WISARUT WATTANACHOTE
Portfolio 2010-2012
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contents 01
Contents
02-03
Double Bonded House
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Unnarutal Roughness
10-15
Fas(c)iality
16-23
LA HUB-The Catalyst
24-31
Architectural Chimera
32-39
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Double-Bonded House The notion of the study of the Schindler house leads the project to the “double condition� problems. The catalogs of the formal studies from the 2 different strategies, the compressive cut and the bifolding, embedded in the house form as a series of the space. Two different forms are married in order to address the intimate bond to a single family house which emanates from the negotiation of the empathy of the line of the landscape. The inside and the outside, the frontyard and the backyard -- these dubbling conditions as they inherit the landscape force, are broken to become part of the landscape and host the semi-public space to the outside and embrace the certain tradition, kitchen and the connection to the gazebo, to make it radical. *Collabolation with Alyse Sedlock
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1) Rear side of the semi-private kitchen space leading the family member to the gazebo space. 2) overview from the north side of the house revealing master bedroom and bedroom mass connected to the backside of the house. 3) The approach to the garage, the structure(umbrella) seperate the massive volume to the welcoming entrance. 4) Showing the component broken to be part of the landscape. 5) Perspective through the whole house representing the smooth transitions between two forms.
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Unnatural
< LEFT: Conceptual drawing diagram for openning studies < LEFT(middle): The variation of the module before its broken down to the panelization system. > RIGHT: Study model of the color effect with forms.
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Roughness
The constructed mechanism used in the script expresses the contextual relationship without any fragmentation but the hierarchy of the scale and direction influenced by the Fabian Marcaccioâ&#x20AC;&#x2122;s painting. The individualation and diferrence from the transformation are maintained and given by scalechanged and boxmorph methods. The coherence is best explained by the concept of the entrainment or the attractors. Theoretically, this project addresses the assemblagesâ&#x20AC;&#x2122; type, which is non-modular construction where each and every part is uique in shape and dimension. Variations of the components in the design create the overall composition of the facade where the transition occurs to fill the emtiness in between. Fused form is the production of the non-modular network in action that generates intricate proto-archtiecture from the identical components which will be significant for such an enormous architectural project. *Collabolation
with
Yoomi
Cho
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< TOP LEFT: The Proto-architecture term refer to incomplete yet highly articulated chunks of architecture. Massing for the complex including boutique hotel, multifunctional theater and retail. The theater will be oriented to connect to the recreational area such as the little tokyo where as the retail serves the institutional region. < BOTTOM LEFT,TOP RIGHT: The chunk of architecture intensely researched to achieve the understanding of how it will take on various types of architectural performance. Multidirectional structural network has been tested both aesthetic and material aspect. 12
The scale changed and the box-morp scripts are potentially used and developed to the double inflected transformation. These behaviors combined give the effect not only of the continuity but also the relationship between each identical component.
Customized panelization with the space and program in relation before having the components on.
Massing and floor plate studies were included to be part of the facade and the panel system. 13
< LEFT: Final accumulation from various of proto-architecture produced on the early state renders the effect of the forming components in the different capacities as aperture in which it gives to the occupied spaces within from solid facade housing the theater on the left, hotel from the top and more sunlight at the shopping more on the right massing. > RIGHT: The angular theater is wrapped with the back side of the components filled in the wall and the light effect from the ceiling components. 14
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F a s ( c ) i a l i t y The project focus on facade and the impact to the interiority of the space. Manuscript library will challenge the new role of facade to the high level of form and the quality of the body of architecture. The light control is applied to the design following the programs within. The creses from the stretch will control the quality of light in specific types of space. Contextually, the form and color blend the grid system from the existing facade to a new language. Movement in this project occurs as a transition between two entrances that are formally agitated to have the quality of a spasm. This movement contracts in the interior between these entrances. The flow of the semicircular path creates a stretched form which attaches to one of the adjacent arcades and influences the movement and the action of the passer-by. Sensation is what passes from one “order” to another, from one “level” to another, from one “area” to another -- Francis Bacon. 16
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The outlines and creases of the original figure are characteristics transferred into the new architecture. Instead of acting as representations of the figure they provide new architectural qualities. In a sense they disappear only to reappear in a different form. Flexible creases allow indirect light to permeate the interior, creating different atmospheres and enabling a transition between the different spaces. Spatial pockets define the scale of spaces and their program. The form implies continuity on the site and lures the passerby to roam in. 18
