Page 1


p r e fa c e

- W h at This of

is light

portfolio questions,

? W h at

is

an

is shadow

on-going

looking

at

? W h at

is seeing?

e x p l o r at i o n

them

in

terms

to of

-

these

set

physical,

p s y c h o l o g i c a l , s p i r i t u a l , c u lt u r a l a n d a n at m o s p h e r e .


INDEX

/

rhinebeck, ny

10

/

b r o o k ly n , n y

22

/

b r o o k ly n , n y

48

seaport community library

/

new york, ny

66

canyon library

/

new york, ny

86

mulholland st. residence

/

los angeles, ca

102

/

new york, ny

120

shadow chapel

e l e v e n fa c t o r y

in

|

n i r va n a s pa

b e t w e e n pav i l i o n

silence

-

+

:

seeing

between light

+

shadow

7


REVERSE-INDEX seein g

(

light

shadow

)

a s a n ex p erien t i a l j o u rne y o f :

time

/

rhinebeck, ny

10

awareness

+

d e p r i vat i o n

/

b r o o k ly n , n y

22

awareness

+

transition

/

b r o o k ly n , n y

48

b r e at h a b i l i t y

/

new york, ny

66

/

new york, ny

86

/

los angeles, ca

102

/

new york, ny

120

mystery

dialogue

+

+

+

interior to exterior

awareness

+

embodiment

+

interaction

g r a d at e d a w a r e n e s s

+

interaction

9


S spaces

of

urrounded

R hinebeck , in

the

by the

nature project

possibility

contemplation

in

nature , and through nature .

of

brings

designing

nature ,

A

in

for

series of

spaces that mutes the noises in life , and allows the unseen art to unveil moments of mystery , moments of trance , and moments of shadows .

M ysterious

surfaces

( planar

and volumetric ) dematerialized ( by light and shadow ) to capture these transcendental moments in time , where time slows down , paused and the unseen is seen .


shadow chapel

/

new york

Video Link:

h t t p s :// v i m e o . c o m /254984920

(A l l L o w e r -C a s e P a s s w o r d :

shadow)

11


4. V olume S hadow R egion - S hadow W ells / A ltars - O verall

12


3. V olume S hadow R egion - S hadow W ells / A ltars - Z oomed

13


2. S urface S hadow R egion - D ematerialized S hadow S urface

14


1. S urface S hadow R egion - P rojected S hadow

15


16


S hadow S urface E xploration - M useum B oard - H orizontal

S hadow S urface E xploration - M useum B oard - V ertical T ilting

17


T ree W alking V isual L anguage

18

V ertical + H orizontal - W alk I n / I nto / I n

V ertical - W alk P ass

H orizontal - W alk I n B etween

H orizontal - W alk A round

H orizontal - W alk U nder

H orizontal - W alk A long / B eside


S hadow S urface C ompositional N arrative

1. E ntrance - E xterior T ree S hadow I ntro

3. S hadow W ells / A ltars - O verall

2. U pper I nterstitial - L ayers

of

S hadow S urface

4. M ain S hadow W ell / A ltar - Z oomed

19


A

B

horizontal sections

planar

ca

planar

ca es

ur

a

es

ur

a volume

release

volume

S hadow R egions - A xonometric C oncept D iagram 20

S hadow R egions - S ectional C oncept D iagram


a

b

s ite p lan

release

entrance

entrance

a

b

l ight l evel c omposition

f loor p lan 21


L

ocated at the heart of

G reenpoint ,

B rooklyn (N ew Y ork C ity ), deprivation

pod

the

manufacturing

and spa facility is designed in respond to its neighborhood ’ s future gentrification ‘ s environment ,

C atering facility

to

conditions , the

promotes

experiential

product ’ s the

( visual ,

demand .

and

identity ,

the

communicative

and

spatial ,

atmospheric )

concept of attachment and detachment to its two varying groups of users .

A bove

ground

is focused towards clean production while below ground is a gradual , architectural journey

to

reflection ).

deprivation

( inner

self

and


e l e v e n fa c t o r y

+

n i r va n a s pa

/

new york

A l e x i s C h a g a r i s , B i l ly W o n g

23


M odel - M anufacturing + S pa T he preliminary challenge of this project is to come up with a primordial approach to the deprivation pod facility

( factory

( automatically )

triggers body ’ s reactions

checker )

adjustments

and

( attachment

environment and experiences .

and spa ) that would unconsciously

( tied and

to senses and memory

detachment )

to

the

-

fact

programs ’

In

response to the concept , daylight and shadow analysis were initialized to

predict future light and shadow conditions .

T he

shadow regions are identified

abstractly per level for all seasons to locate their areas .

T he analysis ’ outcome

projects the shadow regions to reside dominantly at the western part of the site , where tall commercial and residential buildings are predicted to rise .

T his

outcome would create a contrasting duality between light and shadow on site , which is then exploited in the mediums ’ meaning and programmatic association .

