Katie Wang Portfolio by Katie Wang

KATIE WANG

SELECTED WORKS

ARCHITECTURE & ART

FROM GROWTH TO WASTE

Enfield Food Pantry - Community Hub

Cornell University

ARCH 3101 Design Studio - Prof. Suzanne Lettieri

Enfield, NY

Fall 2023

As a historically agriculturally dominant area, the rural culture of Enfield, NY, has diminished with rural flight and increasing agricultural specialization. Using the GREENHOUSE MODULE, the community hub supports education around local food sourcing and production. Through principles of immersion and exposure, the hub brings local Enfield residents and farmers together in which every stage of the food production process; from growth to waste; is exhibited and deeply expressed in the progression of space.

FIVE STEPS

in the food production process;

GROWING, HARVESTING, PROCESSING, CONSUMPTION, and WASTE;

are exemplified in the shifting modules that creates interaction for visitors with every stage of the process. The PUSH + PULL of these modules create areas for greenhouse integrated into the building that maximize sunlight from the south. Exterior pockets create small garden and gathering spaces. The shifting motif continues across the site in a series of additional greenhouses and crop patches.

MODEL PHOTO: 1’ = 1/16”

ELEVATION PERSPECTIVE

ORCHARDS GREENHOUSES OUTDOOR LEARNING CENTER

SITE PLAN

SITE SECTION

PUSH AND PULL

PUSH + PULL

DIVISIONS

GREENHOUSE

SUN PATH

FOOD PANTRY

PARKING STREET

EXTERIOR PERSPECTIVE

INTERIOR PERSPECTIVE

FILM CITY

BINGHAMTON UNIVERSITY FILM & CINEMA CAMPUS

Cornell University

ARCH 3102 Design Studio - Prof. Tom Carruthers

Binghamton, NY

Spring 2024

Addison G. Crowley B.L. Arch ‘38 Prize – Prize Winner

SWELLING

MULTIPLE GROUNDS

PROJECTION

PERFORMANCE

PERSPECTIVE

Binghamton’s architectural and industrial history is evident in its urban landscape, however recent economic decline and lack of public space defines the urban experience of the downtown core. This project aims to REVITALIZE the downtown Binghamton streetscape and arts scene by creating appealing public space for young students to stimulate the economy.

This project proposes an extension of the Binghamton University film department, providing 20 units of student housing and supporting programs. The site is divided into two buildings, each with two SWELLS and two TOWERS, one with a focus on media production and the other on consumption.

Programs are interwoven sectionally through a series of undulating planes. The thickening or SWELLING of a slab ripples upwards into housing towers. Shared programs are suspended in this elevated plate, informing the skate park below and the housing towers above. The ground pushes up to meet these swells, creating an open ground floor for skateboarders to move through the site.

PERFORMANCE + PROJECTION

Film has the ability to imitate reality through collapsing a three-dimensional environment into a two-dimensional projection. This project interprets two different types of projection and viewing – one that is a technological projection applied to a surface, and the other is the act of viewing in perspective.

TO SITE C

GROUND PLAN: SKATEPARK + SITE ACCESS

STUDENT HOUSING SKATE PARK

HOUSING STUDENT HOUSING

WORKSHOPS SOUND STAGE CINEMA CAFE

MIND

WORKSHOPS

SOUND STAGE CINEMA CAFE

THEATRE AGORA EXPLODED PROGRAM DIAGRAM

THEATRE AGORA SOUL

SKATE PARK

BODY

PLAN 1: CINEMA, SOUND STAGE, SHOPS, CAFE

RELATIONSHIPS

MODEL PHOTO: 1’ = 1/2”. PROJECTION AND SECTIONAL

HOUSING SKETCHES

PLAN 2: HOUSING TOWERS

MODEL PHOTO: 1’ = 1/32”

AXONOMETRIC: FOCAL POINT

MODEL PHOTO: 1’ = 1/32”

EARTH LIBRARY

LIBRARY

STUDY OF RAMMED EARTH CONSTRUCTION

Cornell University

ARCH 2102 INTEGRATED Design - Prof: Marta H. Wisniewska Ithaca, NY Spring 2023

CONSTRUCTION

ENVIRONMENTAL SYSTEMS RADIAL PATH PROCESSION

CIRCULATION

OPPOSING GEOMETRY

CIRCULATION

GEOMETRIC CONSTRUCTION

CIRCULATION

In studying RAMMED EARTH construction as a sustainable building material, Alnatura Campus (by Hass Cook Zemmrich) was studied and used as precedent for the design of this library in Ithaca.

GEOMETRIC CONSTRUCTION

SITE CONDITIONS

GEOMETRIC CONSTRUCTION

Prefabricated rammed earth walls were constructed using a combination of local loam and recycled earth. Prefabricated rammed earth units integrate foam glass gravel insulation and heating pipes for a more energy efficient facade system. Erosion checks minimize the impact of natural forces on the degradation of rammed earth.

