Vann Molyvann Project
Summer 2007 Critic: John Blood P 4 Fall 2007 Critic: Makram el Kadi P 8 Spring 2008 Critic: Peter de Brettville P 18 Spring 2008 Critic: Alan Organschi P 24 Fall 2008 Critic: Andrew Benner P 34
Fall 2009 Critic: Alan Plattus P 46
Summer 2009 Coordinator: Bill Greaves P 62 Fall 2009 Critic_Stefan Behnisch P 78 Spring 2010 Critic_FAT P 96 2007-2009 P 114
Light_Imaginary urban infill Summer 2007 Critic: John Blood The site, and imaginary urban infill strip of 20’ wide by 100’ long by 40’ tall, calls for a series of five chambers in which conditions of light transform one’s spatial experience. Conditions are set up such that the site opens to access and receives light only from the two ends of the long axis, and from above Five chambers are designed so that as one travels through, conditions on shift gradually from open and unmediated lighting to small openings of strategic lighting . The ground slopes slowly downwards so that once at the end of the 100’ length, one must return and walk up a set of stairs in order to exit from the entry point. The gradually shifting chambers compress within them two radically different chambers next to one another. One well-like and buried deep within the ground while the other soars above the rest and perches at the height of the site above a small reflecting pool. The brilliantly lit, immediately adjacent to the desolately dark.
right: model shot_top chamber
view from entry
light intensity diagram
Tribeca Lyceum Fall 2007 Critic: Makram el Kadi Inspired by films such as “The Rear Window” and “Playtime,” this project investigates the spatial qualities of de-synchronizing sight and sound using devices of separation where one would visually experience one space yet audibly aware of another. The disjunction between sight and sound stimuli then draws the audience up through the gallery spaces and into the theatres within which the normative condition of sight and sound synchronization become restored.
right: night rendering
The diagram on the right tracks the relationship between various participants as they move through the building. The disjunction between sight and sound stimulus would make the audience/participant aware that he is part of the advertisement machine in the cycle of the film industry Movies such as “Play Time” and “Rear Window” explore the discrepancies of when sight and sound do not match with one another, that listening to a song while watching the activities in a window across the street could give one drastically different impressions of the event.
Film Institute Cinemas
Observer becomes participant/observed individual becomes aware of himself as part of advertisement
Institute Professionals study audience reactions during the film, then produces relevant advertizing
Trailers, Ads, Reviews
sectional model shot
In plan the lyceum begins with one large theatre on the street level, two on the first floor, and three at the upper floor. Arranged along the East-West axis, as the theatres increase in number the street side facade begins to cantilever onto the street. Serving as public areas such as cafes, galleries, and lounges, the spaces between the theatres become intense areas of visual and audio disjunction. Sounds from one movie will flow into the space while images from the other would be projected into the space. The disorienting sense of the public spaces would then become alleviated once one enters the theatres and the sight and sound stimuli become synchronized once again.
Replication Spring 2008 Critic: Peter de Brettville The tenant unit within a duplex are often appendages tucked away or neatly stacked on top or below the main unit. This project explores the possibility of a more active relationship between tenant and owner. The tenant unit invades the owner unit, causing the main unit to shift and contort out of its rectilinear regularity, and in turn the tenant unit splits in two. The stair that bridge the two halves of the tenant unit juts into and through the owner unit and opens up the owner unit to light from above. Two halves of the tenant unit, now on either side of the owner unit, then serve as linkages that connect multiple units.
view from above
view from owner entry
Building Project Spring 2008 Critic: Alan Organschi Juenan Wu with A. Farewell, C. Chapple, H.Chung, J.Hawkins, G.Melitonov, D.Oâ€™Brien, M.Persinger, J.Schrader, A.Tomski,
Our proposal aims to maximize the feeling of freedom for each of its users. In buildings, walls, hallways, floor heights changes, and stairs are elements that can either limit or liberate movement and sight (experience). the project separates these elements into 3 distinct organizations to create a sense of place and evoke a feeling of choice each individual user. 1. 2. 3.
team D wanted the owner to have maximized horizontal mobility. team D wanted to give the teenage children of the family private domains. team D wanted to activate the vertical circulation of the ten ant, and create a distinct difference between the owner/tenant spatial experience.
