Bohan Lang Portfolio 2024

AGE OF HYPEROBJECTS

INTEROBJECTIVITY OF ARCHITECTURE

BOHAN LANG STUART WEITZMAN SCHOOL OF DESIGN UNIVERSITY OF PENNSYLVANIA

CHAPTERS

Cover page made from Virtual Reality Seminar, drawn by myself

AGE OF HYPEROBJECTS

Parásitos Agglomeration

CHAPTER I

P. 1

CHAPTER II

P. 17

CHAPTER III

P. 37

CHAPTER IV

P. 51

CHAPTER V

P. 69

CHAPTER VI

P. 77

CHAPTER VII

P. 85

CHAPTER VIII

P. 89

CHAPTER IX

P. 93

Adaptive Reuse // Housing

Curve Folding Lattice CLT Folding Prefab Construction // Art Center

G. Tempo Urban Grotto // Civic Space

Matrix Bestand Railpark Renovation // Marketplace

Spine Anatomy Philadelphia Waterworks Extension // Museum

Hyperedged Perception Hyperlapse Chamber // Installation

MIRI XIII Living Marine Shuttles // Virtual Reality

Algaloop Biodegradable Packaging // Biomaterial

Post & Punch Precast Concrete // Modular Panel

CHAPTER I

Parásitos Agglomeration Adaptive Reuse // Housing

T

he Corbin building, a historical office building located in the Financial District of Manhattan in New York City, shows its unique attitude toward the surrounding by holding its unique beauty of the facade with rounded arches and terracotta ornamentation. The project takes the “parasite” strategy to allow the new formation to gradually grow along with the existing; through the invasion, the formation intends to continue the original beauty of the building. Two new system derives from the system of the old facade, the new brick gently grafts on the existing brick while introducing the oblique view of the city, and the red metal frame starts evolving around the brick to form shading, railing, window framing, living on its host (the existing) and aiming to create a smooth transition and dialogue between the new and the old of the building. .

“Almost All the wise world is little else, in nature, But parasites, or sub-parasites.”

-William Shakespeare

CORE 601: SHIFTING HYBRIDS Location: Financial District, New York City, NY Instructed by Hina Jamelle Individual Project, FA 2022

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PARÁSITOS AGGLOMERATION

BROAD ST. FACADE FORMATION RENDER (ABOVE) / TYPICAL FLOOR PLAN ANDUNIT PLANS (RIGHT) CLUSTER, ZONES, FORMATION // DIALOGUE BETWEEN THE NEW AND THE OLD Several interrelationships along with the interior organization is studied, including overlapping, interlocking, branching.

Through these relationships, both the plan and elevation reflect varied cluster of units. In addition, the cluster strategy opens the opportunity to have the dialogue between the housing unit and public common.

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Studio Unit Plans | (S/S) Interrelationship | Interlocking

Studio and Medium Unit Plans | (M/S) Interrelationship | Overlapping

Studio Unit Plan | (S)

Large Unit Plan | (L)

(S/S)

(M/S)

(S)

(L)

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PARÁSITOS AGGLOMERATION

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MUSHROOM GILLS SECTION (ABOVE) / GILLS MORPHOLOGY DIAGRAM (LEFT) GILLS OVERLAPPING AND BIFURCATION Mushroom gills have its unique quality on part to whole, each gill has a specific performance to overlap and maintain a specific bifurcation angle. By studying the morphological aspects of the gill, the technique of the façade new formation has been established.

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PARÁSITOS AGGLOMERATION

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BUILDING ELEVATION STRATEGY DIAGRAM (ABOVE) / BROAD ST. CITY ENVIRONMENT RENDER (LEFT) CLUSTER, ZONES, FORMATION // DIALOGUE BETWEEN THE NEW AND THE OLD The parasite strategy allows the new formation to gradually grow along with the existing; through the invasion, the formation intends to continue the original beauty of the building. As the elevation strategy diagram shows, it has different scale clusters of units, as it turns the corner to the broad street elevation, the new dominates the old and shows its expression.

