Constance Chang Portfolio 2017

C O N S TA N C E C H A N G P ORTFOL IO U NIVERSITY

OF OF

SEL ECTED WO R K S P ENNSYLVANI A .

UC

2 0 1 1 -2 0 1 6 BE R K E LE Y

concept render : project in progress with Tian Ouyang

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EDUCATION University of Pennsylvania

Masters of Architecture 1

2015 - 2018

University of California, Berkeley

Bachelors of Arts in Architecutre

2011 - 2014

Fox Architects

Washington, DC

Summer 2016

J.J.Pan Architects

Taipei, Taiwan

2014-2015

Bio-Architecture Formosana

Taipei, Taiwan

Summer 2012

WORK EXPERIENCE

PROGRAMS Rhinoceros 5, Maya 2015, Revit 2014, Autocad 2014, Sketchup 7-8, Photoshop CC, Illustrator CC, InDesign CC, Premiere CC, Final Cut Pro X, Vray, 3d Max, Protools 11

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LANGUAGES English, Mandarin, conversational Taiwanese and French

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CONTACT constc@design.upenn.edu (215) 300-5472

ELEVATED EXCAVATION \

INSTRUCTOR: SCOTT ERDY ARCH 601 PENNDESIGN M ARCH YR 2

The Elevated Excavation aims to provide santuary admist the current political turmoil.

Hidden within the Reading Viaduct walls and underneath the ground, there exists many layers of rich history. This rich history dates all the way back from the pre-human natural earth to the Lenape occupation, the arrival of the westerners, and into the post-industrial, commercial world today.

Throughout the process of modernization, many of these histories have been so altered and buried to become unrecognizable. This project aims to excavate into these layers and elevate them, so as to represent and celebrate the series of stories and injustices.

VINE STREET EXPRESSWAY

POST-INDUSTRIAL COMMERCIAL

INDUSTRIAL REVOLUTION

ARRIVAL OF WESTERNERS LENAPE OCCUPATION PERIOD

NATURAL WATER TABLE / GROUND WATER WELL

THRESHOLD OF DIVISION

1

2

3

4

5

6

7

A.2

level 7

level 7

level 6

level 6 1 br / 2 br units

level 5

level 5

level 4

level 4

level 3

level 2

outdoor plaza / connection bridge 2br units

studio units

level 3

level 2

level 1

level 1

level V

level V

level G

lobby / entrance

level G

cafe / outdoor courtyard

WEST ELEVATION A-A

natural water well

SECTION B-B

A.1

1

B.2

B.1

C.1

C.2

D.1

D.2

A

2 br units

B

B

lobby/entrance

cafe / outdoor courtyard

natural water well

PLAN LEVEL 1

SECTIONAL MODEL 1/4” = 1’-0” plastic, acrylic, chipboard, spray paint

CONCEPTUAL MODEL 1/16” = 1’-0” charred wood, acrylic, bristol, chipboard

1 BEDROOM UNIT PLAN

STUDIO UNIT PLAN

RENDER : OVERALL VIEW

The Carnival of Disharmonic Harmony originates from the concept of happy hour, where characters of different backgrounds and routines come together for time specific occurrences. This convergence of differences begins to stimulate a spontaneity that is unique to the site.

DISHARMONIC HARMONY \

SPRING 2016 PENNDESIGN 502 INSTRUCTOR: ANNETTE FIERRO THE CARNIVAL PROJECT

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Varying patterns overlay to create new patterns. Non-synchronizing frequencies are imposed onto each other, generating a new disharmony that is harmonious to the idea of the carnival.

The project aims to interweave different time cycles that the site is comprised of, such as traffic hours, tidal patterns, sunpaths, commercial activity, and so on.

Formally, the project is generated through animating gemotetries based on the underlying forces of the site. The movement is manifested as spatial volumes, and the generating geometries become void

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SECTION A-A

C

B

C

B

A

GROUND FLOOR PLAN

A

The series of void conditions begin to notate the project in its programmatic sequences, which overlap to generate unexpected experiences.

SECTION B-B

-

The main theatre is indirectly exposed to the exterior through a reflected surface, which also provides the audience with a view of the exterior.

As a result, every performance is unique.

The gallery is placed next to heavy traffic. The varying speeds of the gallery visitors and cars begin to interact visually. Traffic lights become the backdrop of selective areas of the gallery.

Floating platforms by the river move and dock onto the shore according to tidal patterns. They act as farmers markets on certain days of the week, and party booths in the nighttime.

