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C O N N I E H . WA N G Selec t ed Wo rks 2 0 1 6

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RHODE ISLAND SCHOOL OF DESIGN BACHELOR OF ARCHITECTURE 2016

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// Ever y past has futurity. // Walter Benjamin


i


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CONTENTS

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RÉSUMÉ

1

VERTICAL STREETSCAPE

3

Future Museums of Athens, Greece

8 MINUTES, 2 HOURS, 1 DAY

27

City Interventions: Inhabiting the wall

CERAMIC FACADE X MIT MEDIA LAB

41

Additive Manufacturing Implications in Architecture

EXPERIMENTAL WORK

67

COMPETITIONS

79

Principles of Architecture

120 Hours | 2014, 2015

MISCELLANEOUS WORK

93

2011 -- 2016

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+ ii


CONNIE H. WA N G E D U C AT I O N

connie.han.wang@gmail.com +1.401.660.8633 www.issuu.com/conniewang6

2011 - 2016

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BROWN UNIVERSITY . PROVIDENCE, RI Sustainability in the Built Environment Social Entrepreneurship

2014 - 2016

DANISH INSTITUTE FOR STUDY ABROAD (DIS) . COPENHAGEN, DENMARK Danish Furniture Design + Production

Summer 2014

SHANGHAI AMERICAN SCHOOL . SHANGHAI, CHINA High School Diploma

2008 - 2011

P U B L I C AT I O N S +

CERAMIC MATERIAL SYSTEMS . HARVARD UNIVERSITY Birkhauser Publication co-authored by Martin Bechthold, Anthony Kane, Nathan King

2015

EXHIBITIONS

DISTINCTIONS

SKILLS

2015 - 2016

THE PROTOTYPE . BROWN UNIVERSITY MIT Media Lab High Performance Ceramic Facade

2015

ARDUINO MAKERS . WEB PUBLISHING MIT Media Lab High Performance Ceramic Facade

2015

READING THE CITY . SHANGHAI, CHINA Independent Study

2012

PROCESS: IN FOUNDATION STUDIES . RISD Woods Gerry Gallery

2015 2014 2012 2011

GUEST CRITIC | RISD Architecture . 2015 HONORS | RISD . 2014 SELECTED WORK | RISD . NAAB Accreditation . 2012 OUTSTANDING VISUAL ARTS | SAS . 2011

DIGITAL

Rhinoceros 5.0, SketchUp, AutoCAD, Revit, Grasshopper, V-Ray, Flamingo, Maxwell, DIVA, Photoshop, Illustrator, InDesign

PHYSICAL LANGUAGES 1

RHODE ISLAND SCHOOL OF DESIGN . PROVIDENCE, RI BFA, Architecture + Bachelor of Architecture Nature Culture Sustainability Studies Concentration

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3D Printing, ABB Robot Arm, CNC Milling, Drafting, Darkroom Processing, Woodshop / Model Shop Complete fluency in English and Mandarin


WORK EXPERIENCE

June - Aug 2015

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BR+A+C+E . BOSTON, MA Project Manager . Tilt-Down Fence @ Dorchester, MA . The Big Hammock @ Roslindale, MA LEKKER DESIGN . SINGAPORE Architectural Intern . “A Different Class: Preschool Typologies”, 2015 Publication . AWWA All-inclusive Preschool . Art Connector for National Gallery Singapore . Hermès Storefront Design and Deliverables . Istana SG50 Installation

June - Aug 2015

June - Aug 2014

DP ARCHITECTS PTE LTD . SINGAPORE Architectural Trainee . COSL Headquarters . Hotel Yan . Shaw Center A&A

June - Aug 2013

R E L AT E D E X P E R I E N C E

2013 - Present

DESINE-LAB . PROVIDENCE, RI Co-leader for DESINE-Lab Overlooking all activities and projects with a team of six RISD and Brown University students under Elizabeth Dean Hermann. Project Scopes: Central Falls, Kolkata, Sri Lanka MASS DESIGN x RISD . BOSTON x PROVIDENCE Team Leader 4 month long collaboration with MASS Design group targeting future healthcare systems both in the United States and Internationally. Collaborated in the Ebola Challenge prompted by Obama during the Ebola outbreak. Personally featured on ABC News, Providence Journal

