Katie Wang Portfolio

KATIE WA N G SELECTED WORKS ARCHITECTURE & ART

KATIEWANG173@GMAIL.COM 607 379 0296

CONTENTS

ACADEMIC WORK 1. FROM GROWTH TO WASTE

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2. FILM CITY

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3. EARTH LIBRARY

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4. FORUM PAVILION

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5. THREE TOWERS

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PROFESSIONAL WORK 8. IDENTITY CRISIS 9. TO LINE 10. 100 ROOMS

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FROM GROWTH TO WASTE Enfield Food Pantry - Community Hub

MODULE GREENHOUSE

Cornell University ARCH 3101 Design Studio - Prof. Suzanne Lettieri Enfield, NY Fall 2023

PUSH AND PULL

FACULTY-NOMINATED OUTSTANDING PROJECT

FOOD PRODUCTION PROCESS

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IMMERSION

GROWING

WASTE

GROWING

PROCESSING PROCESSING

HARVESTING HARVESTING

VISIONS

GREEN GREEN GREEN GREEN HOUSE HOUSE HOUSE HOUSE

JANITOR STAFF JANITOR STAFF CLOSETS (2) RESTROOMS CLOSETS (2) RESTROOMS ADMINISTRATIVE ADMINISTRATIVE OFFICES OFFICES

WASTE MANAGEMENT WASTE MANAGEMENT

GREEN HOUSE WASTE STORAGE STORAGE HOUSE WASTE

CHILDREN'S

DRY GOODS GOODS DRY WALK-IN SHOPPER WALK-IN RESTROOMS RESTROOMS FREEZER FREEZER SHOPPER

WALK-IN WALK-IN REFRIGERATOR REFRIGERATOR

PRIVATE COUNSELING PRIVATE COUNSELING WALK-IN ROOMS (2) WALK-IN ROOMS (2)

AMPHITHEATRE AMPHITHEATRE SEATING SEATING

WASTE MANAGEMENT WASTE MANAGEMENT IN HOUSE COMPOSTING IN HOUSE COMPOSTING

WASTE STORAGE STORAGE WASTE RECYCLING STORAGE STORAGE RECYCLING

GENERAL STORAGE STORAGE GENERAL

LARGE EQUIPMENT EQUIPMENT LARGE STORAGE STORAGE

LARGE EQUIPMENT EQUIPMENT LARGE STORAGE STORAGE

MECHANICAL ROOM ROOM MECHANICAL

MECHANICAL ROOM ROOM MECHANICAL

EXIT EXIT

SHOPPER SHOPPER RESTROOMS RESTROOMS

GREEN REFRIGERATOR GREEN GREENREFRIGERATOR GREEN GREEN GREEN GREEN HOUSE HOUSE HOUSE HOUSE HOUSE HOUSE HOUSE WELLNESS ROOM WELLNESS ROOM

INDOOR INDOORGATHERING GATHERING MULTIPURPOSE MULTIPURPOSESPACE SPACE

DRY GOODS GOODS DRY WALK-IN WALK-IN FREEZER FREEZER

CHILDREN'S CHILDREN'S PLAY PLAY AREA AREA

GENERAL STORAGE STORAGE GENERAL

KITCHEN KITCHEN

FOOD PANTRY FOOD PANTRY SHOPPING SHOPPING

GREEN HOUSE

RECYCLING STORAGE STORAGE RECYCLING

VOLUNTEER PLAY AREA VOLUNTEER PLAY BREAK ROOMAREA BREAK ROOM

RECEPTION RECEPTION CHECK-IN CHECK-IN

KITCHEN KITCHEN

RECEPTION RECEPTION CHECK-IN CHECK-IN

WATER FILTRATION WATER FILTRATION SYSTEM SYSTEM

IN HOUSE COMPOSTING CLASSROOM CLASSROOM IN HOUSE COMPOSTING CLASSROOMGREEN CLASSROOM

JANITOR STAFF JANITOR STAFF CLOSETS (2) RESTROOMS CLOSETS (2) RESTROOMS ADMINISTRATIVE ADMINISTRATIVE OFFICES OFFICES CHILDREN'S

VOLUNTEER VOLUNTEER BREAK ROOM BREAK ROOM

INDOOR INDOORGATHERING GATHERING MULTIPURPOSE MULTIPURPOSESPACE SPACE

GREEN GREEN HOUSE HOUSE

WASTE

WASTE WASTE

CONSUMPTION CONSUMPTION

CONSUMPTION CONSUMPTION WASTE WASTE

PROCESSING PROCESSING CONSUMPTION CONSUMPTION

HARVESTING HARVESTING CONSUMPTION CONSUMPTION

GROWING GROWING PROCESSING PROCESSING

HARVESTING HARVESTING

GROWING GROWING

PROGRAM PROGRAM

N PATH

WASTE

CONSUMPTIONCONSUMPTION

CIRCULATORY CIRCULATORY FLOWS FLOWS

PROGRAM PROGRAM

AMPHITHEATRE AMPHITHEATRE SEATING SEATING

SING PROCESSING CONSUMPTION CONSUMPTION WASTE

PRIVATE COUNSELING PRIVATE COUNSELING ROOMS (2) ROOMS (2)

WELLNESS ROOM WELLNESS ROOM

EXIT EXIT

GREEN GREEN HOUSE HOUSE

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.

