Yichen Wang Architecture Portfolio by Yichen Wang

Yichen Wang Portfolio A Collection of Design Works from Spring 2011 to Spring 2015

Columbia University + University of Oklahoma

Spring, 2011 - Spring, 2015

Yichen Wang

MS. AAD Columbia University

Columbia GSAPP Works + University of Oklahoma Design Works

Contents

01-56

57-108

109-112

113-114

GSAPP Works 2014-2015

Pre-GSAPP Works 2011-2014

Visual Concentration 2014-2015

Internship Works

Columbia GSAPP Works + University of Oklahoma Design Works

Learning from Food: process, interface, environment, logistic + Reinvention of Kitchen

Circus Kitchen Cooking at home is becoming luxury in todayâ&#x20AC;&#x2122;s life. I propose the Circus Kitchen to provides a place for people to appreciate cooking performance, and encourages everyone to celebrate food together. The circus is making cooking to be an event or a festival. Sometimes, the cooking â&#x20AC;&#x153;performance â&#x20AC;? is hidden by a closed space; and now, it is the moment to enjoy the show with the family.

Food is the search engine of the studio. Learning from food is the approach to learn the most singular and solitary space of our domesticity - the kitchen. What can be learned by questing the interaction of the creation of food and the production of architecture? What can be obtained by combining the sensory of taste with the representation of architectural space? To answer the questions, you should think with your mouth. Investigating taste by studying the architecture of food is the first task of the studio. Food is a political, formal and mechanical problem, bringing to the thoughtful consideration of its processes, interfaces, environments and logistics. Coming up with the question about culinary formalism, performance, and topography, the goal is to interrogate the boundary between food and architecture. Then, a laboratory for taste will be invented as a new architecture. Instead of solving a problem by an architectural method, it is an opportunity to raise the question about the possibility of the space of our domesticity.

Columbia GSAPP Advanced Studio Summer 2014 Site: New York, NY Critic: Joaquim Moreno Individual work

Infographic of Food Domestic Kitchen Design by Investigating food

Task_1 Process, Interface, Environment, Logistic I’m learning from cooking; I’m learning from table; I’m learning from fireplaces, ovens, food trucks, restaurant kitchens, etc.; I’m learning from the industrialization of food.

Beverage

Sauce water salt sugar pepper spice vinegar oil mint garlic cucumber fruit coconut walnut Kefir grain juice lemon juice herb butterfat wheat

water salt sugar pepper spice vinegar oil mint garlic cucumber fruit coconut walnut Kefir grain juice lemon juice herb butterfat wheat

Side Dish/Food water salt sugar pepper spice vinegar oil mint garlic cucumber fruit coconut walnut Kefir grain juice lemon juice herb butterfat wheat

6/17 9/17 7/17 3/17 1/17 2/17 3/17 3/17 2/17 2/17 2/17 1/17 1/17 1/17 1/17 1/17 2/17 1/17 1/17

2.1

2.0 1.9 1.8 1.7 1.6 1.5 1.4 1.3 1.2 1.1

1.0 0.9 0.8 0.7 0.6 0.5 0.4 0.3 0.2 0.1

0 Before 1600 1600

1700

1800

1900

2000

Origin

Canada 87.2

United States 60.8

Great Britain 73.6 Poland 81.5 Netherlands 185.6 Germany 120 France 168 Austria 115.2 Spain 146

China 87.0

Turkey 166.4

Chile 79.2 * Source: Euromonitor 2012, AC Nielsen Argentina 74.4

Raita

Tarator

Kashk Labneh (Strained Yogurt)

Dadiah

Cacik

Tzatziki

Dahi

Ymer

Viili

Skyr

Koumiss

Kefir

Lassi

Doogh

Chal

Ayran

University and Diversity Process: Yogurt

Japan 87.8

Ruling and Freedom Interface: Chinese Table

The image is about studying foodâ&#x20AC;&#x2122;s interface , containing the all information of a Chinese traditional table. By showing space, scale, behavior, movement and arrangement, the image illustrates different situations of eating around a Chinese table.

Table is the most typical interface between food and consumers. It is a symbolic surface of presenting food. The Chinese Table has its unique organization and circulation, managing the participation in a certain way. By overlaying the different scenarios on the same surface, the diagram illustrates the spaces, scales, behaviors and movements when people eat around the table.

Ruling and Freedom Interface: Chinese Table

W 0.74 0.55

0.25

0.14

0.74 0.55 0.38

E Customer Waiter

0.30

0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3

0.25

0.14

0.30

0.38

Ruling and Freedom Interface: Chinese Table

Occupied Space

Unoccupied Space

W Table Space

Due to the different situations, the interface transforms frequently. The arrangement of different spaces is separated, articulating the various functions of the system. To display the complex interaction of the interface, the consumer and serverâ&#x20AC;&#x2122;s movements are accumulated. The sharing of food present the politics of the table. Last, the Size I and II show the areas that people occupied around the table, indicating the boundaries of public and private.

Ruling and Freedom Interface: Chinese Table

W User Movement

Server Movement

Size I

W Size II

0.74 0.55 0.38

0.20

0.18 0.5

0.3

0.46

0.2

0.0

0.5

0.2

0.49

0.45

0.78

0.46

0.30 0.25 0.14

0.18

.45

0.71

4 0.1

0.4

0.69

0.35

0.4

0.6

0.4

0.32

0.38 0.63 0.74

0.11

Management and Methodology Environment: Steamer

Variation and Combination

Shape Steamed BBQ Pork Bun Chive Dumpling Shrimp W/ Spinach Dumpling Bun, Dumpling, and Rice

Sticky Rice W/ Chicken In Lotus Leaf Shrimp Dumpling Siu Mai Steamed Shanghai Dumpling Layered Cake Malaysla Cake

Cake and Dessert (Sweet)

Steamed Egg Custard Bun Custard Roll Sponge Cake Porkribs W/ Black Bean Sauce Steamed Beef Ball

Meat (Pork, Chicken, Beef)