SITE CONDITIONS

A RADIAL PATH is created by two curved rammed earth walls. This corridor connects two entry points into the site, generating a radial grid that defines the rest of the programmatic space. The central path serves as a public path to house open artistic and educational events, with other public programs such as administrative offices, an auditorium, lobby, and children’s education area.

Acting primarily as a facade and using concrete to supplement structure when needed, the prefabricated rammed earth unit consists of erosion checks, earth, foam glass gravel insulation, and integrated heating pipes. Details of connections to wood roof and flooring are shown.

CIRCULATION

MODEL PHOTO: 1’ = 3/8”

INTERIOR PERSPECTIVE

WOOD ROOF WITH SKYLIGHT

GLULAM STRUCTURE

PARALLEL RAMMED EARTH WALLS

EXPLODED STRUCTURAL AXONOMETRIC

11/16" corrugated aluminum plate; 1/2" x 2" wooden batten supports; 1" sheathing; breather membrane; 6-3/4" mineral wool insulation; vapour retarder; 4" CLT panels; 4 x 10" glulam beam aluminum gutter 3/4" hardwood flooring; 1-1/2" plywood; 2 x 8" wood joists with HVAC; 4" CLT panels; 4 x 10" glulam beam lime mortar erosion checks; 1-3" rammed earth + 6-11/16" foam glass gravel insulation + 6-3/32" rammed earth with integrated wall heating gravel fill; geotextile; membrane drainage surface; 4-3/4" foam glass insulation; bitumen membrane waterproofing; 2'3" reinforced concrete plinth; 4-3/4" foam glass insulation

3/4" hardwood flooring; 1-1/2" plywood; 3-3/8" heating screed; 1-3/16" impact soundproofing; vapour retarder; 2-3/4" thermal wool insulation; moisture barrier; 5-7/8" reinforced concrete

1'5" rammed earth; 11" bookshelf depth with 1" boards

insulating concrete beam; reinforcing steel insulating concrete lintel; reinforcing steel drainage pipe

3/4" hardwood flooring; 1-1/2" plywood; 2x6" wood joists; breather membrane; sloped sheathing with rigid insulation; 3" thermal wool insulation; 4" reinforced concrete; 4" CLT panels; 4 x 10" glulam beam

11/16” Corrugated aluminum plate; 1/2” x 2” wooden batten supports; 1” sheathing; breather membrane; 6-3/4” Mineral wool insulation; vapour retarder; 4” CLT panels; 4 x 10” glulam beam.

Aluminum gutter.

3/4” Hardwood flooring; 1-1/2” plywood; 2 x 8” wood joists with HVAC; 4” CLT panels; 4 x 10” glulam beam.

Lime mortar erosion checks; 1-3” rammed earth + 6-11/16” foam glass gravel insulation + 6-3/32” rammed earth with integrated wall heating.

Gravel fill; geotextile; membrane drainage surface; 4-3/4” foam glass insulation; bitumen membrane waterproofing; 2’3” reinforced concrete plinth; 4-3/4” foam glass insulation.

3/4” Hardwood flooring; 1-1/2” plywood; 3-3/8” heating screed; 1-3/16” impact soundproofing; vapour retarder; 2-3/4” thermal wool insulation; moisture barrier; 5-7/8” reinforced concrete drainage pipe

INTERIOR PERSPECTIVE

PARASITIC TOWERS

NET HUTS, UK

CIEN HOUSE, PEZO VON ELLRICHSHAUSEN

Cornell University

ARCH 1102 Design Studio - Duncan Steele Hastings, UK Spring 2021

HYBRIDIZATION

In a precedent study of the Hastings Net Huts and Pezo Von Ellrichshausen’s Cien House, their most significant comparisons lie in their tower-like verticality, materiality, plan grid, and rectangular geometries. A synthesis of these core spatial relationships aims to capture the spatial essence of both precedents into a design for an art gallery. The art gallery, intended to display hanging pieces from the regional area of Hastings, maintains a strong verticality and rigourous adherence to the grid.

Three towers containing circulation and gallery space merge with varying opacities. A parasitic material relationship is implied–a wooden framework is revealed as parts of a concrete mass are carved away for walkways and dividing spaces. As an exploration in material relationships and solid vs. void, movement between massive spaces of concrete to unenclosed outdoor spaces allows for breaks from gallery space with experiential outdoor views. Some double height spaces allow for the hanging of regional artifacts from the Net Huts.