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LONG SECTION

FOOD PANTRY SHOPPING

FOOD PANTRY SHOPPING

FOOD PANTRY SHOPPING

ING ING

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PROGRAM PROGRAMPROGRAM

P

MPTION SSING

DIVISIONS

NWASTE WASTE

DIVISIONS DIVISIONSDIVISIONS

WASTE

N N SSING ING MPTION MPTION

PUSH PUSH AND AND PULL PUSH PULLAND PULL PUSH AND PULL

GROWING GROWING GROWING HARVESTING HARVESTING GROWING HARVESTING PROCESSING PROCESSING HARVESTING PROCESSING CONSUMPTION CONSUMPTION PROCESSING CONSUMPTION WASTE WASTE CONSUMPTION WASTE

ING SSING SSING

PROGRAM

WASTE

WASTE

CONSUMPTION

PROCESSING

HARVESTING WASTE

CONSUMPTION WASTE

PROCESSING CONSUMPTION GROWING

CONSUMPTION

HARVESTING

PROCESSING

GROWING PROCESSING

HARVESTING

HARVESTING

GROUND PLAN

MODEL PHOTO: 1’ = 1/16”

MODEL PHOTO: 1’ = 1/16” 7

ELEVATION PERSPECTIVE

GREENHOUSES

SITE PLAN

SITE SECTION 8

ORCHARDS

OUTDOOR LEARNING CENTER

WASTE

CONSUMPTI

HARVESTIN

GROWIN

PROCESSIN

GROWING

PUSHAND + PULL PUSH PULL

GREENHOUSE FOOD PANTRY

HARVESTING

PROCESSING

DIVISIONS

PARKING

SUNSTREET PATH

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EXPLODED AXONOMETRIC 10

EXTERIOR PERSPECTIVE

INTERIOR PERSPECTIVE 11

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 12

SWELLING MULTIPLE GROUNDS PROJECTION PERFORMANCE PERSPECTIVE

SPECULATIVE PROGRAM COLLAGE

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.

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EC SIT TO

GROUND PLAN: SKATEPARK + SITE ACCESS

SITE ANALYSIS SKETCH 14

STUDENT HOUSING HOUSING

STUDE HOUSIN

WORKSHOPS MIND SOUND STAGE CINEMA CAFE

WORKSH SOUND ST CINEM CAFE

SKATE PARK BODY

SKATE P

THEATRE SOUL AGORA

THEATR AGOR

EXPLODED PROGRAM DIAGRAM 15

PLAN 1: CINEMA, SOUND STAGE, SHOPS, CAFE

UNROLLED SECTION + PROJECTIONS 16

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

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PLAN 2: HOUSING TOWERS

PROJECTION DIAGRAM 18

HOUSING SKETCHES

MODEL PHOTO: 1’ = 1/32”

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AXONOMETRIC: FOCAL POINT

ELEVATION 20

MODEL PHOTO: 1’ = 1/32”

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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

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RADIAL GRID

RADIAL GRID

RADIAL WALLS RADIAL GRID

RADIAL GRID

RADIAL WALLS

RADIAL GRID

RADIAL WALLS

OPPOSING GEOMETRY RADIAL WALLS

RADIAL WALLS

CIRCULATION OPPOSING GEOMETRY

OPPOSING GEOMETRY

GEOMETRIC CONSTRUCTION OPPOSING GEOMETRY

OPPOSING GEOMETRY

CIRCULATION

GEOMETRIC CONSTRUCTION

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.

CIRCULATION

GEOMETRIC CONSTRUCTION CIRCULATION

CIRCULATION

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 GEOMETRIC CONSTRUCTION

SITE CONDITIONS

SITE CONDITIONS

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.

