Jack HouSheng Wang Portfolio 2016-2020

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Jack HouSheng Wang Master of Architecture (M.Arch II) Southern California Institute of Architecture (SCI-Arc)

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2016 2020 Selected Works 2016-2020

Š2020 All rights reserved. No part of this book may be reproduced in any form without permission of copyright owner.

ck HouSheng Jack HouSheng Wang Wang

Arch II, SCI-Arc, M.Arch II, Los SCI-Arc, Angeles Los Angeles

Arch, PCCU, B.Arch, Taipei PCCU, Taipei

213-477-0519 +1 213-477-0519 ushengwang0724@gmail.com houshengwang0724@gmail.com

ww.houshengwang.com www.houshengwang.com

2016 2016 2020 2020

Selected Works Selected 2016-2020 Works 2016-20

STATEMENT

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STATEMENT

HOUSHENG WANG / JACK

​HouSheng (Jack) Wang is a developing architectural designer and artist.

Based in Los Angeles, he graduated from SCI-Arc with a Master of Architecture (M. Arch II) degree in 2020.

Born in Taiwan, grew up in Taipei and Beijing, studied for his master degree in Los Angeles, the multicultural experience allows him to embrace different cultures and collaborate with people from different countries.

Jack’s work shows its playful approach, object-oriented massing, and civicspace strategy. With the integration of his well skills of design thinking, computer techniques and hand drawing, rethinking the urban-architecture posture in the future.

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CONTENTS

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M.Arch II, SCI-Arc 05

Enchanted Model II

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Form of Knowledge

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After Days

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Engagement

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Difficult Pyramid

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Curiosities

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Design, Development and Documentation

CONTENTS

MusĂŠe Kit-ology

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Transformation

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Folding Door

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Infinity Space

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Augmented Reality

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Become the Internet

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Competition Trinity

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Bachelor of Architecture, PCCU A+UD Meta Garden

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Independent Works Sketch Works

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Portfolio | HouSheng Wang

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MUSÉE KIT-OLOGY

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Proposal for the New LACMA

Graduate Thesis at SCI-Arc Thesis Advisor: Tom Wiscombe Cultural Agent: Marrikka Trotter

This thesis project is a new LACMA museum proposal, which starts from the idea that the museum architecture is a cabinet of parts. Starting from its first inception at the Ashmolean, a museum has always been about collecting and displaying objects to the public. From the cabinets of wonders to the modern gallery, was seen as “microcosms” of civilization’s creation- it encapsulates and miniaturizes the world.

Musée Kit-ology Scan and play the video on www.houshengwang.com/musee-kit-ology

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Cabinets of curiosities, Musei Wormiani Historia, 1655

Frank Lloyd Wright, Guggenheim Museum, New York, 1943

Leo von Klenze, Glyptothek, Munich, 1830

Frank Gehry, Guggenheim Museum, Bilbao, 1999

Karl Friedrich Schinkel, Altes Museum, Berlin, 1830

Meyer, Scherer & Rockcastle, Mill City Museum, Minneapolis, 2004

Model kit is a collection, a set of parts, a curation- it’s a museum on an extremely small scale. The parts laid out and displayed in a kit, like treasures in a cornucopia, but they can also be assembled and point to a real Mies van der Rohe, Barcelona Pavilion, Barcelona, 1929

thing. The weirdness of the scale changes the way we comprehend the architecture.

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Upper Image Credit: Sir John Soane’s Museum Collection Online http://collections.soane.org/ Below Images Credit: Sir John Soane’s Museum Collection Online http://collections.soane.org/ Video Credit: Explore the Soane’s Museum http://explore.soane.org/

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Sir John Soane’s Museum in London, which nests several display rooms in a muted volume, is a huge model kit containing several sub-kits inside. It’s a museum but a collection of things. In the Soane’s Museum deluxe model kit, the types were pulled out to become parts and be reassembled on the LACMA site in a different way, yet retain the sense that they could be taken apart at any time.

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SITE

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This is the site and the existing LACMA, which is located at the south of Fairfax, faces Wilshire Boulevard. This animation shows the programs of the existing LACMA museum 11

and the surrounding buildings.

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The animation shows the programs of the existing LACMA museum and the surrounding buildings. This is Peter Zumthor’s rebuild proposal for LACMA. It emphasized the horizontality and the floating quality of the exhibition space.

For an altered option, I’d like to propose a village type of museum with insulated matte building, involuted open space and a diversity of forms of curation, rather than strict division of indoor and outdoor.

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ENCHANTED DRAWING FRAMES

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Enchanted Drawing - Musée Kit-ology Scan and play the video on https://vimeo.com/458401833

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Anatomy Drawing - MusĂŠe Kit-ology Scan and play the video on https://vimeo.com/458400664

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Parts are stacked, scaled, rotated, nested inside one another, and assembled into a super-figure facing Wilshire Boulevard. The open figure becomes a part of the new Los Angeles’ urban view, replacing the strict division of the existing museum schemes. The huge staircase with resonance figures can be accessed from the street level, connecting Wilshire Boulevard to the urban-scaled balconies and civic art plaza. The project, itself a gigantic cabinet, contains the art of our time in inventive ways, and opens up to the city.