Fall 2014

DEPARTMENT OF ARCHITECTURE . PROVIDENCE, RI Laser Cutter Monitor CAD Lab Monitor

2013 - Present

COMPETITIONS

STUDIO LUZ . BOSTON, MA Architectural Intern

TIMBER IN THE CITY (ACSA) (in-progress) 120 HOURS

2016 2014, 2015

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VERTICAL S T R E E TSCAPE


SAHARA DESERT 23.0000 °N, 13.0000 °E

1,628KM PA R T H E N O N 37.9715 °N, 23.7267 °E

C O L L E C T I N G N E A R A N D FA R In the context of over 117 museums within the city of Athens, Greece, where there is an abundance of places for exhibiting the richness of its culture and history, this project proposes an ‘anti-museum’ by addressing, challenging, and redefining the characteristics, both symbolically and socially, that surrounds a museum. Taking into consideration the particular social and economic stresses that Athens has been undergoing, this ‘museum’ is designed to reinforce and give strength to the steady growth and the reformation taking place right now. This museum is a collection of places-- a display of the culture and the everyday life of the Athenian, the tourist, and simply the curious, where circulation space of the structure, weaving in and out of private and public spaces, is exactly the exhibition space that ultimately leads you up to an observatory that collects some of the most spectacular views of Athens and experience the city at a height, location, and fashion that is unprecedented.

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A MUSEUM collects, organizes, and interprets. It is in the act of constant curating do we begin to redefine the life of historic sites and artifacts. The organization and re-organization of iconic landmarks based on its physical size is an analysis of the correlation between its significance and visual hierarchy, creating a new form of spatial organization of these places, removed from geographical position. This inspired a method of organizing the programmatic spaces rooted in the Athenian iconic landscape.

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Pivot Iconic Sites Historic Icons Museums Religious Sites


ACADEMY OF ATHENS -- DANUBE RIVER, VIENNA

1,064 MILES

THE AGORA

{ Traveling from Peru, as she looks past the Agora... she realizes the Andes is straight ahead. The Agora now, forever remembered, means something different. }

THE ANDES

32.6528° S, 70.0111° W

THE ACROPOLIS

SYNTAGMA SQUARE, ATHENS,

37.9756° N, 23.7

GREAT PYRAMIDS OF GIZA

29.9792° N, 3

SAHARA DESERT 23.0000° N, 13.0000° E

TEMPLE OF OLYMPIAN ZEUS -- CAPE TOWN

4,955 MILES


7347째 E

PANATHENIAC STADIUM MOUNT LYCABETTUS -- TIBETAN PLATEAU

3,766 MILES

31.1344째 E

LINE OF SIGHT As a collector of places and artifacts, this museum, sited in Syntagma Square, does not stop within the boundaries of Athens or Greece. Every line of sight from Syntagma Square to one of the iconic landmarks in Athens projects beyond, crossing political and geographical boundaries. Every traveller to Athens will be able to create their own set of stories and relationships to the the city of Athens based on their own identity and story.

SYDNEY OPERA HOUSE

33.8587째 S, 151.2140째 E


I N T E R S E C T I N G P U B L I C A N D P R I VAT E In gaining height, the principle of the street is employed in designing the form of the ‘museum’. The vertical structure is experienced like a street, alternating between smaller blocks and larger blocks of program, between public and private spaces. A true sense of the rhythm of a city’s streets, experienced through the circulation of the building.

Extracting the street grid from the site and lifting it from the ground. Creating an organization principle of spaces, following the natural social structure of the city.

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Extruded street block

Slice of thirds mimicking block - street - block

Intersecting public and private programs, weaving within block

Pivot opening, splitting the block to open to main street, creating an interiority within the monolithic block

Consolidating form

Lifting block, addresing public street access

Museum in site, with similar porosity of the city grid

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0

48’

96’

GROUND FLOOR PLAN 11


0

48’

96’

TYPICAL HOTEL PLAN 12


0

48’

96’

LIBRARY GARDEN FLOOR PLAN 13


0

48’

96’

O B S E R VAT O R Y P L A N 14


SOUTH

0

48’

96’

U N R O L L E D FA C A D E E L E VAT I O N

Material indication of public + private spaces 15

EAST


Glass indication of complete transparency, public spaces

NORTH

Aluminum screening mesh for hotel/ residential units

Wood cladding indicating complete private spaces

WEST

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Observation Deck Private Swimming Pool

Residential Units

Public Library Administrative Offices 120’ AVERAGE BUILDING HEIGHT

Auditorium Public Media + Makerspaces

Hotel

Public Cafes, Restaurants, Retail

0

32’

SOUTH SECTION 17

64’