Net Huts, UK

Cien House, Chile

Pezo and Sofia von Ellrichshausen

3/16" = 1'

SECTIONAL MODEL: 1’ = 1/8”

MODEL: 1’ = 1/8”

STRUCTURAL MODEL: 1’ = 1/2”

FORUM PAVILION (Nyons, Switzerland) by Giona Bierens de Haan

Cornell University

ARCH 2613 Structural Systems - Prof. Mark Cruvellier

In collaboration with: Osiel Aldaba, Angelique Meza Fall 2022

ANALOG CONSTRUCTION

BRACED FRAME SYSTEM

PINNED CONNECTIONS

HINGED CANTILEVER DOORS

MODEL PHOTOS

IDENTITY CRISIS EXHIBITION

CORNELL RESEARCH FELLOWSHIP EXHIBITION

WITH CATHERINE WILMES

ITHACA, NY

APRIL 15 - APRIL 26, 2024

ROLE: RESEARCH ASSISTANT

3D MODELLING

3D PRINTING

DIGITAL DRAWING PEDESTAL CONSTRUCTION

Identity Crisis explores new approaches to architectural elements by surveying Ithaca’s built environment and proposing a series of eight artifacts derived from photographic documentation. Discrete components such as doors, windows, gutters, vents, and chimneys were analyzed, disassembled, and reassembled to produce novel building components. These hybrids begin to speculate on the possibility of new cultural and technical functions.

Anthropologist Victor Turner has shown that various indigenous societies used a method of “componential exaggeration” to estrange everyday objects and employ them as didactic tools for the young to learn from. He argued that the deformed statues and objects that certain indigenous societies used, like the American Omaha, were made to have their youth question fundamental notions of beauty, courage, danger, and leadership.

Similarly, the eight designs shown here, along with the student work of the Mixed Mannerisms seminar of Fall 2023 aspire to be didactic tools for students of architecture to question our aesthetic assumptions when it comes to assembling building elements. The artifacts are understood less as end products than processes of collective questioning using methods of photographic, formal, scalar, programmatic, and semantic manipulation.

Cross-Pollination

MODEL PHOTO: IDENTITY CRISIS EXHIBITION

MODEL PHOTO: CROSS-POLLINATION 4

MIXED MANNERISMS EXHIBITION FALL 2023

MODELS AND DRAWINGS BY KATIE WANG

MIXED MANNERISMS EXHIBITION FALL 2023

TORONTO, CANADA

AUGUST 2023

PUBLISHED: https://actar.com/product/100-rooms/

ROLE: SUMMER INTERN

ANALOG MODEL CONSTRUCTION WRITTEN TEXT

As a sequel to “The Empty Room: Fragmented Thoughts on Space (2020), this book elaborates the same theme with one hundred iterations of a square room, each of which tells a different story of the emptiness between the walls.

The Empty Room, in the absence of any visual materials, was composed of poems, aphorisms, and a collection of quotes portraying the room and the emptiness as the essence of architecture. Now, in the following pages, 100 square rooms complement many blurry images of the empty room with a visual guide. Each page consists of a plan and a physical model of a room, which is an excavation of geometry and order inherent within a square. It holds no design intention -- no scale or function -- but simply one of infinte possibilities that emerge from a square. This framework implies that a formal expression of a room should come from within, not from the walls that enclose the space. With these visual references, one can begin to imagine many approximations to the empty room.

A line on a paper is always less, as Kahn says, but through these measurable means, the immeasurable idea of the empty room with take form in one’s mind.

TO LINE | 64 LINES

WITH ATELIER RZLBD

COMPLETED WITH REZA ALIABADI, JAMES CHUNGWON PARK, MADDIE CHEUNG

TORONTO, CANADA

AUGUST 2024

ROLE: CONCEPT DEVELOPMENT, TEXT, MODEL PHOTOGRAPHY, EXECUTION

Atelier RZLBD pursues an open series exploring the act of drawing a line. We present 64 lines, each created to push the boundaries of how we understand line. As computer aided drawing takes over the art and architecture disciplines, traditional methods of design, sketching, and drafting have become a lost art. A digital line is defined merely by a start and end coordinate, existing in an infinite realm with no character or imperfection. Lacking any sense of scale, a computer can generate a line of any length instantly. To some, this is an ideal – a sense of perfection, mathematical precision, efficiency, and reliability. However, the relationship between pen and paper, human and material cannot be forgotten.

A drawn line is not merely one-dimensional. By the touch of a human hand, each line is drawn through the intimate interaction of a tool onto a medium; we are bound by the limits of these materials. The medium has a distinct size, coloration, and consistency, while the tool has a specific thickness, function, and agility. Uniting two contrasting materials creates texture, intricacy, detail, and uncertainty. The expression of the line reflects the lived experiences of its creator and the material itself, making every drawn line unique with its own personality.

A line is more than precision and efficiency – it carries time, space, weight, and humanity. A line is a verb: a performance, a process. And finally, a line has a soul, like the one who draws it.