Steamed Chicken Feet W/ Oyster Sauce Beef Tripe With Ginger And Onion Bean Curd Skin Roll

Management and Methodology Environment: Steamer

Procedure

Size/Price

Small ($2.5-$3.0)

Cook Time

Number

13mins 8mins 8mins

25mins 12mins

Medium ($3.0-$4.0)

10mins 3

12mins 34mins 14mins

10mins

Large ($4.0-$5.0)

17mins 30mins Several

20mins 13mins 17mins 23mins

Management and Methodology Environment: Steamer

Steamed BBQ Pork Bun Chive Dumpling

1 Shrimp W/ Spinach Dumpling

Bun, Dumpling, and Rice

Sticky Rice W/ Chicken In Lotus Leaf Shrimp Dumpling

Yum Cha

Siu Mai Steamed Shanghai Dumpling

1234 Bun, Dumpling, and Rice

Layered Cake Malaysla Cake

Steamed Egg Custard Bun

Cake and Dessert

Custard Roll Sponge Cake Porkribs W/ Black Bean Sauce Steamed Beef Ball

Typical Floor Plan

Steamed Chicken Feet W/ Oyster Sauce Beef Tripe With Ginger And Onion

Meat

Environment is the place where taste is created. The Chinese traditional cooking equipment steamer is a special device, because its ingenious operating principle and strict management logic. Dim Sum is organized by controlling its shapes, sizes, and ingredients inside steamer. Even though buns, desserts, and meat cooked together, each type of food has the own mythology.

Bean curd Skin Roll

Time

Consumption of Dim Sum / 2 mins 4 3 2 1 0 1 Time

2 Tea

Tea

In Siegfried Giedionâ&#x20AC;&#x2122;s book Mechanization Takes Command, he states that the significant impact of mechanization for the food process and delivery. The production procedure and corporation operation of McDonald exemplifies the evolution of fast food industrialization. The fast food chain is considered as an efficient way to fulfill peopleâ&#x20AC;&#x2122;s desire in the fast-paced society. However, their life already been controlled by the immutable menu.

Standardization and Symbolization Logistic: Fast Food Industrialization Assembling Line

Bun

Ingredient

Bun

Bun Toasting 30 sec

Assembly 20 sec Fry 3 min 45 sec

Grill and Wrapping 38 sec

Fry 3 min 10 sec

Unpopular burger preparation

Popular burger preparation Delivery 5 sec Dessert Drink

10 sec 7 sec

Customer Service 45 sec

Preparation

Serving Area

Dinning Area

Layout

Archetype Countries with Mcdonald's

Countries without Mcdonald's

Mcdonald's restaurants by country 2003

Worldwide Influence

10,000+

2,000 - 9,999

1,000 - 1,999

500 - 999

100 - 499 20 - 99

1- 19

Diagrammatic Illustration Space who ofoccupies one area; meanwhile, it encourages Circus Kitchen people celebrate - Diagrammatic Illustration By ofusing Space a light-weight tent and assembling structure, the circusto is easy to be carried by food track. together. Different smells The Circus Kitchen is arranged by four parts, including central stage,will the cooking andthetastes full area, fill thethe space, attracting people the outer visiting area. The central stage also contains the central to engage. In order to assure the kitchen can move The intention of testing seating food area, is andrethinking the management system, which allows smoke to be exhausted from the tent. The stage can be several construction and production of the rotated place to theproduce different directions,among facing the different shows. cities, the light-weight structure is introduced. Therefore, people will assemble the and deliver food. I propose, the place, juxtaposing different components of the building efficiently. The the concept of spectacular, transforms the typical whole building is operated systematically, comprising domestic kitchen into an urban scale. The Circus of four systems - central control system, curtain Kitchen is a cooking emancipation. It provides people system, performing system and seating system. Each with a place to enjoy cooking and appreciate cooking part works individually, and can interact with others performance. It is a domestic kitchen for each family

tent top (exhaust smoking)

tent structure & trapeze

central control system

curtain system

performing area & seating stage

tent

Exploded Axon Systematic Arrangement

plan

top plan

46.5' 29.6' 30.4' 25.2'

12.2' 3.2' 0.2'

section

Plan, Section and Elevation

Plan, Section and Above Elevation The four parts are arranged around the central system. the preforming space, the different systems overlay to each other. The structure system not only support the tent itself, but also connect to the curtain and management system.

The four circular systems are arranged from the central area. Each system has its own feature and instruction. The central stage can be rotated to face the different shows. Above the performing space, the curtain system divides the entire area to sixteen parts; each part contains one cooking space and one dinning space. To enjoy a private space with their family, people can draw the curtain close.

elevation

Circus Kitchen we are celebrating food !

preparation

preparation open time now!

ringmaster--star chef actor -- server performer&audience--family&friends visitor

occupied area activity area

opening!

opening from ringmaster

cooking battle i

trapeze (curtain arrangement)

cooking battle ii

cooking class

sharing & exchange

closing

Circus Kitchen Operating Process The nine circles illustrate the nine time spans of the special activities. The outer circle represents clock.

Family Battle + Trapeze Acts + Cooking Class The cooking battle starts from 11:30. Two families are facing each other, competing to the cooking skills and sharing food together. At 12: 30, the amazing trapeze acts attracts people; it is the moment to appreciate the food show. After the cooking time, there is a cooking session, operated by star chef (ring master).

Working Space: Supper at Emmaus by Michelangelo Merisi da Caravaggio

The studio is inspired by a series of lectures given by painter Frank Stella Charles Eliot Norton Lectures in 1983-84. The six lectures were then complied and published as the book Working Space. Stella was questing a way to achieve the pictorial space in a painting or an art work. Pictorial space is capable of direction and movement, and it encourages unlimited orientation and extension. The elusive and ambiguous illusion is revealed by analyzing paintings in an architectural perspective. Painting provides people with a space to feel; it cannot be restricted by the boundary of edges. Started from Caravaggioâ&#x20AC;&#x2122;s Supper at Emmaus, I was looking for the space that can be translated as an architectural language. Without beginning with a site, program or other conventional requirement, the studio asks to create a new prototype of architecture that can instigate a new form and sensibility.

