Page 1

NEO AQUI TOWER LI LEO YU | ARCH 402AL | FALL 2012 | MICHELE SAEE


NEO AQUI TOWER

LI LEO YU | ARCH 402AL | FALL 2012 | MICHELE SAEE


INTRODUCTION

WEEK NUMBER

MONTH

i

1

AUTHOR OF THE BOOK

page number starts

3

Li Leo Yu a fourth year undergraduate student at the University of Southern California School of Architecture, originally from Shenzhen, China. This research book records the work of the 2012 Fall Semester, runing under instructor Michele Saee.

4

DATES

page number ends


PREFACE

The studio led by instructor Michele Saee is aiming to develop a mixed-use complex project which includes a luxury hotel, high-end serviced apartments, retails and services. It is a thirty-six-floor highrise tower located in a prestige CBD area in the new downtown Saigon. This book will explain the developing process of my design, from sketch models to the very end of the final product. This book is divided into ten chapters in consecutive order, reflecting each phase of the design processes. The calendar looking table of contents indicates the week and the date of a particular design phase that takes place, summarized by the bolded chapter title and a highlighted picture.

iv


TABLE OF CONTENT / TIMELINE


3

SEPTEMBER 1

Four concept models were generated during the first week of school and under careful investigations of each model through obsevations in different mediums such as photoshop and photographs, I finally decide on one scheme.

WEEK 1

CONCEPT MODELS

WEEK 2

4

page 1

6

7

page 25

For the second generation of the sketch model, i further devlop the idea by taking the elements apart and reassemble them into a new form. The new model is consisted with a twisting core with numerous strips attach to the exterior which reatains the notion of the intersecting gills from the first generation of this scheme.

11

12

page 24

9

page 34

13

For the third generation of the sketch model, I focused on how to transition the sketch model into digital form. I developed a system which is based on the same notion from the second model by construtcting a core with many rectangles attached to its perimeter. Through pushing these rectangles in and out along vertical curves which is draw against the elevation of the facade, enabled me to 42 achieve the effect.

WEEK 3

page 35

WEEK 4

17

19

This design phase focuses on the translation and transformation of building exterior, using my developed system. Emphasizing on the clear reading of vertical strips, I avoid any intersection and stress on the verticality.

TRANSLATION AND TRANSFORMATION OF BUILDING EXTERIOR page 43

21

22

23

WEEK 5

TOWER-PODIUM RELATIONSHIP page 49

10

SECOND GENERATION SKETCH MODEL

THIRD GENERATION SKETCH MODEL

16

5

20

page 48

25

The next step is to look at the relationship between the tower and podium. It is necessory to develop a smooth transition between the two, unifying the whole page 58 building.


26

27

28

30

WEEK 6

EXTERIOR SCHEME

WEEK 7

OCTOBER

The rotation of the building causes a difficualty to incorporate a vertical strip facade idea. However, it is necessory for the exterior scheme help read the undulation of the building shape. So, this is when I come up with the horizontal wrapping idea. page 66

page 59

1

2

page 67

Based on the horizontal wrapping idea, a screen system is investigated to best deliver the idea. The building splits into three zones: retail, hotel and residential. Each zone is developed with different concept based on their usages.

6

7

4

EXTERIOR SCHEME DEVELOPMENT 8

5

page 72

10

WEEK 8

FACADE DESIGN ADJUSTMENT

page 73

16

WEEK 9

adjustment of the sceen design and getting design ready for 76 midterm production.

page 77

17

WEEK 10 AND AFTER

20

MID-TERM REVIEW

The design phase of this project ends at midterm review. Plans, section, elevations, renderings and models are produced for mid-reveiw.

page 92

DECEMBER 13

21

DETAIL DEVELOPMENT AND POST PRODUCTION

page 93

19

A serires larger scaled study models are produced for detailed building development, emphasizing on the connections of each components. Concurrently post production for preparing for final presentation is taking place as well, including: boards, models and this research book 112


1

1

CONCEPT MODELS


page 1

Four concept models were generated during the first week of school and under careful investigations of each model through obsevations in different mediums such as photoshop and photographs, I finally decide on one scheme.

