Regina Tania Tan - June 2020 Portfolio - Reading Version

ARCHITECTURE P O RT FO L I O R E G I N A TA N I A TA N

SAMPLE VERSION FOR READING EXPERIENCE JUNE 2020

REGINA TANIA TAN /CONTACT DETAILS @

reginatania99@gmail.com +6287781990837 (INA - Whatsapp) +852 52240843 (HK)

/HELLO! I’m a perceptive individual that approaches my interests with curiosity and thoroughness. My interest in architecture is mainly driven by the elegance, complexity, and rigour of logical reasoning in design solutions. As of now, I am entering my final year Undergraduate studying BA in Architectural Studies at The University of Hong Kong (HKU).

TABLE OF CONTENTS RETHINKING /TECTONICS

01 THE FOOTPRINT PROJECT MATERIALITY & NEW METHODOLOGY

1-4

02

BAMBOO TRAIL RECYCLING AS ADAPTIVE REUSE

5-8

RESPONDING /URBAN

03

ANZEIGE MEDIATHEQUE OF CULTURAL & COMMERCIAL

9-12

04

SCHOOL AS TRANSITIONAL STREET INTEGRATING SITE INFRASTRUCTURE

13-16

REALIZING /BUILT PROJECTS

05

MINDFULNESS CHAIR DETAILS IN PRODUCTION

17-18

06

SKY-HEAVEN LAKE PAVILLION BRIDGING DESIGN & CONSTRUCTION

19-20

RECONSTRUCTING /TECHNICAL

07

MEISO NO MORI COMPUTATIONAL FORM STUDY

21-22

08

YANFU SI MAIN HALL CHINESE STRUCTURAL SYSTEM

23

REINTERPRETING /ART

09

NO. 38 THE CHIROPRACTOR/ ACUPUNCTURIST PLACE MASQUE IN STOP MOTION

24

D I F F E R E N T S U R F AC E CO N D I T I O N S ( P L A I N - C RAC K E D - R I G G E D - CO N TACT W I T H M E TA L )

TIME

1

01

THE FOOTPRINT PROJECT

M AT E R I A L I T Y & N E W M E T H O D O LO G Y

Project for ARCH3074 - Design Studio 4, Fall 2019 I n s t r u c t o r : W a l l a c e P. H . C h a n g , B . A ( A . S . ) , B . A r c h ( D i s t ) , H K U ; M . A r c h , M I T ; R I B A ; FHKIA; HKIUD; Assoc AIA; RA (HK, PRC)

How do you notice it just rained? Or grasp the strength of a typhoon?

Always present yet ever-changing, slight traces of weather often goes by unnoticed, until its collective effect came as unintended surprise. What if we are expecting, even appreaciating those small changes? A building that records the footprint of the perpetual weather, every trace giving it character. Going on the extreme with cracking as the language, this project explores the method of continuous disruption and reconciliation as a way of designing and constructing - from the smallest scale of bricks to the overall form.

CHAPEL BY THE PIER Foc us in g o n c o n cret e, i t s a rt i f i ci al n a t u re enables unders tanding weather ing from a more con trolle d p e rsp e c tive. React i ng t o we a t h e r even s inc e the time of its c ompos ition, patc he s of con str uc tio n b e c o m e s a s y m bol i c reco rd of t ime - the building as a weather s tation.

2

01 THE FOOTPRINT PROJECT

V I SUA L I Z

Broken parts are not to be concealed, rath er, to be embraced. The aim is not perfectness of craft, but accepting it to be perfect as it is, including all its imperfections by accentuating the present beauty.

Model 1.2 - Epoxy Resin

CH EMICA L ATTACH MEN T

Epoxy resin as adhesive.