Columbia GSAPP Adv V Studio Fall 2014 Site: New York, NY Critic: Michael Bell Individual work

Renaissance Painting Analysis Central Park Pavilion Design Flushing Seven Train Station Pedestrian Bridge Design

Supper at Emmaus Caravaggioâ&#x20AC;&#x2122;s paintings display his incredible skill about describing the most dramatic moment by capturing the figuresâ&#x20AC;&#x2122; motion and expression. With an ingenious use of lighting, the exquisite details freeze the moment, indicating a relatively long period happened before and after the moment.

Analysis I - Line and Shadow Motion and expression are created by human face and body. Started to separated lines, shadows, and background in the painting, more physical and emotional details are emerged. The abstraction of the painting is represented in a certain way, and then the more unexpected spaces are shown inside the limited boundary. It shows that each figure contains the similar details once the shadow and background are token off. The endless positional is played by the dramatic lighting.

Analysis II - Motion and Action Motion is created by human body, and body is hidden by clothing. Clothing is an indicator to discover the motion and action.

Concept Sculpture 1.0 + 2.0 Each characterâ&#x20AC;&#x2122;s feature is accumulated by the creases of clothing. The generation process illustrates the sequence of discovering the pictorial drama. Each crease of clothing has the influence on an specific area of clothing. The sculpture for representing the concept is produced by manipulating the movement and tendency of the different figures. By following the folds of clothing, the four figures are generated in an abstract approach. Later, the pattern is added to reveal another fact. Some curves follow the folds, but others extends to a totally different direction. It illustrates the fascinating fact that the numbers of irregular shadows are caused by the constantly moving bodies.

â&#x20AC;&#x153;Working Spaceâ&#x20AC;&#x153; Pavilion Dealing with the challenge of flatness, the pictorial space finally turns to the architectural language to arouse a new sense of architecture. The first model is about designing a pavilion in the Central Park. The question is how to manipulate the internal space of the spatial composition by applying the characteristics of four figures. Instead of presenting the geometric fragment, the four gestures are organized by connecting to each other. Each gesture represents one person in the painting, carrying with their own motion and emotion. By climbing up or walking under the pavilion, visitors will engage into the site by different ways, giving a sense of exploration.

The aim of art is to create space - space that is not compromised by decoration or illustration, space in which the subjects of painting can live. -- Frank Stella , Working Space

Four Spatial Experience The architectural language applies the various senses and expressions of volume to a coherent expression.

Four Spatial Experience The four spatial experiences contain the endless potential for growth. People can see, hear and sense the working space of the painting.

Four Spatial Experience The architectural language applies the various senses and expressions of volume to a coherent expression.

Process and Sequence The four images present the sequence of the design process. What I learned depends on how I read. The specific architectural language is processed by the way I perceive the painting. Through the more irrational learning process, the concept of plasticity of space is pushed on further. The second task is to propose a reply to the pedestrian bridge connect to the seven train station - Mets - Willets Pints with the Flushing Meadows Corona Park. I focus on the beginning of the bridge, and try to create a new dialogue between the illusionary space and the real project.

Site Plan of the â&#x20AC;&#x153;Working Spaceâ&#x20AC;&#x153; Bridge The project tends to engage into the complex urban fabric by accessing to the different directions.

Space and Circulation

The bridge is crated by several layers horizontally and vertically. The flows and pathways overlap and connect in order to sustain an interactive space. The circulation is articulated, displaying the interaction between the park level and the station level. Visitors may spend some time to look around; while passengers can pass through the bridge directly.

Structure

“Tattoo” - Pattern The pattern system inherit the building language developed from the pavilion. In addition, the pattern’s function is expanded in the project. It transfers from a “tattoo” to the building’s structure. It presents a unique architectural sequence by attaching and detaching the building body.

Pattern

Path

Small Space vs. Large Scale It is a significantly difference between the pavilion and the bridge from reading the scale. The main goal is compensating the imbalance of space quality and large scale.

The different enclosed and open spaces are organized in a certain way, which is suitable for any kind of moving. The multiple pathways connect to the park level, bridge level, and the balcony level, encouraging unlimited orientation and extension. Indeed, the spatial organization correspond the design of the pavilion.

The continuity and flexibility are the main features of the work. Analysis of Space - Section Perspective

Four Spatial Experience The new specialty of multiple perspective points is created to embody the site. Based on the four figures, the new spatial experiences are defined in a larger scale. The gate of the bridge not only works as a connection between two points, but also provides various of spaces to encourage people to explore.

Art as Pacemaker : Prototype/Influence + Site Attack

The fact should be concerned in 21st century’s big city, like New York - artists have long struggled to live. With the city becomes increasing expensive, a growing number of artists are forced to abandon the city. Many of them had to move to other states or countries to secure the space to live and work. The role of the “creative class” in the city is being challenged. The complex relationship between the culture of art and the identity of urban urgently requests a new urban approach to improve the situation. The project of creating a new type of artist accommodate aims to challenge the current situation of public/private residence, providing a different interpretation of artist living. The project includes three scales - urban scale, architecture scale and space scale.

Columbia GSAPP Adv VI Studio Spring 2015 Site: Paris, France Critic: Lise Anne Couture Individual work

Conceptual Exercise Site Design Artist Work/Live Community Design

Art as “Pacemaker” New York graffiti mecca in Queen - “Five Pointz” had been fully demolished in November 2014, and it will be replaced with a high rise condo and a luxury shopping mall. The creative individuals are having difficulties surviving, and the city is losing the original invigorating energy. The scenario is questioning the quality and the value of the city.

ART AS PACEMAKER New York grafﬁti mecca in Queen - “Five Pointz” will be replaced with a high rise condo and a luxury shopping mall. The creative individuals are having difﬁculties surviving, and the city is losing the original invigorating energy. The scenario is questioning the quality and the value of the city.

