A202b_Spring 2011 Portfolio

A202b STUDIO WORK Daniel Nguyen | John Frane

A01 Material Precedent This segment focused on deployment of an assigned architectural material cast study. Through the unpacking of a precedent of specific historical significance, we learned to produce a collection of analytical and representative models focused on the tectonic and material implications of design. As a formatted aggregation of diagrams and analytiques, our studio produced a unified body of architectural research [2D and 3D] that would document a significant segment of architectural thought.

MSP Building at Scottish Parliament Enric Miralles

SECTION

Site Plan

SECTION

Section

Fabrication Process

Full Axonometric Office Detail Axon Full Elevation Facade Detail Elevation

Oak Lattice

Steel Frame Enclosure

Sycamore Frame

Steel Panel

Glass Window

Field Effect

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Weighting of Material

Mockup of contemplation spaces

A02 Assemblies The second segment engaged the relationship of connections and larger systems of assembly. Given a very specific unit and a limited collection of operations [cutting, drilling, notching] we each developed an individual tectonic. Both the resulting joint conditions molded [full scale to illustrate the detail] as well as the collective effect of the assembly. Assembly drawings focused on the sequence of the system and the collective field effect.

Starting Point Every student’s design process initiated with the same 2 x 2 x 12� standard douglas fur unit, and the exploration was determined by the techniques and manipulations of the block.

A02

Daniel N

Material Operations

(1) 2x2x12� standard douglas fur unit (2) 2 45 degree cuts

(3) 3 cuts

(4) 1 cut (5) split seperate pieces

Aggregated Model

A03 Performative Object The third segment confused on design through making. Adopting a specific function, the associated rituals and needs will collaborated material to define form. The end result was a full-scale material fabrication.

INTRO The following pages consist of several conceptual model studies performed through experimental tests using a spray foam insulant. Throughout the process, several models were developed that allowed our group to gather a deeper understanding of how spray foam can be manipulated and casted into any desirable form.

Casting Box Spray foam injected into rectangular box; experiment done to examine the performative qualities of the material; deficiencies in this technique included bubbling at the sur- face as sacrificing the bottom edge of the material since it was not able to dry entirely in the box. We theorize that the reason the foam was unable to dry successfully was due to the aluminum cover, as well as the use of cooking spray which resulted in the discoloration of the foam.

Methods of Spraying Foam Similar to the first experiment, this experiment was done in a rectangular box lined with aluminum foil; however, the process varied by laying massings of foam spray in lines andvarious positions. From this study,we learned that without the cooking oil, aluminum allowed for simple tearing from the foam. Also, the foam was able to merge with one another even if the second application was done hours after. The experiment on the left was done in different time intervals, in which the first application was done in blobs. After an hour, the second application was done to fill the gaps of the first application, which proved to be a success as they were able to merge despite the time gap between the applications. Similarly, the experiment in the middle was done as strips, while the one on the far right was done along side one another in chunks rather than strips.

Water Application In these studies, we experimented with the possibility of using water to cure the foam faster. The studies dried quickly, which proved to be a success. In the bottom right, we experimented with applying foam in two chunks first, spraying water, and then applying another layer of foam to see how they would react to one another. The result showed that despite the separate application and spraying water to make it cure faster, they were able to fuse together as one.

Plastic Bags Very few, if any, of the tests we did in plastic bags were sucessful; the spray foam was unable to dry in a closed plastic bag even when there was a bit of air that we left in the bag, and if it did it took much longer than the initial test done in the rectangular box, which was exposed to open air.

Fabric One of the tests was done by filling a bag of cloth with insulation foam. Suprisingly, this was our most succesfull cast done. The formwork was created by folding cloth in half with sewn sides with the top tied and wrapped around with a rubberband. It produced a smootly curved product and made it possible for us to generate whatever form we wanted with the formwork that was sewn.

Manipulating Formwork Similar to the experimentation with the pinching, except at a larger scale, this formwork was more complex in that we wrapped around the cloth diagonally with wires allowing for creases to form diagonally throughout the structure. In this model, no sewing was done, only folding and knots were involved in the process.