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ENCHANTED MODEL II

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OBM HQ Extension Design

3GBX Design Studio Thesis Advisor: Tom Wiscombe Partner: KaiYing Lin Assistant Teacher: Sam Flower

The thing about the architecture models is that they represent things at another scale. For us, when the architecture exists in the real scale, we look into the programs, the constructions, and the spaces. By contrast, when the architecture exists in the model kit world, it follows the model kit logic. The model kit focus on the features of the original object instead of the real construction methodology. It exaggerates the playful elements in the real world.

Enchanted Model II Scan and play the video on www.houshengwang.com/enchanted-model-ii

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PLAYING ANIMATION

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The OBM Headquarter Extention Design is based on the Castle Hedingham model kit we made. The Castle Hedingham is located in Essex, England. The difference between the interior and the exterior is what we focused on. The deluxe model kit is developed from the Castle Hedingham, and the one that we call the “dark version� is developed from the deluxe model kit.

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VIDEO FRAMES

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We are not only trying to emphasize the features of the fireplace, the window, and the spiral staircase into a different unique entity, but keep it developing to a recognizable model, and reveal the secret of the castle interior. In the dark version, we attempt to utilize the other parts in the deluxe model kit to reassemble an unrecognizable and different quality of a model, which is helping us to deeply think over the scale between a model kit and real architecture.

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ENCHANTED DRAWING FRAMES

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Enchanted Model II OBM HQ Extension Design Scan and play the video on https://vimeo.com/413935422

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ANATOMY DRAWING

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In the model kit drawing world, the model is scaleless.

Parts are scaled, duplicated, and be assembled together to become components. Like we play with the models, the parts act as proto-architecture to engage the site and develop programs. The breakdown of our OBM Headquarter Extension design is like an instructional drawing that put in the model kit box, it re-understands the architecture from a model perspective.

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PLANS

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FORM OF KNOWLEDGE

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2GBX Design Studio Instructor: Jackilin Hah Bloom Partner: Hiral Ahir

The studio project focuses on the study of the relationship between architecture and the spatial expression of differential collections of knowledge (or information). The project is for a public library in downtown Atlanta, Georgia, to replace Marcel Breuer’s Central Atlanta Library and is to be conceived in relation to the current controversy surrounding the status of the existing building. The studio’s main focus is on disciplinary questions of the relationships amongst typology, function, and aesthetics. These questions will be considered as they relate to current issues of media, technology, and access.

We envision the ever changing form of knowledge, as an interdependent system of information exchange between think tank offices and the library. Considering the state of flux libraries are undergoing, our proposal aims to respond to this dynamics spatially.

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COLLAGE

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In order to redefine library’s monolithic posture in the city, we began to organize it under its most basic metaphor as a container. We began by looking at a jumbled mass of different types of containers, like, jute bags, bath tubs, vending machines etc. We explored its various agglomerations through a collage. These groupings are examined based on their shapes and how they interact with the ground, edge and sky.

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A 220ft tall building sits on the ground creating various access point from all corners of the site boundary.

Cafe’s, lounges and small meet up spaces are housed on the ground floor to recreate the public space gesture within the library.

Three cores along with segregated floor plates contribute to the volume of this building. Non-linear dynamic spaces allow the users to adapt and circulate around the building in a unique way. Envelope of the building, enhances the loose-fit posture this library holds.

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ELEVATION

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PLAN

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The skin hugs the massing at various points creating tight fit interior spaces. Like, private reading rooms, library book stacks, digital archives, seminar spaces etc constitute in these interior zones.

While some spaces seem to push the cage away to create semi-open exterior spaces. Like, casual think tank pods, cafes, group reading etc takes place in these semi-open areas.

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This amalgamation of the loose-fit massing with the skin offers a mixture of spatial opportunities between library and think tank spaces. Every corner of the building reflects this play between the inside and the outside.

This composition is efficient because of the interdependence of its parts to form a whole. This jumbled inter dependent library building is a result of a hoarder-like posture of our massing model. This volume of dissimilar objects offered an interesting tenuous posture in the way it interacted with the sky, ground and the site.

Exploring its various potentials to agglomerate in the form of a collage, this parti offered us novel ways of imagining internal composition of our think tank library.

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Form of Knowledge New Atlanta Central Library Scan and play the video on https://vimeo.com/334389644

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AFTER DAYS 2GAX Design Studio Instructor: Natasha Sandmeier Partner: Siyu Zheng

Today we live in a world entirely dominated by the production, proliferation and consumption of images.

Image literacy is, arguably, one of the most crucial skills we need in order to go about our daily lives, distinguishing the real from the fake, the authentic from the artificial, the relevant from the frivolous. This workshop asks us to walk a tightrope between those conditions in order to challenge our contemporary means of architectural representation, and to begin to construct our own attitude towards it.

There is a long history of designers and architects who have worked through their agendas within the confines of a room before elaborating those concepts into larger scaled architectures and ultimately, cities. The room is the space in which you invent and combine your findings, where you transgress the authentic with the subjective.