Advanced StudioVI, Spring 2015 M, TH 2:00-6:00 pm F 4:00-6:00 pm Critic: Lise Anne Couture TA: Bika Rebek

Juxtaposition The site in Paris is not a conventional arts neighborhood; instead, it is inspired by art studios on the 91st and 92nd floors of the former World Trade Center. The juxtaposition of the different types of buildings promote an unconventional living style.

ART AS PACEMAKER The studio is proposing a new types of the artist work/live communities. Unlike a conventional art institute or SOHO, the project is inspired by art studios on the 91st and 92nd ﬂoors of the former World Trade Center. The new arts neighborhood will works as a pacemaker for the community and the city.

Spatial Exercise - Prototype Inspired by the spatial configuration of the Eye Institute in Amsterdam, the spatial exercise brings a question about the relationship between smaller repetitive space and larger alternative space.

Influence The in-between space is critical of the work. The void and solid can be interchanged to form the different types of space.

Music Club Performing Center

Studio

l al

ll on t a iti s ib In

Art Exhibition

Residence rm fo

an ng ki al W w y ho Sk d S an

Community

Performing Space / show Residence Reading Club

ry d le e a al R

Exhibition Shop

Studio

r Pe

Artist Community

p ue ho iq ks ut or Bo fe W n Ca ge hio or Sta Fas do

ut w o Sh

Studio

le al

io at

Fashion Club

on Film Club

Photography Club C Outdo Book Store

h Ex

Small Studio

i sh Fa

Cafe

Studio

ic us

Community Cafe Workshop Performing Art Stage

Gallery Stud Outdo

Artist Studio Residence

Community

oor Performing

Entrance Hall

ng y di ub Cl

dio

oor Exhibition

Artist

Workshop Community Fashion Club Photography Club Film Club Performing Space / Show Cafe Open Space Exhibition Music Hall Performing Art Stage Performance and Show Fashion Show Reading Club Outdoor Exhibition Outdoor Performance Entrance Hall Shop Fashion Boutique Gallery Book Store Cafe

Artist

Public

Programmatic Design Instead of focusing on one type of artist, I propose the matrix of possibilities by studying the different kinds of art works. The community is a place to collect studios, residential programs, institutions, and small business. The in-between spaces for artist-artist and artistpublic are designed differently.

Site Approach

Geometry

Rotation

Adjustment

Site Strategy The entire work/live community is divided into four buildings, and the volume is based on the programmatic design approach. By keeping the linear tendency, each building will get natural light and air. The central public blocks are rotated to connect other buildings. The interacting and overlapping spaces promote the visual connectivity among the buildings.

Massing Model The building occupies the area between two parks, connecting the existing buildings.

19.00

14.00

8.00 4.00 1.50 0.00 -1.50

Site Section The height of the building corresponds the surrounding block. The path underneath the existing building allows visitors engage into the community from the other side of the site.

Public Entrance Perspective The overlapped geometry provides an unique entrance for the public. The artist entrances are located at each buildings. Even though people donâ&#x20AC;&#x2122;t go into the building, they still can appreciate the art works from the open plaza.

-2.00

UP DN

0.00

-1.50

0.00

UP DN

Public Private

Circulation and Interaction The public circulation is continuous among the different buildings, allowing visitors to walk through the different artist clubs and exhibitions.

Entrance Hall Perspective The different layers of spaces are interacted to each other horizontally and vertically.

-2.00

PERFORMING CENTER

OPEN TO BELOW

COMMUNITY

UP DN

WORKSHOP

PERFORMING ART STAGE

OPEN TO BELOW

BOOK STORE DN

MUSIC HALL UP

SHOP

UP DN

SHOP

EQUIPMENT

EXHIBITION CAFE

OPEN TO BELOW

ENTRANCE INFO

EXHIBITION

0.00

ART EXHIBITION

OPEN TO BELOW

SHOW STAGE UP

-1.50

FILM CLUB

STUDIO

ENTRANCE HALL

0.00

STUDIO

COMMUNITY WORKSHOP PHOTOGRAPHY CLUB EXHIBITION

OPEN TO BELOW

STUDIO MUSIC CLUB

UP DN

STUDIO

UP DN

STUDIO

STUDIO OUTDOOR PERFORMING

OPEN TO BELOW

SKY WALKING

PROJECTION

OPEN TO BELOW

FASHION CLUB

OPEN TO BELOW

OUTDOOR SPACE

INSTALLATION EXHIBITION STUDIO

UP DN

STAGE OUTDOOR SHOW STUDIO DN

PERFORMING SPACE

OUTDOOR EXHIBITION

ARTIST COMMUNITY

GALLERY CAFE

RESIDENCE

DN UP DN

STUDIO

FASHION BOUTIQUE

SHOP

STUDIO

SHOP RESIDENCE

UP DN

SHOP

RESIDENCE

STUDIO

Artist Artist

Influence and Spatial Arrangement The artist, public and in-between spaces are mixed inside the building, giving the sense of ambiguity.

Public Public

Performing Art Stage and Cafe Gallery Perspective The various public spaces is inserted into the building. Some are accessible to the public, and some are more private.

Park Entrance Perspective

Routine and Innovation: District Planning + Norman Civic Center

The rapid rise of the population in Norman for the past ten years has triggered a new development in the central area. At the same time, football game is still the most attractive event in the town; numbers of people pour into the city from different regions during football season. The new train system will be established within ten years for bringing people to attend the game every year. The agenda for the studio is to produce design proposals for the district between Main Street and the campus, with emphasis on envisioning new models of living styles. By investigating the new type of building, each student is asked to develop one block to consider the critical piece enabling live, work and play. Taking the current situation into account, the project aims to design the new model for the future residents.

University of Oklahoma Design Studio IX, X Fall, 2013 - Spring, 2014 Site: Norman, OK Critic: Nick Harm Individual work

Site Design Single Block Concentration Construction Documents

Main Street

Retail

Rail Road

Planning District

Church W Duffy Street

Campus Corner

Retail Campus

Restaurant

W Boyd Street

Node

Traffic

Building Type

Site Analysis The studio begins with an analysis of current city planning. By studying the different systems, the new mode of district is generated.