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PARÁSITOS AGGLOMERATION

(2)

E

B D

(1)

A

(3)

C

F

(4)

Legend

0’

9

5’

10’

20’

30’

40’

50’

Programs:

Access Point:

A. Public Performing Stage B. Public Seating Area C. Temporary Art Exhibition D. Seating Area/Quiet Room E. Women’s Restroom F. Men’s Restroom

(1). Fulton Center Entrance (2). Broadway Street Entrance (3). John’s Street Entrance (4). Residence Entrance

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DETAIL TRANSITION (ABOVE) / GROUND FLOOR PLAN (RIGHT) SEAMS ENTANGLEMENT The metal frame starts evolving around the brick to form shading, railing, window framing, living on its host (the existing) and aiming to create a smooth transition and dialogue between the new and the old of the building. Seams and gaskets are created to emphasize not only the transition of materials, but also the transition between the new to the existing.

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EXTERIOR STREET ENVIRONMENT RENDER THE FORMATION

PARÁSITOS AGGLOMERATION

LEVEL | Rooftop

LEVEL | Residence

LEVEL | Residence

LEVEL | Residence

LEVEL | Rooftop

LEVEL | Residence

LEVEL | Residence

LEVEL | Residence

LEVEL | Residence

LEVEL | Residence

LEVEL | Residence

LEVEL | Theater

LEVEL | Upper Private Exhibition

LEVEL | Lower Private Exhibition

LEVEL | Rotational Exhibtion

LEVEL | Street Entrance

LEVEL | Performing Area

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SECTION CHUNK (ABOVE) / LONGITUDINAL SECTION (LEFT) THE URBAN VOID Performing art spaces are introduced into the project, a cultural facility that is easily accessible to not only the residents but also the public. Taking the role of connector, spatial divider and urban void, the public not only creates the void across multiple levels to engage with the public stage, but also communicates with the private living space by pushing it to form varied scaled clusters of housing units.

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NIGHT VIEW INTERIOR RENDER THE URBAN VOID

CHAPTER II

Curve Folding Lattice CLT Folding Prefab Construction // Art Center

T

he inspiration behind the project stemmed from the curve folding technique, which served as the catalyst for the entire endeavor. A multitude of parameters were instrumental in driving the project forward, such as the circle profile’s dimensions, the number of division points required to form the arc profile, and the angle of oscillation planes. In addition, the orientation of the wood grain demonstrates the possible design strategies, which have the direct impact on the angle and magnitude of the curvature of the wood to bend through specifying wood fiber orientations. The lattice cell structure formed the foundation of the structural grid, which provided endless possibilities for configuring the spatial conditions and ceiling heights. .

“With Bending, CLT becomes robust materials that spans over 50 feet.”

CORE 602: Reduced-Waste Design for Assembly Location: Hudson Yards, New York City, NY Instructed by Masoud Akbarzadeh Individual Project, SP 2023 Featured in Polyhedral Structures Laboratory (PSL)

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CURVE FOLDING LATTICE

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BUILDING CROSS SECTION (ABOVE) / BUILDING ELEVATION & SECTION DETAIL (LEFT) DRIPPING CURTAIN The dripping aspect of the façade reacts with the carving of the existing massing. With the creation of density change of mullion and outdoor space, the dripping plays a unique role on resolving the enclosure of the entire façade. This project showcased three distinct configurations, namely X-shape, Y-shape, and V-shape, each with its own unique characteristics.

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CURVE FOLDING LATTICE

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DETAIL SOFFIT(ABOVE) / Exploded Isometric Building Components(LEFT) EXTERIOR ENCLOSURE

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WORKSHOP LEVEL INTERIOR RENDER THE LATTICE

CURVE FOLDING LATTICE

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HIGHLINE LEVEL FLOOR PLAN (ABOVE) / GROUND FLOOR PLAN (LEFT) ARC SPATIAL DIVISION By keeping two fundamental concepts in mind, namely the primary circulation around the parameters and the central atrium, the overall organization was established by utilizing these three configurations and distorting the original lattice grid to create an intriguing branching condition from the street corner.

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CURVE FOLDING LATTICE

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STREET CORNER WITHOUT FACADE (ABOVE) / PARTIAL SECTION PERSPECTIVE (LEFT) THE VAULTS AND LATTICE GRID The X-shape configuration, for instance, presented the opportunity to create lofting conditions and multipurpose auditorium seating arrangements. The Y-shape configuration offered the prospect of double-height spaces, areas for spiral staircases and elevators. The V-shape configuration had the potential to generate vast, open-plan spaces.