Model 1.3 - Cold Joint Connection

GEOMETRIC ATTAC H ME N T

C O M P O S E - D I S R U P T - R E C O N C I L I A T E F O R M WO R K VA R I AT I O N S

PH Y SICA L ATTACH MEN T

CRACKING

PROCESS

PROCESS

Rebar - physical reinforcement Triangle edge - geometric variation Cement:sand ratio - material strength

Model 1.1 - Concept Model - 500x300x70 mm

Model 1.4 - Embedded Rebar & Drilled Connection

U N D E R S TA N D I N G F O O T P R I N T

DEVISING METHODOLOGY

Mo d el 2 . 2 - Con c rete Res in Br ic k ( 1 :1 0 ) - 2 2 x 2 0 x 7 2 m m

Mode l 2.1 - Brick Rid ge d Co ncrete Wa ll Prototype (1:20 ) - 320 x3 5 0 x2 2 mm

Mo d el 2 . 3 - Door Con s t r u c t i on Protot y pe ( 1 :2 0 ) - 2 0 0 x 9 0 x 5 5 m m

C R E AT I N G F O O T P R I N T: T R A N S L AT I O N 3

BUILDING ELEMENTS

01 THE FOOTPRINT PROJECT

Z AT I O N

D IS RU P TIO N

THE FORM REDIRECTS HARSH SEA WINDS. F O O T P R I N T S A R E Q U I C K LY F O R M E D A S C O N C R E T E R E A C T S S E N S I T I V E LY T O T H E H I G H - C H LO R I D E S E A W AT E R C O N T E N T

RE CO N CI L I AT I O N

COMMUNITY ROOM

CHAPEL

ENTRANCE MOMENTS

K- F A R M ( I N D E V E LO P M E N T )

PROMENADE CHURCH GALLERY

Mo d e l 2 - Fi nal For m Model ( 1 :1 0 0 ) 2 8 7 x 1 1 4 x70 mm

SITE - Kennedy Tow n Pie r, Ho n g Ko n g

1: 4 Te n s io n Ro d Sys te m Det a i l (Gla s s Re info rce me nt)

1: 25 Co n c rete Wa ll & Glas s Ro of Co n n e c t i o n

1: 25 Bric k Ty pe Deta il

1 : 3 0 Co nc rete Resin Br ic k Wall Detail

C R E AT I N G F O O T R I N T: T R A N S L AT I O N

SITUATE

4

1:50 0

1m

2m

4m

6m

10m

A

B

ICE T OFF CURREN

C D

E

B’

C’

A’

D’

E’

5

02

BAMBOO TRAIL

RECYCLING AS ADAPTIVE REUSE Project for ARCH2074 - Design Studio 2, Fall 2018 I n c o l l a b o ra t i o n w i t h : S h a o Ya n g Instructor: Su Chang, BA(AS) HKU; MArch Harvard; RA; AIA

Bamboo Trail is a proposal to rethink the meaning of recycling and how it can inform architecture. In particular, this project looks at the existing architectural elements of the site to both inform the spatial qualities of the responding new structure and also adaptively reuses it. The design approach is through creating a new heritage trail with bamboo scaffolding structures, leading people along three existing elements - the wall, tree, and landform - through merging of the old and new, thus activating the existing elements by giving it a new function. Recycling thus becomes a way to connect architecture and its surrounding environment.

6

02 BAMBOO TRAIL

Recycled bamboo scaffolding as material of choice. It is ubiquitous, yet each has its own spatial quality that conforms to the attached building.

A “porous” structure, it blends the boundary of the interior and exterior.

PROTOTYPE

B A M B O O D E F I N I N G S PA C E

TENSION COMPRESSION 1:40 0

0.5m

1m

2m

TENSION COMPRESSION 1:40 0

7

0.5m

1m

2m

DESIGN DEVELOPMENT

DESIGN DEVELOPMENT

1 - PAT H WAY

2-OUTDOOR THEATRE

02 BAMBOO TRAIL

CORRIDOR

diagonal supporting members also functions to control circulation by adjusting volumes.

RECEPTION

bamboo breaching inside, forming the reception desk.

WASHROOM

a private space for the public. bamboo forming a wall angled to create a transitional space between public and private.

EXHIBITION

bamboo intervening, extending the window ledge as exhibition space.