It is the space in which you can construct your own identity. It’s the world you define, shape and design. It has physical constraints, but limitless creative opportunities.

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#PhotoChemicalSmog #LosAngeles #Doomsday

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AFTER DAYS

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Our story is based on an ultra-toxic event of in Los Angeles.

1944 was the year of the great Photochemical Smog event in Los Angeles.

This event created an environment of paranoia and fear, alongside a prolonged media frenzy. News stories about smog prevention, and devices to prevent smog inhalation dominated newspapers and magazines, provoking scientists to invent and market a series of bizarre gas masks, incubators, and other protection devices.

Regrettably, no one focussed on smog reduction and prevention.

This project is set in 1994, 50 years after that critical turning point in LA’s history. The toxic effects of the smog reached an unprecedented level and ultimately led to an era-ending environmental catastrophic.

People were looking for the scientists who were working on reversing this disaster in hopes of saving the earth.

The scientists launched an emergency protocol and built this room to study the solution.

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AFTER DAYS

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Yes, actually this room is the last hope of human being.

In this toxic world, nature and plants occupied everywhere, but the human cannot survive in this disaster. All the creatures were extinguished by the smog.

A researcher froze himself in the incubator for years to extend his lifetime in order to study the solution.

However, after he woke up, the world had already perished. He became the only human in this planet.

Day after day, he can only monitor the outside world and review the old videos of doomsday, trying to re-establish the human civilization.

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ANIMATION FRAMES

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In these quick scenes, some pieces information of the toxic event have been shown.

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M O N T A G E

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The whole view of the room have been revealed in this long take.

Finally we can realize, the “garden“ behaind the glass actually is

L O N G

the outer world.

T A K E

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More information of the toxic event has been shown in these close up scenes. The cans in the second clip is Los Angeles

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C L O S E

Smog Can. In 1957 the “Smog in a Can� was introduced by Hollywood actor Carleton Young as a piece of performance art.

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world is living here lonely, trying to connect the outer world.

C L O S E

These scenes also show the truth that, the only human in the

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[ After Days ] Scan and play the video on https://vimeo.com/306291864

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AFTER DAYS

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We considered our room, its texture, its narratives and cultural context as our set and backdrop for our visual media. We built an augmented reality app in iOS device to access the camera. Once the camera track the image of the room, all the information will dramatically pop out in the screen.

The introduction of the photochemical smog can, the icubator, the anti-gas helmet, and the toxic area map will show up instantly when the user lauch the app. Also, he user can see some detail information and videos in the scene.

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ENGAGEMENT 2GAX Design Studio Instructor: M. Casey Rehm Partner: Siyu Zheng

Architecture has historical methods of interface. The physical material of the building mediates the internal and external systems of exchange, whether a medieval city wall separating domesticated interior from wilderness or curtai wall mediating fluctuating external climates with stable interior climates. This workshop, though, will look at how the designer can operate through interfacing high resolution digital site data and their own intentions. We will confront the ability of humanity to generate and collect vast quantities of information with our relative limited ability to engage it meaningfully. The workshop project will explore both how we can design through interface, and how we can represent architecture as interface.

The workshop project will explore the production of synthetic wildernesses in urban voids within downtown Los Angeles. The complex structures will be generated in response scanned meshes of the urban context and bottom up logic driven by color and non-human agendas.

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We aimed to find a strategy to engage the site, because in downtown LA, these monumentally scale cultural spaces

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are one of the only territories left for densification. We tried to create a residential building to occupy the open

South Grand Ave

space based on the urban context .

SITE

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One side is the Broad Museum, and the other side is Colburn School which attached MOCA. There is a huge contrast between these two façade. The project’s elevation was produced based on the contrast.

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B I R D

V I E W

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We generated the apartment volumes and textures by scripts. In this cultural area, the apartment extend the interfaces of both sides of the street to public spaces. It will look like a mix of the two building’s façade elements, and connect them as a whole.

The structure looks like grew from the street’s elevation naturally and blend the visual elements together. This way, the apartment interface can merge into the environment smoothly.

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COMPONENTS

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The biggest component is used as a residential unit. The symbol from the Broad to Colburn School is from visual to functional, aggressive to oblique, idealistic to pragmatic. The apartment will literally and physically located on the middle of one side and its counterpart.

The medium one is a kind of screen which is attached on the biggest one. The smallest component is the structure of the whole architecture.

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FACADE

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ENGAGEMENT

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ENGAGEMENT Scan and play the video on https://vimeo.com/317858002

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When people walk through the Grand Avenue, the apartment becomes the new ceiling structure

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of the urban spaces. The screens create a series

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of corridors and catwalks, blurring the boundary between interior and outdoor space.

ENGAGEMENT

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DIFFICULT PYRAMID 3GAX Design Studio Instructor: Andrew Zago Assistant Teacher: Benjamin Weisgall

The studio created alternative proposals for the planned David M. Rubenstein Forum at the University of Chicago.