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MULTIPURPOSE AUDITORIUM INTERIOR RENDER THE URBAN ATRIUM

CURVE FOLDING LATTICE

1/4” SCALE PHYSICAL CHUNK MODEL // WOOD BENDING (ABOVE) LATTICE CELL STRUCTURE

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CURVE FOLDING LATTICE

1/4” SCALE PHYSICAL CHUNK MODEL // WOOD BENDING (ABOVE) CONCAVE AND CONVEX

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CURVE FOLDING LATTICE

PHYSICAL CHUNK MODEL STAIR DETAIL (ABOVE) / ELEVATION DETAILS (RIGHT) WOOD BENDING AND TECHTONIC FORMATION/VARIATION The physical model is 2.5 feet by 2.5 feet, and the entire model is made of basswood. The physical model is displayed to show the success of the bending wood in structure and aesthetics. Each wood piece component is cut out by laser cutter.

Heat gun and warm water are used to help bending the wood.

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CHAPTER III

G.Tempo Urban Grotto // Civic Space

G

.tempo evolves the notion of a traditional grotto as places where the natural and artifactual are inherently fused. The project transcends the ‘dark cave’ archetype, to something that forms a temporal scaffold for the enmeshment of materials and nature within Bologna.

This is achieved through a tectonic system utilizing standardized parts for reuse, intentional weathering of ‘cheap’ timber off-cuts, and 3D­printed components that can be recycled and reprinted based on desired spatial configurations. Based on site observations in Bologna, the cultural and architectural importance of the portico condition is recognized as a stage for public life and circulation. Combining the promenade experience of the portico with the temporal grotto, it creates arrangements of densities and corridors that can be reconfigured over time to achieve new spatial conditions. . “...inspired by ideas of environmental enmeshment...investigated through novel ecological aesthetics, weathering and permissible degradation of building elements”

CORE 701: CIVIC SPACE AFTER NATURE Location: Bologna, Italy Instructed by Barry Wark Collaborated with Clayton Monarch , FA 2023

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G.TEMPO

ISOMETRIC (ABOVE) / EXPLODED ASSEMBLY ISOMETRIC (RIGHT) REGENERATIVE BUILDING STRUCTURES // PERMANENCE AND IMPERMANENCE We have created a tectonic system of materials with different temporal properties that are designed to weather and be replaced at different rates (quarried stone, structural timbers ( that can be reused), printed stone, and ‘sacrificial’ timber cladding designed to display its weathering quickly.

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CHOISY THE SECTIONAL CHUNK

G.TEMPO

CHUNK CHOISY (ABOVE) / INTERIOR CORRIDOR (RIGHT) PERPETUAL CONSTRUCTION AND OPEN FORM We reconsider notions of permanence and impermanence, being conceived as under perpetual construction, some areas appearing completed and others with an open form, anticipating that parts may be added or taken away in time.

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PARÁSITOS AGGLOMERATION

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DETAIL WEATHERING (ABOVE) / GROTTO SPACE (RIGHT) ENVIRONMENTAL ENMESHMENT // WEATHERING AND DEGRADATION The projects asks whether we can dissolve ideas of human dominance over “nature,” promote alternative human ontologies, and investigate, think through, and build new positive concepts about the idea of enmeshment through spatial experience.

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CURVE FOLDING LATTICE

CHUNK CHOISY (ABOVE) / ELEVATION DETAIL (RIGHT) ASSEMBLY AND CONNECTION A tectonic system utilizes standardized parts for reuse, intentional weathering of ‘cheap’ timber off-cuts, and 3D­printed components that can be recycled and reprinted based on desired spatial configurations.

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GROTTO CORRIDOR RENDER THE URBAN GROTTO

CHAPTER IV

Matrix Bestand Railpark Renovation // Marketplace

W

e built, then abandoned. Rail Park in the Callowhill neighborhood in Philadelphia is one of many examples of abandoned human products, or more specifically abandoned infrastructure. Market itself is a hyperobject that operates on a multiplicity of dimensions in different ways and degrees of access, yet the fact that the abandoned aspect of a market adds another layer of dimension is crucial to this project. Therefore, I introduce the plant market, embracing the wild, and creating a hybrid condition where the wildlife also occupies the place, but at a different time and scale. We are no different from these wild plants: humans at the beginning occupy most of the space while the wild starts to grow on top of the structure grid; at the end, these wild plants fully occupied along with human presence. .

