Portfolio | Updated Fall 2020

CATHERINE WANG Academic Portfolio | Chosen Works as of Fall 2020

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West Valley p. 4 - 17

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Georgia Tech p. 18 - 59

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Berkeley p. 60 - 81

Table of Contents West Valley College | Sketch and Color, Student Competitions

Georgia Institute of Technology | FirstYear Studio, Parametric Precast Concrete Workshop

UC Berkeley | Fundamentals of Architectural Design

Fall 2017 to Spring 2019

Fall 2019, Spring 2020

Fall 2020

p. 4 - 17

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West Valley

Fall 2017: Figure and Ground Study p. 6

Fall 2018: Freehand Ink Concept p. 7

Spring 2019: Freehand Marker Concept p. 8

Srping 2020: Falling Water Model p. 9

Spring 2018: LAUNCH Pavilion p. 10

Spring 2019: DESIGN VILLAGE p. 14

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Figure and Ground Study

Freehand Ink Concept

Fall 2018, Design Exercise

Fall 2018, Hotel

Ink on Illustration Board, 15” x 20”

Ink on Mixed-Media Paper, 11” x 14”

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Freehand Marker

Falling Water Model

Spring 2019, Color Repeat

Spring 2019, History of Modern Architecture

Marker and Pastel on Sketch Paper, 18” x 24”

Basswood, Plastics, and Foamcore, 1’ : 1/32”

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Team Project by the West Valley College Architecture Club of 2018

The concept of the structure originates from the typography and graphic design of the LAUNCH logo.

The bold, crisp letters of LAUNCH, followed by two colored arrows, inspired a notion of movement, where its direction will drive the circulation and excitement towards the event. The abstract, yet geometric, patterns of the LAUNCH logo portrays an effect of indentation. The triangular motif of the logo in 3D translates into pyramid panels, which are attached to three parallelograms in groups of equilateral triangles.

This geometric paneling reflects the textured illusion, adding dimension and symmetry into the design.

LAUNCH Pavilion

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Construction Methods

Final Product: Backdrop and Pavilion

Wing Structure

Structural Assemblage

Cardboard Panelling

Final Assemblage

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PentArchy Team Members: Kevin Espino Joanna Li Catherine Wang--Team Leader

The goal was to encapsulate “synthesis� into a temporary, inhabitable shelter. Unification centralizes transformation-- a state of becoming, an interchangeability. around the natural synthetic process of transformation Our geometric form harnesses the ability to change and adapt for mulitpurpose uses, a versatility

DESIGN VILLAGE 2019

capable for any environment and connotation.

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The concept of biomimicry inspired this concept, deriving from naturally-occuring hexagonal patterns and

Final Product with Teammates, On Site at Cal Poly SLO

their stabilities, from molecular contexts to physical constructions. We desired a purposeful modularity with the aesthetic of a clean, comprehensible design; our simple design serves for a straightforward execution, and therefore capable for easy reproduction.

Hexagonal Frames: Folded

Bed Supports

Prototype: Central Core

Prototype: Module

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p. 18 - 59

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GaTech

Fall 2019: Interior Light Study p. 20 - 23

Fall 2019: Study Carrel p. 24 - 27

Spring 2020: Urban Infill Project p. 28 - 43

Fall 2019: Parametric Panelling p. 44 - 47

Fall 2019: Privacy Wall p. 48 - 51

Spring 2020: LightHaus Group Project p. 52 - 59

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This project’s objective was to understand the play of light within an interior space; light and shadow are used as tools to identify a space into different, yet versatile, purposes.

Because of the dimensional constraints, each design choice needed to serve multiple uses.

By using different levels of height, the user would be able to experience various spatial awarenesses despite the confined space. The overall rhetoric of the decisions revolved around the reactive aspects of the living space. A person’s lifestyle and human nature would define the space.