The current design is by Diller Scofidio + Renfro. Of the project, the university writes: “The building, which will be a center of intellectual exchange, scholarly collaboration and special events, will provide the University with much needed meeting spaces for workshops, symposia and lectures, among other activities.�

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1870s, Pennsylvania

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THE COAL BREAKERS

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Coal breakers which were essentially coal preparation plants housed in buildings on site often as close to the mine opening as possible for economy and ease of operation. Over the next 150 years coal breakers numbering in the hundreds spread throughout the anthracite region. Some had colorful local names; others were simply numbered. However identified the coal breaker was essential to the operation of the mine. Often dominating the landscape around the various coal patch towns, they were what I like to refer to as monuments to king coal.

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DIFFICULT PYRAMID

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OXFORD COAL BREAKER

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Our studio referred to the postcards and the photograph and built 14 coal breaker models in 1/16� scale. The Oxford Coal Breaker is my reference. We held an exhibition at school to showcase our work, sharing our perspective and the bizarreness of these out-dated gigantic buildings.

What the coal breaker attract me most is the bizarreness of the contruction logic. Unlike the horizontal logic of a pyramid, the coal breaker is more about verticallity. It has layers and each layer has different profile.

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DIFFICULT PYRAMID

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DIFFICULT PYRAMID

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COAL BREAKER

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MASSING

Bigger at the top, smaller at the bottom or small at the top, smaller at the bottom? We dicussed this question a lot in our studio class.

The vertical logic of a coal breaker is a reverse of thinking. I also tried to reverse spacially.

An upside down coal breaker be put inside a pyramid, precicely, a pyramid-like shape as a void. So the pyramid, which is bigger at the bottom, smaller at the top, becomes a shell. An reverse coal breaker becomes an atrium, a public space to gather people inside.

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SITE PLAN

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The 90,000 square foot building is sited prominently on the Midway Plaisance diagonally across from Bertram Goodhue’s Rockefeller Memorial Chapel and two blocks from Todd Williams and Billy Tsien’s Logan Center for the Arts.

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SOUTH ELEVATION

WEST ELEVATION

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NORTH ELEVATION

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EAST ELEVATION 87

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SECTION 01

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GROUND FLOOR PLAN

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SECOND FLOOR PLAN 89

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THIRD FLOOR PLAN

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FOURTH FLOOR PLAN

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FIFTH FLOOR PLAN

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SIXTH FLOOR PLAN 91

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SEVENTH FLOOR PLAN

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EIGHTH FLOOR PLAN

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NINTH FLOOR PLAN

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TENTH FLOOR PLAN 93

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PHYSICAL MODEL

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CURIOSITIES 2GAX Design Studio Instructor: Marcelyn Gow Partner: Siyu Zheng

Taking the cabinet of curiosities or wunderkammer of the future as a point of departure, this workshop was operated under the premise that collecting and curation will increasingly become ineluctable facets of the way we produce architecture. Perusing the OED, one finds that curiosity is defined as: sb. 1. Carefulness, scrupulousness, accuracy; undue niceness or subtlety. 2. A desire to know or learn; inquisitiveness. 3. Scientific or artistic interest; connoisseurship. 10. A curious detail or feature. 11.

Anything curious, rare or strange. Curio is defined as: sb.

1. An object of art valued as a curiosity or rarity.

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Chunk_01

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We began with a process of digitally extracting details measuring 16’ x 10’ x16’ from a site in Downtown Los Angeles using the Agisoft 3D scanning software. The site is the Bonaventure Hotel. We transformed details extracting from the site into a curio object whereby the object can be understood both at 1:1 scale and as a portion of the original building. In this case, we captured a intersection of column and beam, balcony, a part of stairs, and a decorated wall. We tried to deconstruct and recombine them in 1:1 scale as a Combination

prototype of a flower shop.

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300 South Santa Fe Ave

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PLAN

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This flower shop is attached to the bookstore which in an apartment. As we can see the bookstore always extends their bookshelves in the plaza. So we desired to use the flower shop as an alternatives. This faรงade will become a new place for the bookstore to show their books. And we want to take advantage of the textures from this faรงade and the showcase of the bookstore to create a really fascinating and neighbor-friendly garden.

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PHYSICAL MODEL

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DESIGN, DEVELOPMENT, AND DOCUMENTATION

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3GAX Seminar Instructor: Herwig Baumgartner, Brian Zamora Partner: Giovanna Lima, Juicheng Hung, Lawrence Yuan, Linzi Ai, Ovgu Nurozler, Pinchi Liao, Saleh Jamsheer, Yifan Wang

This course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of Structural and Mechanical systems, Environmental systems, Buildings service systems, the development of building materials and the integration of building components and systems. The intent of this course is to develop a cohesive understanding of how architects Design, Development, and Documentation Scan and play the video on https://vimeo.com/383077621

communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architectural project and Stewardship of the Environment.