Public Elevated Park

Public + Private Parking Spaces

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STREET OVERVIEW @ NIGHT


NORTH STREET LEVEL


LIBRARY GARDEN


E L E VAT E D PA R K


8 M I N U T E S , 2 H O U R S , 1 D AY


THE PHYSICALITY OF SEMANTICS Alphabets, words, and sentences although two-dimensional occupy a physical space that sometimes but not always coincide with the weight of its semantics and the value of its content. Words inherently have quality to them but in the Cyrillic Alphabet, the original alphabet of Roman languages, letters and words are assigned a quantity because of their number system. This project is an exploration of the relationship between the physical space of words and its inherent value that ultimately translates into sociocultural values. The 8 minute, 2 hour, and 1 day installation addresses the experience of words through the inhabiting of walls. These walls appear monolithic, like paragraphs of text, but they vary in thickness, accomodating different programs of life that occur in these 8 minutes, 2 hours, and a day. Although the experience of this installation is within the physical bounds of the walls, its value and take-away far surpasses its physical space.

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H I S T O RY O F C Y R I L L I C A L P H A B E T A N A LY S I S Credo in unum Deum, Patrem omnipoténtem, Factórem cæli et terræ, Visibílium ómnium et invisibílium.

LATIN Latin Manuscript MANUSCRIPT 325 | A.D. 381 325 A.D.A.D. | 381

A.D.

Et in unum Dóminum Iesum Christum, Fílium Dei Unigénitum, Et ex Patre natum ante ómnia sæcula. Deum de Deo, lumen de lúmine, Deum verum de Deo vero, Génitum, non factum, consubstantiálem Patri: Per quem ómnia facta sunt. Qui propter nos hómines et propter nostram salútem Descéndit de cælis. Et incarnátus est de Spíritu Sancto Ex María Vírgine, et homo factus est.

Πιστεύω εἰς ἕνα Θεόν, Πατέρα, Παντοκράτορα, ποιητὴ ν οὐρανοῦ καὶ γῆς, ὁρατῶν τε πάντων καὶ ἀοράτων. Καὶ εἰς ἕνα Κύριον Ἰησοῦν Χριστόν, τὸν Υἱὸν τοῦ Θεοῦ τ ὸν μονογενῆ, τὸν ἐκ τοῦ Πατρὸς γεννηθέντα πρὸ πάντων τῶν αἰώνων· φῶς ἐκ φωτός, Θεὸν ἀληθινὸν ἐκ Θεοῦ ἀληθινοῦ, γεννηθέντα οὐ ποιηθέντα, ὁμοούσιον τῷ Πατρί, δι' οὗ τ ὰ πάντα ἐγένετο.

Greek Manuscript GREEK MANUSCRIPT 381 A.D. 381 A.D.

Τὸν δι' ἡμᾶς τοὺς ἀνθρώπους καὶ διὰ τὴν ἡμετέραν σωτηρίαν κατελθόντα ἐκ τῶν οὐρανῶν καὶ σαρκωθέντα ἐκ Πνεύματος Ἁγίου καὶ Μαρίας τῆς Παρθένου καὶ ἐ νανθρωπήσαντα.

Верую во единаго Бога Отца, Вседержителя, Творца небу и земли, видимым же всем и невидимым. И во единаго Господа Иисуса Христа, Сына Божия, Единороднаго, Иже от Отца рожденнаго прежде всех век; Света от Света, Бога истинна от Бога истинна, рожденна, несотворенна, единосущна Отцу, Имже вся быша.

CYRILLIC/ Cyrillic / Slavic SLAVIC MANUSCRIPT Manusript 863 A.D.

863 A.D.

Нас ради человек и нашего ради спасения сшедшаго с небес, и воплотившагося от Духа Свята и Марии Девы, и вочеловечшася.

We believe in one God, the Father Almighty, the maker of heaven and earth, of things visible and invisible. And in one Lord Jesus Christ, the Son of God, the begotten of God the Father, the Only-begotten, that is of the essence of the Father. God of God, Light of Light, true God of true God, begotten and not made; of the very same nature of the Father, by Whom all things came into being, in heaven and on earth, visible and invisible. Who for us humanity and for our salvation came down from heaven, was incarnate, was made human, was born perfectly of the holy virgin Mary by the Holy Spirit. By whom He took body, soul, and mind, and everything that is in man, truly and not in semblance.

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We believe in one God, the Father Almighty, the maker of heaven and earth, of things visible and invisible. And in one Lord Jesus Christ, the Son of God, the begotten of God the Father, the Only-begotten, that is of the essence of the Father. God of God, Light of Light, true God of true God, begotten and not made; of the very same nature of the Father, by Whom all things came into being, in heaven and on earth, visible and invisible. Who for us humanity and for our salvation came down from heaven, was incarnate, was made human, was born perfectly of the holy virgin Mary by the Holy Spirit. By whom He took body, soul, and mind, and everything that is in man, truly and not in semblance.