Main Street

Campus Corner

Extending the District The new planning region is located between the two popular spots - Main Street and the campus. The further urban landscape will be formed based on the development of the two areas. The new residential community with the expanding commercial area will be the spatial instrument between the north and south.

Campus

24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 09 08 07 06 05 04 03 02 01

Status Quo

Proposal

Ticket

600SF

Coat Check 500SF

Waiting Area

Drama and Music Center 2,500SF

1,000SF

Back Stage

Community

Roof Terrace

9,900SF

360SF

1,000SF

4th Floor

(2) Studio

6,20SF

3rd Floor

Community (4) Office

7,100SF

Upper Floor

1,500SF

The Norman Civic Center

Storage

5% Structure

1,500SF

Cafe

31,500SF

Lower Floor 2nd Floor

Public Service

4,700SF

4,600SF

25% Circulation 7,000SF

1st Floor

400SF

15% Service & System

2,700SF

Restroom 1,200SF

Ample Space*

Public Activity

5,300SF

9,900SF

Information 1,200SF

Book Store

*Ample Space -- Flea Market, Art Performing, Lecture, Exhibition, Special Events.

860SF

Behavior Investigation + Programming Strategy The proposed program is generated by overlapping the demanded situation with the current situation.

Gym, Studio, Exhibition Gallery

Shop, Market

Library, Book Store, Café

24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 09 08 07 06 05 04 03 02 01

Restaurant

Movie Theater, Performing Center

Pub, Night Club, Party

Gym, Studio, Exhibition Gallery

Shop, Market

Library, Book Store, Café

Restaurant

Movie Theater, Performing Center

Pub, Night Club, Party 00

Gym, Studio, Exhibition Gallery

Shop, Market

Library, Book Store, Café

Restaurant

Movie Theater, Performing Center

Pub, Night Club, Party 00 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 09 08 07 06 05 04 03 02 01

Demand

General Requirement

Structure Framing

HVAC System

Vertical Circulation

Special Requirement

Public Space

Mesh System

Fourth Floor

Window Display

Sky Light

Spatial Characteristic

East to West

Third Floor

North to South

Second Floor

Vertical Direction

Most Public

Accessibility

Roof Terrace

First Floor

Building Analysis The design strategy not only applies the basic building requirements, but also creates the special components of the building.

Most Private

Building Overview - exterior perspective + section model The main focus of the design is creating the continuous spatial experience, which is separated into several pieces by different floors. In order to bring public space into each level, the central gesture breaks through the boundary, extending the visual connection.

Roof Terrace Music and Drama Center

Office Studio

CafĂŠ

Book Store

Ample Space

Space Arrangement and Sequence The new type of the civic center is a spatial instrument interacting with social, cultural, and economical aspects. Maintaining the vitality of the city pushes me to create the unusual spatial sequence, attracting people to explore the building by themselves. The mobility and continuity is represented by the zigzagging form.

Folding the Envelope The interior spatial sequence strongly influences the exterior design strategy - introducing the continues space from inside to the outside. Inspired by origami, the folding envelope not only encloses the volume, but also brings natural light and air to the building.

General Usage

Bookstore

Coffee Shop

Gallery

Speech Hall

Flea Market

Workshop

Night Club

Special Usage

Party

Moive Center

Special Events

Combination

Living Room

Dinning Room

Control Room

Ample Space Combination The function of the ample space can be changed based on the different activitiesâ&#x20AC;&#x2122; requirements and demands.

Preparation Room

Ample Space Perspective during Flea Market The ample space provides people with an opportunity to utilize it as a active social space, encouraging residents to visit after their working time. The flea market will be held every weekend, welcoming people to share and exchange their stuff. The space is designed for daily use and special events, providing culture and leisure to both locals and visitors.

Mesh System - Pattern Growth Between the different floors, the mesh system unites the central public space, and extends the visual linkage. The pattern ends at the top vanishing point, indicating the relatively private space.

Define Planes

Set Lines

Mesh System - Generation Strategy

Set Points

Generate Pattern

Refine Pattern I

Refine Pattern II

Having studied the boundary between public and private space, each plane is set up with a specific angle to display its complex form and hierarchical order. The triangular apertures emphasize the special connection between interior and exterior, giving visitors the impression of moving through complex space. The unexpected movement leads people to follow the central staircase to the roof terrace at the fourth floor.

THERMOPLASTIC WATERPROOFING MEMBRANE MEMBRANE FLASHING CONTINUOUS CLEAT

SHEET-METAL PARAPET CAP SLOPED TO DRAIN ROOF SIDE SHEET-METAL PROTECTION SEAM PLATES AND FASTENERS MEMBRANE FLASHING DRAINAGE LAYER THERMAL INSULATION

CONCRETE SLAB

W16 X 36 STEEL BEAM HANGING STIRRUP BOLT TO SUSPENDED CEILING

DETAIL

A9.1

2" THICK INSULATED GLASS WINDOW FRAME FINISH FLOOR CONCRETE SLAB

W16 X 36 STEEL BEAM HANGING STIRRUP BOLT TO SUSPENDED CEILING SUSPENDED CEILING CURTAIN THERMAL INSULATION PERFORATED STAINLESS STEEL PANELS 2

3D SECTION (SOUTHWEST CORNER)

DETAIL

A9.1

Three Dimensional Details The details reveal the special structure and material that applied in the project. The envelope is a single system attached to the building body.

Third Floor Public Space Perspective The single architectural device provides the different functions to fulfill peopleâ&#x20AC;&#x2122;s demands. It becomes the vehicle to bring diversity, inclusivity and complexity to the town. The central staircase provides a resting place for people to look down to the main hall.