24

A l e x i s C h a g a r i s , B i l ly W o n g


n g round f loor GROUND

2 nd SECOND

floor

3 rd

floor

THIRD

4 th

floor

FOURTH

s ummer SUMMER

1. d aylight - l ight + s hadoW c ontrast

4. d aylight - a ttachment -d etachment

2. d aylight - p rogram p lacement

5. e lectric - a tmospheres + c ores

3. d aylight - s hadoW l ight e mphasis

6. e lectric - p rogrammatic c ommunication / i ndicator

s pring SPRING

f all

FALL

W inter WINTER

a modern , clean factory is programmed above ground to gradually experience visual exposure of the environment , and light in response to programs ’ illumination needs .

t he

ANNUAL

a nnual

spa undergoes a subtle , nurturing journey of detachment through varying

levels of seemingly benign distractions ( shadoWs patterns

i nstead s ite - s easonal s hadoW r egion a nalysis

per

f loor

-

- blocked light , subtle ramp , light

projected communications , spatial manipulations , sound , Water - mists ).

of an immediate claustrophobic experience of enclosing a material pod , the

spa ’ s atmospheric journey oozes one ’ s mind gently to enter inner silence .

a l e x i s c h a g a r i s , b i l ly W o n g

25


n

stereolitography

3 d p rint

tank

m anufacturing ’ s c rane c irculation manufacturing

spa

programmatic

+

circulation distractions

t he

Washing Washing Polishing Polishing

serene - blurred silence

Assembling Assembling Packaging Packaging

p reliminary r amp c oncept

idea behind the circulation of the factory is to create smooth transfer of

pods throughout the levels of manufacturing processes .

on

the other hand , the

spa ’ s continuous ramps are designed so that their properties ( length , slope , Width ,

Greeting Greeting

material ) and transitions are more than subtle enough that one Would comfortably

Changing Changing

transition

Massaging Massaging

environment of the architectural floating pools .

Bathing Bathing + Floating + Floating

architectural deprevation

p rogrammatic z ones + c irculation

26

r amp p recedent - j ussieu l ibrary

a l e x i s c h a g a r i s , b i l ly W o n g

a ttachment -d etachment c oncept

physically

and

visually

( scotopic

adaptation )

a long

toWards

the

dark

the circulation visual cues

such as Wall slits and geometry are reversed from its typical association toWards ascending and descending to reduce the idea of travelling doWn ( misdirection ).


3. M anufacturing - 3 rd F loor - B uffing S tations

1. M odel - M anufacturing - G round - E xterior E ntrance ( N orth W est )

2. M anufacturing - 1 st F loor - A bove G round R eception

A l e x i s C h a g a r i s , B i l ly W o n g

27


28

4. S pa - 2 nd UG F loor - M assage R ooms + Y oga R oom + L ounge A rea

3. S pa - 1 st UG F loor - S hower A rea

5. S pa - 3 rd UG F loor - P ublic T hermal B athing

6. S pa - 5 th UG F loor - A dvanced F loating P ools E ntrance - U noccupied

A l e x i s C h a g a r i s , B i l ly W o n g


2. S pa - 1 st UG F loor - C hanging R oom H allway

1. S pa - 1 st UG F loor - B elow G round R eception ( S outh W est )

7. S pa - 5 th UG F loor - A dvanced F loating P ools E ntrance - O ccupied

8. S pa - 5 th UG F loor - A dvanced F loating P ools - S emi -P rivate C luster

A l e x i s C h a g a r i s , B i l ly W o n g

29


p reliminary s ketch - m anufacturing ’ s f acade + l ighting c oncept

p reliminary s outh W est - n orth e ast s ection + m ock u p - l ight t unnel

30

a l e x i s c h a g a r i s , b i l ly W o n g

p reliminary s ketch - s pa ’ s s hadoW l ight t unnel ( e ast p erimeter o nly )+ l ighting c oncept


e lectric - o verall l ighting c oncept

c ores m anufacturing s pa

of

r eference

c ores

s hadoW l ights

g loWing m arks

p erimeter l ight t unnel e astern l ight t unnel

p rojecting l ights p ods

p rogram e ntrance

p oints

of

g uidance

t ranslucent f acade

c irculation

f loating p rogram W alls to c irculation

c irculation

to

a l e x i s c h a g a r i s , b i l ly W o n g

31


n

n orth W est - s outh e ast s ection

32

a l e x i s c h a g a r i s , b i l ly W o n g


N

N orth E ast - S outh W est S ection - D aylight A nalysis - W inter S olstice 9 am

N

N orth E ast - S outh W est S ection - D aylight A nalysis - W inter S olstice 11 am

A l e x i s C h a g a r i s , B i l ly W o n g

33


N

N orth E ast - S outh W est S ection - D aylight A nalysis - S pring / F all E quinox 9 am

34

A l e x i s C h a g a r i s , B i l ly W o n g

N

N orth E ast - S outh W est S ection - D aylight A nalysis - S pring / F all E quinox 1 pm


N N

2’ Reinforced Concrete beams and 8” floor slab Suspended Ceiling

Bridge Crane System to transport pods

1/4” Single Glazing Double Skin facade for 2’ column enclosure and automated shading system Double glazed Curtain wall system with two different materials

4” Batting Insulation skylight and light reflector

N orth E ast - S outh W est S ection - D aylight A nalysis - S ummer S olstice 1 pm

S outh W est - N orth E ast D etail S ection

A l e x i s C h a g a r i s , B i l ly W o n g

35


N

S ite P lan - G reenpoint - B rooklyn

36

A l e x i s C h a g a r i s , B i l ly W o n g


N

M anufacturing - 4 th F loor P lan - P od ’ s A utomatic W ash L evel + E mployees ’ L ounge N

M anufacturing - 4 th F loor RCP - P od ’ s A utomatic W ash L evel + E mployees ’ L ounge

N

M anufacturing - 3 rd F loor P lan - P od ’ s P olish L evel + S mall P arts 3D P rinting N

M anufacturing - 3 rd F loor RCP - P od ’ s P olish L evel + S mall P arts 3D P rinting

A l e x i s C h a g a r i s , B i l ly W o n g

37


38

Total Space Area

Total Allowable Wattage

Total Allowed LPD

Total Used Wattage

110738

97079

0.88

68517

a l e x i s c h a g a r i s , b i l ly W o n g

Total Used LPD

0.62

Meets the Requirement?