English Manuscript ENGLISH MANUSCRIPT Today TODAY


RUSSIAN SLAVIC

A Б B Г Д E Ё Ж З И Й K Л M

O П P C

Ф

33 CYRILLIC ALPHABET

Ц Ч ШЩ Ъ Ы Ь Э Ю Я

A

B

C D

I

J

K L

E

LATIN 26 ALPHABETS

TENS

А҃

В҃

Г҃

Д҃

Є҃

З҃

И҃

Ө҃

1

2

3

4

5

6

7

8

9

К҃

Л҃

М҃

Н҃

Ѯ҃

О҃

П҃

Ч҃

10

20

30

40

50

60

70

80

90

G H

M N O P Q R U V Y

ONES

F

Z

S T W X

GREEK

C

24 ALPHABETS

A Ӑ Ӓ Ә ӚӔ Б B Г Ѓ Ғ Д E Ё

Ж S З Ҙ И I Ї Й K Л Љ M Њ O Ӧ П P C Ҫ Ђ Ќ Қ Ҡ Ў Ұ Һ Ц Ч Џ ШЩ Ъ Ы Ь Э Ю Я Ф

56 CYRILLIC ALPHABET

Ѩ Ѥ Ѧ ѪѬ Ѯ Ѱ Є Ѵ Ѷ Ҁ Ѡ Ѿ Ѣ Ө Ѹ

Р҃

С҃

Т҃

100

200

300

Ѹ҃

400

Ф҃

Х҃

Ѱ҃

Ѡ҃

Ц҃

500

600

700

800

900

EARLY CYRILLIC ALPHABET

863 A.D. OLD CHURCH SLAVONIC

CYRILLIC

863 A.D. = Ѡ Ѯ Г

ROMAN CATHOLIC

EASTERN ORTHODOX

Me t

dius ho

Saint Cyri l+

HUNDREDS

MODERN DAY CYRILLIC ALPHABET

RUSSIA + SLAVIC REGION

GREECE

9th Century Byzantine Empire ISLAM/ SUNNI ISLAM


MORPHOLOGY and NUMEROLOGY MORPHOLOGY AND NUMEROLOGY

CYRILLIC NUMEROLOGY CHART 33 TOTAL ALPHABETS 11 ALPHABETS ON EACH SIDE OF THE TRIANGLE

1

11

2

10 KNOWLEDGE 9 8 6

NATURAL | ENVIRONMENT

4

LIFE EARTH

2

SOUL

3

4

7

5

5

SEMIOLOGY OF WORDS 6

SELF | INDIVIDUAL

7 TRANSFORMATION

8 + 7 + 4 + 6 + 7 + 7 + 11 = 50 = 5 + 0 = 5

9 10 11

1

11 10

8

9

QUALITY

7

6

5

3

4

NATION

2

7 + 3 + 10 + 11 = 31 = 3 + 1 = 4

LORD | Господа

8

3

GOD | Отца

HEAVEN | небу 8 + 6 + 10 + 2 = 26 = 2 + 6 = 8

SPIRIT

1 BELIEF

COMMUNITY | SOCIETY

VALUE OF ALPHABETS, WORDS, SENTENCES Y

Y

4”

THE BASIC BUILDING BLOCK GOD | Отца

X

X

1”

7 + 3 + 10 + 11 = 31 = 3 + 1 = 4

Z

Z

RULES

WORD

VALUE - 1/4” (1:4 ratio)

SENTENCE

each number value is 1/4“ ex. number value of 4 = 1”