“Nature is the featureless remainder...”

-Timorthy Morton

CORE 502: HYPEROBJECT Location: Callowhill Neighborhood, Philadelphia, PA Instructed by Ezio Blasetti Individual Project, SP 2022 Published in Pressing Matter 11

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Deployable Farming Module Unit Aggregation relationship: packing

Event Space: Public Talk, Concert, Play, Skateboard, Parkour Competition.

The farming module is formed through packing individual modules al onal faces and shifting it in scale to form connections. Each unit is inte form rigid connection.

Aggregation relationship: packing, interlocking, scale shifting The event space is created through series of packing, interlocking and scale shifting of indivudal modules. It creates diagonal vertical axis for structural elements, and eventually become an open air space.

Connection Between The Lab And Deployable Farming Module

Entrance To Viaduct

ISOMETRIC SECTION CHUNK THE URBAN MATRIX

Retail Space Aggregation relationship: interlocking

Individual Module Techtonic Detailed

long diagerlocking to

Underground Infrastructure

The retail space is formed through interlocking the module.

By doing so it creates rooftop access and connection to dining area.

Entrance To Upper Level Retail Space Entrance To Public Ground Space

MATRIX BESTAND

0’

5’

55

10’

20’

30’

40’

50’

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INTERIOR NIGHT RENDER LOOKING AT EXHBITION (ABOVE) / UPPER LEVEL FLOOR PLAN (LEFT) DIALOGUE BETWEEN THE WILD AND HUMAN While human starts to occupy the space, the wildplants begins to climb and embrace on top of the diagonal structure, creating a hybrid condition and hyper dimensional spatial quality. The market includes exhibition spaces, farming areas, merchandise stores, etc. to impose a new grid on top of the existing one. Unlike any other marketplace, the plant marketplace is trying to reach and find its being that is composed of this new grid and eager to connect.

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Street Corner Entrance

Reception Space

Farming Module

LEVEL | 108’ LEVEL | 100’

LEVEL | 85’ LEVEL | 80’

LEVEL | 63’

LEVEL | 42’

LEVEL | 31’ LEVEL | 25’

LEVEL | 14’

LEVEL | -7’

LEVEL | -19’ LEVEL | -26’

LONGITUDINAL SECTION DIAGONAL SYSTEM GRID

Viaduct Entrance

Plants Laboratory

Farming Module

Greenhouse Laboratory

Dining Area

G Pl

Ground Public layground

Access Rooftop

Ground Entrance

Ground Entrance

Retail Space

Farming Module

MATRIX BESTAND

BUTTONWOOD ST.

DINING AREA

ACCESS ROOFTOP

GROUND ENTRANCE

DEPLOYABLE FARMING MODULE

PLANTS LABORATORY

SCAFFOLDING EVENT SPACE

OUTDOOR EXHIBITION AREA

VIADUCT ENTRANCE

N 9th ST.

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50’

40’

30’

20’

10’

5’

0’

DEPLOYABLE FARMING MODULE

SHOWCASE LARGE SPACE

VIADUCT ENTRANCE

N 10th ST.

N 10th ST.

N PERCY ST.

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1/16” SCALE PHYSICAL MODEL AERIAL VIEW (ABOVE) / SITE PLAN (LEFT) DIALOGUE BETWEEN THE DODECAHEDRON GRID AND THE EXISTING CITY GRID From point cloud to extension of line/wireframe, to surfaces for creating an enclosure, and to volume, it adds additional layers of tectonic. Through varied levels of tectonic development, it creates a superstructure and a new grid on top of the existing one, colliding with the city grid, colliding with its surroundings, making an impact, and eventually merging into one.