YES!


N

M anufacturing - 3 rd F loor B rightness P lan - I lluminance A nalysis - G rayscale 100

N

88 75

typ .

illuminance

63

target range for

50

various tasks per ies standards

38 25 13 0

FC

M anufacturing - 3 rd F loor B rightness P lan - I lluminance A nalysis - P seudo

A l e x i s C h a g a r i s , B i l ly W o n g

39


40

N

N

M anufacturing -2 nd F loor P lan - P od ’ s A ssembly L evel + H and L abor F acility

M anufacturing - 1 st F loor P lan - E ntrance -R eception + O ffice + P od ’ s P ackaging L evel

N

N

M anufacturing -2 nd F loor RCP - P od ’ s A ssembly L evel + H and L abor F acility

M anufacturing - 1 st F loor RCP - E ntrance -R eception + O ffice + P od ’ s P ackaging L evel

A l e x i s C h a g a r i s , B i l ly W o n g


N

M anufacturing - G round P lan - L oading D ock | S pa - UG1A P lan - E ntrance -R eception N

M anufacturing - G round RCP - L oading D ock | S pa - UG1A RCP - E ntrance -R eception

N

S pa - UG1B P lan - C hanging R ooms + S hower S talls N

S pa - UG1B RCP - C hanging R ooms + S hower S talls

A l e x i s C h a g a r i s , B i l ly W o n g

41


N

M anufacturing - 1 st F loor B rightness P lan - I lluminance A nalysis - G rayscale N

100 88 75

typ .

63

illuminance target

50

range for various tasks

38

per ies standards

25 13 0

M anufacturing - 1 st F loor B rightness P lan - I lluminance A nalysis - P seudo

42

A l e x i s C h a g a r i s , B i l ly W o n g

FC


N

P recedent - NYC R ainy N ight - L uminance A nalysis -

opticalight

P seudo

S pa - UG1 B rightness P lan - L uminance A nalysis - G rayscale 20

N

18 15 13 10 7.5 5 2.5 0

P recedent - NYC I nterior D awn A tmosphere w / A ir P urifier ’ s S mall I ndicator L ight L uminance A nalysis - opticalight P seudo

CD / SQ.M

S pa - UG1 B rightness P lan -L uminance A nalysis - P seudo

A l e x i s C h a g a r i s , B i l ly W o n g

43


44

N

N

S pa - UG2 P lan - L ounge A reas + S auna + M assage R ooms + Y oga R oom

S pa - UG3 P lan - P ublic T hermal B athing

N

N

S pa - UG2 RCP - L ounge A reas + S auna + M assage R ooms + Y oga R oom

S pa - UG3 RCP - P ublic T hermal B athing

A l e x i s C h a g a r i s , B i l ly W o n g


N

S pa - UG4 P lan - B eginner -I ntermediate F loating P ools N

S pa - UG4 RCP - B eginner -I ntermediate F loating P ools

N

S pa - UG5 P lan - A dvanced F loating P ools N

S pa - UG5 RCP - A dvanced F loating P ools

A l e x i s C h a g a r i s , B i l ly W o n g

45


N

N

S pa - UG2 B rightness P lan - L uminance A nalysis - G rayscale

S pa - UG3 B rightness P lan - L uminance A nalysis - G rayscale

N

S pa - UG2 B rightness P lan - L uminance A nalysis - P seudo

46

A l e x i s C h a g a r i s , B i l ly W o n g

20

N

20

18

18

15

15

13

13

10

10

7.5

7.5

5

5

2.5

2.5

0 CD / SQ.M

S pa - UG3 B rightness P lan - L uminance A nalysis - P seudo

0 CD / SQ.M


N

N

S pa - UG4 B rightness P lan - L uminance A nalysis - G rayscale 20

N

S pa - UG5 B rightness P lan - L uminance A nalysis - G rayscale 20

18

18

15

15

13

13

10

10

7.5

7.5

5

5

2.5

2.5

0

CD / SQ.M

0

S pa - UG4 B rightness P lan - L uminance A nalysis - P seudo

N

CD / SQ.M

S pa - UG5 B rightness P lan - L uminance A nalysis - P seudo

A l e x i s C h a g a r i s , B i l ly W o n g

47


a

pavilion buildings , seeks

to

in - betWeen

located ground create

a

and

sky ,

Welcoming

transient experiences , connectivities , and transparencies for public of all ages to access above ground community parks and facilities .

v anbrunt s treet p ioneer s treet i n -b etWeen b uildings - c oncept p lan


i n b e t W e e n pav i l i o n

/

neW york

1. e ntrance 49


2. m oment

of

j uncture

p laza v anbrunt s treet 50

p ioneer s treet


3. p ublic p laza

p laza v anbrunt s treet

r ed h ook c enter for r esiliency

p ioneer s treet

51


4. r ed h ook c enter

for

r esiliency

p laza v anbrunt s treet 52

r ed h ook c enter for r esiliency

p ioneer s treet


5. ada e ntrance

p laza v anbrunt s treet

r ed h ook c enter for r esiliency

p ioneer s treet

53


D etail M odel - M oments

54

of

L ight + R eflection


D etail M odel - M oments

of

L ight - S ky A tmosphere

D etail M odel - M oments

of

L ight - G round A tmosphere

55


D esigned extend

with community in mind , the I n

P ioneer W orks ’

center .