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PROJECT OVERVIEW 105

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DESIGN, DEVELOPMENT, AND DOCUMENTATION

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CONTRUCTION SEQUENCE

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ENVELOPE 107

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DESIGN, DEVELOPMENT, AND DOCUMENTATION

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GLASS ATRIUM

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ELEVATOR POD 109

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SUN PATH ANALYSIS

DESIGN, DEVELOPMENT, AND DOCUMENTATION

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PV EFFICIENCY ANALYSIS

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POWER USAGE CACULATION OF THE MEDIA FACADE

BREAK DOWN OF THE FACADE

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DESIGN, DEVELOPMENT, AND DOCUMENTATION

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AIR CONDITIONING SYSTEM

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WATER RECYCLING SYSTEM

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EGRESS

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ACOUSTIC

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DESIGN, DEVELOPMENT, AND DOCUMENTATION

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FIRE SEPERATION

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FIRE SEPERATION SIMULATION 115

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CONSTRUCTION COSTS CACULATION

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VALLETTA CITY GATE

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Constructed Envelope System

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ADVANCED MATERIALS AND TECTONICS 2GAX Seminar Instructor: Maxi Spina, Randy Jefferson Partner: Juicheng Hung, KaiYing Lin, KaiYun Lei

This project of the seminar focus into re-originating the tectonic reality of the precedent’s distinctive form of articulation and/or means of producing apertures so as to study a novel set of formal, geometrical and technological associations. We constructed a problem-defining hypothesis with which to frame the re-origination of the envelope’s anatomy. Also, we tried to demonstrate how the focused redevelopment of the building’s outermost surface elements and sub-systems, together with an understanding of the constructive process from which those arise, can be systematically approached so as to re-inform the tectonic origins of the work without diminishing its performance.

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A1

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STRUCTURE OVERVIEW

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B1

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1. Main Structures 2. Silicon in Aluminium Frame 3. Cavity (Noble Gas Infilled to Antifog) 4. Screwed Steel Substructure 139-380mm 5. Office Window Thermal Glazing in Aluminium Frame 6. Front Hung Facade-Element 1000/500/70 mm Coral Limestone Max. Element: Depth 555 mm 7. 6 mm Stainless Steel Anchor Plate with Securing Pin Milled Flush at Top and Bottom in Stone Elelment 8. Cladding Facade 380/200 mm 9. Aluminium Frame

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A2

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DETAILS

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From the smooth, outer-faces of the facades of the Valletta City Gate, the limestones recede into the building, and the final layer is glazing. The 1.

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deep of the facades make the interior space to prevent a lot of direct sunlight, which helps to decrease the temperature inside. The extrude

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parts of the facade not just ornamental, they also shade the areas of glazing behind.

1. Screwed Steel Substructure 139 – 380 mm 2. 6 mm Stainless Steel Anchor Plate with Securing Pin Milled Flush at Top and Bottom in Stone Element 3. 1000/500/70 mm Coral Limestone Max. Element: Depth 555 mm 4. Sandwich Panel 1 mm Aluminium 5. 35 mm Mineral Wool Insulation 6. 50 mm Mineral Wool Insulation 7. 250/450 mm Steel Tube 8. 100/150 mm Steel Tube 1.

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1. Office Window Thermal Glazing 2. Aluminium Frame 3. Cladding Facade 380/200 mm Coral Sandstone 4. 100/150 mm Steel Tube 5. 1mm Aluminium 6. 50 mm Mineral Wool Insulation 7. Silicon

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D1

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1. Main Structures 2. Secondary Structures 3. Stainless Steel Anchor Plate 4. Office Window Thermal Glazing

TRANSFORMATION

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5. Aluminium Frame

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Based on the research we did, the rocks have no changeable, and it causes the design of facade is lack of variations. Moreover,, it causes the 2.

cost of secondary structure high. Therefore, We

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decide to change material for the facade. The material of facade is aluminum plates. Because

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it is lightweight, it can reduce the cost of the secondary structure. Furthermore, It has good quality in flexible at the design point.

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We add more layers to emphasize the variation

5.

of the facade and at the same time reduce the amount of the secondary structure. Moreover, adding more layers contributes to putting shadows of windows to avoid the direct sunlight.

At the same time, enlarging the size of windows can help bring in more indirect light to save energy. For instance, the aluminum plates canopy has a certain angle degree to avoid the sunlight. Besides the ability to avoid sunlight, behind the aluminum plates can add some insulation materials to keep the radiation heat

D3

from away. Furthermore, we hope we can have some small openings in the certain area of the facade. Adding layers and opening can help bring more light and add more changes to the facade as well.

2.

1.

4.

3.

5.

1. Main Structures 2. Secondary Structures 3. Aluminium Plates 4. Stainless Steel Anchor Plate 5. Aluminium Frame

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FOLDING DOOR 3GAX Seminar Instructor: Dwayne Oyler Partner: Liu Qiao, Yunfei Cao

This course is an investigation into the future of the architecture detail. Beginning with the question, “what is an architecture detail today?“, the course considered a range of critical positions on the issue, and tests their outcome through the design and fabrication of an architecture detail.

Base on the five architectural detail definitions outlined

by Edward Ford, each student will be asked to position themselves through the 5 categories - or to place themselves between more than one of them. Drawings from that position on the topic, students are then asked to design (and construct at half of full scale) an architectural detail.

We specifically studied OPERABLES.