4

5

page 24

CONCEPT MODELS

WEEK 1

CONCEPT MODELS

3

1

SEPTEMBER 1

2


1

CONCEPT MODELS

I cut up the coke cup in different directions so each of them spreads. They stretch and rotate in all directions, increasing the volume. The shifting effect at the exterior so that the red and white color spread out similar to the idea of weaving. There is also an idea of stacking reflects in its shape.

3


4

1

CONCEPT MODELS

stack

stretch

revolve

rotate

shift


1

CONCEPT MODELS

Further investigation of the model is through using photographs and photoshop to enhance the interesting characters of the model, such as the effects caused by different colors on the bottle, the wrapping notion when seeing from the bottom, or the solid and void division happening at the exterior.

5


6

1

CONCEPT MODELS


balconies

circulation

green roof

sky garden CONCEPT MODELS

1 7

The exposed decks reveal possibilities of becoming circulations or balconies and even possible green space. The distinction between different colors on the faรงade suggests the possible usage of different exterior materials.


8

1

CONCEPT MODELS

vertical green wall

screen

glass

metal


1

CONCEPT MODELS

For the second model I bundled little vertical foam sticks together and wrapped them with tapes in order to erect them vertically. Looking at the model, its shape reminds me of the Dubai Tower, for the notion of the verticality. Even though all mini sticks point to a vertical direction, they are located in random positions. There is a breakage idea as the little strips are not continued as the rectangular foam tubes being attached to its center.

9


10

1

CONCEPT MODELS

shifting

growth

verticality

discontinuity


Casting lights onto the model, the lightened core and the dimmed facade creates an interesting contrast between different parts of the moddel. The places where the ribbons are located suggest the notions of decks that connect different segments of the building. The foamy texture is also a highlight of this model. The light emits from these little dots creates varied visual effects.


1

CONCEPT MODELS

I used a strip of Bristol paper and rolled around my fingers to create a twisted spiral shape. The layering effect and the curving surface convey a similarity to the materials used for a finished building faรงade. The reading of the structure of this wrapping model reminds me of the Tatlin Tower. The layering notion of the exterior makes me think the possibilities behind the strips: a circulation or it is just opened-up as the Disney Concert Hall. Further studies of this model utilize light and photoshop to investigate possible design opportunities.

13


14

1

CONCEPT MODELS

spiral

wrapping

rolling

layering


CONCEPT MODELS

1 15

This wrapping idea reminds me of the Disney Concert Hall, of using metal pieces and the creation of curved surfaces.


balcony/ viewing deck

opening for egresses


As the wrapping gets loose at the bottom lever, it creates an opening which could serve as egress. There are also some overhang pieces at the exterior, which can be read as some kind of circulation.

outdoor circulation


1

CONCEPT MODELS

The fourth model I focused on the material itself. I started my idea with stacking several foam blocks together which was twisted to create a rotation from the bottom to top. I realized that the foam I got from the dumpster was pre-slices into little strips which were still attached together. As I expend the gaps between the foam, I realize they look almost similar as gills allow the mass to breath. With his notion, I started to use the pins to expend the openings, some big some small, scattered all over the faรงade achieving a notion of porosity.

19


stacking

gills

twisting rotation

1

CONCEPT MODELS

strips

20


CONCEPT MODELS

1

As the foam chunks being stacked on top of each together, the little strips seem to connect from bottom to up and create a sense of verticality along with a twisting effect. As the light being casted onto the faรงade, these little gills become more obscure whereas the solid strip as the color gets darken start to be read as one. By extracing the strips out, the model translate into two elements: continued strips that create the opening as they intersect each other and a center core inside the building which the exterior strips are attached to it.

22


23

1

vertical strips idea

joining together reads as one vertical element

CONCEPT MODELS


25

2

SECOND GENERATION SKECH MODEL


For the second generation of the sketch model, i further devlop the idea by taking the elements apart and reassemble them into a new form. The new model is consisted with a twisting core with numerous strips attach to the exterior which reatains the notion of the intersecting gills from the first generation of this scheme.