T he

connection with

| B etween P avilion R ed H ook ’ s

main objective is to

public beyond its cultural

interstitial structure strives to create an in - between ground

and sky atmospheric experience that has clear and simple access towards the registration points above the ground .

S ituated

within a location on site that has limited exposure of direct daylight ,

the pavilion structure is penetrated to have multiple pivoting walls .

T he

latter

I n -B etween G round & S ky

create visual connections towards existing trees while also creating moments of reflection and moments of light .

M oments

of

R eflection

create continuous , reciprocal visual connections of

the pedestrian with the programs located ahead of one ’ s point of reference .

S tarting

off with the reflection of the sky from

the reflections of

R ed H ook R oofscape

by reflection of the

V an B runt S treet

at the moment of juncture .

R ed H ook C enter F or R esiliency

from the

towards

F ollowed

S tudiowork ’ s

P ublic P laza , and finally the reflection of P ioneerhears from the threshold of R ed H ook C enter F or R esiliency . M oments

I n -B etween G round & S ky A tmosphere

of light on the other hand , utilizes the other side of the pivot walls

to create ephemeral experiences of light ( reflected and filtered ) that would be activated at times of direct light exposure .

F or

other occasions , the pavilion acts a public art space that can utilized to

promote local and invited artists ’ works and events .

T ree P enetration & P ublic S pace E xtension

56


M oments

M oments

of

of

R eflection

L ight (R eflected + F iltered )

57


R ed H ook C enter

58

for

R esiliency - E ntrance A erial


R ed H ook C enter

for

R esiliency | R ed H ook R oofscape - A erial

R ed H ook R oofscape - S tairs E ntrance + V iewing A rea

59


N orth W est - A erial

60


M oments

of

R eflection - N orth E ast

M oments

of

R eflection - N orth W est

61


W est

62

to

e ast c ontext


e ast

to

W est c ontext

63


p ioneer W orks - r ed h ook , b rooklyn - o verall s uper b lock m odel

64


s ite p lan - c irculation

s ite d aylight a vailability

s ite i lluminance a nalysis

65


L with

a

ocated

NYC’ s

within

historical

district ,

the

C ommunity L ibrary subtle ,

welcoming

is

F ulton S eaport embedded

presence

that

blends with its surrounding atmosphere and caters to its various demographics .

T he

library is designed in approach to the

modern use of the facility as the space for

knowledge

exchange

( people ,

digital

database and books ), and temporary retreat or workspace .

W ith

its breathable spatial

and programmatic experiences , it attempts to

create

promote to

the

the city

learning users ’ through

reflective phenomenas .

environments visual

that

connections

transparency

and


seaport community library

/

neW york

W est f acade - e levation + r eflections 67


n

W est

to

e ast c ontext

e ast f acade - e levation 68


n

e ast

to

W est c ontext

W est f acade - e levation 69


n

W est

to

e ast c ontext

s outh f acing - d iagonal s ection 70


n

e ast

to

W est c ontext

e ast f acing - d iagonal s ection 71


S outh E ast V iew

72

N orth E ast V iew


S outh V iew

73


a ccessibility

gather

release

release

gather

b reathability ( i n / g athering - o ut / r eleasing )

f reedom / s pread of k noWledge

order / organize / prepare

breathing in / gathering

internal interaction

breathing out / releasing

( gathering of multiple internal releases ) circulate / distribute

+

ENTRY

/ ACCESS

+

CIRCULATION

/ ACCESS

+

EXIT

/ ACCESS

+

FOCUS

/ THOUGHTS

+

EXCHANGING & EDITING

/ THOUGHTS

+

RELAX

/ THOUGHTS

+

BORROWING, LEARNING, ACQUIRING & COPYING

+

RETURN

/ KNOWLEDGE

+

POINT OF DEPARTURE ( PRIVATE )

/ SPACE

+

SENDING

/ SHIPMENT

+

BATHROOMS, INTERIOR-EXTERIOR LANDSCAPE, CAFE

+

74

& / KNOWLEDGE

POINT OF GATHERING ( PUBLIC )

/ SPACE

+

RECEIVING

/ SHIPMENT

+

STORAGE, RECEPTION, CLASSES

/ KNOWLEDGE +

POINT OF INTERACTION ( SEMI PUBLIC )

/ SPACE

+

RECEIVING

/ SHIPMENT

+

OFFICE, SERVICE, SECURITY, ROOMS, MEDIA CENTER & FACILITIES


n

ref - b reathe o ut z one

n

ref - b reathe i n z one

75


M oments

76

of

R eflection

at

P ier 15


B righter ( E xterior )

D arker ( I nterior ) R eflective - R ule

S imilar ( E xterior )