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FOLDING DOOR

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The way that the Folding Door move is inspired by a method of paper folding called reversed folded. The subdivision of the surface allows the door to be opened and closed by the motion of folding.

The main structure of the door is made with 3/8 inches baltic birch plywood and be connected with copper hinges. The door is fixed with steel bolt, go through a bearing and holded on the wall with hex nut. The walnut veneer on the door hides the hinges to keep the cleanness of the finish surface.

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5/16” diameter bolt 5/16” diameter hex nut 22mm bearing 5/16” diameter hex nut 3/8” thick baltic birch plywood

Walnut wood veneer

Drywall

1/2” MDF board

1/2” MDF board 1-1/2” in. coper door hinge

Wood knob 3/8” thick baltic birch plywood

Walnut wood veneer

5/16” diameter hex nut

1-1/2” in. coper door hinge

1/4” deep slot 22mm bearing

22mm bearing

5/16” diameter hex nut

Wood knob

5/16” diameter bolt

FOLDING DOOR 5/16” diameter hex nut 22mm bearing

WALL

1/4” deep slot 5/16” diameter hex nut

5/16” diameter bolt

FOLDING DOOR AXONOMETRIC SKELETAL BREAKDOWN 0” 2”

10”

20”

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1/4” deep slot on 1/2” MDF board 5/16” diameter hex nut 22mm bearing 1/4” deep slot on 1/2” MDF board

10

1/4” deep slot on 1/2” MDF board 5/16” diameter hex nut 5/16” diameter hex nut 5/16” diameter bolt 22mm bearing Walnut wood veneer 1/4” deep slot on 1/2” MDF board 3/8” thick baltic birch plywood 5/16” diameter hex nut 5/16” diameter bolt Walnut wood veneer 3/8” thick baltic birch plywood

1/4” deep slot on 1/2” MDF board 5/16” diameter hex nut 22mm bearing 1/4” deep slot on 1/2” MDF board 5/16” diameter hex nut 5/16” diameter bolt Walnut wood veneer 3/8” thick baltic birch plywood

1/2” MDF board frame 3/8” thick baltic birch plywood

5/16” diameter bolt 22mm bearing Wood knob 1-1/2” in. coper door hinge Walnut wood veneer

1/4” deep slot on 1/2” MDF board 5/16” diameter hex nut 22mm bearing 1/4” deep slot on 1/2” MDF board 1/4” deep slot on 1/2” MDF board 5/16” diameter hex nut 5/16” diameter hex nut Walnut wood veneer bearing 5/16”22mm diameter bolt 1/4” deep slot on 1/2” MDF board 3/8” thick baltic birch plywood 5/16” diameter hex nut

1/4” deep slot on 1/2” MDF board 5/16” diameter hex nut

Walnut wood veneer

22mm bearing

5/16” diameter bolt

1/4” deep slot on 1/2” MDF board

3/8” thick baltic birch plywood

5/16” diameter hex nut Walnut wood veneer 5/16” diameter bolt

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3/8” thick baltic birch plywood

FOLDING DOOR

AS 2509 01

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FOLDING DOOR

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MOTION OF THE DOOR

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CLOSE UP

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INFINITY SPACE 3GBX Seminar Instructor: Curime Batliner Partner: Dewen Li, Kaiying Lin, Jasleen Gujral

In this seminar students will work in groups on a series of three-dimensional volumes of human scale. Inspired by the work of M.C Escher, will first learn about two-dimensional tessellations to generate and organize a system through repletion and transformation of a set number of members.

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ROBOTIC FABRICATED COLUMNS MOCKUP

ROBOTIC FABRICATION

/

/

Further on students will build on these techniques to create variation within this system. Moving into the third dimensions students will need to embrace machine logics and material behavior as informing agents in the design and fabrication process. Students will get familiar with digital fabrication technologies such as CNC machines, vacuum forming machines and industrial robots. By completing this course, students should be familiar with taking basic surface tessellations and patterns from sketch board to the production of complex assemblages. In the process, students should learn essential grasshopper skills, and how to incoorporate the design constrains of production machines in the design process.

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Scripted by Dewen Li

PANEL MAKING

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We used grasshopper script to distort a grid, to 3D modeling tessellation panels. We used CNC mill to make a physical mold then we vacuum-formed several 6mm PETG sheets on it to produce panels for the column surface.

The tessellated panels can be assembled to form a column, a wall, or a room. The tessellation is endless.

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3.0-3

3.0-2

PATTERN SCRIPTING AND PAINTING

3.0-1

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We used grasshopper script to generate a continuous pattern on the surface of the panels.

Based on the analysis after several test paints with the robot, we redesigned the panels to enhance the smoothness of the pattern. Also, the pattern was updated to fit the new shape.

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InnerStructure Structure Inner

Robot RobotFabricated Fabricated Panels Panels

ColumnHeight Height Column 6’-10”

6’-10”

Column ColumnBase Base

COLUMN COLUMN 0” 2”

10”

20”

STRUCTURAL DESIGN

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To make the column exhibition more interative, the structure in the column is operable. All the panels are held by steel rod frames, which connect to the center bar. When the motor inside the base powered, the ratation of the center bar will move all the panels in once.