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MATRIX BESTAND

1/8” SCALE PHYSICAL CHUNK MODEL // HYBRID MATERIAL/GEOMETRY COMBINATIONS (ABOVE) GEOMETRY ORGANIZATION AND TECHTONIC MATERIAL COMBINATION

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MATRIX BESTAND

1/8” SCALE PHYSICAL CHUNK MODEL // HYBRID MATERIAL/GEOMETRY COMBINATIONS (ABOVE) GEOMETRY ORGANIZATION AND TECHTONIC MATERIAL COMBINATION

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MATRIX BESTAND

PHYSICAL CHUNK MODEL AGGREGATION DETAIL (ABOVE) / TECHTONIC DETAILS (RIGHT) TECHTONIC FORMATION/VARIATION The physical model utilizes varied materials, including 3d printed components, resin casts, wild plants, acrylic, and foam.

From points, to lines, to extrusions, to surfaces, and to volume, the model reveals varied levels of scale shift and tectonic details. The model reveals the aging effect with the wild plants gradually occupying the space, growing along with the structure grid of the architecture.

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NIGHT VIEW EXTERIOR RENDER ON THE RAIL PARK THE URBAN INTERVENTION

CHAPTER V

Spine Anatomy Philadelphia Waterworks Extension // Museum

S

pine anatomy is set up of three ideas that construct speculation of a new museum extension of Philadelphia Museum of Arts: Spine as a means to connect among various programs, Spine as a serpentine field condition to subdivide spaces, and Spine as a technique to engage the site condition. The Spine plays the role of the central hub where people meander to different spaces and branch out from the spine to find these interesting moments where it all begins with the spine: branching to the education space, to the museum, to the outdoor theater, to the outdoor ground public spaces, and the rooftop. As a result of these moments, one can be a participant and a speculator at the same time through these moments of branching from the spine. .

“Neurons travel across our internal organs; eventually, the spinal column has become their transition hub from the brain to the tips of the toes.”

CORE 501: HYPERLAPSE Location: Waterworks, Philadelphia, PA Instructed by Danielle Willems Individual Project, FA 2021

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SPINE ANATOMY

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BIRD VIEW DAYLIGHT RENDER (ABOVE) / CHOISY (LEFT) MOMENT OF THE SPINE Inspired by the anatomy of the human spine, the project uses a spinal column concept to link various programs and subdivide spaces in a new museum extension for the Philadelphia Museum of Art. The spine serves as a central hub for visitors to meander to different spaces, such as the education space, museum, outdoor theater, public spaces, and rooftop. Through branching out from the spine, visitors can both experience and speculate within these unique moments.

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SPINE ANATOMY

1/8” SCALE PHYSICAL MODEL // GEOMETRY FORMATION (ABOVE) GEOMETRY ORGANIZATION AND TECHTONIC EXPLORATION

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SPINE ANATOMY

SPINE DEFORMATION DETAIL (ABOVE) / OUTDOOR THEATER DETAIL (RIGHT) DEGREE OF DEFORMATION AND TECHTONIC The 1/8” scale physical chunk model utilizes varied materials, including 3d printed components, acrylic, and foam. The model reveals varied degree of deformation of the spine and its tectonic details. The Spine plays the role of the central hub where people meander to different spaces and branch out with varied degree of deformation from the spine to find these interesting moments where it all begins with the spine.

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CHAPTER VI

Hyperedged Perception Hyperlapse Chamber // Installation

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he description of the edge condition is controlled through the interpretation of the solid edge, implied edge, and constructed edge. The assembly of a joint object is rendered through the solid, frame, and lines. This is done using solid plaster structures that show the direct condition of the object, the dowels that use repetition and implied angles to complete the object, and the frame that show the wireframe of the object. Through all of these conditions, the edge condition is furthered through the continuous line, crossing each condition. .

“Points, to Lines, to Surfaces, to Frame, to Volume...”

CORE 501: HYPERLAPSE CHAMBER Location: Weitzman School of Design, Philadelphia, PA Instructed by Danielle Willems Collaboration with C. Ward, W. Wang, J. Huang, S. Gao, FA 2022

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HYPEREDGED PERCEPTION

UNFOLDED ELEVATION PROJECTIONS (ABOVE) PRODUCED BY MYSELF / PHYSICAL MODEL (RIGHT) EDGE EXTENTION AND PROJECTION Following the profile of the volume, the edge intends to extend and project lines to further subdividing volumes and surfaces. Eventually, it plays the game of perception that the edge starts to become wireframe, surfaces, void, and tectonic details.