T humb

G lazed F acade S tudy - R eflective - 12

pm

of

T humb

G lazed F acade S tudy - S emi -R eflective - 06

am

of

T humb

G lazed F acade S tudy - T ransparency - 10

pm

S imilar ( I nterior ) S emi -R eflective - R ule

D arker ( E xterior )

of

B righter ( I nterior ) T ransparency - R ule

77


s outh s treet s eaport nyc - f ulton s treet 1928

site

s outh s treet s eaport nyc - f ulton s treet 2017 - t he r ise

78

of

s kyscrapers + fdr d rive


V isual C onnections - S ite

to

B rooklyn H eights

V isual C onnections - W aterfront

to

S ite

79


v ieW c onnections

C

D

N OW

TO

WN FU

O LT

NY

NYC DOWNTOWN

N HIS

TO RIC

CHIL

T

D R E N P L AY G R O U N D

ISTRIC AL D

15

PIE

R

17

PIE

R

FDR PIER 16

80


D emographic R ush H ours + D aylight + V isual C onnection A nalysis

V isual C onnection R ings / L ayers

H ighlighted

ring area

indicates predicted favoured views per demographic

D aylight

11:30 pm - 12:30 pm 4 th F loor - R esidents - P arents + C hildren

12:00 pm - 01:00 pm 5 th F loor - C ommuters - P rofessionals

10:00 am - 06:00 pm 6 th F loor - T ourists

availability per

demographic rush hours

(

08:30 am - 09:30 am 3 rd F loor - P re -K indergarten - T eachers + C hildren

darker highlight means higher availability

)

81


n

1 st f loor - r eception

82

n

2 nd f loor - m ezzanine


n

3 rd f loor - p re -k indergarten

n

4 th f loor - r esidents

83


n

5 th f loor - p rofessionals

84

n

6 th f loor - t ourists


n

7 th f loor - r ooftop p ark

85


T

he library is designed to promote the

sensuous

of

contained

of

ascension through the different

bodies of light

L ayers

experience

( from

light within

interior to exterior ).

are the

introduced

inner

body

of

and the

library to create different atmospheres

/

regions appropriate for different programs and tasks that the library users need and demand .


canyon library

/

new york

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g

87


88

5. 5 th F loor - T ransition R egion - V ertical V estibule A rrival

6.

4. U nderground - T ransition R egion - V ertical V estibule

3. U nderground - S kylight R egion - E ntrance / R eception

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g

above ground

- S kylight R egion - T ypical I nterior -E xterior P ublic A rea


7. 5 th F loor - S unlight R egion - R eading L ounge

2. U nderground - S kylight R egion - I nterior -E xterior P ublic A rea

8. 5 th F loor - S unlight R egion - T ransition S tairs

to

R ooftop ( S hared L ight P henomena )

1. G round - S unlight R egion - E xterior F acade

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g

89


nyc’ s s hared l ight p henomena

s ite d aylight i nteraction W / p roject m ass s ituated

in betWeen tWo buildings in

a lphabet c ity - n eW y ork ,

conditions ( direct sunlight and diffuse skylight ).

t he

the site proposed a duality of light

mass of the library is intentionally carved

out to create light Wells ( northern and southern ) that Will alloW the duality to be effectively harnessed throughout the year .

t he

first entrance of the library is located on the ground With a

ramp that connects to the beloW ground , interior - exterior public space Where the real entrance is located .

as

one transition from the darker underground ’ s vertical vestibule or transition stairs to

the upper level / s , one is released to a brighter area that exploits the contrasting daylight regions to push and pull the inhabitants to explore the programs based on their need . at the top , one Would experience

nyc’ s

p rior

to the release

shared light phenomena as a departure to the exterior .

s kylight t reatment 90

s u d t i d a b e n c h a h i r a n s a k , p a o l a b e r n a l , b i l ly W o n g

to

p roject s hared l ight e ffect

to

t ransition s tairs


d aylight - n orthern s kylight d iffusers

d aylight - p erimeter e nclosures + i nternal l ight d uality d ivider

d aylight - s outhern d irect l ight r eflectors

d aylight - s outhern d irect l ight d iffusers

d aylight - l ight r egions + j ourney

e lectric - g razing e dges

e lectric - m iddle s parks

e lectric - l uminous c ores

d ifferent spaces .

layers of facade exist to filter and contain daylight Within the interior

as

shoWn above and on the left , the distinct duality of daylight is

divided by the middle , shear structural bookshelf Wall . Walls enclosed the duality from harsh light interference .

t he

solid perimeter

t his

alloWs the light

duality to be experienced by a user at the transition region , Where it acts as the daylight ’ s mixing chamber .

as

one travel from the latter to the southern

area , one sees reflected vieWs of the exterior and diffuse light through the slit facade ’ s reflectors prior to entering the bright , dynamic region of sunlight .

e lectric d aylight - l ight d uality (s unlight

vs

light concept is then develop in congruent to the daylight languages .

s kylight r egion ) s u d t i d a b e n c h a h i r a n s a k , p a o l a b e r n a l , b i l ly W o n g

91


P reliminary M ock U p - 2 nd F loor - L ight D uality E xistence

F acade S lits w / R eflectors M ock U p - G ap S izes + L ight E ffects C omparison

92

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g

P reliminary M ock U p - T op F loor - S unlight R egion ’ s T ranslucent F acade A tmosphere