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OPPOSING GEOMETRY 6.0 ' 6.0 ' 6.0 ' 12 .0' 12 .0'

10

9

2

12 .0'

7

6.0 '

1

' '

6.0

3

6.0

11 12

8 4 6 5

G CIRCULATION

GROUND FLOOR PLAN

LONG SECTION 24

MODEL PHOTO: 1’ = 3/8”

MODEL PHOTO: 1’ = 3/8”

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INTERIOR PERSPECTIVE

INTERIOR PERSPECTIVE 26

WOOD ROOF WITH SKYLIGHT

GLULAM STRUCTURE

PARALLEL RAMMED EARTH WALLS

EXPLODED STRUCTURAL AXONOMETRIC

SHORT SECTION 27

1

retarder; retarder;2-3/4" 2-3/4"thermal thermalwool woolinsulation; insulation;moisture moisturebarrier; barrier;5-7/8" 5-7/8"reinf rein 77 1'5" 1'5"rammed rammedearth; earth;11" 11"bookshelf bookshelfdepth depthwith with1" 1"boards boards 11/16" corrugated aluminum plate; 1/2" x 2" wooden 8 batten supports; 1" sheathing; breather membrane; 8 insulating insulatingconcrete concretebeam; beam;reinforcing reinforcingsteel steel 6-3/4" mineral wool insulation; vapour retarder; 4" CLT 4 x 10" glulamlintel; beam 99 panels; insulating insulating concrete concrete lintel; reinforcing reinforcingsteel steel 2 aluminum gutter 10 10 drainage drainagepipe pipe 3 3/4" hardwood flooring; 1-1/2" plywood; 2 x 8" wood joists withhardwood HVAC; 4"flooring; CLT panels; 4plywood; xplywood; 10" glulam beam 11 11 3/4" 3/4" hardwood flooring; 1-1/2" 1-1/2" 2x6" 2x6" wood woodjoists; joists;breather breathermm 4 lime mortar erosion checks; 1-3" rammed earth + 6-11/16" foam glass gravel insulation + 6-3/32" insulation; insulation;3" 3"thermal thermal wool woolinsulation; insulation; 4" 4"rammed reinforced reinforcedconcrete; concrete;4" 4"CLT CLT earth with integrated wall heating 5 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 6 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 7 1'5" rammed earth; 11" bookshelf depth with 1" boards 8 insulating concrete beam; reinforcing steel 9 insulating concrete lintel; reinforcing steel 10 drainage pipe 11 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 1

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12.2'

11

22

9

7

3

4

7 3

4

11 8

33

44

77 8 9

88

7

3

6

11 6

5

10

8

6

5 66

10 WALL SECTION DETAIL 1

55 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.

2

Aluminum gutter.

310 10

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

4

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

5

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.

6

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

10

drainage pipe

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INTERIOR PERSPECTIVE

EXTERIOR PERSPECTIVE 29

PARASITIC TOWERS NET HUTS, UK CIEN HOUSE, PEZO VON ELLRICHSHAUSEN Cornell University ARCH 1102 Design Studio - Duncan Steele Hastings, UK Spring 2021 30

HYBRIDIZATION SOLID VS. VOID MATERIAL VERTICALITY

Net Huts, UK

Cien House, Chile Pezo and Sofia von Ellrichshausen

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.

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3/16" = 1' SECTION PERSPECTIVE 32

MODEL: 1’ = 1/8”

SECTIONAL MODEL: 1’ = 1/8”

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STRUCTURAL MODEL: 1’ = 1/2” FORUM PAVILION (Nyons, Switzerland) by Giona Bierens de Haan

ANALOG CONSTRUCTION

Cornell University ARCH 2613 Structural Systems - Prof. Mark Cruvellier

BRACED FRAME SYSTEM

In collaboration with: Osiel Aldaba, Angelique Meza Fall 2022 34

PINNED CONNECTIONS HINGED CANTILEVER DOORS

MODEL PHOTOS

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IDENTITY CRISIS EXHIBITION CORNELL RESEARCH FELLOWSHIP EXHIBITION WITH CATHERINE WILMES ITHACA, NY APRIL 15 - APRIL 26, 2024

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ROLE: RESEARCH ASSISTANT 3D MODELLING 3D PRINTING DIGITAL DRAWING PEDESTAL CONSTRUCTION

Cross-Pollination 1

Cross-Pollination 5

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.

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MODEL PHOTO: IDENTITY CRISIS EXHIBITION

Cross-Pollination 3

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Cross-Pollination 7

MODEL PHOTO: IDENTITY CRISIS EXHIBITION

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MODEL PHOTO: CROSS-POLLINATION 4

Cross-Pollination 2

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Cross-Pollination 6

MIXED MANNERISMS EXHIBITION FALL 2023

MODELS AND DRAWINGS BY KATIE WANG MIXED MANNERISMS EXHIBITION FALL 2023

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100 ROOMS: UNTOLD PARABLES OF THE EMPTY ROOM WITH ATELIER RZLBD TORONTO, CANADA AUGUST 2023 PUBLISHED: https://actar.com/product/100-rooms/

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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.

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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 46

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.

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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.

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