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0.6mm PETG PETG vacuum vacuum formed formed panels panels

1/2”diameter diametersteel steelrod rod 1/2” (main structure) (main structure) 1/8” 1/8”diameter diameter steel steel rod rod (secondary structure) (secondary structure)

1/8”diameter diameter steel steel rod rod frame frame 1/8” YaeGarden YaeGarden Permanent Permanent Magnet Magnet DC DC Motor Motor

BREAKDOWN BREAKDOWN 0” 2”

10”

20”

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STACK 2

1/2” diameter steel rod welded with 1/2” diameter steel tube with 3/8” diameter hole

1/4” diameter welded steel rod

STACK 2

3/8” diameter steel tube with 1/4” 1/2” diameter steel roddiameter welded hole with 1/2” diameter steel tube with 3/8” diameter hole

1/4” diameter welded steel rod STACK 1

YaeGarden Permanent Magnet DC Motor

3/8” diameter steel tube with 1/4” diameter hole

COLUMN BASE (CNC 20 lbs Foam with PETG surface)

1/8” diameter bolt

1/8” diameterSTACK steel rod 1 frame 1/4” diameter steel tube with 3/16” diameter hole welded on the frame

1/8” diameter hex nut 1/4” diameter steel tube 1/8” diameter steel rod frame 1/8” diameter steel rod 1/2” diameter steel rod

0.6mm PETG vacuum formed panels YaeGarden Permanent Magnet DC Motor

1/8” diameter bolt 1/8” diameter hex nut

COLUMN BASE (CNC 20 lbs Foam with PETG surface)

AXONOMETRIC DETAILS BREAKDOWN 0” 2”

10”

20”

1/4” diameter steel tube 1/8” diameter steel rod frame 1/8” diameter steel rod 1/2” diameter steel rod

0.6mm PETG vacuum formed panels

AXONOMETRIC AXONOMETRIC DETAILSBREAKDOWN BREAKDOWN DETIALS 149

1/8” diameter steel rod frame 1/4” diameter steel tube with 3/16” diameter hole welded on the frame

0” 2”

10”

20”

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16 ft

.5

26

ft

Mirror

360 DEGREES VIRTUAL ENVIRONMENT

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The cost of a traditional column exhibition is expensive. What if we set up an exhibition into another way that is connected with virtual reality technology to become a virtual column exhibition. The visitors could gain new experience by contrast with a way of the traditional exhibition through immersing the virtual environment with a VR goggle.

The exhibition room also with a mirror around the wall to looks like a continuous room. This virtual column exhibition so-called “Infinity Space�

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PANORAMIC RENDERING | 360-DEGREES IMAGE

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VS 4200

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AUGMENTED REALITY 2GAX Seminar Instructor: M. Casey Rehm, Andrea Cadioli Partner: KaiYing Lin

The project for the seminar utilized interactive animations in augmented reality in conjunction with designed contexts to produce synthetic misreadings on the interior of physical models. The final composition between 3D printed object, 2D physical printed backgrounds, and animated augmented reality section pieces produced compositions which could only exist when working with these disparate mediums. While previous exercises in the seminar focused on abstracting a physical object through digital techniques, this exercise focused on the ability of digital visualization techniques to reintroduce higher resolution information back into the physical environment.

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3D SCANNING TARGET

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FLOWER

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We set flower as the target, trying to capture the posture, the shape, and the details by 3D scanning. We used Agisoft Photoscan technique to finish this process.

By 3D scanning, we got the dense cloud of the flower, which allows us to build the mesh 3D model of the flower.

We made some composition arrangement at the same time.

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AUGMENTED REALITY

VS 4200

NANOMESH

/

After that, we tried to remesh the model with different resolution and composition, then composed them together, trying to rethink the form and geometry.

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A U G M E N T E D

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AUGMENTED REALITY

VS 4200

Agmented Reality Scan and play the video on https://vimeo.com/319401782

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BECOME THE INTERNET 2GBX Seminar Instructor: Damjan Jovanovic, Angelica Lorenzi

“​As we look around the modern world, we see the ghosts of other conventional distinctions, which now appear as arbitrary as the borders on our phones. On the internet, the gap between next door and next continent implodes. Northern Baroque paintings, Triassic fossils and yesterday’s op-eds are tabs on the same browser.

Raised by a global chorus of voices, our identities are voluntary, malleable and unprescribed. We are everywhere, anytime and everyone at once.​”

- Thom Bettridge, Joerg Koch and Lucas Mascatello.

The Big Flat Now ​Op-Ed, 032c Magazine

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The seminar focused on a problem of formally representing knowledge in the age of the “big flat now�. If the classical ideas of ordering, indexing and systematic and functional organization were tied to the idea of encyclopedia as the possibility of fully describing, understanding and ordering the world, the seminar shifts its focus towards ideas of accumulation and aggregation as a new formal language that conceptualizes the internet as a new model of knowledge.