Conforming to the body Two or three tests examined the foam’s reaction to a bodily form and weight at a smaller scale that would give us a better idea of how the spray would react on a larger scale. The purpose was to take advantage of the foam’s characteristics enabling possible manipulation in its form, including to that of the human body.

Coating We experimented with coating the foam; however it seemed to make no difference except in color and roughness. On the side that we sprayed the glaze, the foam seemed to feel rougher than normal. Also, the color seemed to turn whiter than the natural cream color. Overall, with this experiment, we concluded that coating was not an issue that we should involve ourselves with as it made little difference from the original product.

Design Production After our small study models, we scaled our experiments into larger sizes to get a sense of how we could work with the material in a much larger scale. We took what we learned from our previous experiments: using fabric as a formwork and the necessity of having the foam be able to breathe so that it could dry in due time.

Coating Despite its simplicity, this fundamental model gave us an idea of where we should start with our form when experimenting with fabric. This test was successful in that it dried within eight hours and was able to portray a perfectly uniformed textured surface.

Balloon and Wire Work After surveying all of the experiments performed, we expanded the scale of our tests and implemented a few of the most successful techniques to construct small mock- ups of the bench, or components of the bench that would be fabricated for the final model. Injecting insulanted foam into small holes cut out of the fabric allowed us to fill the different parts of the sewn cloth, which would generate specific massings depending on where we pinched or tightened the cloth with wire, certain sewing techniques and knots.

Stitching This cast focused on the idea of stiching in certain areas to allow for seating. We were able to fill the formwork successfully. When it dried, the expansion of the form was exponential to the point where the fabric ripped. The pink one; however, was not as successful in that we worked with the formwork and moved the model around after casting the foam. The corners are not expanded with foam because of the handling we had done to move it around and wrap the wires around.

Final Design Prototype Compiling everything that we’ve learned, we finalized our design such that it was site specific. We decided on this site because of its surrounding that water fountain that would be able to show how our foam bench would be water resistant even if it got wet from the water. The form is dependent on the fountain’s height. We used different types of s-tching to create the different types of seating.

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Conclusion The insulated foam sealant works very well with the fabric, as long as we are able to do the formwork ahead of time. The process is affect as long as there is minimal physical contact with the form once it is casted to allow for the model to naturally expand and dry on its own. Once the form is manipulated after it is casted, the natu-ral tendencies of the material are not as effective.

A04 Material Systems The fourth segment engaged the limitations and capabilities within the existing systems of materials.

Using concrete masonry as a base framework, the modules, shapes, capabilities and effects of working a system were engaged. A simplified program allowed for the complexity of focus to be on the material application.

PERFORATE verb |ˈpərfəˌrāt| [ trans. ] pierce and make a hole or holes in

4 x 8 x 16 Plain CMU Block

Inspiration

Light Projected into Spaces

FIELD EFFECT

SECTION Scale: 1/4” = 1’

ELEVATION Scale: 1/4” = 1’

Initially, several implementations of the CMU block were examined by our group in order to determine the most versatile unit that could be used in limitless situations and therefore be the most economically feasible unit to use

PRECEDENTS // LIGHT STUDIESa strong interest in manipulating light, and that became an aspiration in our design as Our group quickly grasped well during the process of the two weeks. A couple of precedents were examined early on to understand how previous architects had intentionally controlled light to produce atmospheric experiences Alex Dimento | Spencer Mischka | Daniel Nguyen | Jordan Roberts

WORKS / ARTISTS & ARCHITECTS STUDIED

INSTALLATIONS / ARCHITECTURE

JAMES TURRELL

DAN FLAVIN

LUIS BARRAGAN

HOLY ROSARY CHURCH COMPLEX

TADAO ANDO

SJAKKET YOUTH CLUB

CONDITION B

CONDITION A

Unit

UNIT TYPE / ORGANIZATION

A simple shifting technique determined our design and it would ultimately become the deciding factor in how the wall would react to the site and how it consumed light.