Interior Light Study

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Plan and Sections

Perspective Drawing Ink on Mixed-Media Paper, 11” x 14”

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Ink on Mixed-Media Paper, 11” x 14”

0

12

24 ft

GRASS

GRAVEL

TANBARK

Mason Building and Seven Bridges Plaza with Study Carrel

The Mason Building is the home of Georgia Tech’s School of Civil and Environmental Engineering— a place where both students and faculty encourage an environment of educational inspiration and innovation. This facility overlooks the Seven Bridges Plaza and an intersection of the busy Atlantic

Study Carrel

Promenade, capturing the space of both extreme ends of traffic. An assignment to focus, connection to N 0 1 2

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8

16

24

ft

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the Mason, and an elevated escape from the Atlantic: the study carrel harnesses all these elements.

Diagrams

Plans Ground Floor

Landings

Circulation from Mason Building with Cones of Vision

Carrel and Bridge

Exterior Circulation

Sun Elevations 15° Elevation

30° Elevation

SECTION CUT 45° Elevation

60° Elevation

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Elevations and Section

0 1 2 0 1 2

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4 8

8

16 16

24 24

ft

ft

N

N

The carrel itself stands 30 feet off the ground; a staircase leads occupants to the carrel at the west of the structure, and landings are placed at every 8 feet in height. Each level exists around the original nature of the Seven Bridges

Plaza, specifically maneufering around a tree. The overall height and linearity of the structure highlights the nature of its wooden material, allowing its cosmetics to show over the carrel’s simple form. The geometry of the carrel reflects

the language of the Mason building’s modularily.

0 1 2

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4

8

16

24

ft

Site In-Situ

Urban Infill Project

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Artists: Chinese Calligraphy (1/2)

Artists: Fine Concrete (2/2)

The process of Chinese calligraphy contributes towards

The ideal workspace for someone who works with concrete would be a workshop environment that is not as

both the aesthetical appeal and literary interpretation.

delicate or clean as a calligrapher’s. While lighting is important for work, artificial lights would be preferred

Artists spend years copying and perfecting strokes

since it is more stable than natural. However, natural lighting would still play a role since ventilation is important.

from predecessor artists, and study various literatures

There will be large tools involved with the working space, so there will be areas for such needs.

to draw inspiration from; they prefer to work in a peaceful environment with a large work space and plenty of natural lighting.

Fabric Forms by UCLA Suprastudio

This iteration of the project singles out the similarities between the two craftsmen. They share the same misconceptions for being strict and rigid. However, both have the potential for free-flowing and insightful works.

Both can adhere to boundaries for practical uses, but they can also turn into something subliminal.

Artwork by Zhiyu Wang

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Site Diagrams

Project Diagrams

Visitor

Circulation: Different Transportations

Sun Path: Orientation to Tilted Axis

Nodes: Geometric Organization and Layering

Traffic: Busy-ness

Viewsheds: Distinctive Characters

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Concrete Artist

Parti: Light Core and Tunnel

Circulation: Specialization

Program: Transition of Public to Private

Transparency: Transition of Clear to Solid

Calligrapher

First Floor Plan

Second Floor Plan

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Third Floor Plan

Exploded Axonometric

B3

A3

B1 A2 A4 A1

B4 A3

A4

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Panel Types (p. 44, 45) A1

Size A, Small, Solid

A2

Size A, Large, Solid

A3

Size A, Small, Screen

A4

Size A, Large, Screen

B1

Size B, Small, Solid

B2

Size B, Large, Solid

B3

Size B, Small, Screen

B4

Size B, Large, Screen

Section A-A

Section B-B

A1

A3

A2

A4

B4

A4 A3 A1

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Section C-C

North Elevation

B4

B2

B1

B1

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A1

A2

A1

B4

Panel Details

A1/B1: Solid, Small

A2/B2: Solid, Large

A3/B3: Screen, Small

A4/B4: Screen, Large

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The parametric element of each panel follows a simple logic. Two uninterupted diagonal lines exist from the top right corner to the left midpoint and from the right midpoint to the bottom left corner.