SECTION C-C

As different pulses converge to generate new rhythms, angled reflective surfaces act as multipliers that visually amplify the experience of the project.

As densities dissipate, flutter, and intensify without premeditation, the spontaneity of happy hour is recreated.

The result is a carnival that is disharmonic in the most harmonic way

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PHYSICAL MODEL PHOTOGRAPHS WIRE MESH, BRISTOL PAPER, POLYSTYRENE, CHIPBOARD

TITLE: COVERED SOUP BOWL DESIGNER: RUSSEL WRIGHT COLLECTION: AMERICAN MODERN

NORMATIVE BOUNDARY

RUSSEL WRIGHT GEOMETRY

CURATIONAL CONTAINER

CONTAINER: WITHDRAWN OBJECT \

RUSSEL WRIGHT ARTIFACT CURATIONAL CONTAINER FALL 2015 PENN DESIGN 501 INSTRUCTOR: ANDREW SAUNDERS

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ELEVATIONS

1-3

1-2

1-1

3-6

2-1 2-2 2-3

FRONT

BACK

SIDE

THE RELATIONSHIP BETWEEN THE OBJECT AND ITS CONTAINER IS NOT SIMPLY ONE OF CONTAINING AND BEING CONTAINED. THE OBJECT TRAVELS THROUGH THE NORMATIVE BOUNDARY, PULLING AND PUSHING ITS GEOMETRY WITH ITS FOLLOWING QUALITIES: ITS ONE DIRECTIONAL MOTION ITS SINGULAR VERTICALITY AT THE MOUTHPIECE ITS OVERALL HORIZONTALITY OF ITS SEAM ITS DUALITY OF A TOP AND A BOTTOM PIECE THE RESULT IS A CONTAINER GEOMETRICALLY UNQIUE AND SPECIFIC TO ITS OBJECT

3-5

3-4

3-3

3-2

3-1

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MODEL DETAIL:

OBJECT REVEAL

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SECTIONAL CUTS

CUT 2-1

CUT 3-1

CUT 1-1

CUT 2-2

CUT 2-3

CUT 3-2

CUT 3-3

CUT 1-2

CUT 1-3

1 OBJECTS MUST EMERGE AS SOMETHING OVER AND ABOVE THEIR PIECES 2 OBJECTS PARTLY WITHOLD THEMSELVES FROM RELATIONS WITH THER OBJECTS (WITHDRAWN) - SPECULATIVE REALISM, OBJECT ORIENTED ONTOLOGY, GRAHM HARMAN

CUT 3-4

CUT 3-5

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PHYSICAL MODEL CONTAINER: CHIPBOARD / GESSO PAINT OBJECT: 3D PRINT

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BACK REVEAL

PITCHER

CARAFE designer: RUSSEL WRIGHT collection: AMERICAN MODERN year: 1939 - 1959

MONSTROUS CHILDREN

TETRAHEJI MODULE

team members: Ji Yoon, Tian Ouyang, Andre Stiles, Julie P

Pepitone

TETRAHEJI \

WINNER OF BEST CRAFT AWARD PART TO WHOLE PAVILLION COMPETITION

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FALL 2015 PENNDESIGN 501 INSTRUCTOR: ANDREW SAUNDERS

** All drawings and renders included are works by Constance Chang, created for the purposes of this portfolio.

MODULES ARE CREATED THROUGH CASTING RIGID POLYURETHANE FOAM USING CNC MILLED FORMWORK

INGREDIENTS:

POLYURETHANE MIXTURE, VASELINE, PRESS N SEAL WRAP, ACETONE, GESSO PAINT, HOT GLUE

TOOLS:

CNC MILLED CONDENSED FOAM FORMWORK, ELECTRIC MIXER, DRILL, CHISEL, PAINT BRUSHES, HAMMERS, GLOVES, MASKS

C

B

A

D

THE MODULE IS AGGREGATED IN A NESTING MANNER GENERATED BY GRAVITATIONAL PULL. REDEFINING TOP/BOTTOM AND INSIDE/OUT RESULTS IN THE ARCHITECTURAL CONSEQUENCE OF EXTERIOR/INTERIOR POLARITY. THE EXTERIOR ACTS AS AN INTERLOCKED SURFACE CONDITION WHILE THE INTERIOR SPACE BECOMES PERFORATED

C

C

B

A

A

D

MODULE DIVISION FOR MASS PRODUCTION D

PLAN

SEC

THE \

PHOTO CREDIT: PENNDESIGN

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EXTERIOR RENDER

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INT

E TETRAHEJI PAVILLION WAS AWARDED THE TITLE OF "BEST CRAFT" IN THE PAVILLION COMPETITION

TERIOR RENDER

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PAVILLION MODULES ARE CURRENTLY EXHIBITED AT THE PENN BOOK CENTER

LIFT \

MANITOGA GALLERY

INSTRUCTOR: ANDREW SAUNDERS ARCH 501 PENNDESIGN M ARCH YR 1 MODEL: 3D PRINT

A four-square parti is created and subtracted from to create threshold to the manitoga site, framing the water and Russel Wright House, openning up courtyard and platform space for viewing.