< LEFT: The physicality of the shell superimposes to the parameters of the apertures. Diagrams of the characteristics applied to the fundamental architectural thinking. Aperture and the conceptual sun angle for the best oreintation in the sensitive light area. Circulations, the ground floor provides the flow through the public realm. The more comprehensive circulation increasses to the upper level. Pocket type The hierachy of the space is distributed throughout each level. > RIGHT: The close-up facade rendering showing the hidden pivot windows in which the building still maintains the conventional functionality and the quality of the form. The lighting accentuates the creases as it performs in the size differences vertically. Coated with the distorded color, the design approach is trying to move away from the monolithic quality which it perhap presents at the first glance. Instead of blurring the boundary of the pattern itself, this color experiment plays with the addition of color revealing and hiding among creases and start to make a new appearance for the whole building. 19
The movement from the ground level to the upper levels follows the deformation through the upper [level] presenting more constrained creases which produce a specific sensation while referring to the others through the characteristics they have in common. 20
The constrained creases influence the light controlled programs and the spatial pocket structure. The light effects from the creases and specific voids indicate the transition of the spaces and convey a new sense of use such reading carrel to storage and exhibition space. 21
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Different interior spaces derived from the formal qualities of the exterior envelope require a certain amount of light, that is, the aperture sizes in the envelope simultaneously affect the interior and exterior in a reflexive manner. According to the stretched grid originally developed by Dâ&#x20AC;&#x2122;Arcy Thompson, the stretching influences the entire form and creases rather than breaking it into discrete parts. The variable repetitions of the creases as distinct features formulate sectional continuity of the spaces as a whole. 23
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LA HUB THE CATALYST and the moving platform
It might be difficult to ignore the paranoid demand of security in Los Angeles and to revitalize the walkway on the bridge as a free observing deck to the strange ecosystem from Los Angeles River. LA Hub, The Catalyst, is formulated to be an interconnection between abandoned community and two sides of the bridge that have no social relationship. To set up diversely the level of participation on site, the spatial organizations for fitted architecture are created to be “active participation” and “passive participation.” The active space for job opportunity is hosted underneath the incubator space, where the hub people circulate, to the floating landscape so-called a communal hill which opens up the different configuration of interaction. The passive participation is organized by the loop circulation which interplays with steps and perceptions [porous wall, sharp-fillet corner.]
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However, spaces will be occupied from time to time by the monthly membership which in this case would allow the hierarchy of the space to occur. Thus, the catalyst system, where the public and hub people can interact, is invented as a lifting platform to diversify the activities. That is to say catalysts are the special programs accompanying with specialists dispersed all around the site when needed. Up-moving and Down-moving platforms have the character to advocate working collaboration for both the hub people and live-work people. Not only to encourage the co-working space, do the catalyst, but also to change the public and private hierarchy of space though accessibility and perception. Ultimately, formal gestures suggest the complexity between permeable public realm and flexible private realm. The catalyst diagrams[moving platforms] demonstrate the scenarios that could occur depending on the balance of hub-ersâ&#x20AC;&#x2122; demand and the public latent demand from the job event taking place on the site. The condition sample shows the co-operating condition between public[P], hub-er[H], specialist[C] and livework people[L] as well as how private and public the spaces are that the time when the platforms move to the area.
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To amplify, the adjacencies of catalysts and positions of working spaces are laid out according between co-working space and public circulation. While the public roaming on site, the curvaceous surfaces function as an indicator on site informing the changeable positioning and programming catalysts. With all system integrated, we can begin to overcome the fear of crime in Los Angeles by exploiting the architecture to create dense, compact multifunctional core area. Hence, it likely will be more activities which will determine what â&#x20AC;&#x2DC;typeâ&#x20AC;&#x2122; of people will be strolling the walkways and challenging how permeable the architecture, society and city can be. < LEFT: the first floor plan primarily shows the blur boundary between the public fablic and the architecture. The circulation is designed as a linear organization into the loop form sealing the programs within. It provides the opportunity for passive participation to occur associated with the moire effect wrapping the career programs. < LEFT(middle): the second floor plan shows the significance of the communal hill that connects both the incubator and the behive space to the outsider mutually. Incubator space including HUB space with the different height allows the hub-er to be more observant at the same time still having the privacy defined by the elevated space. > RIGHT: the third floor plan shows the linkage from the first st. bridge to the site. In order to be able to revitalize the site, the showroom[catalyst] is necessary to draw the first crowd to the site which will be the first gesture for collaboration system later on.