LENGTH - 1” (1:1 ratio) each letter is 1 unit

SPACE : WORD (per 1/8”) Spacing between words = 1

NICENE CREED IN CYRILLIC Верую во единаго Бога Отца, 15

7

11

9

4

10

8

8

2

10

2

Physical length of word by number of letters

Numerical value of word

3

видимым же всем и невидимым. 10

X-AXIS

Y-AXIS

Вседержителя, Творца небу и земли, 12

И во единаго Господа Иисуса Христа, 2

7

13

5

7

6

Сына Божия, Единороднаго, 10

6

13

Иже от Отца рожденнаго прежде всех век; 3

1

4

8

7

3

8

Света от Света, Бога истинна от Бога истинна, 6

1

6

9

11

1

9

рожденна, несотворенна, 11

единосущна Отцу, Имже вся быша. 6

4

4

11

Z-AXIS

2

5

10

Ratio of space-space to word-space


OPERATIONAL MORPHOLOGY

O P E R AT I O N A L M O R P H O L O G Y

LATERAL OPERATION

ROTATIONAL OPERATION

MORPHING OF MASSES

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M AT E R I A L M A N I F E S TAT I O N S Making physical the linguistic rules, qualities, and structure of the Cyrillic Alphabet based on previous analysis. Each type of wood represents a single word value of a sentence. The nut and bolt act as a single thread stringing the ‘words’ together to form a sentence. Each unit is a sentence in the Nicene Creed. The thickness of each wood piece represents its numerical value, and its height indicates the physical space of the word, with each letter acquiring a scale of 1”. The introduction of the nut and bolt is to create a pivot where word space and word value becomes operational, and the value and construct of a sentence can begin to change. This essentialy then becomes a tool to view letters, words, and sentences abstractly, to create sentences visually-- a playful way of visualizing semantic values.

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Wood (ply, mahagony, walnut, cherry, birch) + nuts and bolts.

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Original Nicene Creed Positive and Negative text analysis

TYPOLOGY A Surface Condition

A A N A L Y S I S O F N E G AT I V E S PA Typology CES

Surface Condition This is a series of analysis on the negatives spaces in the Cyrillic Nicene Creed. Relationships were established between typologies of negative spaces to determine the qualities and characteristics of an “inhabitable space�. The plaster cast model explores the inhabiting of a solid, like words on a page. It establishes a relationship of positive to negative space, words to its spacing. Can positive space become a negative space, a void? And can a void, an emptiness, become something solid and whole?

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TYPOLOGY B Corner Condition

Typology B Corner Condition

TYPOLOGY B Isolated Spaces

Typology C Isolated Spaces


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Exterior Circumference Circulation North-East Entrance

East Corner Unfolded 9AM

West Corner Unfolded 9AM

South-West Entrance

50’

Inner Circulation

8 MINUTES

2 HOURS

15’

8 M I N U T E S , 2 H O U R S , 1 D AY This intervention seeks to make physical and tangible the inhabitation of a negative space, and the experience of a positive space. Using time as a design element to govern the rhythm of the movement throughout the installation, the installation is a series of walls that gradually vary in its thickness and program. The thickness of the program begin to imply certain activities than can take place that assumes the duration of 8 minutes, 2 hours, or a day.

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1 DAY


Section A Scale: 1/16” = 1’-0” SECTION DIAGRAM B SCALE: 1/8” = 1’-0”

Section B SECTION A

Section A SECTION B

Plan Scale: 1/16” = 1’-0”

SECTION A SCALE: 1/8” = 1’-0”

Section B Scale: 1/16” = 1’-0”

PLAN SCALE: 1/8” = 1’-0”

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39


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C E R A M I C FA C A D E X M I T M E D I A L A B


WHERE IS THE ARCHITECTURE BUTTON The additive manufacturing process, also known as 3-Dimensional printing, has become an increasingly popular conversation for its implications at the architectural scale. The technology per se is essentially scaleless, but when confronted with reality, the limitations of scale forces innovative results. The following project is an exploration on the implications of the additive manufacturing process as an integral design and construction process for implementing a high performance facade. The MIT Media Lab was chosen as a case study due to its high variation and demand for different lighting conditions along one face of the building, designed by Fumihiko Maki.

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INPUT Grasshopper allowed for fast iterations in the shape and quantity of modules, and variance of openings. The code was then processed in Arduino, controlling the ABB robot arm in the printing process. The nature of this process calls for a back and forth work method between the digital data and ceramic production. Because the limitations of the ceramic material are uncertain until tested, the code is constantly changing, so that the form truly follows function on a micro scale.

Potentiometer speed reading

FA C T O R S I N F L U E N C I N G O F L U M I N A N C E

BASE

TILT

HEIGHT

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A P E R T U R E VA R I AT I O N


G R A S S H O P P E R D I G I TA L I N P U T M O D E L

PLAN

AXONOMETRIC

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M AT E R I A L E X P L O R AT I O N S + VA R I A B L E S With a self-built extruder reconfigured from a motorized Ryobi caulking gun, finding the right consistency of the extruded material was the most important factor in printing and designing the individual modules. The caulking gun was rewired to compensate for any inconsistencies in the extruded material by including a potentiometer that can vary the extruding speed, as well as a reverse function added for efficiency to speed up the process of loading material. Three different types of clay were explored: 01. Oil-based air-dry clay 02. Porcelain 03. CV90 (a self-mixed recipe of porcelain and coarser grain sand)

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CONTROL BOX Rewired Ryobi caulking gun containing configurations as such: 01. On / off switch to include forward and reverse motion to accelerate the reloading of ceramic material into the extruder. 02. Potentiometer to control speed of extrusion depending on clay consistency The wiring of the breadboard and circuitboard was done in collaboration with a Brown University Engineering Graduate Student, Emily Matteson.