DESIGN DEVELOPMENT

3-BUILDING INTERVENTION

8

9

03

ANZEIGE MEDIATHEQUE

O F C U LT U R A L & C O M M E R C I A L

Project for ARCH3075 - Design Studio 5, Spring 2020 Section 2 I n s t r u c t o r : H . K o o n We e, B A ( A S ) S i n g a p o r e ; B A r c h W. A u s t ; M A r c h Ya l e ; I r. A r c h . ( N L ) , A r. ( S G )

Reacting to its highly charged surrounding in Kulturforum, Anzeige (Display) Mediatheque stand as the representation of 21st century media in the culturally polycentric city of Berlin. The intermingle of cultural and commercial production, signage appropriating rapid information transmission, and layered spatial experiences are represented by the steel mesh LED facade. Layer of transparencies are adjusted according to the mediatheque program. Allowing adaptation to changing programs, the primary visibility and access properties of the areas serves as the primary boundaries. It is meant to be blurred, much like the juxtaposition of multiple realities within our current physical and digital media.

10

0 3 A N Z E I G E M E D I AT H E Q U E

Media in 21st Century: Cultural & Commercial Production

Berlin: A highly polycentric, culturally charged city

RUNDFUNKBEITRAG

believe? info, visi-

T V & R a d i o Ta x f o r f u n d i n g p u b l i c b r o a d c a s t e r s Government media stance

opportunity = consumption Mediatheque media stance

transparecy: opportunity to see =/= access

Spatial Map of Cultural Industry in Berlin TOURIST STROLL with entertaiment areas, internationally competitive companies strenghtening of central functions through culture & cultural industry

Creative Centres & Markets

TOURIST SCENE with small-scale production and ser vice companies in the cultural industry ETHNIC CITY DISTRICT with small-scale production and ser vice companies in the cultural industry LOCAL BROADCASTING/COLLEGES ar t, m usic, design, film/media, and softwar

(what

11- Sus tai

&

Four Pillars of Creative Culture in Berlin

16 - Pe ac

ial m e rc

om

m-

c

traditional media

titutions Ins

o li s

n re, m ove o

a c c e s i b ilit y

Sy mb

do

ult u

ro m

e, and Stro ng ustic e, J

ties uni

Ro o t e

nc

Creative Forces Intended Development (2006)

Most popular social networks worldwide (April 2020) - active users in millions

vis

de

ca

le Cities & Comm nab

AUTHORITY holding some control over cultural industry

ib ilit y

9 - Indu str

- M e d i a Fa

G R OW N O R D E S I G N AT E D C O M M E R C I A L f o r T V, M e d i a , I T

10 - Red uc

sf

am

un

ti n g

ESTABLISHED production & ser vice companies with good addresses

Image-based mass sharing media

alitie Inequ s ed

P ro g r

Com m

ic a

e

Culture (Kultur-) Library Theatre Opera

Art (Kunst-)

C I V I L S O C I E T Y, C U LT U R A L I N I T I AT I V E S

P U B L I C LY- F U N D E D C U L T U R E

Leading active social media platforms in Germany in 2019

hy p e r-re a litie s

Pe r ga m o n M u s e u m Neue Nationalgalerie

Culture-related district work

Cultural foundations Theatre associations Socio-cultural centres

B E R L I N - D E F I N I N G S PAC E S

architects

visual artists

“CREATIVE CLASS” c r e a t i ve MEDIATHEQUE social environment

Questioning Identity

performing artists

Material as Media in Berlin: Symbolism & Authority

musicians

authors

c r e a t i ve place

arc hitecture & cultural heritage music performing arts

renovated: glass

C U L T U R A L I N D U S T RY art book & press film & TV Wilhelmine Ring

SANDSTONE-BRICK WITH SMALL WINDOWS 1900s Imperial B erlin: Weltstadt

ACCESS

informal established

n ew m e d i a

Reichstag (1999)

