Studio 5A - Difficult Objects -----------------------------------------------------Model Photos - The final model presents all the significant factors that played a role in demonstrating the cube concept. These include the facade strategy, the entrance to the building from underneath the bridge, and the cube chunk taken from the top, allowing for a better understanding of the interior as well. One can begin to understand the physical space in relation to the cube concept and how the exterior and interior work together to demonstrate this.
Studio 5A - Difficult Objects -----------------------------------------------------The goal of the building is to serve the Discovery Partners Institute in Chicago. Taking the letter K from the Albrecht Durer letter forms, I studied and experimented with the different ways cubes could be extracted and played with. In an attempt to fit the final form into a 1:1:2 prism, in correspondence to the site boundaries, various intersections between the cubes were studied in section. Through this intricately folded form, a new definition is introduced called the difficult object. The massing becomes complex but not complicated. These two terms define the way people experience these spaces, with complex being interesting and complicated being tricky. The floor plans evidently demonstrate the cube concept within the interior spaces with representations of solid and void. Each cube is a solid space while the offsets around it represent the void. This is present in section as well. The voids extend towards the top offering exciting experiences within the structure. The complexity of the final form is demonstrated as the interior concept is mirrored on the facade through the perforations that follow the silhouette of the voids.
Studio 4B - Codaplex -----------------------------------------------------Codaplex initially began by encouraging us to choose a genre we were inspired by and how we could take that into the realm of architecture. This studio raises the question of how architecture plays a role in enhancing the cinematic experience. The goal was to create a multiplex of 3 different programs: Cinema spaces, Hotel housing, and a thrilling park experience. In order to design the architectural space for each program, we had to decide on a genre these spaces would be influenced by. Initially I had chosen the genre of Thriller after studying the films “Fractured” by Brad Anderson and “Flight Plan” by Robert Schwentke. Thriler eventually branched out into sub-genres of horror and suspense. With these 3 genres, I was able to create an architectural language for each that enhanced the multiplex experience. Each structure mimics a certain genre through the intricate folding techniques implemented within the design. The angles of each fold represents a certain jump or drop in either the feel of thriller, horror, or suspense.
Studio 4A - Positions I -----------------------------------------------------The objective of the studio was to create an expansion to SCI-Arc while considering its relationship to the original building. The structure is placed on top of the LA river, touching the 4th Street Bridge, in the Arts District. Initially, I studied 3 ideas to generate the form and interior of the massing. The first idea is suprematism through Zaha Hadid and Kazimir Malevich. Their ideas inspired me to design the elegant form of the curves and how a space with such a unique figure can be occupied. The second idea is the universal space by Mies Van Der Rohe. The intention of this idea is to formulate an open interior with no fixed structures as it becomes a flexible space. This is evident on the ground floor as it takes an open floor plan and incorporates program through negative spaces instead. The third and final idea is the Architecton by Kazimir Malevich. The way I conveyed this was by taking 2 curved figures and multiply them in different scales and rotations to design the overall figure of the building. These 3 ideas were further considered in additional decisions made such as circulation inside the structure or the placement of the massing on the site. The massing’s form flows gracefully and brings in great daylight that allows for a delightful experience from the interior as well as the exterior.
Studio 3B - Assemblies II -----------------------------------------------------Partner: @jun_hyeong_lee99
Instructor: @lace_jennywu
Chunk section model photos.
Studio 3B - Assemblies II -----------------------------------------------------Partner: @jun_hyeong_lee99
Instructor: @lace_jennywu
Model photos of massing on site.
Studio 3B - Assemblies II -----------------------------------------------------Partner: @jun_hyeong_lee99
Instructor: @lace_jennywu
This semester's studio was based on studying the ways joinery can move and apply them to a sports facility center. My partner and I chose to focus on the crankshaft as we manipulated its qualities to form the massing we had created. Instead of having a center spine like the crankshaft, we created 2 initial spines that connect all points of program to create a flow of circulation throughout the structure. Various additional factors were studied through the designing process of the massing such as the use of textures and materials, consideration of sunlight, and the connections between outdoor and indoor areas.
