new building all the administrative and curricular program, before dispersed in school, as well as wards of agents and the main entrance to the school, thus replacing poor access and a few classrooms, for a

Thus, the corner has been dematerialized in access with double eaves height, welcoming to pedestrians and mediating between the scale of the city and the gymnasium. The double-height access to and qualified in turn penetrates inside the building, creating multiple views among the various levels and venues, also becoming the gateway to the former chapel. (Citation 07)

How It Relates To the Hostel The old, antique look of Administration Curricular Building is a design approach that the hostel is trying to include. Furthermore, since they both have a cornered site in an urban environment, the arrangement and functions of the space can be used interactively. The overhanging sheets of weathered steel the precedent used helps to frame the entrance to the building, which leads in towards the reception area; this is another design element in which the hostel has the intention to incorporate. Administration Curricular Building’s design approach also responses to McQueen’s spring/summer collection in 1999. The design, Ensemble, No. 13 as shown in the picture, contains the similar rigidness to the building due to its top piece, though floats through its laced skirt, which is expressed through the concrete that is used in the building.

ARCHITECTURE 370 PROGRAMMING PROFESSOR MARTIN FALL 2012 WANQI LOY (KK) 28

About the Building La Defense is a large 2,500,000 square-foot complex in the city of Almere, located in the Netherlands. The complex is made up of two buildings plus a parking facility, which is located underground. The complex functions primarily as office buildings, this includes individuals as well as small business. From the outside looking in, the complex seems like an ordinary building. However, when one steps into the inner court yard, the contrast between the outside could not be obvious. The vibrant colors represented, on the walls, in the interior can only be described as a man-made rainbow. To achieve this effect, they have to use a specific film called the dichroic film. This film has the capabilities of changing its color dependent on the light source, due to the aid of crystals. This was originally designed by 3M to use to coat perfume bottles. However, in this instance, when applied to the glass it created the desired coloring effect.

As previously mentioned, the coloring of the walls is dependent upon the sun’s light. The dependent upon the time of day and the intensity of the light, the walls light up with all the colors in the light spectrum. Different offices often are coated with films that give of a specific color; the reason for this is to show the different offices that the building contains within. (Citation 10)

How It Relates To the Hostel As the building gets dressed in a vibrant, extraordinary colored outfit that changes its clothes to suit the time of the day and the weather, it created an unbelievable moment that is overwhelming for people to stare and observe.

The color palette La Defense shares a direct connection with McQueen’s Spring 2003 & Spring 2008 Collection - Rainbow Dresses. They both accommodate vibrant colors that interchange as it graduately continues its journey. The contrast in between each color is breathtaking; it is difficult, almost impossible, for people not be carried away with its perfection. Since the vibrant color palette plays a major role along with the darkness of sublime in McQueen’s design collections, it is crucial to incorporate it into the facade design of the hostel. On the other hand, it is not ideal to use the same facade approach of La Defense, and applies it onto the entire exterior of the hostel, due to the limitation of its urban site. By applying it on partial of the building’s skin can raise the awareness of its existing context and attract greater amount of attentions. As the facade changes color through different times of the day and the weather change, it creates a more interesting city atmosphere, and delivers a more profound dialog between nature and technology.

ARCHITECTURE 370 PROGRAMMING PROFESSOR MARTIN FALL 2012 WANQI LOY (KK) 32

McQueen Hostel Booklet Design a programing booklet for a studio project in fall 2012 Professor Sean Martin Fall 2012

The booklet includes collective documentation on the research of Alexander McQueen. Contained are the proposed programs, site analysis, precedents, and preliminary designs for the project. The spreadâ&#x20AC;&#x2122;s layout is primarily divided into a five column grid. Each section has a slightly distinctive

graphic layout while overall still consist its uniformity. Furthermore, the booklet has a designed wooden cover that responds to the facade design of the McQueen Hostel.