F inal M ock U p - 4 th F loor - T ransition R egion O verlooking D uality

F inal M ock U p - 4 th F loor - S kylight R egion

F inal M ock U p - 4 th F loor -T ransition R egion

F inal M ock U p - 4 th F loor - S unlight R egion

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g

93


94

E lectric - L uminous C ores - T ranslucent F acade P erspective

E lectric - L uminous C ores - T ranslucent F acade D etail

E lectric - M iddle S parks - S lit F acade P erspective

E lectric - M iddle S parks - S lit F acade D etail

E lectric - G razing E dge - B ookshelves P erspective

E lectric - G razing E dge - B ookshelves D etail

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g


E lectric - 4 th F loor - T ransition R egion ‘ s L ounge A rea

E lectric - 4 th F loor - S kylight R egion ’ s S tudy C arrel

E lectric - G round - E xterior N ight V iew

E lectric - G round - S unlight R egion ’ s L ounge A rea

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g

95


E ast - W est S ection

96

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g


n orth e ast -s outh W est s ection

s u d t i d a b e n c h a h i r a n s a k , p a o l a b e r n a l , b i l ly W o n g

97


98

4 th F loor - P rograms + P lan

5 th F loor - P rograms + P lan

3 rd F loor - P rograms + P lan

2 nd F loor - P rograms + P lan

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g


N

R ooftop - P rograms + P lan

S ite P lan - A lphabet C ity , N ew Y ork

G round - P rograms + P lan

U nderground - P rograms + P lan

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g

99


100

4 th F loor - B rightness P lan + RCP

5 th F loor - B rightness P lan + RCP

3 rd F loor - B rightness P lan + RCP

2 nd F loor - B rightness P lan + RCP

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g


Manual Illuminance Readings of the daylight indicated good

N

levels of lighting (in response to

programmatic

needs)

throughout the building. 4th Floor model is used to become an typical reference. Lower level of the library would need the

additional

support

of

electric lighting to meet tasks illuminance requirements. 4 th F loor - T ypical D aylight I lluminance L evels ( lux ) REF

S ite P lan - A lphabet C ity , N ew Y ork

G round - B rightness P lan + RCP

U nderground - B rightness P lan + RCP

S u d t i d a B e n c h a h i r a n s a k , P a o l a B e r n a l , B i l ly W o n g

101


T

healthy

he

residence

a

family

home .

and

A

to

is

designed

call

for

themselves

home that encourages

nurturing

awareness

( outer

and inner eyes ), and interactions between its

inhabitants .

experiences exterior dialogue

are

and and

D ifferent

programmatic

interconnected

interior spatial

to

create

with

the

varying

embodiments .

T he

quality will in turn guide and enhance the living conditions

( physical ,

psychological ,

and spiritual ) of the inhabitants .


mulholland st. residence

/

los angeles

103


N ostalgia : A S unset M oment

of a

F amily

- HOME IS WHERE THE HEART IS -

where one can store their prized possession , celebrate their events , or just to simply restore

W hat

is a house

? Is

- HOW CAN A HOUSE BE A PLACE WHERE A FAMILY CAN CALL HOME ? -

it just a structure that withhold an aesthetic and values , that reflects the

background , values , hierarchy of the users ? call themselves home ?

O r is a house a place where one can

W here is home ? I s home where your family resides ? O r is it

a place , an area , a region , a city , a hometown , or a country where your beloved ones exist as parts of your life

104

recharge their body from a long day of work ?

it just a structure , part of human ’ s millennial evolution and

civilization that shelters and gives a peace of mind to its inhabitants - occupants ?

Is

/

-

journey ?

Or

is it just a tangible , material place

S ometimes ,

there ’ s a high tendency for busy , modern day parents to neglect or

miss the opportunity to be part of their children ’ s nurture and growth .

H ow

can

a house be configured to promote awareness and interactions of its members ?

H ow

can a house be the window to their hearts ?


105


4. UG1 - P ool O verlooking W indows

5. UG1 - C rossing

106

to

W indows

of I nteraction

of I nteraction

( O ccupied )

( O ccupied )

3. UG1 - E ntrance ’ s T hreshold

6. UG1 - A pproaching W indows

of I nteraction

( O ccupied )


2. G round - E xterior E ntrance ’ s T unnel

7. UG1 - T he S tart

of I nteraction

( O ccupied )

1. G round - E xterior E ntrance + O uter P ool

8. UG2 - L ower B edroom A rea ’ s H allway w / W aterfall

107


7 11

n s ection a - o utdoor g arden (m ost l eft ), l iving r oom (l eft ), W indoWs

of i nteraction

& p ool (m iddle ), r ooftop g arden (u pper r ight ),

v ertical

outer opening is shifted from

the horizontal inner opening to limit the vieW from certain directions and to focus the vieW toWards a specific point or

( mechanical

g lass ’

eye

-

vantage point )

placement is planar or slanted

a

/

ground ( slanted )

WindoW has background and

foreground to emphasize threshold ,

a

WindoW ’ s topography influences a

room ’ s configuration to emphasize the latter ’ s programmatic experience .

h ybrid W indoW c oncept - v ertical -h orizontal i nterconnection 108

as

d ining r oom (l oWer r ight )

argued by

l e c orbusier

and

a uguste p erret ,

a WindoW

can have different notions of creating spatial experiences for the user .

a vertical WindoW relates to the human proportion ,

encouraging an individualized relationship With the outer

to direct a person ’ s vieW toWards the horizon ( planar ), sky

and

World

/

cosmos .

a

horizontal WindoW on the other hand

folloWs the notion of a mechanical eye , Which shoWcases a scenery as planar ( flat projection ) imagery and memory .