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HYPEREDGED PERCEPTION

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EXPLODED ISOMETRIC ASSEMBLY DIAGRAM (LEFT) PRODUCED BY MYSELF / PLASTER TEXTURE DETAIL (ABOVE) DIALOGUE BETWEEN THE EDGE AND THE FORMATION The void and the edge play a critical in the overall formation of the installation, it gives visitors a perception that the void and the edge is a form of extension or projection of the existing linework and profile of the volume.

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HYPEREDGED PERCEPTION

ONE TO ONE PHYSICAL MODEL INSULATION IN FRONT OF THE STUART WEITZMAN PLAZA (ABOVE) PROJECTION AND EXTENSION

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CHAPTER VII

MIRI XIII Living Marine Shuttles // Virtual Reality

B

y 2100, we have seen a global temperature rise of 9°C. The world is approaching to five degrees of global warming. The project aims to undertake massive population from evacuated dry regions and over-densified urban area to the nearshore, by providing inhabitable marine shuttles. All the marine shuttles developed based on the design of Miri 13 have been deployed in the Northern region of Earth. Vancouver is the prime example where three mother ships, large scale marine shuttle, are deployed. One of the marine shuttles has opened its gates to let the public in the shuttle before the mega tsunami hits the city. People have described that ship as the living creature having its tunnels system design as the inner side of digestive system of a large sea animal. .

“Envisioning the world approaching five degrees of global warming by 2120...”

SEMINAR 732: ENVISIONING CLIMATE Location: Vancouver, Canada Instructed by Vanessa Keith Collaboration with U. Mahmood, SP 2022

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MIRI XIII

INTERIOR RENDER (ABOVE) PRODUCED BY MYSELF/ HYBRID PLAN AND ELEMENTS (RIGHT) PRODUCED BY MYSELF COLLAGE AND REORGANIZING Highlighting the unique interior experiences of this creature ship, the project is inspired by the following organic elements, they are straight tubes, spiders, and annelid worms cardinal structures; the exoskeleton from ants; the nearly transparent saucer-shaped skin; the umbrella-shaped bell's body; and the trailing tentacles of a jellyfish.

01: HEART SECTION, serves as a pump to circulate the blood.

02: ANT SECTION, ants have an exoskeleton, an external covering that provides a protective casing.

03: JELLYFISH SECTION, has a nearly transparent saucer-shaped body and extensible marginal tentacles.

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// 02 // 03

// 01

// 01

// 02

// 03

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CHAPTER VIII

Algaloop Biodegradable Packaging // Biomaterial

P

lastic is contaminating our oceans, killing wildlife, and creating an unsustainable amount of waste. Our algae based plastic not only creates an alternative option but its inputs from harmful algal blooms. This is an innovative approach to reducing harm in the ocean by creating a system that tackles two sources of toxins. The system removes harmful algal blooms from a marine ecosystem and uses that as a source for industrial production of bioplastic biodegradable packaging to reduce the amount of plastic that enters the marine ecosystem. In doing so we devise an industrialized production workflow and create a new data set of characterized algae composites that have a range of potential for products. .

“Transforming the untapped resource of excess algae from harmful algal blooms found in the open ocean into biodegradable packaging.”

SEMINAR 732-008: INQUIRY INTO BIOMATERIAL Location: Phialdelphia, PA Instructed by Laia Mogas-Soldevila Collaboration with C. Yang and N. Khandelwal, SP 2022

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ALGALOOP

// 01

// 02

// 03

// 04

MATERIAL PRODUCTION METHODOLOGY (ABOVE) / CATALOG EVALUATION, SPIDER DIAGRAMS (RIGHT) METHODOLOGY, FABRICATION, EVALUATION The base solution is composed of Alginate, Glycerin, and Water in the ratio of 5:12:16. After using the scale to weigh each part of the ingredients, it’s been put into the blender to mix, then the viscous liquid is formed. Filler is added into the base solution, and put in the bottle. A pot is used to heat it until they blend well together, and poured it into the silicone mold. After several days, it’s dried and capable of peeling from the mold.