Yale Center for Computing and the Arts - YCCA Fall 2008 Critic: Andrew Benner The Yale Center for Computing and the Arts is a new initiative that seeks to combine computer sciences and the arts to generate a new hybrid major and research. This project began with the concept of the program elements such as library and research labs into a rectangular volume. The volume that houses most of the programs for the initiative is then lifted off the ground by the theatre and blackbox, the darkest areas of the program. The lifting motion generates a public swath below the main building. Thus the â€œdarkâ€? rises out of the ground , pushing up the building, while light shafts come down from above to counter balance the dark elements. The light wells penetrate the rectangular volume of the building and juts down to ground level where they become structural elements that also support the building.
Light Display Light
DARK DARK DARK PERFORMANCE
on + onn
Urban Reconstruction_Allston Fall 2009 Critic: Alan Plattus Juenan Wu with Patrick Conner
The Problem: The site stretches across a major highway intersection that provides major transportation into downtown Boston and Cambridge. Divided by the highway juncture, the southern lobe of the site borders Boston University, while the northern section borders the riverfront. Proposed Design: Because the site is geographically and functionally a gateway into Boston, the desire was to create two view corridors that link the site visually with the Boston skyline. Initiated by that idea, we also saw the southern lobe as an opportunity to create a continuation of Boston University and register the shift from Commonwealth avenue. The view corridors also organize the site into distinct programmatic strips of R&D versus Residential and Student Housing.
generative diagram_view corridor to the city
major landmarks in Boston in relation to the site
A. Extend the fabric of Boston University as a liner for the site, and as a way for BU to navigate the complicated bend in the river B. Provide pedestrian linkage to BU and north lobe of site via riverwalk C. Make connection to Commonwealth Ave and create a node
BREAK IN BU FABRIC
hinge point where Boston University fabric begins to break down
626' from highway
1722' from highway
trees provide stormwater management and turn the lower half of the slope into another world
height of view corricor in order to clear the view above the highway
DEVELOPABLE SPACE FOR HARVARD
DEVELOPABLE SPACE FOR BOSTON UNIVERSITY
diagrams describing the water filtration system in place on the view corridors. A system of bioswales, cisterns, permeable pavers and various plantings would filter and process rain water and make it available for use within the buildings. The system would make the complex more sustainable through the process of recycling water.
concrete rain garden
hotel residences lobby
21,000 sqft convention grand ballroom retail
19,000 back of house
convention ctr entry 2 open to the sky
overhead mtg rooms concourse
open to the sky skybridge
overhead mtg rooms
stairs to upper terrace
45,000 sqft convention floor
convention ctr entry 1
+0 pre-function mtg. and lobby
stairs to upper terrace
stairs to upper terrace +0
lobby stairs to upper terrace
concrete plaza concrete plaza grass
rain garden rain garden concrete
section of eastern portion
section of western portion
Vann Molyvann Project Summer 2009 Coordinator: Bill Greaves Juenan Wu with Terri Lee
A modernist Cambodian architect trained in Paris, Vann Molyvann has built incredible concrete structures in Phnom Penh. Since his records have been destroyed during the war the buildings have lost all documentation. The project aimed to construct the plans, sections, and elevation of each of Vann Molyvannâ€™s buildings through extensive site work of measuring and photographing.
The Institute for Foreign Language is one of Van Molyvannâ€™s projects still in use in Phnom Penh. Designed as a school campus, the site consists of a main academic building organized in a pinwheel fashion, a library inspired by the Khmer straw hat, and a series of classrooms arranged as small theatres. The site plan below shows the buildings in relation to one another, each surrounded by a pool of water, and connected to each other on the first story by concrete foot bridges meant to provide access when the streets overflow during the rainy season.
section_main academic building
elevations of main academic building
detail section through main building
Kunstareal_Munich Fall 2009 Critic_Stefan Behnisch Juenan Wu with Aude Jomini
Weaving a new contemporary art museum with the surrounding landscape and its urban context, the museum is conceptualized as a series of discrete pavilions placed across the length of an extended urban site. The various programmed galleries are then formally reconnected by a single roof of subtly vaulted panels. A long axial paved court extends from the adjoining sites, providing the link with the redesigned master-plan of the "Kunstareal", Munich's re-branded museum district.
