Undergraduate Design Portfolio - David Ling

LING DESIGN PORTFOLIO

David Victor Ling M.Arch Applicant / fall 2016

424 Yonge St., Apt. 510 Toronto, ON, Canada M5B2H3

davieling@gmail.com 1.647.241.7718

CONTENTS Representation

Mechanisms in Motion Human Space Fold, Unfold, Transform Kunsthaus Bregenz Garden and House Action / Reaction Switzer’s Nostell Priory

Design Space for 2 Space for 2 - expanded Branch 100 DieWhy Table

Professional

Grenadier Rooftop St. Clair / Silverthorn Library

Mechanisms in Motion Class: ARC221 Architectural Representation I 2012 Professor: Katy Chey Prompt: Analyze the mechanics of the escalator and represent it through orthographic drawing, compositional drawing, and abstract modelling.

Design: Using section cuts in my first series of hand drawings, I expose the key mechanical systems that contribute to the performance of the escalator. I then use a perspectival view to highlight the relationship between the step modules and the track in maintaining an even surface level while exposed.

The model is representative of the movement of the steps as they move from the bottom of the track to the top, and back down in an infinite loop.

Human Space Class: ARC321 Architectural Representation II 2013 Professor: Katy Chey Prompt: Analyze the movement of a given activity and represent it through orthographic drawing, compositional drawing, and abstract modelling.

Design: Our built environment can have a profound influence on our behaviour and movement, even without our knowing it. Rock climbing is an interesting activity to analyze in this light, as one’s permittance to navigate a particular route on the wall is dictated solely by whether or not his/her body has the ability to create the movements to do so. In so doing, the climber can be thought to occupy this sort of temporary space, brought into existence by the movement of the body. One may only occupy this space if the body allows it.

In this project, I accentuate this concept by reversing the material with the immaterial and vice-versa. The temporary space created by the frame of the body and its movement is solidified, while the wall all but disappears.

Here the built space reacts to the body, rather than the other way around. *Credit to Stephen Ling for being climbing subject

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Fig. 1 Understanding the possibilities and limitations of the body

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Fig. 2 Elevation, Plan, and Section of Studied Wall

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Left Sequence of each move made by experienced rock climber along a difficult route Right Sequence of each major move from left, distilled into bodily frame, and combined into single form

Left Form of rock wall replicated using mixed media; representing the immaterial of this new space Right Space created through movement of the body materialized into a solid form

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Fold, Unforld, Transform Class: ARC221 Architectural Representation I 2012 Professor: Katy Chey Prompt: Incorporating folding techniques from your given precedents, create an architecturally interesting original origami design.

Design: Given the precedents of the Goldfish and Dahlia flower, my design captures the fluidity of the fish through the repetition of hexagonal cells formed through tessellation. The form mimics the movement of two fish in a close, encircling dance with the top opening up like a blossoming flower to allow light and air to penetrate the inside. Origami design is a highly complex and mathematical process, and it offers interesting opportunities for finding new techniques for old materials.

The hand drawings on the right are step-by-step instructions to folding my design which can be achieved using a single square piece of paper.

Kunsthaus Bregenz Class: ARC313 Architectural Design III 2014 Professor: Zeina Koreitem Prompt: Analyze the Kunsthaus Bregenz designed by Peter Zumthor. Identify important elements in the design and express the manner in which they are achieved through drawing and modelling.

Design: Peter Zumthor’s Kunsthaus Bregenz is dissected here using orthographic and diagrammatic representation. My research examines his use of grid organization, structure, circulation, and light in creating this austere gallery. While each condition is an independent point of interest in itself, one may recognize a common thread of elegant simplicity tying these conditions together.

The model synthesizes the key formal elements presented in the Kunsthaus precedent study. As in Zumthor`s design, the foundation is the grid, off of which the structure, space, circulation, lighting and aesthetic is based. The model is presented here in a series of constructed states as to highlight the various layers of the design, and how they interact to achieve an elegantly simple spatial product. Furthermore, the interactive nature of the model allows one to imagine the wide variety of alternative configurations that this design strategy permits.