28'-0"

32'-0"

38'-0"

FAN ROOM 60"x60" AIR INTAKE

60"x60" FA & RELIEF OUTLET

C 7"x10" 8" Ø

8" Ø

10"x10"

38'-0"

8"x10" 8" Ø

6" Ø UP

8" Ø

10"x10"

AHU #3

10"x10"

AHU #2

CONNECT TO FOUTH FLOOR

FIRE DAMPER

M1.3 12"x40"

12"x30"

12"x16"

12"x18"

7" Ø

8" Ø

10"x10"

12"x12"

10"x12"

7" Ø

C AIR INTAKE

6" Ø

7" Ø

12"x50"

12"x16"

7" Ø

12"x57"

12"x60"

12"x12" 7" Ø

7" Ø

38'-0"

6" Ø

9" Ø UP

9" Ø 12"x12"

9" Ø 8" Ø

12"x94"

8" Ø

11" Ø

12"x80"

12"x12" 11" Ø

8" Ø

11" Ø UP

10" Ø 12"x12"

12"x90"

OPEN TO ABOVE

7"x9" 6" Ø

12"x12"

12"x12" DN 12"x12"

12"x27" 7"x9"

12"x30" 6" Ø

12"x42"

6" Ø 7"x9"

12"x52" 6" Ø

6" Ø 6" Ø 7"x9"

28'-0"

8" Ø

12"x16"

36'-0"

6" Ø

12"x12"

12"x62"

12"x70"

6" Ø 6" Ø 7"x9"

32'-0"

6" Ø 6" Ø 7"x9"

7" Ø

12"x85" 7" Ø

12"x80"

6" Ø 6" Ø 7"x9"

12"x88" 8" Ø

8"x9"

6" Ø 7"x9"

32'-0"

38'-0"

5 W 21 X 44 Beam W 24 X 94 Beam

THIRD FLOOR PLAN - HVAC

HEIGHT VOLUME COOLING AIR VOLUMN 3

6000

84000

m2/sec 7000

PUBLIC SPACE

3209

115524

19254

ZONE 1

OPEN

ZONE 2

2'-0"

GENERAL NOTES: 1. DUCTWORK AND PIPING PENETRATIONS THROUGH RATED WALLS TO BE CONSTRUCTED PER APPROPRIATE U.L. DESIGN. REFER TO DETAILS ON ARCHITECTURAL DRAWINGS. 2. USE ONLY PLENUM RATED MATERIALS IN RETURN AIR PLENUM ABOVE ALL CEILINGS. 3. ALL DUCT SIZES INDICATED ON THE PLANS ARE FREE AREA DIMENSIONS. WHERE DUCTWORK IS INDICATED TO BE LINED. INCREASE SIZES TO COMPENSATE FOR LINER. 4. INSTALL MANUAL BALANCE DAMPERS IN ALL SUPPLY RUNOUTS TO SUPPLY GRILLES NEAR THE MAIN DUCT OR DISCHARGE PLENUM. 5. COORDINATE THE FINAL LOCATION OF EACH TERMINAL UNIT WITH OTHER TRADES SUCH AS FIRE SPRINKLER, FIRE ALARM, LIGHTING, CABLE TRAYS, ETC. SO THAT THE TERMINAL UNIT MAY BE PROPERLY SERVICED.

Norman Civic Norman, OK

AREA

Duct

7 1/2" 2"

PROGRAM OFFICE

SCALE: 1"=8'

1'-0"

M1.3

PLAN NOTES: 1. VARIABLE VOLUME TERMINAL UNIT (VAV) MOUNTED ABOVE THE CEILING. 2. MANUAL DAMOER. 3. DUCT UP THRU FLOOR ABOVE. INSTALL FIRE DAMPER AT FLOOR. PROVIDE ACCESS DOORS IN DUCT AND CHASE. 4. ACOUSTICALLY LINED TRANSFER AIR DUCT.

THIRD FLOOR PLAN

Project Number Date Drawn By Checked By

Ceiling

1 M1.3

Construction Documents - Third Floor Mechanical Plan

DETAIL SCALE: 1"=1'

Sprinkler head

M 1.3

BLADE SUPPORT BRACKETS

W21X50 W24X103

W12X26 STEEL BEAM

6'-3"

ANGLE BRACKET

38'-0"

W8X24

W8X35

8"X8" STEEL COLUMN

5'-4"

4 21 W W10X17

W10X17

SCALE: 1"=1'

7'-3"

W21X50

W16X36

W21X44 W8X35

BLADE STIFFENER DETAIL

BOLTS

S1.2

W8X35

S1.2

W8X24

W16X57

W12X26

W16X36 W24X55

38'-0"

9" 4'-6"

W24X76

W21X50

W10X17

X 10

14'-6"

W10X17

W14X22

W8X35 W10X17

W24X103

W21X44

W14X22 W10X17

W8X35

W8X24 W24X94

3'-0"

8" 18'-6"

OPEN

STIFFENER (EVERY 60" WIDTH MAX)

6'-11"

W8X35 W24X94

W24X76

W10X17

W16X36

38'-0" 3'-5"

W10X17 W21X50

BEAM DETAIL

S1.2

SCALE: 1"=1'

W8X35

W8X35 W24X94

W24X103

W21X44

W21X50

W21X44

W21X50

OPEN

W10X17

20'-0"

W8X35

32'-0" 21'-8"

W24X55

32'-0"

0X1

8'-5"

W16X57

28'-0" 4"

W10X12

CONTROL JOINTS METAL DECKING

36'-0"

9'-9"

W8X35

W12X26 STEEL BEAM

W21X50 STEEL BEAM

8"X8" STEEL COLUMN

W21X44

W8X35

X117

W24

SLAB-ON-GRADE

W24X103

3 S1.2

A 8'-10"

W10X17

8'-0" 2'-3"

W10X17

W8X35 W24X103

10'-0"

W8X35 W24X76

W10X17

W8X35

W10X17

S1.2 W10X17

W10X17

7'-2"

OPEN

W21X50 W24X55

W21X44

W24X103

W24X94

W24X76

36'-0"

W16X57

OPEN TO ABOVE

7'-2"

W16X57

6" CONCRETE SLAB

BEAM DETAIL SCALE: 1"=2'

INSULATION

W21X44

1" BUTTON CAP BOLTS @ 18' O.C.