JOHN FRANE

ALEX DIMENTO SPENCER MISCHKA DANIEL NGUYEN JORDAN ROBERTS

Site Plan

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A05 Material Architecture The fifth and final segment integrates process, material and program in a specifically sited context.

The program required an integration of previous projects as well as site and material to develop a clear concept of design through making. Resolving all the complexities of structure, materials, program, site and experience all organized with a clarity and cohesiveness, the scheme required total aggregation of tectonics, history, and representation through design. The final segment of the studio investigated the influence of material on a fixed program. The design emerged from materiality and the application of construction to use: material logic.

One of the intial excercises for the final project was to choose one of the three logics: casting, unit, or line, and devleop the design further from those initial decisions

Line / Folding This logic would propose a system in which the simple shifting and redirection of glass planes would diffuse light

CURVED / RIBBONED CONCRETE

SPHERES Casting / Push & Pull Pushing and pulling in key points in the wall would allow for shaded SEVERED caverns STACKED CONCRETE CUBES or various other programmatic elements in the project

Unit This process would allow the aggregation of a similar unit to adapt and provide spaces and voids for program as well as structure by removing and adding cube units STACKED CONCRETE CUBES

SEVERED SPHERES

A202b. A05. MATERIAL APPLICATION. 03/28/2011

PROGRAM R Lobby with In Programmatic 300sf Requirements Locker room/ 75 lockers, 8 Lobby Area Locker Rooms Vending 100sf -Offices Restrooms 350 sf Storage Vending Area 100sf Offices Laundry Storage 100sf Olympic Size Laundry 25m x 50m Olympic Sized Pool Toddler Pool Toddler Pool 10' x10' Shaded Seating Shading Sea Life Guard Station300sf Life Guard St Exterior Green Space 80 psf Exterior green 1000sf

Site SITE

Material Exploration Fabric formed concrete, wooden, aluminum and glass construction methods were all examined to understand which would appropriately construct the design I had in mind PRECEDENTS / STUDIES

Fabric Formed Concrete

FABRIC FORMED CONCRETE / CONCRETE IMPREGNATED FABRIC “CONCRETE CLOTH”

Wood WOOD

Aluminum + Glass

GLASS / ALUMINUM

DANIEL NGUYEN | JOHN FRANE

Further Exploration

A202b. A05. MATERIAL APPLICATION. 03/30/2011

DANIEL NGUYEN | JOHN FR

MATERIAL PRECEDENT STUDIES FABRIC FORMING CONCRETE

Kenzo Unno

Kenzo Unno

Frame Method Quilt Method Frame Method

Quilt Method

HYBRIDIZATION OF TYPOLOGIES = UNIT + LINE + CASTING

Bulged Wall Construction Method Bulged Wall Construction

Pockets and Spaces The material tectonic intrigued me because it would allow this pulling and pushing of Frame Method Quilt Method Bulged Wall Construction the fabric material that would generate slumps in the concrete in which people visiting the pool could sit inside and relax in right beside the pool as well as create shaded space HYBRIDIZATION OF TYPOLOGIES = UNIT + LINE + CASTING

Believed structural strength should come from form, not mass

FORMAL STUDY

This diagram essentially shows my interest in the ability to curve the fabric formed concrete material and generate movement in the walls that would not only engulf the pool and its additional programmatic ele-­ ments, but also overhang above the pool project and its contents

CORNER CONDITION / ASSEMBLY

Curving and Wrapping There were also proposals of using curved concrete wall to envelope the site and hang it above the pool to provide shape as well as shadow to the spaces below I am using Candela’s works as reference and utilizing these wall formations that I’ve mod-­ eled to generate programmatic spaces as well as craft the enveloping form that will sur-­ round the pool project In addition, the curved concrete will be used to form corners and they will be supported by wooden beams during construction and removed once the concrete has entirely cured

Further Experimentations with Fabric These formworks were made to see how plaster would react to openings in the sewing work, and this would determine if the final design would allow openings for windows or to expose light into spaces