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Fig. 1 Structure and Tectonics

Fig. 2 Circulation Cause and Effect

Fig. 3 Grid Organization

Fig. 4 Lighting Techniques

Component Layout

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Garden and House Class: ARC321 Architectural Representation II 2013 Professor: Katy Chey Prompt: Analyze the case-study house; scrutinize the ideas, patterns and relationships embedded in your selected house. Illustrate your thesis of your case study house through a composite drawing and an abstract model.

Design: Working with partner Jing Peng, the casestudy for analysis was Sanaa’s Garden and House. Our thesis can be distilled into two limitations that serve as the basis for design: firstly, the house required the capacity for two business partners to live and work, and secondly, the intense spatial limitations in Tokyo called for a new solution to the traditional house layout.

The drawings, completed by Jing, represent the adaptation of the program requirements within a narrow vertical arrangement and highlight the territories of the two women.

The model, completed by myself, exudes the seemingly whimsical nature of the project; however, it goes on to exhibit the highly curated circulation of the two occupants. A thoughtful balance between private and collaborative spaces, achieved exclusively through the manipulation of circulation as no walls were used in the design.

Action / Reaction Class: ARC14 Architectural Design IV 2015 Professor: Josemaria de Churtichaga Prompt: You are asked to produce one composite drawing that describes the essence of the project. This drawing does not describe the building, but rather the idea of the building. You will model the space of your drawing. This is not a model of the building but rather a model of the speculative space described in the drawing.

Design: Working with partner Laura Fox, we analyzed Li Xiaodong’s Liyuan Library and Sou Fujimoto’s Musashino Library. Our thesis is based on the ways in which layout, level changes, furniture, and scale can affect the behaviour of the occupants and the freedom they have to reinterpret the use of the space.

While the plan of the Musashino Library appears to be quite diverse, at a closer scale it can be seen that its space is rather static. On the other hand, the much smaller Liyuan library incorporates various design features that allow for a variety of spatial reinterpretations and the existence of more intimate spaces.

Collage completed by Laura and model completed by myself.

Above Existing Space and Resulting Behaviour Below Layout, Furniture, and Level Changes

Above Layout Changes Below Layout, Furniture, Level, and Scale Changes

Standard Stacks and Resulting Behaviour

Layout Changes

Layout and Level Changes

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Layout, Level, and Furniture Changes

Layout, Level, Furniture, and Scale Changes

Switzer's Nostell Priory Design: Class: As one of only several undergraduate students ARC436 History/Theory Landscape Architecture II 2014 in this term-long graduate-level research course, Professor: I researched and interpreted the work of Stephen Georges Farhat Switzer using the case-study of his plan for the rural landscape design of Nostell Priory, England. Starting Prompt: The objective is to explore the role of visual representation with a comparison of the existing site to a rendering of Switzer’s intended perspective from the main house, in history of landscape design and in the ways we study I work backwards, first analysing the grading changes and understand it. We will consider the relationship necessary based on topography and lines of sight, and of representation to both the physical site and the then reassembling the plan, element by element, based on historiography of a landscape project through time.

Switzer’s design philosophy noted in his writing.

1. House Relocation

2. Initial Strokes

3. Terrace & Ha-Ha Forming

4. Grand Lawns

8. Boundary Trees

9. Water

10. Forest and Coppice

11. Dense Wilderness

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5. Formal Garden Components

6. East Avenue

7. Extensive Fields

12. Misc. Productive Components

13. Grass and Gravel Paths

14. Reassembled Plan

Space for 2 Class: ARC201 How to Design Almost Nothing 2014 Professor: Zeina Koreitem Prompt: Design a spatial unit and repeat it three times to fit within a rectangular volume 10 meters tall, 6 meters wide, and 6 meters long. The volume must contain three levels linked by stairs. Practical human occupation should be considered. The volumes should be based on platonic forms or relatively simple deformations of platonic forms.