G L A S S ( e . g . C U R TA I N WA L L ) Po s t -Wa r B e r l i n : Th e Tra n s p a r e n t S t a t e

advertising software/ database/ telecommunications games

market

VISIBILITY

P R I VAT E

PUBLIC

Predicted Circulation based on accessibility & attraction

Free access

Limited visibility

Restricted

Not visible

ABANDONED BUILDINGS

Restricted

TEN Demarcation - physical obstruction

S E M I - O P E N S PAC E

rfo

ru

THIN COLUMN

Tra n s p a r e n c y - v i s u a l o b s t r u c t i o n

ula

rc

t i o n - AT T

RA

an - sparse

e.g. clear glass

e.g. frosted glass

O PAQ U E - w a l l

es

tri

S E M I - O P E N S PAC E

S H E A R WA L L

CT

O P E N S PAC E

Mu @ seu SO m NY fu CE r Fi NT lm ER un d

m

ci

ltu

THICK COLUMN

P R I VAT E

N

Ku no ki er x.) mm pa So 000 (1

pe

d

VISIBILITY

ACCESS

rculat t ci io

P R I VAT E

te

rse

UBSIDE - S

$

$

gh

n

The Media

ction ti

PUBLIC

in P R I VAT E

ASS

E

S

STR

N P AS

UND

RIA

WINTER

ISM

EST

SIG

PED

SUBCRIPTIONS

SUMMER

PUBLIC ACCESS

Ha @ us U

nt 40 Eas 19 % d t B er 13 am er de a ... n l 20 ged in Li 12 n -> St GL ate den AS L S CU ibr BE ar EX y PA NS

e ss ary ra St ibr er te L m a m t da n S st i Po erl us t B Ha Wes @ 67 19

S I T E A N A LY S I S 11

20m

Visible

TIE

GAR

PUBLIC

O P E N S PAC E

5m 10m

FUNCTIONING BUILDINGS

LINDEN TREE First tree planted in Tiegarten

RIA

Visible

O P E N / U N U S E D S PAC E

EST

Free access

0

PED

AM En E D

tructure ras

ation, and inf nnov y, i

MATTHÄIKIRCHPLATZ AT KULTURFORUM

IO

N

Fe

rn

se

he

n

M AT E R I A L I

0 3 A N Z E I G E M E D I AT H E Q U E

Material as Media at Kulturforum

M I C R O - U R B A N S C A L E - K U LT U R F O R U M S I T E

C A S E S T U D I E S - M E D I A FA C A D E

STEEL BRICK BRICK-LIKE M E TA L

Case Studies: Interacting with the Media Facade MONTREAL BIOSPHERE, BUCKMINSTER FULLER, 1967.

Clashing shape Structure Shape remedy

Building

HISTORY

D E TA C H E D Self-standing facade

YO KO H A M A TOW E R O F W I N D S , TOYO I TO, 1 9 6 6 / 1 9 8 6 .

M E D I AT H E Q U E - D E F I N I N G S PA C E S

Structure

+ Te c h S y s t e m f a c a d e

VISIBILITY

ACCESS

MATER IAL

HISTORY

PUBLIC

Permanent Key Spaces

Clashing shape

Translation

Building

P R I VAT E

Opposing to Berlin general material application, the use of brick and steel/glass is not restricted to the timeline. Rather, they focus more on resonating with each other in micro-urban scale.

information

STEEL /GLASS BRICK BRICK-LIKE M E TA L

Interior

Tra n s p a r e n c y Physically & Visually Permeable Static

Sensors

M AT E R I A L I T Y

[experience]

ACTIVITY

HISTORY

T H E AT R E

Exhibition Type Archive: Accessibility & Visibility O U T D O O R S C R E E N I N G S TA G E free access free visibility

INDOOR CINEMA restricted access restricted visibility

boundaries walk attract

E X PA N D Attached facade

Tra n s p a r e n c y Physically Obstructed Visually Permeable Dynamic - Disconnected

WIND ARBOR, NED KAHN, 2011.

Z58, KENGO KUMA.