CORNER CONDITION / ASSEMBLY

I am using Candela’s works as reference and utilizing these wall formations that I’ve mod-­ eled to generate programmatic spaces as well as craft the enveloping form that will sur-­ round the pool project In addition, the curved concrete will be used to form corners and they will be supported by wooden beams during construction and removed once the concrete has entirely cured

MODELING -­ MATERIAL STUDIES Fabric Formed The physical models allowed a deeper understanding of how to Plaster Models treat the material and force it to conform to a curved shape in order to obtain the exact form I was trying to achieve Modeling the design at a The first model demonstrates how the concrete would react as small scale was fairly sucan overhang;; making the concrete span above the pool and act as a shading element will be a task as well in order to eliminate essful but there was a nocracking of any sort at the curve ticeable amount of breaking For the second model, I had interest in reproducing what the pool floor would look like, by generating the depressions and when attempting to making dimples that would show up in the surface of the pool floor sharp curves in the formwork

N Lifeguard Station

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E S

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Storage + Laundry

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Site

W

Scale: 1 = 500

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Frane Studio

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Wall Depth (ft)

Wall Conditions Fabric sewn with adjacent wall

Fabric conforms to floor

Fabric conforms to floor and binds with adjacent wall

Fabric opens for pour

Lockers + Restrooms W

E

Fabric opens for pour + fabric is sewn with adjacent wall

E

S

+1

-2

+2

-1

+3

Fabric constricted to form window(s) Fabric constricted to form door(s)

N

-3

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0

+4 +5 +6

S North

E

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East

S

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South

West

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Interior Elevations

Exterior Wall Scale: 1/8" = 1'

Site

W

Scale: 1 = 500 Wall Depth (ft)

Wall Conditions Fabric conforms to floor Fabric opens for pour Fabric opens for pour + fabric is sewn with adjacent wall

Fabric sewn with adjacent wall Fabric conforms to floor and binds with adjacent wall

S

W

+1

-2

+2

-1

+3

Fabric constricted to form window(s) Fabric constricted to form door(s)

E

-3

0

+4 +5 +6

N

Offices

W

Frane rane Studio Studio Snacks

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S

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S

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N E

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E

S

W

N Lifeguard Station S S

E

W

Interior Elevations & Shell Operations

E W W

S

N

E

S

W

N

Storage + Laundry S

E

W

W W

N

E

S

Site

W

Scale: 1 = 500

S N

S S

Wall Conditions

W W

Fabric conforms to floor Fabric opens for pour

Lockers + Restrooms W

S S

E

W W

Fabric opens for pour + fabric is sewn with adjacen

N

Site Site

E Scale: Scale: 1 = 1500 = 500

S

W WallWall Depth Depth (ft) (ft)

WallWall Conditions Conditions

S

Interior Programmatic North Elements

Fabric Fabric conforms conforms to floor to floor Fabric Fabric opens opens for pour for pour Fabric Fabric opens opens for pour for pour + fabric + fabric is sewn is sewn withwith adjacent adjacent wallwall

Fabric Fabric sewn sewn withwith adjacent adjacent wallwall Fabric Fabric conforms conforms to floor to floor andand binds binds withwith adjacent adjacent wallwall

S S East

W W

+1 +1

-2 -2

+2 +2

-1 -1

+3 +3

Fabric Fabric constricted constricted to form to form window(s) window(s) Fabric Fabric constricted constricted to form to form door(s) door(s)

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-3 -3

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+4 +4 +5 +5 +6 +6

Snacks Offices Laundry + Storage

Roof Plan

Scale: 3/32" = 1'

Shaded Seating

Lifeguard Station

Plan

3/32" = 1'

The exterior wall was intended be a plain facade, almost like a tabula rasa, whereby entering the exterior walls would present the public with the interior, more sophisticated and defined walls that were shaped to accomodate programmatic use and conform to the humans’ needs

rior Facade from Street

NTS

Exterior Facade from Street Scale: NTS

Greensace / Dry Area Scale: NTS

Gree

Scale:

Final Model