28'-0"

32'-0"

38'-0" 6"x6" STEEL CHANNEL

5 SKIN CONNECTION

Norman Civ

FIRST FLOOR FRAMING PLAN S1.2

Norman,

6"x6" STEEL TUBE

SCALE: 1"=8'

BRACING GUSSET

FIRST FLOOR FR

W10 X 17 STEEL BEAM

Project Number CROSS BRACING STEEL CABLES W/ HARDWARE

Date Drawn By Checked By

4 S1.2

Construction Documents - First Floor Structural Plan

COLUMN PLAN DETAIL SCALE: 1"=1'

STEEL COLUMN

S 1.

GUTTER

28.00

PARAPETS

32.00

5 38.00

68'-1" 65'-3"

ROOF INSULATION INSULATION SLOPE

SLOPE

59'-6"

40'-0"

26'-0"

14'-6"

SLOPE

2'-0" 0'-0"

1-1 SECTION A6.1

GUTTER

SCALE: 1"=8'

PARAPETS ROOF INSULATION

38.00

36.00

68'-1"

INSULATION

65'-3"

SLOPE SLOPE

59'-6"

40'-0"

26'-0"

14'-6"

SLOPE

0'-0"

2-2 SECTION A6.1

Construction Documents - Building Sections

SCALE: 1"=8'

HANGING STIRRUP BOLT TO SUSPENDED CEILING SHEET-METAL PROTECTION 4'-2"

INSULATION

15'-8"

15'-4"

19'-6"

15'-5"

19'-3"

SCALE: 1"=1'

4'-4" 14'-0"

14'-0"

INSULATED GLASS

2" THICK INSULATED GLASS

PERFORATED STAINLESS STEEL PANELS

CURTAIN

9'-8"

10'-2"

DETAIL

3'-10"

4'-4"

3'-10"

INSULATED GLASS

A7.2

WINDOW FRAME

14'-0"

19'-6"

INSULATION

14'-0"

SUSPENDED CEILING

CONCRETE WALL

INSULATED GLASS

SUSPENDED CEILING

5'-8"

CONTINUOUS CLEAT

SUSPENDED CEILING SUSPENDED CEILING

HANGING STIRRUP BOLT TO SUSPENDED CEILING

PARAPETS

MEMBRANE FLASHING SLOPE

SLOPE

INSULATION HANGING STIRRUP BOLT TO HANGING STIRRUPBOLT SUSPENDED CEILING TO SUSPENDED CEILING

INSULATION

SHEET-METAL PARAPET CAP SLOPED TO DRAIN ROOF SIDE THERMOPLASTIC WATERPROOFING MEMBRANE

3'-10"

4'-1"

5'-8"

PARAPETS PARAPETS

SLOPE

3'-1"

5'-8"

FLASHING

9'-8"

2'-10"

THERMAL INSULATION

SLOPE

PARAPETS

2'-10"

19'-6"

2'-10"

PROTECTION BOARD DRAINAGE BLANKET

21'-8"

8'-5"

3'-11"

12'-6"

21'-9"

SLOPE 2'-0"

SLOPE SLOPE

SLOPE

Norman

10'-7"

8'-0"

14'-6"

21'-7"

4'-0"

PVC DRAIN LINE (PERFORATED)

2'-6"

11'-6"

CURTAIN WALL

14'-6"

2'-3"

CRUSHED STONE

11'-6"

3'-1"

4'-5"

CONCRETE FOOTING

WATERPROOF MEMBRANE

Project Number Date Drawn By

WALL SECTION A7.1

SCALE: 1"=4'

WALL SECTION A7.2

SCALE: 1"=4'

A7.1

WALL SECTION SCALE: 1"=4'

Construction Documents - Wall Sections and Details

A7.2

DETAIL

Checked By

WALL SECTION SCALE: 1"=1' A7.1

SCALE: 1"=4'

Controversy and Choice: A New Enclosure of the Ara Pacis Monument

In 2006, the new Ara Pacis Museum is opened to the public. Designed by Richard Meier in 1995, it becomes the first major civic building in the historic center of Rome, showing the cityâ&#x20AC;&#x2122;s willingness to embrace contemporary architecture. However, the dazzling white box brought the controversy both in political and aesthetical aspects. The task of the studio is redesigning the enclosure of the monument and reshaping the interaction of historical masterpieces and the contemporary work. Since 7 CE, the leaders of Rome had given the Ara Pacis countless political and architectural significances. Interpretation of the monument through the modern architectural language plays a powerful role in the design dialogue. Instead of interrupt the previous system, the museum is designed to reflect and represent the history.

University of Oklahoma Foreign Study - Rome Studio Spring 2013 Site: Rome, Italy Critic: Catherine Barrett Individual work

Site Analysis Ara Pacis Museum Design

Traffic Analysis

Volume Analysis

Height Analysis

Site Analysis: Ruins

View Analysis

The site is located at the west side of the Mausoleum of Augustus, surrounded by two fascist buildings and a church. The unique topology and typology define the site as the indispensable part of the central piece. The massing design approach begins with the understanding of the morphology of the peripheral buildings.

Programing Design

+ Enclosure of the Ara Pacis

Ancillary Function, Plaza, and others

Public Space -- Collection

Public Space -- Non-Collection; Private space

Combination

Combination Study

Process City Site Museum

View Mausoleum of Augustus

Move

Merge

Split

Subtract

Massing Methodology It is critical to consider the slender site situation and the constrains of the museum space. The ratio between the enclosed area and open space is determined by project program. Separation of the collection and non-collection space clarifies the identity of the museum as a public space, encouraging tourists and residents.

Circulation Visitor Citizen

Site vs Context The glazing collection â&#x20AC;&#x153;showcaseâ&#x20AC;? provides a strong visual bridge to the mausoleum to the east and the Tiber River to the west. The two piazzas on each side are open to the public, accessible to the museum from either way.