Passive system facade Structure Building

SEASONAL

EXHIBITION

EXTEND Attached facade

Tra n s p a r e n c y

Facade detail

Physically & Visually Permeable Dynamic - Connected

Openable metal plates on steel tension cable

Tra n s p a r e n c y

Reducing intensity

Physically & Visually Obstructed Static

R E F L E C T E D ~ F I LT E R E D

CO R R I D O R S PAC E S .

Structure

ACTIVITY

Building

boundaries walk attract free access public exhibition

free display public exhibition

semi obstructed display transition

enclosed display private exhibition

PA R T I T I O N semi obstructed display transition

PLUG-IN ROOMS semi obstructed display transition

I N T E G R AT E Protruding rooms

C I R C U L AT I O N

Tra n s p a r e n c y

SYSTEM

FA C A D E

Physically & Visually Obstructed Static

FUNCTIONAL

The exhibition spaces are categorized based on their accessibility and visibility. Studies on several system are conducted and applied, the interaction of the interior spaces with media facade contributing to unique spatial experiences and asserting physical demarcations. In respect to materials on site, solid boundaries use bricks, while transparency is controlled with layers of glass. The visibility of these spaces relate to its privacy. Meanwhile, accessibility of the programs explore the possiblities of space used. For example, while the glass doors to G/F exhibition allow views, the exhibition nature would be semi-public when the figure-in-charge limits the access of doors.

AUDIO-VISUAL ROOMS

S TA F F - S E R V I C E

RECEPTION free access demarcated

HELP-DESK SERVICE limited access enclosed

W O R K S TAT I O N

S TA N D I N G A R E A limited access free visibility

enclosed

SITTING AREA limited access restricted visibility

SELF-STUDY ROOM restricted access restricted visibility

S TA F F - O F F I C E

AV Rooms

Rar e Arc hive M edia Libr ar y

T R A N S PA R E N T free visibility

S E M I -T R A N S PA R E N T obstructed visibility

LOUVRE limited visibility

D E S K & PA R T I T I O N limited visibility

F U L LY E N C L O S E D restricted visibility

Dis play cor r idor Semi- pr iva t e ex h i b i ti o n

Tr ee Viewing Balcony

ESSENTIAL STORAGE

CORE/SERVICE

P U B L I C M AT E R I A L S restricted access limited visibility

P R O T E C T E D / R A R E M AT E R I A L S restricted access restricted visibility

L I F T, F I R E E S C A P E (restricted) free access - designated variable visibility

LG2/F

TOILET restricted access restricted visibility

1/F

St or ag e St or e & Arc hive

Tr ee Viewing Balcony ( pr iva t e)

O f f ice Viewing cor r idor In door c in ema Pr iva t e exhibit ion

Dance-studio Pr iva t e exhib i ti o n

2/F

LG/F Res t aur ant

Viewing cor r idor Public exh ibition Store Storage

O pen- air t hea t er Ent r a n c e

ROOF

G/F

Sem i-public exh ibition (partition )

PUBLIC

Free Access, Free Visibility

Controlled Access, Free Visibility

Controlled Access, Controlled Visibility

Limited Access, Limited Visibility (Enclosed)

PRI VAT E

Facade - controlled visibility *Controlled = can be free or limited, depending on the authority

0 1m 2m

4m

6m

10m

DESIGN PROPOSAL: CAN WE DEFINE MEDIA BOUNDARIES?

I N T E R FAC E O F P R I VAC Y: AC C E S S I B I L I T Y & V I S I B I L I T Y

12

13

04

SCHOOL AS TRANSITIONAL STREET I N T E G R AT I N G S I T E I N F R A S T R U C T U R E

Project for ARCH2075 - Design Studio 3, Spring 2019 I n c o l l a b o ra t i o n w i t h : C h a n W i n g Ya n Instructor: Sunnie Lau, BA(AS) UCB; M.Arch (MIT); Cert. in Urban Design (MIT); HKIA; RIBA; Assoc.AIA; MHKIUD:RA(HK)

The site in Hill Road, Sai Wan, Hong Kong strongly echoes the current reality of the dense urban environment in Hong Kong, where infrastructure and tall buildings seemingly go together. Responding to such a diverse site, this project challenges the idea to elevate integral site qualities by including the school as part of the infrastructure hub, or in this project sense, as a “transitional street�- the circulation spaces of the school as a transition to its surroundings. The current pavement area is replaced by the school as the main public space of Hill Road. Bringing in the community not only to conserve the significant public space, but also to enrich the school. Using zone segregation strategy based on site circulation and height difference of the roads, different areas of the primary school served different degree of openness to public, therefore providing dynamic transition from private learning areas to shared public spaces, in attempt to nurture a sense of community to the children.