The manifold wraps around the aggregation tightly at times to reveal original geometry, and loosely in other moments, creating new normative connections between the pre-existing nodes of the tetrahedron.

Polarity between surface condition and perforated space is brought over from the pavillion to the gallery. The specific experience of the pavillion is achieved through a manifold infill into the nega-tive space between the modules.

RUSSEL WRIGHT GALLERY / LIFT

RUSSEL WRIGHT HOUSE/STUDIO

SEAM

TETR

CLUS

MAN

PART TO WHOLE RELATIONSHIP

SEAMS

-

TETRAHEJI

-

CLUSTER

-

MANIFOLD INFILL

MS

RAHEJI

STER

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SITE PLAN

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SITE SECTION

IFOLD

P

The polarity generated by the tetraheji aggregation results in a drastic change in figure ground relationship.

In the lower level the gallery space occurs around the poche.

ELE B

ELE A B

C

A

A. Lobby B. Temporary Exhibition Gallery C. Courtyard

In the upper level the gallery space occurs within the poche.

A

D

C

B

B

A

B A. Textiles and Furniture Gallery B. Exterior Gallery C. Dinnerware and Serveware Gallery D. Restrooms

A

RF

RF

Level 2

Level 2

Level 1

Level 1

Ground

Ground

ELEVATION A

SECTION A-A

RF

RF

Level 2

Level 2

Level 1

Level 1

Ground

Ground

ELEVATION B

SECTION B-B

RF

Level 2

Level 1 Ground

RF

Level 2

Level 1 Ground

APERTURE DIAGRAM

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MODEL: 3D PRINT, CHI

IPBOARD, GESSOPAINT

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RENDER: UPPER FLOOR GALLERY

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RENDER: LOWER FLOOR GALLERY

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RENDER: COURTYARD

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MODEL PHOTO:

LIGHTWELL

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MODEL PHOTO:

NEGOTIATION WITH SITE GEOMETRY

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RENDER:

COURTYARD EXHIBITING TETRAHEJI

DOUBLE NEGATIVE DESIGN THROUGH SUBTRACTION ARCH 100A FALL 2013, UC BERKELEY INSTRUCTOR: ANDREW ATWOOD

CONCEPTUAL MONTAGE

SECTION A

MODEL: WHITE MUSEUM BOARD

SECTION B

SECTION C

SECTION F

SECTION D

SECTION G

SECTION E

SECTION H

20TH ST

19TH ST

18TH ST

POTRERO HILL LIBRARY INSTRUCTOR: ANDREW ATWOOD ARCH 100A FALL 2013, UC BERKELEY DIAGRAM : VARIED HEIGHTS POTRERO HILL, SAN FRANCISCO EXHIBITS DRASTIC ELEVATIONAL CHANGES. THE DIAGRAM MAPS OUT EACH CROSSROADS AS PLATFORMS AND AMPLIFIED THE HEIGHT DIFFERENCES. THE CROSSROADS ARE CONNECTED TO CREATE THREE DIMENSIONAL SPACES, AND TO DEMONSTRATE THE VOLUMETRIC NATURE OF THE SITE. THIS IDEA OF A SPACE WITHOUT A SINGLE CONTINUOUS GROUND CARRIES ON IN THE FORMAL DEVELOPMENT OF THE LIBRARY.

MODEL: WHITE MUSEUM BOARD

FRONT ELEVATION

BACK ELEVATION

PATTERN PROJECTION

SECTION PERSPECTIVE A

SECTION PERSPECTIVE B

ROTATED AXONOMETRIC VIEWS

EXTERIOR RENDER

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FORM GENERATION DIAGRAM

PLATFORMS VARYING IN SIZE AND PLACEMENT ON ALL AXIS CONNECT TO FORM AN INTERWEAVING SYSTEM OF PLANES. THREE HORIZONTAL NORMATIVE PLANES ARE IMPOSED, AND CONNECTIONS ARE MADE FROM THE PLATFORMS TO THE NORMATIVE EDGES. THE ORIGINAL PLATFORMS ARE MANIFESTED DIFFERENTLY SOME BECOME LIGHTWELLS, CIRCULATION, OR OCCUPIABLE SPACES.