The left shows vignettes of the master plan deployed onto the site. Paving patterns and curved canopies serve as indicators of the museum district, markers with which one could place himself within the area. On the right are the plan and elevations of the entire length of the master plan. Monumental art installations at each circular node highlights the view axis and direction while orienting the visitor within the area.
Study models showing the various iterations of the design process. The schemes range from gallery spaces submerged under a landscaped mound, to separate pavilions arranged over an undulating landscape, to galleries spread along the site with tapering vaulted panels that form a single roof stretching over the galleries.
Each distinct pavilion incorporates a special exhibition hall with a permanent collection gallery cantilevered above. The pavilions are then covered by a uniform, paneled roof system that provides cover, which then allows the participant to travel between pavilions while remaining indoors. Periodic landscape swathes are placed in between the pavilions to allow the east/west landscape strip to flow through the building. The corresponding areas on the roof are glazed to admit direct light in the landscaped areas.
sectional model through main entry point
Diagrams showing the environmental conditions of the museum during various seasons. The building was designed to minimize span in the north/south direction so diffuse light from the north could reach the entire width of the gallery.
spring & fall
220mm glue laminated wood roofing plate rigid insulation 15cm deep gutter
operable window 15cm deep gutter
glue-lam stud supporting roof plate 1000x200 section glue-lam beam exterior column beyond steel tension cable grid 12mm solar control laminated glass
Dover Regeneration Spring 2010 Critic: F.A.T_Sean Griffiths, Sam Jacob, Charles Holland, with Jennifer Leung Investigating heraldry as a graphic device of communication, the first project delved into the idea of contemporary identity as represented through a heraldic system of elements. Taking the same system as site analysis to the port town of Dover, England, I developped a heraldic reading of the conditions of dover and used the heraldic diagram as the basis for the project.
The traditional system of heraldry forms identity through images that signify oneâ€™s lineage. Within a contemporary context however, the genealogical background becomes obscured by data-centric devices such as DNA, fingerprints, and the vast virtual, global, social networks in which one belongs. Thus, instead of a formally defined shield of specified subdivisions this piece is about forming an organic figure with no definitive border meant to suggest the human form. The object include various elements that communicates and registers oneâ€™s identity today.
The heraldic diagram highlights the dualities found in Dover. A town where the castle and cliffs once used for protection and keeping out enemies is now the main point of attraction to bringing tourism to Dover. The difference between the domestic sphere of Dover and the bustling port area is also drastic. The residents stay behind the hills while the transient populations make the most use of the harbor area side.
iterative readings of the master diagram
Three-dimensional interpretation of the heraldic diagram of dover. The various elements have been unified into a single color and material in order to make highlight the volumetric qualities of the forms created.
The building, sited along the harbor near the western docks, replaces the existing hotels with a long building mixing housing units for Dover residents, with public programs. Thus the permanent and transient populations of the town may mix and interact in the public ground level dubbed Doverâ€™s living room. The west end of the building marks the entry point for ferry and cruise arrivals while the east end of the buiding aligns with the major street through the town of Dover. The entire ground floor becomes permeable and public. Vertical circulation occurs in the back in the shape of helical stairs that buttress the long bar of the main building.
The facade has become a collection of the vernacular facade elements found in Doverâ€™s iconic semidetached housing units. The domestic has become monumental.
cross section A
cross section B
cross section C
The back facade, painted white, with massive stairtowers and fenestration indicating residential units, is modeled after the white cliffs of Dover. Thus the two sides of the building reverses the existing condition. The monumental white cliffs facing France before has flipped to face Dover, while the usually hidden vernacular elements have come to face the outside.
sectional model of the building showing a portion where the public space and the residential units merge.
section perspective through a public area of the building
Hand_Drawn 2007~2009 Works exhibiting various drawing techniques exploring various spatial conditions.
juenan wu | works completed at the yale school of architecture 2007-2010 141