portfolio 2018

LU CHIEH YOUNG PORTFOLIO 2018

contents

1. representation of 2018 NCTU GIA project review

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2. representation of 50 JAHRE BAUHAUS

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3. representation of Swingout

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4. representation of Eshrick house

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5. square spiral 35 6. architecture, form and design

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7. disappeared native trees hut

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1

1.1 representation of 2018 NCTU GIA project review by drawing

The project attempted to record and translate things into abstract elements.

The drawing was to consider the perspective photo as a composition of lines on twodimensional plane.

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1.2 representation of 2018 NCTU GIA project review by paperboard

The methodology was to extend the squares in the third dimension according to the length of the lines.

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1.2 representation of 2018 NCTU GIA project review by paperboard

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2. representation of 50 Jahre Bauhaus Poster,

by Herbert Bayer

The project looked for a function can transfer almost all posters to models.

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Height

2.1 representation of 50 Jahre Bauhaus Poster, by model

The brighter shape looked closer were defined to higher, and the darker shapes were defined to lower. However the whites were considered colorless, so they were transfer to negative space.

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Height

2.2 representation of 50 Jahre Bauhaus Poster, by drawing

To represent the three-dimension model into a two dimension drawing, it projected each visible horizontal plane into a drawing and reduced according to height.

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2.3 representation of 50 Jahre Bauhaus Poster, by collage

It is a collage by black transparent acrylic, and it can collage with others to create the illusion of space.

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2.3 representation of 50 Jahre Bauhaus Poster, by collage

collage with a poster of Creative Expo Taiwan

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3. representation of Swingout, a dance move of Lindyhop

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2

3 8

5 4

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2 1

3 8

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5 5

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3 6

2 7

1 8

1

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3.1 representation of Swingout by model

The model combined the route (middle) of the move and a curve (left) which I recorded the tension I felt in the swingout .

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3.2 representation of Swingout by drawing

The drawing reinterpreted the move and implied the dance move will return to the origin.

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4. representation of Eshrick house, a house by Louis I. Kahn

"I think that a plan is a society of rooms. A real plan is one in which rooms have spoken to each other. When you see a plan, you can say that it is the structure of the spaces in their light." (Between Silence and Light: Spirit in the Architecture of Louis I. Kahn, page 36)

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4.1 representation of Eshrick house by drawing

By visualizing the relationship between the rooms, the project aimed at discussing whether the rooms have spoken to each other.

Since each room consists of vertical and horizontal lines, the identities of rooms were defined by diagonal lines and made them intersect each other.

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c b

4.2 representation of Eshrick house by model

h

c b

It extended to the third dimension while retaining the quantity identities (vector and area) of the rooms, in order to represent the dialogue of the rooms.

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4.2 representation of Eshrick house by model

Fencing off rooms by walls does not represent rooms spoken to each other.

If the walls can be tilted like books on a shelf, the structure will be more stable, and the space begins to intertwine like exchanging knowledge.

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4.2 representation of Eshrick house by model

The rooms which have spoken to each other could be considered as a good relationship of the space, but the intersection of the lines or planes does not necessarily means a good relationship.

The good relationship of architecture comes from thoughtful making space, hierarchy, organizing, problem discussion and different things. The good relationship does not only present through visual form.

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5.1 square spiral, by line model

It is an experiment of seeking dynamic stability, rhythm and harmony of mathematics, geometry and space.

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z

y

y

a3

a4

a1

a2

x

x

i. a1, a2, a3, a4 ....

1, 2, 3, 4 .... → → +A,+A,+A,+A ....

5.1 square spiral, by line model

ii. x, y,-x, -y, x, y .... → x, y, z, -x, -y, -z, x, y, z ....

It is a three-dimensional square spiral that increases the constant length of each line part and changes direction according to the x, y, z, -x, -y, -z directions.