light and time through the mass ’ volume

t hrough

c onnections to adjacent Walls to limit / encourage a person ’ s ability

orientations ( vertical to horizontal ), a neW , hybrid WindoW is

to

relate and to inhabit the WindoW space

( vertical

WindoW quality ) for inner - self

conversation With the outer World .

created .

establishing a connection betWeen the tWo WindoW

t he

latter adapts to and defines different

and programmatic conditions , needs and limitations .

spatial


2 7

6

5

1

3

4

N S ection B - W indows

of I nteraction

(L eft )

to

E ntrance (R ight )

10

N S ection C - R ooftop G arden (M ost L eft ), D ining R oom (L ower L eft )

to

G arage (R ight ) 109


B

C

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

MULHOLLAND HWY

N

PEDESTRIAN WALK DOWN

3

1

DOWN

2

1

22

2 14

DOWN

23 13 24

12

17

17. 18.

3 10

7

6

DOWN

5 21

4

5

9

4

26

9

8

11

DO W N

UP 11 10

UG1 P lan + S ite

110

6

DOWN

20

25

20.

16

A 15

7

19.

19

18

21. 22. 23. 24. 25. 26.

E ntrance G arage O utdoor W aiting A rea P ublic W/C K itchen S torage T owards L aundry R oom D ining R oom T owards O ffice R oom O utdoor L iving A rea T owards R ooftop G arden M aster B edroom M aster B athroom M aster C loset L iving R oom T owards L ower B edroom A rea (C hildren & G uest R oom ) O utdoor S unken G arden W indows of I nteraction (N eutral I nhabitation S paces B twn . T he I nterior + E xterior ) W indow of O bservation (O verlooks N o . 18) W indow of O bservation (O verlooks N o . 25 + S ky ) W indow of O bservation (O verlooks N o . 8) O utdoor P ool W aterfall I ndoor P ool S wimming P ool I ndoor P ool


MULHOLLAND HWY

N

N

PEDESTRIAN WALK DOWN

2

DOWN

5

1

10

3

4

9 3

4

8

13

12

10 5

7 8

6

16 1

7 15

14

9

6

UP

11

UP

2

8

12

UG2 P lan 1. 2. 3. 4. 5.

D ining R oom O ffice R oom L aundry R oom S torage W ine C ellar

6. 7. 8. 9. 10.

U tility R oom C hildren R oom C hildren C loset S hared B athroom G uest R oom

11. L iving R oom 12. O utdoor S unken G arden

R oof P lan 1. 2. 3. 4. 5.

E ntrance O utdoor W aiting A rea O utdoor P ool W aterfall I ndoor P ool

6. 7. 8. 9. 10.

S wimming P ool I ndoor P ool O utdoor L iving A rea R ooftop G arden O utdoor G arden

111


STORAGE

GARAGE

ENTRANCE

WAITING AREA

& UTILITY ROOMS

[ PRIVATE ]

[ PUBLIC ]

[ PUBLIC ]

WINDOW OF LIGHT

WINDOW OF LIGHT

[SEMI - PUBLIC]

OUTER POOL

[ PUBLIC ]

[ PRIVATE ]

WINDOW OF OBSERVATION

WINDOW OF DIALOGUE OFFICE ROOM /

[ COSMOS’ CIRCULATION ]

BEDROOM AREA [ MULTI - LEVEL / PRIVATE ]

WINDOW OF OBSERVATION

STAIRS W/

WATER FLOWING UNDERNEATH

[ COSMOS’ EXIT ]

[ PRIVATE - BELOW]

POOL

[ COSMOS’ SANCTUARY ]

WINDOW OF OBSERVATION

[ PUBLIC ]

WATERFALL

LIVING ROOM [ DUAL HEIGHT / PUBLIC] WINDOWS OF SCENERY

WINDOW OF DIALOGUE

ROOFTOP GARDEN [ PUBLIC - ABOVE ]

P rogrammatic + C irculation D iagram

112

WINDOWS OF INTERACTION [ PUBLIC ]

OUTDOOR SUNKEN GARDEN

[ SEMI - PUBLIC ]

WINDOWS OF DIALOGUE

BATHROOM WINDOW OF LIGHT

KITCHEN

DINING ROOM

[ COSMOS’ ENTRANCE ]

WINDOW OF LIGHT


9. W indow

of

O bservation - B edroom

12. W indow

of

to

P ool C irculation

D ialogue - O ffice R oom

10. W indow

11. I nterconnected ‘W indow ’ T opographic S paces - P ool

to

of

L ight - K itchen

D ining R oom S tairs

113


W indoW W indoW W indoW W indoW

W indoW -

of of of of

l ight o bservation s cenery d ialogue

architectural eyes , is one of the vessels of a space that

acts as a threshold that separates and controls the connection / s of the outer World With the inner conscience and vice versa .

a

specific integration of a WindoW alloWs different types of

communication ( specific to one ’ s location ).

t ied

t he latter is the predominantly used ‘ visual ’ sense in the human ’ s culture . a WindoW ’ s abilities and properties ( size , opacity , orientation , placement and environment ) to accommodate , promote and encourage permeable , visual communication / s of its user / s are important . h ence , a need to understand hoW the human ’ s vision Works and adapts to its environment is crucial . a

to a physical WindoW ’ s functionality , a vision is needed .

vision is divided into segments that have different clarity and

focus .