Design: Here, spatial limitation is used as inspiration for design. Within the 6m x 6m x 10m volume I create a space designed to be occupied by two people simultaneously, but also separately. My two repeated units form a spiral that weaves the inhabitants` space within the volume while allowing brief, unexpected glimpses of the other occupant. The space is further manipulated by vertical and horizontal mutations of the original units to achieve double height ceilings in stairways, atria, and an overall sense of openness despite the limited volume.

Below Repeated Interlocking Units Coloured by Occupants

Floor 1

Floor 2

Floor 3

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Spatial Design Process

Space for 2 - Expanded Class: ARC201 How to Design Almost Nothing 2014 Professor: Zeina Koreitem

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Prompt: Rescale the spatial unit from your previous exercise to address three different scales: the scale of an object, the scale of a room, a scale larger than the room but not the full volume of a cube of space, 6 x 10 x 10 meters.

Design: Taking the profiles of the three resulting spaces formed in the original project, I overlap them within a 6m x 10m rectangle. Doing so results in a collage of overlapping lines that I use as guidelines to extract new spaces.

In this exercise I chose to limit myself to this logic and explore the ways in which new spaces can be created from arbitrary guidelines.

Once again I create a house for two, using the logic of the guidelines to weave these two spaces into a single form. .

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Space 1 Formation

Space 2 Formation

Common Space Formation

Partition Formation

Skin Formation

Branch 100 Class: ARC314 Architectural Design IV 2015 Professor: Josemaria de Churtichaga Prompt: Design a neighbourhood library over the trusses at the Strachan overpass.

Design: The essence of this project was to use the library as a catalyst for connection.

Physically, the design connects selected points of existing disconnection along the site. It functions as a hub for social connection amongst the residents of the newly developed, and socially disconnected Liberty Village.

And finally, it connects the once-significant neighbourhood back in to the rest of the city in its role as a community placemaker.

The library achieves this through a fragmented form placed at the intersection of the newly formed paths, through multi-use and community-based programming, and through iconic design.

Here, a new significance is given to the role of the library in the community.

Above Massing Study Near Right Path Logic Based on Points of Existing Disconnection Far Right Masterplan

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Ramen Bar & Cafe Library Commons Library Washroom Glass Floor Local Art & Photo Gallery Unisex Washroom Reception & Security Lockers & Lobby Path Hub Exposed Mechanical Quiet Study & Stacks Philosopher’s Walk Hammocks & Computer Bar Group Study Digital Media Makerspace LAN Room Custodial Skylight over Philosopher’s Walk Green Roof

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DieWhy Table Personal Project 2015 As both a play on my Chinese name, and inspired by its material palette, the DieWhy table gives new life to what are typically considered damaged or defective materials. Rusted steel rails form the structural system, while Ambrosia beetle-infested Maple planks are showcased around the entire table.

Using the traditional Japanese technique of Shou-

Sugi-Ban, I char the edges of the plank black to add a natural detail between the wood. In the DieWhy table, damage and defect become showcase and detail.

Credit goes to my Uncle, Lawrence Veno of Veno Fabrication, for assisting with the plasma cutting and welding of the rails.

Grenadier Retirement Residences Rooftop Firm: G. Bruce Stratton Architects Completion Date: December 2015 Budget: $150,000 CDN Design: In collaboration with architect Emira Galeteanu, the design for this rooftop landscape intends to provide the residents of the retirement home an outdoor promenade that is broken up by islands of green where they can stop and socialize.

I took the lead in the planting research and design, and collaborated in equal part with Emira in the overall plan and custom furniture design. In addition to design work, I also led off material research, and overall project management.

Above Before

Below After

St. Clair / Silverthorn Library Firm: G. Bruce Stratton Architects Projected Completion Date: 2017 Design: My role in the actual design was limited to shadow studies and shading devices; however, I was the lead in representation drawings for the project. Here, I explore a number of representation techniques using physical modeling, 3D modeling, hand drawing, and Photoshop.