+

18 V

M

5V Pot Pin

D

In4003

motor pin white

G S

black

Potentiometer 7A fuse

Arduino Board

On / Off Switch

+

18 V

18 V M

G S

black

7A fuse

IRL3103

(yellow) G to dig 3

S

CIRCUIT DIAGRAM FINAL VERSION

CIRCUIT DIAGRAM TEST

18 V M

5V

47 (white)

(white) to analog 0

D

10

U

In4003

5V

Pot Pin

D

motor pin white

M

5V

black


ABB IRB 120 ROBOTIC ARM

WORK SET-UP 165° 463 302

R70 Minimum turning radius axis 4

72

70

R580

R121 Minimum turning radius axis 1

700

270

R147 Minimum turning radius axis 3

290

R169.4

187

A

C

C

90 180 284

SIDE VIEW

90

165°

180

FRONT VIEW

TOP VIEW + RANGE OF MOTION

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SELF-MADE EXTRUDER The redesigned plexiglass machine body to house the original Ryobi motor allows us to identify motor errors, or clay accumulation. This increases workflow for ease of cleaning and maintenance.

Dismantled Caulking Shaft

Original Ryobi Gears

FINAL EXTRUDER

ORIGINAL RYOBI CAULKING GUN

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PREVIOUS EXTRUDER EXPLORATIONS


O U T P U T: C L AY E X T R U S I O N This is a post-fired clay piece with pre-punctured holes (punctured prior to being fired in the kiln) for facade fastening. The tallest unit is defined by the amount of printable material in a single loaded canister for production efficiency.

AF846-No14x51.DWG 14" X 14 X 2" ss hwh drill flex

AF846-No14x51.DWG 14" X 14 X 2" ss hwh drill flex

The cyanotype below maps the lighting condition based on the variation of openings for each cone.

FACADE ATTACHMENT SECTION DETAIL

CYANOTYPE

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1 : 1 FA C A D E P R O T O T Y P E FRONT FACE


1 : 1 FA C A D E P R O T O T Y P E BACK FACE


Photograph @ Knight Foundation

CASE STUDY | MIT MEDIA LAB The MIT Media Lab was chosen as a case study for its unique characteristic of having multiple programmatic needs on a single elevation shown in the photograph above. It contains single and double height gallery spaces, studio labs, and offices- all requiring different lighting conditions. We saw an opportunity here where additive manufacturing could create a high performance facade that is tailored to the lighting conditions needed for each program. Additive manufacturing provides the possibility of highly accurate and customized modules that can shift and exist at almost all scales.

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OFFICE SPACES

STUDIO LABS

GALLERY

P R O G R A M A N A LY S I S The existing facade performs as a screen for privacy rather than a filteration of light, therefore many of the interior blinds are drawn to block excessive light and glare. With the ability to control the apertures of each printed module, the amount of light affecting the interior space can be controlled in each section of the space, as specific as needed.

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GRASSHOPPER GRADIANT INPUT

Left Elevation

Front Elevation

GRASSHOPPER GRADIANT OUTPUT

Left Elevation 57

Front Elevation (Left)


Right Elevation

Front Elevation (Right)

Right Elevation 58


M I T M E D I A L A B | D I VA L I G H T I N G A N A L Y S I S

Level 5

Level 4

Level 3

Level 2

Level 1 CURRENT STATE JUNE 21, 9:00 AM

PROPOSED FACADE JUNE 21, 9:00 AM

M I T M E D I A L A B | FA L S E C O L O U R L I G H T I N G A N A L Y S I S

CURRENT STATE JUNE 21, 9:00 AM 59

PROPOSED FACADE JUNE 21, 9:00 AM


ILLUMINANCE (LUX) 0

417

833

1250

Scale 0

1667

417

833 1250

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2500

PROPOSED FACADE DEC 21, 9:00 AM

CD/M 2 475 425 375 325 275 225 175 125 75 25

CURRENT STATE DEC 21, 9:00 AM

PROPOSED FACADE DEC 21, 9:00 AM 60


3 D P R I N T E D FA C A D E O N M I T M E D I A L A B S E C T I O N M O D E L Scale: 1/8”=1’-0”


3 D P R I N T E D FA C A D E O N M I T M E D I A L A B S E C T I O N M O D E L Scale: 1/8”=1’-0”


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1 : 1 C E R A M I C FA C A D E Pre-installation


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E X P E R I M E N TA L W O R K The following body of work is a series of explorations of architectural theory and principles done during my time at RISD. They are exploratory, conceptual, and experimental. The first three series explores my interests in “soft structure�-- utilizing soft materials and its techtonics to other materials to create structure, to find its own inherent structure.