01: REHYDRATING 02: POURING 03: PEELING 04: CURING

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Green Algae Type 1: Kelp Input Variable: Density of Filler Ingredient of Base: 12.5 gr Alginate 30 gr Glycerin 400 ml Water

Strength

K2

Strength

SG2

Strength

Elasticity

SG3

Strength

SL2

Color Saturation

Strength

Elasticity

Transparency SL2 | Ingredient of the BioPlastic: 30 g of base 4 grams of Sea Lettuce

Green Algae Type 4: Sea Moss Strength

M2

Transparency

SL3

Color Saturation

Strength

Elasticity

Transparency M2 | Ingredient of the BioPlastic: 30 g of base 4 grams of Sea Moss

Green Algae Type 4: Nori

M3

Strength

N2

Elasticity

Transparency M3 | Ingredient of the BioPlastic: 30 g of base 8 grams of Sea Moss

Color Saturation

Input Variable: Density of Filler

Elasticity

SL3 | Ingredient of the BioPlastic: 30 g of base 8 grams of Sea Lettuce

Color Saturation

Input Variable: Density of Filler

Elasticity

Transparency SG3 | Ingredient of the BioPlastic: 30 g of base 8 grams of Seagrapes

Color Saturation

Input Variable: Density of Filler

Ingredient of Base: 12.5 gr Alginate 30 gr Glycerin 400 ml Water

Color Saturation

Transparency SG2 | Ingredient of the BioPlastic: 30 g of base 4 grams of Seagrapes

Green Algae Type 3: SeaLettuce

Ingredient of Base: 12.5 gr Alginate 30 gr Glycerin 400 ml Water

K3

Elasticity

Transparency K3 | Ingredient of the BioPlastic: 30 g of base 8 grams of Kelp

Color Saturation

Input Variable: Density of Filler

Ingredient of Base: 12.5 gr Alginate 30 gr Glycerin 400 ml Water

Strength

Elasticity

Transparency K2 | Ingredient of the BioPlastic: 30 g of base 4 grams of Kelp

Green Algae Type 2: Seagrapes

Ingredient of Base: 12.5 gr Alginate 30 gr Glycerin 400 ml Water

Color Saturation

Color Saturation

Color Saturation

Elasticity

Transparency N2 | Ingredient of the BioPlastic: 30 g of base 4 grams of Nori

Strength

N3

Elasticity

Transparency N3 | Ingredient of the BioPlastic: 30 g of base 8 grams of Nori

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CHAPTER IX

Post & Punch Precast Concrete // Modular Panel

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n the realm of “POST & PUNCH,” the project transcends its traditional bounds, weaving a tapestry of light and shadow through its form. Inspired by the rich narrative of precast concrete in architecture, this design is a ballet of controlled curves and angles, creating a dynamic interplay of light and shadow. These varied gestures or postures of the panels are strategically angled to capture sunlight, making shadows an integral, ever-changing element of the design. This project not only highlights the material’s versatility but also pushes the boundaries of architectural aesthetics, marrying practicality with the beauty of natural light and form. .

“Points, to Lines, to Surfaces, to Frame, to Volume...”

SEMINAR 732-005: PRECAST CONCRETE Location: Weitzman School of Design, Philadelphia, PA Instructed by Richard Garber Collaboration with M. Wong, C. Monarch, Y. Han, FA 2023

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POST & PUNCH

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ANALYTICAL DIAGRAM (LEFT) PRODUCED BY MYSELF / PHYSICAL MODEL DETAIL (ABOVE) EDGE CONDITION AND CONTROLLED CURVE These curves, like the graceful arcs of a dancer, create distinct gestures - each frame a unique posture against the canvas of concrete. As the sun traverses the sky, its angles play upon these forms, casting shadows that ripple across the surface, akin to a serene water path.

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EXPLODED ASSEMBLY ISOMETRIC_PRODUCED BY MYSELF PRECAST CONCRETE SANDWICH PANEL

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POST & PUNCH

PHYSICAL MODEL DETAIL (ABOVE) / PHYSICAL MODEL (RIGHT) EDGE EXTENTION AND PROJECTION This interplay of light and form, precise yet organic, transforms the structure into a living entity, resonating with the subtle rhythms of natural light and the environment it inhabits.

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INTEROBJECTIVITY OF ARCHITECTURE