From there, any other line, starting from the top, shoots out towards any direction.

When this line intersects with either of the main diagonals, the line is sliced and displaced some amount along the diagonal and continues to shoot out in its original direction. This continues until the line intersects with the panel’s bounding frame.

Parametric Panelling

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Permutations

Version 1

Version 2

A single panel may conform into 8 total permutations in addition to the original. Three of these are achieved through a basic mirroring transformation, from mirroring along the vertical, horizonal, or diagonal plane. When all 8 permutations are configured together,

Version 3

they form a larger wall panel that spans a repetitive pattern; while the individual panel seems random, the cohesion of its transformations form a comprehensive language.

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Case Study This project delivers for a 10’ by 50’ privacy wall for a swimming pool that revolves around the theme “flow.” In order to reciprocate the fluidity and structure of the liquid form, this case study focused on the light refraction elements of water. The core concept being, the light patterns of the bottom of a swimming pool reflected onto the wall. To achieve this, ten different wave patterns, parallel to the ground, are stacked vertically at one foot increments.

A tight loft then connects all ten curves and forms the experimental pattern.

Privacy Wall

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Fabrication

Urethane Foam Positive

Final Product The result of this process is a wall pattern, three inches in depth, with its controlling curves strategically shaped to maximize an appealing light-fractal effect. A 2’x2’ panel, at half the actual scale, will be milled out of urethane, and a rubber mold will be formed upon its negative space.

Concrete Pour

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Rubber Negative-- Used for final pour

Team Members:

Site Background

Akhilesh Dhurkunde Jihan Sherman Olivia Tohe Catherine Wang

LightHaus Group Project

Frying Pan Shoals Bald Head Island, North Carolina

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Precedent Conception

Panel Conception

How might we consider the entire structure as the “lantern” “lantern”?

How might a modular system achieve variation in open-ness? from different perspectives?

Initial Schemes

We strived to utilize scale as a way to provide a variety of light diffusions. This applies to our goal of transforming the form into a lantern, and the modularity allows for interesting organizational outcomes.

A. Dhurkunde: Gap Reveal

J. Sherman: Wrap over System

O. Tohe: Envelopes

C. Wang: Landing Nodes

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Formwork Mold Strategy

Assembly

6 Layers: 1. Wooden Bounding Box 2. Vertical Plywoood Stucture 3. Horizontal Plywood Structure 4. Plywood Strip Layer 5. Plaster Lining 6. Urethane Foam Negative

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Plywood Structural Strips

V1

V1 V2 V3 V4 V5 V6 V7 V8 V9 V10 V11

V2

Formwork Sections

V3

V4

V5

V6

V7

V8

V9

V10

V11

H1 H2 H3 H4 H1 H2 H3 H4 H5 H6 H7

H5 H6 H7 H8 H9

H8 H9

H10

H11 H10 H12

H11 H12

H13 H13

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p. 60 - 81

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Berkeley

Fall 2020: Gridding Research p. 62 - 65

Fall 2020: Room Relationships p. 66 - 71

Fall 2020: Community Center p. 72 - 81

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Iteration 1

The introduction to the research involves the gridding of a rectilinear form, developing an organization across 6 sides.

When the form unfolds, the gridlines concentrate around the planar intersections. The expected result would produce a form whose sides are divided due to their proximity to one another, introducing the thesis of a cause-and-effect

Gridding Research

relationship between surface adjacency and gridlines.

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Iteration 2

Final Iteration

The irregular form explores a grid derived from the surfaces, in which each intersection of the

When introducing the rectilinear form from

surfaces meet on a point of a projected grid.

the preliminary assignment, it imposes into the irregular, where the corners meet at their defined points and midpoints. Here, the grid begins on the top of the rectilinear form, and its lines flow off of the surface and onto the irregular surfaces.