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NEW NATIONAL GALLERY Mies had never been able to actually build the single-volume clear-span pavilion in its purest form – the totally transparent glass box at truly monumental scale – and this was the opportunity now presented to him by the City or Berlin. To understand adequately the development of the New National Gallery design the second of his trinity of concerns, his obsession with appropriate structure, should be considered. As always, he was concerned not only about the technical aspects, but about finding a new architectural grammar that would be at once honest and poetic. Rolled steel sections were of course particularly suitable for site assembly, their flanges lending themselves to easy bolting or riveting on site, Mies had always felt a particular affinity for steel construction and his 1938 arrival in Chicago, the very home of the steel-framed building, was serendipitous. After 1938 steel and

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glass would become his preferred materials and American technology would enable him exploit their qualities as he could not do before. And, most importantly, he would involve ways of using these materials that American architects such as Louis Sullivan had never thought of – more precise, more reﬁned, using slender sections and long spans to achieve unprecedented effects of lightness and transparency. Mies respected the work of the great nineteenth-century Chicago architect Louis Sullivan but, as he commented later, ‘Sullivan still believed in the façade… it was still the old architecture. He did not consider that just the structure could be enough.’ In Chicago, Mies proposed that architecture could consist of pure structure; and while he would continue to use all the principal building materials with care and devotion, his efforts from 1938 to the end of his life were fo-

cused especially on the evolution and refinement of an architectural grammar whose vocabulary would consist of rolled steel angles, channels, Ibeams and H-columns. In Mies’s lower galleries and sculpture garden fulfill their purposes admirably. However, the grand pavilion, whilst majestic and suitable for displaying large objects which stand up to the large scale and benefit from the modeling effect of side-lighting from the glass walls, fails badly as exhibition space for smaller paintings. In the upper gallery, pictures are inadequately lit by spotlights high above, and sometimes seen against the glare of a glass outer wall – a disabling combination. Screening three walls with translucent grey curtains only partly eliminates the glare but ruins the visual transparency of the building – its greatest glory – in the process.

In terms of space, the driving idea behind the Miesian pavilion was to achieve a neutral space that could be divided up and used in unlimited different ways – but this is simply not seen as important of even particularly desirable by curators. Most would favor a series of individual rooms echoing in scale and décor the settings for which the exhibited artworks were first created, and varying in size so as to cater for the intimate portrait as well as the large dramatic scene. Finally, the New National Gallery as a whole is a closed form, perfection in itself and virtually incapable either of -extension or modification. Its inability to expand as the art collection grows has been criticized. Imperfect thought its upper floor may be as a venue for viewing paintings, the New National Gallery succeeds magnificently as a work of art in itself. Here is a twentieth century icon

into the ground are easily read by the onlooker – a process made exciting by the great spans and spare efﬁciency of the structural members involved. Most importantly, all of the above aspects ﬂow together to create an entity of harmony and simplicity. Steel, glass and granite unite in a composition with seemingly no trace of the willful, the mannered or the modish. All its parts from the largest to the smallest, form a unity in which nothing jars or looks out of place. The entire composition has that appearance of serene inevitability that characterizes problem – solving at the highest level. Like that Parthenon, from which it is ultimately descended by way of the German Neoclassicist movement, and poise and tranquility it distinctly recalls, the New National Gallery is a building for all time. It occupies its site with authority and dignity; its form, materials and details convey a sense of seriousness and permanence; it stands as a loof form the swirl of fashion around it.

When the world has grown tired of the ephemeral thrickeries of postmoderism, deconstructivism and those other fashions which compete for media attention, building such as this will refresh us by awakening all the more man’s deep desire or poetic serenity and structural honesty.

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of timeless serenity and composure, its functional imperfections forgotten as one contemplates its majesty as monument and symbol. In terms of composition, the over sailing roof hovering above a transparent enclosure provides a comforting sense -of refuge, recalling at heighted scale that primeval experience of sheltering under a tree canopy or cave while gazing out of the far horizon. Mies has created a form that is in his own words ‘harbouring but not conﬁning’, satisfying at one stroke man’s contradictory yearnings for security and freedom. Finally, in terms of structure and materials the gallery is an exemplar of clarity and discipline, seeming to taking its form not from arbitrary preference but form fundamental principle unlike Scharoun’s Philharmonie whose structure is merely an means of propping up the spatial enclosure, like that props holding up the scenery on a theatrical stage, the structural frame of Mies’s pavilion comes close to actually being the architecture. The transmission of massive gravitational forces from suspended roof-slab via precisely-place and beautifully articulated columns

Author of the article: Maritz Vandenberg

Double Page Spreads an article about new national gallery by mies van der rohe Professor Diane Fox Fall 2013

The project’s objective is to design two double page spreads on Mies Van Der Rohe’s New National Gallery. The design intention is to construct the layout based on the form of the building in the style of the architect. Since the building holds an extreme contrast between its heavy dense roof and light transparent body.