2/ F

PRI VATE CI RCULATI ON

3/F

S E M I P U B L I C C I RC U L AT I O N

1/F

G/F

P U B L I C C I RC U L AT I O N

LG / F

P R I VAT E C I RCUL AT IO N

S E M I P U B L IC C IRC UL AT IO N

14

HO OO OLL AA SS TT RR A AN S I T I O N 0041 SSCCH NA A LL SS TT RREEEETT

H U M A N C I R C U L AT I O N

WA L K I N G B O U N D A R I E S

STREET NETWORK

density | ground level gradient

fl o w l i m i t | n e t w o r k m a k i n g

function | transport lanes

1:100 0

1m

2m

4m

S EC T I O N A - A’ 30.36

16.36 15.46 14.64

12.67

SECTION B-B’ 34.99

large vehicle lane |

vehicle-free lane |

small vehicle lane |

non-transport lane | x

SUN SHADE

non-walkable

walkable

HISTORY

overlay | occurence of shadows

density

S I T E C I R C U L AT I O N P L A N

development | impact of progress

1:5000 | section annotations

20.03

1:200 0 1m 2m

4m

6m

20.03

17.38

10m

11.10

SECTION C-C’

38.67

A B A’

B’

C’

3PM

1PM

11AM

9AM

1843 QUEEN’S ROAD WEST

1981 HILL ROAD FLYOVER

C

25.10

2014 HKU MTR

SS II T E A N A L Y S II SS 15

H I L L R O A D, S A I WA N, H O N G KO N G I S L A N D

24.90

25.10

24.90

04 SCHOOL AS TRANSITIONAL STREET

M O D E L 1: L I N E A R

public and private side-by-side

M O DE L 2: E L E VAT ING LOOP using height to isolate private

MOD EL 3: LAYERED CA N TILEVER linearity on different levels

MOD EL 4: EN C I RC L E

offseting cantilever to enlarge area with the negative forming atrium space

D E S I G N S T R AT E G Y

ZONE SEGREGATION BASED ON CIRCULATION & HEIGHT

DESIGN PROPOSAL

1:100 MODEL

16

17

05

MINDFULNESS CHAIR

D E TA I L S I N P R O D U C T I O N

Project for ARCH1074 - Design Studio 1, Spring 2018 Instructor: Donn Holohan, BSc(Arch); MArch UCD

I like to think sitting as filling the space around me, through physical and non-physical contact with my surroundings. The act of sitting, as opposed from standing, is that sitting is responsive and specific to the different conditions of the environment. The design intent of this project is a chair that is mainly tailored to respond a specific position of sitting which allows me to be mindful of myself and my surroundings. Conventional chair, with the back rest and constricting shape is somehow confining, as it obstructs my connection with the environment. However, confinement also comes by constantly maintaining one sitting position. Therefore, despite facilitating specificity, my chair would also be flexible enough for other possible positions. The sharp edged form of the chair emphasizes it as a mediator, illustratively connecting my body to the ground.