This result is organized through its surfaces, and it defines its own character based on the The division of each surface is predetermined by its

grid—where there are no two identical surfaces,

adjacent surface, so the organization of the lines are

depending on shape or grid.

defined by the form itself. This creates a relationship in which the surfaces are formally defined by an implicit grid, and the gridding of those surfaces is defined by the form.

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Through this project, I wanted to explore how light and varied wall thicknesses can derive a sensation of travel with areas of suffocation and relaxation; hopefully, the association of light with elements like hope, openness, or clarity, would provide the space a therapeutic story from beginning to end.

Room Relationships

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ARCH 100A | Fall 2020 Section 108 | Instructor Hans Papke Catherine Wang | Final Review_4

First Floor

Second Floor

Analytical Orthographic: Light-Guided Pathway

Analytical Orthographic: Light-Guided Pathway

Users start under a direct light, representing the beginning of the experience. They travel through a

However, the ascension towards

constrictive room that eventually confronts

light alludes to the conclusion of

two paths: ascension towards light and

the story, in which users accept and

confidence into darkness. This dark room,

1’ = 1/8” Plan Oblique

embrace the openness.

1’ = 1/8”

shown through the analytical plan, is the most introverted space of the entire

1’ = 1/8”

composition—a familiar place of comfort.

Plan Oblique

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Section Cuts

While the rooms are rather forceful with circulation, the drastic transitions The connection between the light

between rooms is the

sources is defined by the gridding

therapeutic element,

system. Grid lines extrude from the

for users literally move

openings and connect themselves

throughout different

through the shapes of each surface.

phases defined by light.

The emphasizing how form and light collaborate for the interior experience.

1’ = 1/8”

1’ = 1/8”

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This project explores the language of clustering, in which the rooms group together by their program, and these groups are connected through the common ground plane. This approach would reveal the figure ground relationships between the positive-program rooms and the negative-leftover space.

First Floor

Second Floor

1’ = 1/32”

** All presentation boards are 24”x24” in size. Their scales in this portfolio are not accurate.

Each program is divided into a series of rooms, of which were rotated and arranged

Community Center

along a grid and at least one edge of each room adheres to a grid line. Here, the green

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represents the library programs, and the blue represents the community programs.

First Floor Orthographic

Second Floor Orthographic

ENTRANCE:

ENTRANCE: A1 A2 A3.1 A3.2

ENTRY PLAZA LOBBY CAFE (INTERIOR) CAFE (EXTERIOR)

RECREATION: B1 B2 B3

RECREATION SPACE (INTERIOR) RECREATION SPACE (EXTERIOR) GARDEN SPACE

CIRCULATION: C1 C2

ELEVATOR STAIRS

COMMUNITY AND SERVICE:

LIBRARY:

D1 D2 D3 D4 D5 D6 D7 D8 D9 D10 D11 D12

E1 E2.1 E2.2 E2.3 E3 E4 E5 E6 E7 E8

COMMUNITY ASSEMBLY HALL (INTERIOR) COMMUNITY ASSEMBLY HALL (EXTERIOR) COMMUNITY MEETING ROOM (INTERIOR) COMMUNITY MEETING ROOM (EXTERIOR) COMMUNITY SOCIAL ACTION ROOM YOUTH SOCIAL ACTION ROOM (INTERIOR) YOUTH SOCIAL ACTION ROOM (EXTERIOR) SENIOR SERVICES ROOM FAMILY SERVICES ROOM COMMUNITY SERVICES ROOM COMMUNITY STORAGE ROOM COMMUNITY STAFF ROOM

A1 A2 A3.1 A3.2

BATHROOMS AND JANITORIAL: COMMUNITY LIBRARY COMMUNITY PERIODICAL ROOM COMMUNITY MAGAZINE ROOM COMMUNITY PAMPHLET ROOM COMPUTER ROOM READING ROOM (INTERIOR) READING ROOM (EXTERIOR) CHILDREN/YOUTH READING ROOM (INTERIOR) CHILDREN/YOUTH READING ROOM (EXTERIOR) LIBRARY STAFF ROOM

F1.1 F1.2 F2

BATHROOM (1 STALL) BATHROOMS (2+ STALLS) JANITORIAL ROOM

RECREATION: B1 B2 B3

RECREATION SPACE (INTERIOR) RECREATION SPACE (EXTERIOR) GARDEN SPACE

CIRCULATION:

1’ = 1/16”

Additional patterning is embedded into the ground floors to mesh together the space between the rooms.