The first spread contains images on top which overhang from the dense text on the bottom which respond to its unique roof structure. Moreover, the spreads are being divided into a rigid grid system which is also similar to the building’s layout.

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Author of the article: Maritz Vandenberg

Double Page Spreads Exhibition Designs an article about new national gallery by mies van der rohe employment as a graphic assistant + gallery designer Professor Diane Fox Professor Diane Fox Fall 2013 Collaborator: Hunter Yong Fall 2014

The project’s objective is to design two douAs a graphic assistant, the job included many ble page spreads on Mies Van Der Rohe’s tasks ranging from designing gallery displays, New National Gallery. The design intention installing and de-installing exhibitions, and is to construct the layout based on the form managing a team while collaborating with the of the building in the style of the architect. featured showcase designers. Through this Since the building holds an extreme contrast job I have gained experience as a graphic between its heavy dense roof and light transdesigner and a team leader. parent body.

The first spread contains images on top This 3 dimensional gallery design was which overhang from the dense text on the created for displaying a lecture series. The 8 bottom which respond to its unique roof foot long banners help to attract audiences structure. Moreover, the spreads are being as they walk by. The exhibit was created with divided into a rigid grid system which is also a simple color palette to enhance the clarity similar to the building’s layout. of the content.

This two dimensional exhibit design was created for a landscape architect. The design approach took a horizontal form similar to the architectâ&#x20AC;&#x2122;s landscape features. The sliding horizontal panels create an interesting visualization for audiences. The composition creates movement and fluidity from one panel to another.

artwork

p56 Scream (1st yr) p58 Lantern Design (2nd yr) p60 Furniture Design (5th yr)

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Scream a silent drawing that screams Professor Brian Ambroziak Fall 2010

The objective of this drawing is to explore the concept of creating the feeling of a tangible sound through sight alone. In this case, I tried to convey to the audience the shock and intensity of being yelled at so they could imagine they were hearing the shout itself. Accordingly, I used cross hatching technique to create texture. By offsetting and bleeding the mouth to one corner created a strong composition.

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Lantern Design a new solution for a food desert city Professor Brian Ambroziak Spring 2012

This project’s objective is to do a study on light in the form of a lantern. It is a 3’ x 1.5’ lantern framed with metal wire, wood dowels for skin structure, and paper like fabric for the skin. The design intention was guided by the sublime qualities of the lantern, and its potential to generate a perspective that oscillates between physical reality and memory. The color and form of the lantern was inspired by a childhood memory. When I was young, I enjoyed playing with fish in a lake next to my house. I remember the astonishing imagery when the sun shone onto

the surface of the water and reflected off the fishes’ scales together forming a sparkling golden vision. Subsequently, the organic form and scale like skin of the lantern is a metaphor for the fish and the light source projected onto the surface through the layers of golden squares captures the moment of magic from my childhood memory.

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refresh us by awakening all the more man’s deep desire or poetic serenity and structural honesty.

Author of the article: Maritz Vandenberg

Double Spreads FurniturePage Design an article about new national gallery by miestea van der rohe chair design transforms into a space for enjoying Matt Culver Professor Diane Fox Fall 2013 2014

The to design twoa douThis project’s project’s objective objective is was to design chair ble spreads on Mies an Vanaction Der Rohe’s frompage the concepts behind that I New Gallery. The to design enjoy National doing often. I chose designintention a chair is to construct based on the form based around the layout practice of enjoying tea. of building the styleinofathe architect. Teatheshould beinenjoyed comfortable Since thea building holdsI sink an extreme contrast setting, place where in and relax. between heavy dense roof and light transThe its chair contains a half circular form parent body.the tea drinker. It is constructed to embrace with Maple hard wood, bendy plywood, and fabric. The design intention was to create a seat wide enough for a person to be able to sit down with her legs crossed, and tall enough that it extends beyond a person’s head to create privacy.

The contains images top The first chairspread back was created with on seven which overhang dense textseat on the curved pieces, from whilethethe chair is bottom whichwith respond its unique roof constructed a flat tocircular plywood structure.onMoreover, the wooden spreads rings. are being stacked top of two The dividedchair into aisrigid grid system whichoff is also entire elevated one inch the similar to thesix building’s ground with casters layout. inserted underneath enabling the chair to roll. Finally the back and seat cushions are added for comfort.