9

10

SECOND GENERATION SKETCH MODEL

page 34

SECOND GENERATION SKECH MODEL

page 25

7

2

WEEK 2

SEPTEMBER 6

26


2

SECOND GENERATION SKECH MODEL

After a careful investigation of the last four models, We were required to choose one to make a second generation. I picked both the coke bottle model and the gills as I cant decipher which one to drop. I firstly build the new model for the coke bottle, I did not quite like it because the transformation was too literal. I separated the model into two faรงades, one transparent and a solid one that they stacked on each other so they create different openings on the exterior.

27

before

after


openings on both facades create overlapings wrapping

transparent layer and the solid layer

2

SECOND GENERATION SKECH MODEL

layering

28


2

SECOND GENERATION SKECH MODEL

For the second generation of foam with gills model, I took further on the idea of the porous façade, by looking at how I can make this effect not only applying to forming the porous façade but also to shaping the building. Based on the system I developed from the first generation, described as the “inside out” operation, instead of letting the foam strips form these porous gills, I take the strip elements out and attach them back on the core which create the same notion of the gills by overlapping the strips.

29

before

after


wrapping

2

SECOND GENERATION SKECH MODEL

gills

concave and convex

strips wavy

core overlaping

intersecting

These strips create a wavy effect on the façade - convexing and concaving. By doing the “inside out” operation I gain more control of how I can shape the façade and also shape the form of the building.

30


SECOND GENERATION SKECH MODEL

2 31

The choice now is clear; I pick the foam and gills as my design concept. With further studies under light and photoshop, the idea of the curving strips attaching to the core becomes more promising. The intersecting and overlapping of the intersecting strips reveals a dynamic movement happens at the exterior.


34

2

SECOND GENERATION SKECH MODEL


35

3

THIRD GENERATION SKECH MODEL


13

WEEK 3

THIRD GENERATION SKETCH MODEL

page 35

For the third generation of the sketch model, I focused on how to transition the sketch model into digital form. I developed a system which is based on the same notion from the second model by construtcting a core with many rectangles attached to its perimeter. Through pushing these rectangles in and out along vertical curves which is draw against the elevation of the facade, enabled me to achieve the effect. 42

THIRD GENERATION SKECH MODEL

12

3

SEPTEMBER 11

36


3

THIRD GENERATION SKECH MODEL

What I focused on for this third generation model was the transformation from the physical sketch model to the degital one. Based on the very same idea of separating the model into the core and the strips, I took the notion of decomposing one step further – slicing up each floor to the whole building becomes a staking object.

37


THIRD GENERATION SKECH MODEL

3

I made a rough model to represent the decomposing idea of seperating each floor; however, the scale and the rotational angle was wrong, which dramatically alters the design. It loses the elegancy of that gentle twisting notion.

38


strips

core

3

THIRD GENERATION SKECH MODEL

Stacking a rectangular core and drawing 3D lines that curve along and against the elevation. Filling in with the rectangles along the curves to build up the strips from each floor.

39

Repeat the same process on other three elevation of the building. For experienment purpose, I just simply copied the finished elevation and applied to others.

Select both the core and the rectangles that wrap around it on each floor and start a onedegree rotation from the bottom up to achieve the twisting effect.

One more step further of the decomposing idea realte to the same operation explored from the second generation sketch model


new shape

3

redrawing the floor profiles

THIRD GENERATION SKECH MODEL

strips

core

Since the last study model failed, I restarted the transformation process. What I did this time is to literally realize the idea of what I have explored so far. Building a rectangular core in a stacked form, I drew lines on its elevation and start dragging it into a threedimensional curve that moves both on and against the elevation. After completing the curves I start to place rectangles on each floor starting from the edge of the core extends to the location where meets the curve. Through the process of adding each rectangle onto the floor, farely soon I have strips that wrapped around the core with a profile that follows the curves I drew. Finishing all four sides of the core, I drew the profile of each floor and combine the core with all the rectangles, making them read as one, which will be reflected by the different floor plan on each level in reality.