e ach

of the segments has a specific percentage ratio that

continuously adapt to an environment ’ s spatial height ( using the human ’ s eye level

as a point of comparison and reference ).

average human eye level in

e nvironmental

usa

is

5’ - 4 1/2”.

t he

changes Would trigger a reaction from the vieWer

as the ratios of the central angle of vieWs ( upper or loWer ) are affected .

o ne ’ s vieW choice Would typically be catered to the more ( the at the time - larger spectrum of vision With less obstructions ) and rich ( events happening - relating to personal interest / s ) central angle of vieW . t he chosen vieW Would then relate to the human ’ s experience Within a space ( contained or open / spacious ) or looking through a WindoW ( meaning of its existence ). dominant

p recedent - m arcel b reuer - s tarkey h ouse - a xonometric a nalysis

114

CEILING 33 1/3% of x

Blurred

16 2/3% of x

Seen

50% of x 2% of y

38% of y

Central Angle of View Blind Spot Central Angle of View

13 1/3% of y

Seen

46 2/3% of y

Blurred

GROUND

Ceiling to Eye Level Distance =x Avg. Human Eye Level USA: 5’ 4 1/2”

Eye Level to Ground Distance =y


W indoW of l ight W indoW of o bservation W indoW of s cenery W indoW of d ialogue

p recedent - m arcel b reuer - s tarkey h ouse - e levational a nalysis

115


W indoW W indoW W indoW W indoW

of of of of

l ight o bservation s cenery d ialogue

p recedent - l e c orbusier - p etite m aison - e levational a nalysis

116


W indoW of l ight W indoW of o bservation W indoW of s cenery W indoW of d ialogue

LE CORBUSIER VS. AUGUSTE PERRET l e c orbusier (p ro h orizontal W indoWs ) h orizontal o pen

WindoWs channel brighter illumination and air circulation .

the protective shell of a private person and let the outside World in .

e nforces

an unusual visual and psychological ‘ omnipresence ’ of the occupant .

t he long WindoW is ansWering the request for ‘ objectivity ’ – one of the main goals of “m odernism ” and “ purism ”: to depict

the scenery as it is .

a uguste p erret (p ro v ertical W indoWs ) “t he

vertical WindoW gives man a frame in line With his silhouette …, the vertical is

the line of the upright human being , it is the line of life itself .”

“a s

you add to any WindoW , the meaning of our rituals :

standing in your frame Waiting or meditating .“

v ertical

WindoW is a part of

f rench

s omeone

Who Would be

tradition , values and culture .

p recedent - a uguste p erret - r ue f ranklin - e levational a nalysis

W indoW defines the space and acts as a threshold , “ excluding ” in a physical as Well

as a figurative sense .

“l ong t he

WindoW condemns us to look at an eternal panorama .”

vertical form permits a vieW that includes the foreground , the most colourful

and vivacious segment of a vieW .

“ particularly

WindoW .”

“t he

the segment of the sky , most of the time lost through the horizontal

WindoW is a place of silent monologue and dialogue , of reflection on one ’ s

oWn status betWeen the finite and the infinite .”

h orizontal

WindoWs blurred the border betWeen the room and the outside World .

h orizontal

WindoW is similar to a ‘ shop display ’, Which promotes harsh , merciless

light that destroys all feeling of calm and shelter .

p recedent - f rank l loyd W right - j acob h ouse - e levational a nalysis

117


W indoW W indoW W indoW W indoW

of of of of

l ight o bservation s cenery d ialogue

p recedent - l e c orbusier - v illa s avoy - e levational a nalysis

118


W indoW of l ight W indoW of o bservation W indoW of s cenery W indoW of d ialogue

p recedent - a dolf l oos - r ufer h ouse - e levational a nalysis “a

cultivated man does not look out of the WindoW ; his

WindoW is a ground glass ; it is there only to let the light in , not to let the gaze pass through .�

p recedent - r udolph m. s chindler - s chindler h ouse - e levational a nalysis

119


W existence values ?

of

H ow

hat

light ?

is

shadow ?

W hat

C an

one

is

exists

without the presence and

another ?

W hat

are

their

are they seen from a personal ,

cultural , racial , demographical , historical , age and gender perspectives ?

S tripped W hat outer

to its essence , what is seeing ?

is an eye ? or

W hat

both ?

C an

is the true eye : inner , there

be

a

humble

approach towards the presence of light and shadow that creates an awareness ?

T his

small ,

temporary

light

installation

attempted to explore the former questions of light .


silence

:

seeing

-

between light

Video Link:

+

shadow

h t t p s :// v i m e o . c o m /210258105

/

new york

(A l l L o w e r -C a s e P a s s w o r d :

seeing)

121


1. F orce I ntroduced

122


2. F orce A pplied

123


3. F orce F urther A pplied

124


4. F orce M aintained - E nd S tate

125


1. b irth

126

of

l ight - o rigin


2. b ody

of

l ight – m odern b ifurcation

4. b ody

of

l ight – r eunification i ntent

3. l ight & s hadoW – m odern c lassification

5. b ody

of

l ight – t ransitions

127


p o s t fa c e

- In Praise

Light

Light

and

Shadow -

i s ...

Shadow

i s ...

Silence : Living

of

s e e i n g i s ...

i s ...

-

to be continued

-


2018 Portfolio - Light + Shadow  
2018 Portfolio - Light + Shadow  
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