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< LEFT(top): The night view illuminates the area and serves as a beacon of the city from east to west side, and vice versa. Approaching from the street level, the pedesrian can roam to the site and use it as a safety transit to the first street bridge. The light strips accentuate the exterior guardrails leading users to main extrances and corridors. < LEFT(bottom): The public space underneath the incubator revealed to the users as a mixing chamber. It opens up to the public from Santa Fe St. promptly initiate the passive participation from both Hub-ers and Public back and forth. The linear working space corridor with the[porous wall] moire effect treatment and the playful level provide just enough infomation from both sides to be observed, observing. Floating meeting room held by the structure pulling from the roof down to the ground on the south side appears to be the phenomenal transparency serving as a top hierarchy and at the time almost being participated by wanderers. 30
> RIGHT(top): north section displaying the perception from the incubator hub to the open public painting space. Also, the continuity from semi-public space underneath the Behive to the existing street. The passive participation concept was brought up to provide the fair amount of the privacy and still improve the learning environment as its mandatory for HUB spaces. The exterior changing form is delivered by the hub mechanism. > RIGHT(bottom): west section displaying the dynamic space as a whole. it’s revealed from the changes of catalysts’ platforms. The flexibility of catalyst’s space is given monthly based on the realtime data showing what types of programs are taking place on catalysts indicated by the (curvaceous surface) LED system thoughout the site. The step on the far right spontaneously suggests the hierachy of the privacy and the level of security according to the different account for each space which accommodates by platforms. 31
Architectural
Chimera
As new forms arise to displace existing forms, an awkwardness emerges between what is left behind and what is brought forth. Spontaneity and variability construct the complex system in which the built environment occupies. Every action and reaction creates a rippling shockwave to both micro context and macro context as both are driven by visceral and rational means in an attempt to create a cogent grasp of how we live. Within the tensions of the emotional and the pragmatic, the old and the new, we end up in a vibrantly adhoc world. From a communal system down to a buildingâ&#x20AC;&#x2122;s subsystems, an adhocist agenda captures and amplifies the tension of natural growth. Despite the current trends, change and inconsistency are the constants that remain. < LEFT: The series of the experiments of the chimera drawings showing the junctions between different animal parts. > RIGHT: The details of the physical model emphasizing the depth of the tectonical transformation through the dissection of the 1970â&#x20AC;&#x2122;s building facade. 32
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The purpose of this thesis is to forge a process of manipulating and exploiting manufactured subsystems of form to create a custom culture, a culture that embodies both change and distinction. This new constructed element will engage a range of scales down to the smallest joints and junctions in which I am interested in the idea of the concealment of the seam, where connections are hidden and blended. The setting for my thesis is the Angewandte competition in Vienna. The winning entry by Wolfgang Tschapeller takes the adhoc dialogue to a familiar point, but in the process creating a scaffolded facade that envelopes the entirety of the former building along one side, like a glistening mask that conceals an ugly face. I wish to revisit the competition in a way that fabricates a bond between both buildings of the site and without diluting or covering up either one. < LEFT: samples of the the series of transformation (top-down) > RIGHT (top): view looking at the hierachy of the historical building. (bottom): the night render showing how it lits up the city blocks. 35
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Instead, through acknowledging and exploiting the individual properties of the two very distinct buildings, a new adhoc creature can emerge. Within this animal is the embodiment of how an adhoc approach can unify without the loss of the original properties. The isolated property and structure of each element, tracks the residual effects of each formative transformation leading up to a connection forged among a multiplicity of joints. Within these subsystems, the blending approaches the adhoc dialogue from a more system driven approach, one of unification and coherence while maintaining embedded distinctions that each piece has culminated over its independent lifespan. There is a new connection, but one that is not compromised by the reduction of form through a generic blend. This new connection does not simply bridge two disparate elements, but instead forges an entirely new creature. < LEFT: The series of the plans from the lower floors (top-down) > RIGHT: AXO-section cut through the connector revealing strucrural systems and the connection between the grids. 37
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< LEFT: 1) Top view of the connector part showing how its concealed by the two sides. 2) The conceptual fabrication of table legs attached to the site model for the chimera theme. 3) Birdâ&#x20AC;&#x2122;s-eye view showing the transformation of the upper part exterior. 4) Interior shot of the 1st floor of the historical building where the new meets the old. > RIGHT (top): Rendering of the section cut through the connector facing east revealing the lecture hall space. (bottom): The micro changes of the transformation with the aperture. 39