40


41

3

THIRD GENERATION SKECH MODEL


3

THIRD GENERATION SKECH MODEL

The benefit of this system allows me to gain the control of the movement happening on the facades. After all, the different operations allow the building mass to possess a twisting, dynamically concaving and convexing form.

42


43

4

TRANSLATION AND TRANSFORMATION OF BUILDING EXTERIOR


TRANSLATION AND TRANSFORMATION OF BUILDING EXTERIOR page 43

19

This design phase focuses on the translation and transformation of building exterior, using my developed system. Emphasizing on the clear reading of vertical strips, I avoid any intersection and stress on the verticality.

20

page 48

TRANSLATION AND TRANSFORMATION OF BUILDING EXTERIOR

17

4

WEEK 4

SEPTEMBER 16

44


45

4

TRANSLATION AND TRANSFORMATION OF BUILDING EXTERIOR

idea of an un-overlapped elevation


4

TRANSLATION AND TRANSFORMATION OF BUILDING EXTERIOR

After developing a feasible operation to regulate the building form, I started with series exploration of manipulating a desired faรงade design. From the last model which I incorporated the notion of overlapping which was observed in the second generation of the sketch model; however, the effect is not as clear as designed when applied on the facade, which seemed vague from far away due to its nature of a very gentle transition. So I stepped back and repositioned the strips in a more vertical fashion, preventing them from intersecting and meanwhile maintaining the vv dynamic quality.

46


the original overlapping shape, from week 3

4

TRANSLATION AND TRANSFORMATION OF BUILDING EXTERIOR

new concept, vertical strips with no intersection or overlapping

47

bringing down the same elements to the podium level

After meeting with Michele in studio, we agreed on the complication of intersecting the strips could bring vagueness for reading the facades from far away. Alternatively, I should stick with the simple idea of vertical and wavy strips.


4

TRANSLATION AND TRANSFORMATION OF BUILDING EXTERIOR

facade material exploration

48

with colored glazing system

with screen system

with tranparent glazing system

new shape


49

5

TOWER-PODIUM RELATIONSHIP


23

WEEK 5

TOWER-PODIUM RELATIONSHIP page 49

25

The next step is to look at the relationship between the tower and podium. It is necessory to develop a smooth transition between the two, unifying the whole page 58 building.

TOWER-PODIUM RELATIONSHIP

22

5

SEPTEMBER 21

50


5

TOWER-PODIUM RELATIONSHIP

Even though the exploration from last week changed the exterior strips from intersecting and introduced the strip notion to the podium level, the reading of the relationship between the tower and podium is still separated and abrupt. Right now, as the building form from top down suddenly makes a change at the bottom level where the massive six-floor podium attaches to the tower, the overall building shape could hardly be read as unified. Since the design is to deliver the possibility to make the building read a smooth self-transforming object, it is necessary to have the podium become part of the tower. Bearing this notion, my goal becomes to figure out how the building can transform from the top to the bottom podium as smooth as possible.

51


5

TOWER-PODIUM RELATIONSHIP

sketch of tower-podium relationship

52


after

before

bring down the floor plates from the tower to the podium

I started to add the same rectangles around the floors above the top podium level in order to bring down the strips. Operating under the same guidelines as how I shaped the building, I was able to make the transition between the tower and podium possible.

core rectangles

5

TOWER-PODIUM RELATIONSHIP

3D curve that moves both along and against the elevation guilds the position of the rectangles

53

regeneration of the building shape


54

5

TOWER-PODIUM RELATIONSHIP


55

5

TOWER-PODIUM RELATIONSHIP


pushed in: main entrance

5

After achieveing the shaping I readjust the rotation of the model, a two- degree rotation at the six-level podium, and one-degree turning starts at the seventh level. This makes the podium rotation more obvious and promotes a more smooth transition as it grows up and combines with the tower. One more feature I explored was the fact that how to deal with the egress. The solution I come up with was to push and pull the end of the strip. The convaxing entrance location, creates a dented-in shape which conveys a notion of drawing people in.