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1.0 CREASE & FOLD

The crease and fold gives a single sheet of paper structure. Derived from the movements of a dancer, the different variables of a vertical and 45 angle fold creates a complex set of spaces based on its techtonic.

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2.0 REPETITION This is a three part series of explorations and representations of the architecture of air, earth, and light. Three qualities of architecture that I associated with these three elements are the reaction of suspension, force of gravity, and the construction of transparency. Given the materials, piano wire of varying diameters and a non-stretchable nylon fabric, I explored the notions of tension and compression, the structural integrity of each material, and created a free-spanning structure that represents an “architecture of air�. The fabric worked as a weight, bending the piano wire and giving it its form. The wire acted as an axis in which the fabric was organized and the wire determined the final structure.

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3 . 0 G R AV I T Y Bristol paper in varied length is soaked in plaster that initially softens the paper, making it more flexible than its original state. However, over time as the plaster sets, the form becomes rigid. This aparatus was made to explore the relationship of the curvature, to weight of plaster, to the length of the paper. Is the structure the paper, or the plaster?

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C A R P E N T E R C E N T E R A N A LY S I S Le Corbusier’s Carpenter Center initially appears to be symmetrical because of its main circulation cutting through two lunglike spaces, but upon closer observation is actually asymmetrical-- like that of a human body. A complete symmetry would render as disorienting when experiencing the building: entering, circulating, and exiting. However, the slight asymmetry orients us as we circumnavigate and inhabit the building. The following drawings explore the reconstruction and reorientation of our displacement.

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COMPETITIONS The next two projects are the 2014 and 2015 competition entries for 120 Hours, a student competition based in Oslo, Norway. The first addresses question sustainability in architecture, and the second the role of preservation.

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SOUND WAV E S VIBES W H AT I S S U S TA I N A B I L I T Y ? This water pavilion was conceived for a competition 120 Hours based in Oslo, Norway

A limitless yet finite quality, occurring and recurring, travelling beyond its boundaries, implications and time. Interpreting sustainability as a mediator between nature and culture, this project does not only suggests the pavilion’s literal relationship to its natural surroundings in the context of our culture, but also how we humans, the architecture we inhabit, and the land we build on are all part of a unified organism. As a country that is primarily powered by hydroelectricity, and as a festival that is powered by a hydroelectric dam just hours from the site, water acts as a major driving force literally and metaphorically. Water is analogous to sound, an interpretation of music, a representation of a vibe. As the natural rain meets the collection of water from the roof, it overflows and becomes a wall, setting boundaries that are fluid yet definite, allowing for interaction and diversion of people. The Rain Pavilion itself is not only a beacon of the festival, it is an educational experience in itself, an instrument of learning.


We w e r e h e r e . P y r a m i d e n . Where there was coal, there was life. Sitting there beneath Pyramiden, patiently waiting for a chance to glisten, to be discovered—it promised an economy. This is a token that carries Pyramiden’s symbolic value of today, while embodying both the birth and purpose of Pyramiden. The token itself represents two points of time in that it is also conceivable as a token of pre 1998 Pyramiden, acting as a representation of the town while it was still in operation, an icon that marked Trust Artikugol’s presence. It does not alter the existing architecture, in respects for the people who have built and inhabited them. However, through its placement along the main broad street, an emphasis is placed on the built environment and the people who lived there, illuminating the residential and cultural buildings even in the darkest of winters, preserving the ghost of the people that carried out their lives there. The light implies a continuous flow of energy—the one constant, assurance, and promise the people of Pyramiden had as long as there was coal to mine. Today, Pyramiden promises a different kind of economy—one where its value is a function of time, increasing the longer it stays present, glowing stronger and stronger. You will see; we will be here.