ENTRY PLAZA LOBBY CAFE (INTERIOR) CAFE (EXTERIOR)

C1 C2

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ELEVATOR STAIRS

COMMUNITY AND SERVICE:

LIBRARY:

D1 D2 D3 D4 D5 D6 D7 D8 D9 D10 D11 D12

E1 E2.1 E2.2 E2.3 E3 E4 E5 E6 E7 E8

COMMUNITY ASSEMBLY HALL (INTERIOR) COMMUNITY ASSEMBLY HALL (EXTERIOR) COMMUNITY MEETING ROOM (INTERIOR) COMMUNITY MEETING ROOM (EXTERIOR) COMMUNITY SOCIAL ACTION ROOM YOUTH SOCIAL ACTION ROOM (INTERIOR) YOUTH SOCIAL ACTION ROOM (EXTERIOR) SENIOR SERVICES ROOM FAMILY SERVICES ROOM COMMUNITY SERVICES ROOM COMMUNITY STORAGE ROOM COMMUNITY STAFF ROOM

BATHROOMS AND JANITORIAL: COMMUNITY LIBRARY COMMUNITY PERIODICAL ROOM COMMUNITY MAGAZINE ROOM COMMUNITY PAMPHLET ROOM COMPUTER ROOM READING ROOM (INTERIOR) READING ROOM (EXTERIOR) CHILDREN/YOUTH READING ROOM (INTERIOR) CHILDREN/YOUTH READING ROOM (EXTERIOR) LIBRARY STAFF ROOM

F1.1 F1.2 F2

BATHROOM (1 STALL) BATHROOMS (2+ STALLS) JANITORIAL ROOM

1’ = 1/16”

First Floor Plan Oblique

Second Floor Plan Oblique

1’ = 1/16”

1’ = 1/16”

What was interesting about this development is how a strict set of rules was able to produce a spontaneous-looking form.

Without acknowledging the base grid, the physicality of each program seems distant

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or unrelated to one another, yet the overall composition communicates a sort of order.

Section A-A

1’ = 1/16”

Section B-B

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1’ = 1/16”

This phenomenon is further explored through the gridding of exterior surfaces, in which windows and skylights are

From the creation of these forms, this play of cluster and rotation

punctured through the grid modules. As shown with the rendered perspectives, the absence of these grids reveal

proves the equal necessities between positive and negative

an instinctual randomness with each opening, yet all of these openings come together through this language.

spaces. The negative-void spaces were opportunities for specific occurrences—there were voids that act as courtyards that connect the surrounding rooms together and provide a shared space.

Examples of this are found in my second orthographic, where an exterior reading room is the void created by three library masses.

In this case, this void is large enough to harness a program, but there are plenty of other spaces that are unoccupiable, yet they still serve a circulatory purpose—examples of this show in the voids created within the community service rooms.

In addition, there are negative spaces that may be seen as useless or redundant gaps, but these smaller spaces are just as important as the larger ones. Without them, there would be less focus towards the programs and the form would lose its spontaneous qualities.The qualities. definition of these gaps is flexible, for we could identify these gaps upon the exterior of the building. It is moments like these that offer points of interest for the form, so if these areas were to be filled in, the massing approaches the look as a monolith rather than a cluster of rooms.

Overall, this project has proved to me that unexpected forms can still manifest from a gridding language.

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