TOWER-PODIUM RELATIONSHIP

pushed in: residential tower entrance

56


effect of movement


5

TOWER-PODIUM RELATIONSHIP

final building shape

58


59

6

EXTERIOR SCHEME


28

WEEK 6

EXTERIOR SCHEME

page 59

30

The rotation of the building causes a difficualty to incorporate a vertical strip facade idea. However, it is necessory for the exterior scheme help read the undulation of the building shape. So, this is when I come up with the horizontal wrapping idea. page 66

EXTERIOR SCHEME

27

6

SEPTEMBER 26

60


6

EXTERIOR SCHEME

At this point, the fact that the design of the building still remains at the shaping phrase alarted me with the pressing issue to figuring out a desired façade. As Michele suggested I should use something like a strip on the building as the facade to enphaizse the notion of the verticality of my tower. however, as much as I wanted to incorporate the idea of that veritical strips or curves, the looking of it in reality was not as desired. The issue is being the way I have developed my building, its rotated and is stacked which creates a gap on the roof of the lower level due to the rotation. In order to fill the gap up the solution I have is to combine both the floor plan of that level with the one of the leve below. The consiquesnces have cause the building being more difficult to incorporate with a smooth strips façade. When I was completely stuck, I revisted the notes on Michele’s fead back, one suggestion me made was I need to consider the idea of differienctiate the distinct between different zones as the building is splited into three zones: retail, hotel and residential.

61


6

EXTERIOR SCHEME

sketch of the idea of 3 zones in the tower: retail, hotel and residential

62


6

EXTERIOR SCHEME

63

3

investigation of the original curving facade idea, by adding all the curve points back to the facades

going back to last step, only with glazing and without interior partitioned walls

the idea of interior partitioned walls that creates another layer of movement on the reading of the exterior facade

1 2

4

combining the glazing and the interior partitioned walls

transparent material wrap around each floor; thickness varies from thick to thin, from bottom to top

the final shape from last step


tested schemes

EXTERIOR SCHEME

9

translucent ribbons at the exterior with interior partitioned walls

6

6

8

different translucent ribbons at the exterior with interior partitioned walls

both translucent ribbons and transparent ribbon on the facade with interior partitioned walls

5 7

10

64

both translucent ribbon and transparent ribbons on the facade

translucent mesh ribbons at the exterior

use of glazing to wrap the whole exterior


the way to solve it is through the process of combining the current floor plate with the level below to fill the gaps

final scheme

6

EXTERIOR SCHEME

the problem with this stacking scheme is that it creates a gap between the floor plate below and above

65


In this selected final scheme, from bottom up are the retail, hotel and resident. The strip idea can serve as a primary screen that hovers over a secondary one which defines the space boundary between inside and outside. It is this idea that inspire me of developing the screen system that is dense at the bottom and becomes lose which also incorporated the notion of the difference between different zone: at the retail level, the screen attach to the window, and at hotel level, there is a two-feet set back and the screen is attached onto the floor plate. At the very top which is the residential place, the screen beceoms the realings and sit ontop the floor plate. One idea I also investigated was since the different floor plan generated due to the building form, the leaves the interior floor plan to alter accordingly as well. The vertical portioning wall will also play a role in the reading of my exterior faรงade, which will create another layer of the dymic quality.


67

7

EXTERIOR SCHEME DEVELOPMENT


2

page 67

Based on the horizontal wrapping idea, a screen system is investigated to best deliver the idea. The building splits into three zones: retail, hotel and residential. Each zone is developed with different concept based on their usages.