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VS 4201

This seminar introduced students to a range of digital workflows (from sourcing of 3D models, to texture mapping to coding in C# and real-time rendering) utilizing a range of softwares (Internet object collections, Unity-Platform Sandbox, Maya). The seminar focused on sourcing objects and designing a personal, custom made software imaging application in order to establish and automate a range of aesthetic micro-genres within a common search space of a tool.

The seminar also explored simulation as an aesthetic problem and treats screenshots as finished images in order to propose novel paths for digital design procedures as cognitive labor. Students produced a massive catalog of digital models in order to establish a collective visual ‘search space’ and to think what it means to evaluate and select on such a large scale.

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The seminar focused on development of a custom software called Platform Sandbox, in the Unity game engine, and on sourcing a collection of 3d models that will serve as a library of parts to be deployed in Platform.

After the collection is made, each student selected up to ten objects to represent a specific genre of contemporary culture, in order to produce piles and aggregations within the genre and ultimately, a genre-bash in order to model hybrid, characteristic objects. ​

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A genre object is defined as an semi-abstract 3d figure with recognizable, analogical or evocative qualities belonging to a specific genre. These objects are deployed as primary objects in Platform Sandbox, where they are mixed with high definition realistic 3d objects - rocks, twigs and stones.

This new design space establishes an (un)easy coexistence between formal languages of abstraction and realism that now inhabit the collapsed visual field of simulation and real time rendering.

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PHOTO BOOKLET

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WINNER People's Choice Award Di - Generic Cities: Los Angeles

2019

14

TRINITY

Di-Generic Cities: Los Angeles Winner of People’s Choice Award Di - Generic Cities: Los Angeles Team: Kevin Guerrero, HouSheng Wang, Kenza Abourraja, Jiawei Ji

In a world ruled by the connection between technology and the human experience, Los Angeles in the year 2200 will be a center point of entertainment in the world. With developments in technology, Los Angeles has become a utopia for both the physical residents as well as an oasis for the virtual avatars that invisibly walk the streets. With G.E.N. (Global Entertainment Nucleus) we focus on how to use architecture to fuse the worlds and experiences of both the physical and the virtual with the intent of design with a reflection of the island’s history as well as showcasing why the island will push entertainment into the future in the year 2200.

Trinity Di-Generic Cities: Los Angeles Scan and play the video on https://vimeo.com/439895071

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15

META GARDEN Undergraduate Thesis in PCCU A+UD Instructor: Ying Fong Chen

This project is a re-definition of an abandoned area. A park can be developed downward to the root of the history of the land, instead of being limited as a flat zone above the ground. It’s a new form of citizen park, reflecting the needs of the city, making people gathered here, and building a symbiotic relationship.

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RAILWAY SECTIONS

TA

[ ZHONGZHENG]

[ TAIPEI ] i

L

Location: Sec. 2, Civic Blvd.,

[ RESIDENTIAL]

Taipei Main S ta

Zhongzheng Dist.,Taipei, Taiwan

tion [ PUBLIC ]

Executive Yuanan u ntrol Y Agency The Co lice le al Po ao Tempn n io t D a n Na Sha Yu n o ive catio ture lat l gis f Edu Cu e o eL of Th nistry try eg The Mi Minis e st Th

ffi ce

cu C

Na d tio

na

lA

ud

it O

Mi

179

The east tunnel was abandoned and treated as

[ COMMERCIAL ]

an alternate emergency area after the Railway

]

Underground Project in Taipei. It’s located underneath the central culture park and some parts exposed awkwardly.

/

META GARDEN

Bachelor of Architecture, PCCU

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I tried to organize the environment context such as the roads, alleys, and the axis of buildings, then arrange them on the site, organizing the fragments that people can reach and see.

The smaller these fragments, the higher the possibility that people reach.

The boundary between the things underground and the things on the ground should be obscure since the site has a historical railway.

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Bachelor of Architecture, PCCU

PHYSICAL MODEL

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ROOF PLAN

Commercial Ground

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B1 PLAN

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B2 PLAN

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Library Memorial Space Social Care Historical Railway Management &Service

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Bachelor of Architecture, PCCU

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META GARDEN

Bachelor of Architecture, PCCU

The plaza at the east side of the site makes people gather, connecting to the main path of the park - the railway. When passing through, pedestrians can see the hanging garden from a low position. This makes citizens truly feel they are a part of the city

The retails contain farmers’ markets, creatives markets, and free exhibitions. Studios can also rent the spaces. They need to hold workshops or exhibitions to make contributions to the public.

The railway will be reserve completely and all the machinery on the railway can be displayed. The historical railway will be approachable.

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A park can be developed downward to the root of the history of the land, instead of being limited as a flat zone above the ground. It’s a new form of citizen park, reflecting the needs of the city, making people gathered here, and building a symbiotic relationship.

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Bachelor of Architecture, PCCU

PHYSICAL MODEL

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SKETCH WORKS “A part of the daily life”

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Independent Works

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SKETCH WORKS

Independent Works

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SKETCH WORKS

Independent Works

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SKETCH WORKS

Independent Works

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THANK YOU

JACK HOUSHENG WANG ©2020 All rights reserved. No part of this book may be reproduced in any form without permission of copyright owner.