Rhythmic Spatial Experience The museumâ&#x20AC;&#x2122;s main hall is designed into several layers horizontally and vertically. The suspended glazing observation box maximizes the exterior space, and also creates pathways linking exterior spaces on both ends of the museum.

B D

D C

B A

First Floor Plan

1. Plaza 2. Elevated Plaza 3. Auditorium 4. Lobby 5. Information Desk

6. Coat Check 7. Museum Shop 8. Exhibition 9. Ara Pacis 10. Restroom

11. Conference Room 12. Archival Work 13. Office 14. Storage 15. Electrical

16. Mechanical 17. Loading Dock

OPEN TO BELOW

Second Floor Plan 1. Temporary Exhibition 2. Observation Deck

Museum Plans Above the ground levelâ&#x20AC;&#x2122;s piazza, the main hall is located between the auditorium and the non-collection space. The central building ensures the two systems intertwine to each other. The implicit dynamic interdependence enables the strong engagement with the city.

West Elevation

East Elevation

Longitudinal Section

Transverse Section

Museum Elevations and Sections The significance of existence and absence is the infinite and continual study of architecture. The entire base is mostly merged into the ground, becoming the part of the site history; the outstanding observation box expresses the vitality of the modern Rome.

Extending the Museum to the City Exterior perspective standing on Vis del Condotti

Monument

Exhibition

Viewing area

Sky light

Function

Volume

Strategy

Combination

Function Diagram

Vertical Connection Diagram

View Diagram

Space Relationship Diagram Most Open

Main Hall Design Genealogy

Most Close

Museum Exhibition: the Glory of the Ancient Rome Passing through the entrance hall, people will appreciate the tomblike altar carefully placed at the center. A long, low window extends along the base of the wall to reflect the Mausoleum of Augustus. The sky light baths the altar through the observation box suspended above the monument.

Generation Diagram (Topology)

Ancillary Function, Plaza, and others

Function (Museum Level)

Function (Plaza Level)

View

Topology

Open and Close

Semi-open Space Diagram

Height Diagram

Piazza Design Genealogy

North Piazza: the City Hub Without entering the museum, residents and tourists may willing to engage into the site by walking along the river embankment. The piazza blends the museum to the city level; shapes individualsâ&#x20AC;&#x2122; experience and understanding of history and memory. The contrast between rough travertine and polished stone also demonstrates the boundary of the exterior building volume.

Lose and Quest: An Adventure of the Emotional Shelter

Weather is the first and most basic motivation for building shelter, while buildings undermine humanâ&#x20AC;&#x2122;s desire for closing to the nature. The principle of designing the weather museum is investigating the spatial expression to re-frame the relationship between human and the weather. It is usual to experience sunny, windy and rain in the same day in Oklahoma, and people already got used to the unpredictable weather. However, the importance of weather is always oversimplified into a forecast in todayâ&#x20AC;&#x2122;s data driven world. As a critical response of the issue, designing the museum is an opportunity to engage the weather physically and emotionally. Being a mixture of public space and a park, the reinterpretation of the museum drives people to seek their own answer about weather.

University of Oklahoma Design Studio VI Spring 2011 Site: Norman, OK Critic: Stephanie Plat Individual work

Emotion Influence Exercise National Weather Museum Design

Look Up at the Sky Instead of growing upwards, the building touches the ground, hided into the flat landscape. The clean and simple geometry comprise of a complicated building system. Horizontally, the alternate layers of interior and exterior space creates the unique rhythm, providing

the mixture of public space and functional space. Vertically, the poetic contrast between ground level and underground level enriches space hierarchy, giving people the sense of exploration. The matrix formulation mixes the different elements-outdoor space, indoor

space, ground floor and underground floor together, examining the possibility of architectural space representation. The rough, flat texture is also a response to the nature.

Mystery of Weather If you donâ&#x20AC;&#x2122;t like the weather in Oklahoma, wait a minute and itâ&#x20AC;&#x2122;ll change. -- Will Rogers

Understanding of Ambiguity Without any specific context, the site is located at the empty field near the National Weather Center. The surrounding physical constructions encourage a non physical production, which inspires me to examine the concept of ambiguity in the architectural representation.

Consideration of form

Design Processes

Methodology of Massing Development The design intention strategically uses the difference between ambiguity and confusion to broaden the definition of architecture. The interior and exterior space constantly interact to each other, providing series of programmatical elements. The awareness of designing uncertain visiting routes challenges the conventional museum type.

Phyical Spatial Analysis* Openness Discontinuity

Openness Public

Privacy

Continuity

Discontinuity

Public

Privacy

Enclosure

Openness

Continuity

Openness Discontinuity

Public

Privacy

Continuity

Openness Discontinuity

Public

Privacy

Continuity

Public

Privacy

Continuity

Enclosure

Extroversion

Mental Spatial Analysis**

Vagueness

Continuity Introversion

Temporary Exhibition Gallery

Introversion

Investigation of Spatial Characteristic

Continuity

Clarity

Discovery Room

Vagueness

Introversion

Museum Programs Office

Director’s Office

Information Services

Continuity

Discontinuity

Clarity

Permanent Exhibition Gallery

Vagueness

Introversion

Entry, Locker, and Coat Check

Continuity

Discontinuity

Clarity

Director’s Office

Vagueness

Discontinuity

Staff Dining

Continuity

Clarity

Volunteers Office

Vagueness

Discontinuity

Security Office

Clarity

Support Staff Office

Discontinuity

Director’s Office

Extroversion

Openness

Discontinuity

Public

Privacy

Openness

Discontinuity

Public

Privacy

Continuity

Discontinuity

Openness Public

Privacy

Continuity

Discontinuity

Public

Privacy

Continuity

Enclosure

Extroversion

Continuity

Discontinuity

Clarity

Vagueness

Continuity Introversion

Introversion

Educational Classroom

Equipment

Exhibition Fabrication

Exhibition Design

Conservation Lab

Vagueness

Introversion