4

EXTERIOR SCHEME DEVELOPMENT

5

page 72

EXTERIOR SCHEME DEVELOPMENT

1

7

WEEK 7

OCTOBER

68


7

EXTERIOR SCHEME DEVELOPMENT

Midreview is approaching, but Michele needs to travel to China. He invited his assistant Jeehyun to help out the studio. Under the guildnece of Jeehyun, I was able to develop and adjust the screen to a more promising level. At this point the screen are at 6 inch interval and becomes denser and looser at varies points as it transitions. I also tested out the strip idea once again with the screen device, the result was still not very satisfying. Entering into pre-massproduction, I finished rendering for elevations for the building for the last class before midview, the result was a little shocking. After looking at the building, Michele sugguested I should consider adding more floors on top since my current building reads as being cut off somehow. The vision in Michele’s mind is as the building transitions from bottom to top, the screen disappears. The top floors do not serves as regular floor, they are only for mechanic and storage use.

69


7

EXTERIOR SCHEME DEVELOPMENT

tested renderings

70


71

7

EXTERIOR SCHEME DEVELOPMENT


7

EXTERIOR SCHEME DEVELOPMENT

tested renderings

72


73

8

FACADE DESIGN DEVELOPMENT


OCTOBER

6

7

8

10

FACADE DESIGN DEVELOPMENT

page 73

adjustment of the sceen design and getting design ready for 76 midterm production.

8

WEEK 8

FACADE DESIGN ADJUSTMENT

74


73

8

FACADE DESIGN DEVELOPMENT


8

FACADE DESIGN DEVELOPMENT

pre-final renderings

76


77

9

MID-TERM REVIEW


page 77

17

The design phase of this project ends at midterm review. Plans, section, elevations, renderings and models are produced for mid-reveiw.

19

20

MID-TERM REVIEW

page 92

MID-TERM REVIEW

16

9

WEEK 9

OCTOBER

78


VIEW FROM LE DUAN


VIEW FROM LE DUAN

ALUMINUM RAILING ATTACH TO FLOOR PLATE 6 FT. RESSION ON FLOOR PLANS BALCONY ACCESS

APARTMENT FLOOR 23 - FLOOR 36

ALUMINUM SCREEN ATTACH TO FLOOR PLATE 2 FT. RESSION ON FLOOR PLANS NO ACCESS HOTEL FLOOR 7 - FLOOR 22

OUTDOOR BALCONY

ALUMINUM SCREEN ATTACH TO WINDOW NO RECESSION ON FLOOR PLAN SHOPPING CENTER FLOOR 1 - FLOOR 6

ELEVATION_LE DUAN SCALE: 1/64” = 1’ - O”

ELEVATION_HAI BA TRUNG SCALE: 1/64” = 1’ - O”

VIEW FROM HAI BA TRUNG

VIEW FROM NGUYEN VAN CHIEM

ELEVATOR / MECHANICAL ROOM

CAFE/ LOUNGE

SERVICE

M RAILING O FLOOR PLATE SION ON FLOOR PLANS Y ACCESS RESIDENTIAL ENTRANCE

HOTEL FRONTDESK

M SCREEN O FLOOR PLATE SION ON FLOOR PLANS SS

CAFE/ LOUNGE

SHOPPING CENTER

OUTDOOR GROUND FLOOR PLAN BALCONY SCALE: 1/32” = 1’ - O”

M SCREEN O WINDOW SSION ON FLOOR PLAN

9

MID-TERM REVIEW

ELEVATION_HAI BA TRUNG SCALE: 1/64” = 1’ - O”

81

HOTEL ROOMS

ELEVATION_SOUTHWEST SCALE: 1/64” = 1’ - O”


VIEW FROM NGUYEN VAN CHIEM


VIEW FROM HAI BA TRUNG


GROUND FLOOR PLAN

9

31ST FLOOR PLAN

MID-TERM REVIEW

15TH FLOOR PLAN

84


SECTION_LONGITUDINAL


SECTION_TRANSVERSE


FINAL MODEL


88

9

MID-TERM REVIEW


89

9

MID-TERM REVIEW


90

9

MID-TERM REVIEW


FINAL MODEL


93

10

DETAIL DEVELOPMENT AND POST PRODUCTION


DECEMBER 7

DETAIL DEVELOPMENT AND POST PRODUCTION

page 93

A serires larger scaled study models are produced for detailed building development, emphasizing on the connections of each components. Concurrently post production for preparing for final presentation is taking place as well, including: boards, models and this research book 76