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z’

i. +A,+A,+A,+A .... ii. x', y', z', -x', -y', -z', x', y', z' .... → x', y', z', -x', -y', -z', x', y', z' .... iii. a1, a2, √2a3, a4, a5, √2a6 .... → a1, a2, √2a3, a4, a5, √2a6 .... → a1, a2, √2b3, a4, a5, √2b6 .... x’

5.2 square spiral, by drawing

y’

To represent the three-dimension model into a two dimension drawing, it turned the z-axis an axis which makes angle 45 degrees both x and y axes, and changed the basic unit of the length of the line part which extending in the z-axis direction to √2 times.

W

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L

L

W

The 45-degree angle parallelogram paperboards compose the model to represent the 45 degrees from the drawing and the three-dimensional square spiral again.

5.3 square spiral, by paperboard model

The long sides(L) of all paperboard and the short sides(W) in the x' and y' directions base on the drawing. The short sides of the the z' direction base on the previous x' direction paperboard.

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coordinates

5.3 square spiral, by paperboard model

In order to make the vertebral board precisely, it integrated the series i to v as an algorithm to evaluate the threedimensional coordinates.

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z’

i. +A,+A,+A,+A .... ii. x', y', z', -x', -y', -z', x' .... iii. a, a, b, a, a, b ....

x’

5.3 square spiral, by paperboard model

y’

The paperboard model extended to three-dimensional with keeping series i to iii.

Moreover, the model on a horizontal plane and suspension presented quite different.

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iv. c, d, c, c, d', c, c, d, c ....

'....

5

5

....

4

v. 4, 5, 4, 5 .... → e, f, e, f ....

4

i. +A,+A,+A,+A .... ii. x', y', z', -x', -y', -z', x' .... ....

iii. a, a, b, a, a, b .... iv. c, d, c, c, d', c .... v. e, f, e, f ....

5.3 square spiral, by paperboard model

The paperboard connection sequence followed the the series iv and v to represent the rhythm of square spiral.

By integrating into the series i to v, the composition represent dynamic monumentality through space.

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6 architecture, form and design

Architecture is the whole of building and its will.

What is architecture, and the relationship between architecture and form?

Form refers to the shape or configuration of a building.

In other words, form can express architecture. However, not only form matters, but likewise numerous factors.

Are the previous projects good forms or designs?

The design of the previous projects focused on how to observe and record the form, and develop a method to make the form to represent it with other media.It is a methodology of designing forms, but there's not only one method into design.

Good design is like a balanced solution, which cleverly responds to references and creates more value; therefore, they might be beautiful forms, but they were hard to say good designs.

How could the previous designs be better?

The thinking in the previous designs focused on the method of representation. In fact, I thought about the projection of the reference in my mind, not the reference itself. Even say that there was already a direction to an unclear form in mind, and the reference only guided me to clarify the form.

Nevertheless, the design resulting from such thinking may be a good design, actually ignored many characteristics of reference, so the form was what the author wished for, it would be better if it could refer more characteristics.

What is good architecture, and how could be toward it?

If a design can reflect on form, function, structure, materials, environment, urban context, society, zeitgeist, history, etc., it may be a good design. Further, a whole that is designed with thoughtful and self-criticism may be toward a good architecture.

The next project attempted to consider not merely form but also architecture.

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5

3 3

7 disappeared native trees hut

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4

It's a complaint of disappeared native trees, and it's also a representation of "primitive hut". The project attempted to arouse attention to indigenous tree species.

Some said that architecture start from four trees, but three lines can define a pace in three dimensions.

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plan: 1/100

The 3-4-5 triangle is the well-known right-angled triangle of the natural number. Therefore, the project began with it.

Except for the floor-to-ceiling windows on the west side and the entrance room on the north side, there is no other lighting facility, so the rest of the floor-to-ceiling windows on the west side are dark, in an attempt to focus on this spot.

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7 disappeared native trees hut

sketches

elevation north: 1/100

section: 1/100

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corner sketch

7 disappeared native trees hut

The walls are made of various native tree wood. The interior walls are smooth and engraved with the species disappeared year of here and the outside is unprocessed.

window sketch

If people are attracted to the light and walked to the window, the scene in front of them will be a withered and long pool, trying to make people think about the importance of the tree.

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Lu Chieh Young

1992 born in Taipei 2015 B.B.A. Transportation and Logistics Management,

National Chiao Tung University, Hsinchu