C

B

A

PLAN CUT A

PLAN CUT B

PLAN CUT

C

MODEL: MUSEUM BOARD

INTERIOR RENDERS

SECTION A

EXTERIOR RENDERS

SECTION B

SECTION C

SECTION D

SHELVE DIAGRAM SECTION E

GOOD FOOD, SAN FRANCISCO \

ARCHITETURE 100B SPRING 2014 INSTRUCTOR: AJAY MANTHRIPRAGADA LEFT: FACADE DIAGRAM, TOP: MODEL PHOTOGRAPH, BOTTOM, EXTERIOR RENDER

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PLAN 1F

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ELEVATION A

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SITE MAP

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ELEVATION B

MARKET ST, SANFRANCISCO

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MODEL PHOTOGRAPH

ON THE EXTERIOR FACADE, THE LEVEL OF POROSITY REFLECTS IN THE PROGRAMMATIC NATURE OF THE INTERIOR SPACES, DETERMINING THE AMOUNT OF NATURAL DAYLIGHTING. PUBLIC AND PRIVATE PROGRAMMATIC SPACES ARE DIVIDED INTO TWO MAIN SECTORS SEPARATED BY A CENTRAL PUBLIC ATRIUM.

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ELEVATION C

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PLAN 2F

public

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central atrium

SECTION A

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SECTION C

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SECTION B

private

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CONCEPTUAL CUT

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UNFOLDED FACADE

TABARCA IS AN ISLAND HIGHLY SATURATED WITH SOUND. IT IS FILLED WITH TENSION AND EMOTION, SUBMERGED IN PURE AND CONCENTRATED SOUNDS OF THE OCEAN, WIND, AND CIVILIZATION.

THE ISLAND IS IN NEED OF A CERTAIN RESOLUTION. IT MUST BE IMPOSED BY A MOMENT OF COMPLETE SILENCE TO REACH EQUILIBRIUM.

AUDIBLE SILENCE \

OLD MEETS NEW : INTERVENTION PROJECT UC BERKELEY SUMMER STUDIO IN SPAIN 2014 INSTRUCTOR: ALEJANDRO SALAZAR JASBON

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THE EXTRUDED STRIATIONS ACT AS SOUND ABSORPTION SURFACES WHICH CREATE A SPACE OF QUIET AND PEACE, DIFFERENTIATED FROM THE REST OF THE EXPERIENCE OF THE ISLAND. STRIATED PATTERNS ARE DERIVED FROM THE GEOMETRIC LANGUAGE OF THE BEACH ROCKS NATIVE TO THE TABARCA ISLAND TO ACT HARMONIOUSLY WITH THE EXISTING SITE. THE SAME ELEMENT IS THEN UTILIZED IN DIFFERENT ARCHITECTURAL MANIFESTATIONS: AS SURFACE CONDITION, SEATING, PARTITION, AND PLATFORMS.

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CONCEPT MODEL: WOOD, RUBBER BANDS, PINS, BEADS, FABRIC

\ RENDER: LOBBY

\ RENDER: OLD MEETS NEW

EXISTING STRUCTURE

INTERVENTION

TSMC PEDESTRIAN BRIDGE \

DESIGNED AT J.J.PAN 2013 ASSIGNED AS LEAD DESIGNER FOR THE CONNECTION BRIDGE AMONG THE PROJECT TEAM RESPONSIBLE FOR THE DESIGN OF THE TSMC CAMPUS.

SPA

MULTIMEDIA ARTWORK INDIVIDUAL MONTAGES / PAINTINGS CREATED USING PHOTOGRAPHY, ACETONE TRANSFER, DIGITAL EDITING, ACRYLIC PAINT, ETC.

MERCADIO

SAND DUNES

CAR WINDOW

CONSTANCE CHANG PENNDESIGN UC BERKELEY J.J.PAN ARCHITECTS

CONSTANCE CHANG PORTFOLIO

OF

SELECTED

CONST@DESIGN.UPENN.EDU PENNDESIGN . UC BERKELEY

WORKS 2011-2016 . JJPAN ARCHITECTS Constance Chang 2017 Portfolio

constc@design.upenn.edu (215) 300-5472