DETAIL DEVELOPMENT AND POST PRODUCTION

21

10

WEEK 10 AND AFTER

OCTOBER

94


10

DETAIL DEVELOPMENT AND POST PRODUCTION

The precedent I found and researched are the Glass Museum and Christian Dior Ometsando Building by SANAA, I want the transition of the screen system on the exterior to be the major reading of the whole project. Anything vertical between the floor will more or less compromise the reading of it. SANNA on the other has developed the scheme of hiding the mullions inside the floor and the drop ceiling.

95


10

DETAIL DEVELOPMENT AND POST PRODUCTION

Glass Museum and Christian Dior Ometsando Building by SANAA

96


10

DETAIL DEVELOPMENT AND POST PRODUCTION

detail structural model_1

97


10

DETAIL DEVELOPMENT AND POST PRODUCTION

detail structural model_2

98


detail structural model_2


10

DETAIL DEVELOPMENT AND POST PRODUCTION

research on the exterior detail

101

56 Leonard Street by Herzog & de Meuron

Shad by Renzo Piano

New York Times Building Renzo Piano

Centre Culturel Tjibaou by Renzo Piano


structural detail of The New 42nd Street Studios


103

10

DETAIL DEVELOPMENT AND POST PRODUCTION


DETAIL DEVELOPMENT AND POST PRODUCTION

10

FINAL_SECTION CHUNK TRANSITION FROM HOTEL TO RESIDENTIAL TOWER

104


DETAIL DEVELOPMENT AND POST PRODUCTION

10 105

SECTION_FL. 21 - FL. 24 TRANSITION FROM HOTEL TO RESIDENTIAL TOWER


BALCONY ACCESS 6 FT. RESSION ON FLOOR PLANS 42 IN. TALL 1IN. THICK GLASS RAILING ALUMINUM SCREEN ATTACHED ON GLASS FINS DETAIL AT RESIDENTIAL LEVEL

embedded ceiling tracks steel hanger wires

drop ceiling: gypsum board

10

3 in. finishing concrete

DETAIL DEVELOPMENT AND POST PRODUCTION

lateral sliding window door

106


DETAIL AT HOTEL LEVEL NO OUTDOOR ACCESS 2 FT. RESSION ON FLOOR PLANS 13.5 IN. TALL 1IN. THICK GLASS PANELS ALUMINUM SCREEN ATTACHED ON GLASS FINS

10

DETAIL DEVELOPMENT AND POST PRODUCTION

2 ft. setback from the floor edge

107

drip


DETAIL AT RETAIL LEVEL NO OUTDOOR ACCESS NO RESSION ON FLOOR PLANS 13.5 IN. TALL 1IN. THICK GLASS PANELS ALUMINUM SCREEN ATTACHED ON GLASS FINS

anodized aluminum steel connector

aluminum screen laminated glass fin

metal deck

1 ft. gap for lighting floor to ceiling 8 ft. x 13.5 ft. x 1 in. lowiron glass cavity 10 ft. interior net height

10

concrete slab embedded fllor tracks

DETAIL DEVELOPMENT AND POST PRODUCTION

the screen angle varies on different floor which creates a gentle variation of the facade reading from bottom-top

108


109

10

DETAIL DEVELOPMENT AND POST PRODUCTION


10

DETAIL DEVELOPMENT AND POST PRODUCTION

INTERIOR VIEW FROM TYPICAL HOTEL ROOM

110


111

10

DETAIL DEVELOPMENT AND POST PRODUCTION


10

DETAIL DEVELOPMENT AND POST PRODUCTION

EXTERIOR VIEW

112


NEO AQUI TOWER  

a research book made by Li Leo Yu under instructor Michele Saee at University of Southern California School of Architecture

Read more
Read more
Similar to
Popular now
Just for you