MISCELLANEOUS WORK

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GRAPHIC DESIGN

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A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ra t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g N e t t l e s S h a l l o t s S h e l l i n g B e a n s S w e e t O n i o n T h y m e T o m a t o e s T u r n i p s W a t e r m e l o n s W i n t e r S q u a s h Z uEcRc h i n i | A r u g u l a A s p a r a g u s A p p l e s B a s i l B e l l P e p p e r s B l a c k B e r r i e s B l u e b e r r i e s B e e t s B r o c c o l i B r u s s e l S p r o u t s C a b b a gMe C a r r o t s C a u l i f l o w e r C a n t a l o u p e s C e l e r i c R o o t C e l e r y C h a r d C h e r r i e s C h i c o r i e s C o r n C r a n b e r r i e s C u c u m b e r s C u r r a nM U ts Eggplant E n d i v e E s c a r o l e F a v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e KS o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ra t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e r s P oRt a t o e s P l u m s P u m p k i n s R a d i s h e s R a d i c c h i o R a s p b e r r i e s R u t a b a g a s R h u b a r b S p i n a c h S t r a w b e r r i e s S t i n g i n g E N e t t l e s TS h a l l o t s S h e l l i n g B e a n s S w e e t O n i o n T h y m e T o m a t o e s T u r n i p s W a t e r m e l o n s W i n t e r S q u a s h Z u c c h i n i | A r u g u Il N a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts C a u lW iflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini | A ru gu l a As p a ra gu s A p p l es B as i l B e l l P e p p e rs B l a c k B e r r i es B l u eb e r r i es B e e ts B r o c c o l i B ru ss e l S p r o u ts C abba g e C a r r o ts Cauliflower Cantaloupes CelericRoot Celery Chard Cherries Chicories Corn Cranberries Cucumbers Currants Eggplant E n d i v e E s c a r o l e Fa v a B e a n s F e n n e l F i d d l e h e a d s G a r l i c s c a p e s G a r l i c G r a p e s G r e e n O n i o n s G r e e n B e a n s K a l e K o h l r a b i L e e k s Lettuce Melons Mushrooms New Potatoes Nectarines Nettles Onions Parsley Parsnips PeaGreens Peaches Pease Pears P e p p e rs P o ta t o es P l u m s Pu m p k i n s Ra d i s h es Ra d i c c h i o Ras p b e r r i es Ru taba gas R hu ba r b S p i n a c h S t rawb e r r i es S t i n g i n g Nettles Shallots ShellingBeans SweetOnion Thyme Tomatoes Turnips Watermelons WinterSquash Zucchini |

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FA R M F R E S H R H O D E I S L A N D This application development project was done in collaboration with Farm Fresh Rhode Island during my Social Entrepreneurship course at Brown University in 2015. Farm Fresh Rhode Island is a 501(c)(3) non-profit organization that aims to reconnect the Rhode Island community to its local farms, promoting the farm to table approach of eating. This not only supports local fresh produce and businesses, it also promotes healthy dietary habits among the community. Farm Fresh Rhode Island currently has over eight major programs, tackling a variety of issues within a community that is linked to dietary lifestyles and habits, especially among low-income families. Its biggest revenue generating program is a foodbox subscription service that delivers seasonal fresh produce weekly to your door. My team and I saw this as an opportunity to make efficient and appealing to the younger generation a service that we think is extremely straightforward and effective in changing people’s eating habits.

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Log-in as the two main users of the foodbox subscription service: Individual user and families, or a business owner!

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See weekly produce, and your delivery history.

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VEGGIEBOX SEARCH

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INDIVIDUAL USER

BUSINESS OWNER

Get our weekly VeggieBox filled with fresh local produce delivered to your doorstep!

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PRODUCE DELIVERED TO YOU THIS WEEK

RADISH

CARROT

LETTUCE

KALE

CORN

TOMATO

CAULIFLOWER BELL PEPER

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POTATO


Get new recipes every week for the ingredients in your box.

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Learn more about the farmers that harvested your food!

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CARROTS PRODUCE DELIVERED TO YOU THIS WEEK

RADISH

KALE

CARROT

LETTUCE

PRODUCER

NUTRITION

CORN

TOMATO

CARROT GINGER SOUP

CAULIFLOWER BELL PEPER

POTATO

100%

CARROTS

RECIPES

PRODUCER

NUTRITION

RECIPES

90 George St. Seekonk, MA

A little about Four Town Farm... Our family owned farm is located in Seekonk, MA, a few miles east of Providence, RI. We open our season mid April with a large selection of perennials, annuals, hanging baskets, and mixed containers. The farmstand is open through the holidays, selling fresh cut trees and wreaths.

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RISD Portfolio 2016  
RISD Portfolio 2016  
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