18

19

Background image credit: Competition Documentation Team

06

S K Y- H E AV E N L A K E PAV I L L I O N

BRIDGING DESIGN AND CONSTRUCTION

H K U A rc h i t e c t u re S t u d e n t s ’ Te a m E n t r y f o r Th e S e c o n d N a t i o n a l C o l l ege B a m b o o Design and Construction Competition (2019第二届全国高校竹设计建造大赛) in Anji, China, Summer 2019 - 2nd Prize Winner M e n t o r: D o n n H o l o h a n , B S c ( A r c h ) ; M A r c h U C D & O l i v i e r O t t e va e r e, B S A r c h M c G i l l ; BArch Cooper Union; MscArch Bartlett UCL; PhD RMIT Te a m L e a d e r : H UA N G X i n L i u ( R u by )

Design is an intention, while construction is a realization. Channelling the sky and reaching the heavens, it is a pavillion that frames the dynamic movement of sun and opens to the wind breeze. Despite having the drawings down to the detail, adaptation to the actual site is necessary. The roughness of the foundation, uncertain dimension and curve of bamboo, and torque movement of the truss are some tolerances that needed to be adjusted. The constant cycle of the process let us to understand the behaviour of the structure and optimize the construction process by delivering a systematic set of drawings.

More on publication of the work: https://mp.weixin.qq.com/s/l4gC_oq4nQX5baZWiaOTQw

20

PARTITION MODEL

Axonometric view of partition model

Section of glass to concrete roof connection

Tempered glass wall to hold against lateral forces

Concrete casted after reinforcements are in place

Alumunium plate

Roof rebar RS20 D13@200 double mesh

Structural tube

R.C. slab foundation FS20 D10, D13 @200 double mesh Steel base plate tied to footing with anchor bolts

1:140 Axonometric Section

1:200 Section

Column top circumfential & radial reinforcement D 13@200 Column bottom welding wire mesh D 2.6x50x50 Column base hoop D10@100

Rebar Arrangement Meiso no Mori (Toyo Ito) TAN Regina Tania 3035425467

COMPLETE STRUCTURE

Column continued from the roof to hold against vertical forces Partition wall as room divider

Tempered glass wall to hold against lateral forces Exploded Axonometric Partition model Bird’s eye view

Parallel View

1:500 Section

21

Meiso no Mori (Toyo Ito) TAN Regina Tania 3035425467

07

MEISO NO MORI

C O M P U TAT I O N A L F O R M S T U DY

Project for ARCH3056 - Visual Communication 2, Fall 2019 I n s t r u c t o r : E i k e S c h l i n g , D r. - I n g . A r c h i t e c t ; B YA K

A remodelling of Meiso no Mori Municipal Funerary Hall by Toyo Ito based on a series of form studies in attempt to understand its concrete shell structure by changing computational parameters using Kangaroo plugin in Grasshopper. The purpose of this study is only to see the possibilities of form through looking at the effect of different anchor and load conditions towards Z-axis*. It is done on a 50x50 m grid with each anchor comprised of 4 points covering a 2x2m radius and load input towards the positive of Z-axis.

The form study shows that as the anchor gets more evenly distributed, the structure becomes shorter and as the load factor is increased, the structure becomes taller. Following this exercise, the 0.1 load factor value is chosen to model the concrete shell, as it is the closest to the current form of Meiso no Mori. The input of minimum load correlates with the actual condition since the roof structure is not needed to support that much weight. *Note that this does not accurately represent actual physical conditions on a structure, just mimicking its conceptual effect on form.

22

08

YANFU SI MAIN HALL

CHINESE ARCHITECTURE STRUCTURAL SYSTEM

Project for ARCH2060 - Architectural History & Theory 3 - Global Perspectives II, Spring 2020. In collaboration with: Miranda Tong Man Yu Instructor: Prof. Wei Jen Wang, BSc, MSc(Nat Taiwan); MArch(UC Berkeley); FHKIA; HKID

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09

N O. 3 8 T H E C H I RO P R AC TO R / ACUPUNCTURIST’S PLACE MASQUE IN STOP-MOTION

Project for ARCH3075 - Design Studio 5, Spring 2020 Section 1 I n s t r u c t o r : H . K o o n We e, B A ( A S ) S i n g a p o r e ; B A r c h W. A u s t ; M A r c h Ya l e ; I r. A r c h . ( N L ) , A r. ( S G )

From The Lancaster/Hanover Masque by John Hejduk, subject/object No.38. /SUBJECT: The Chiropractor/Acupuncturist

Started his practice in Union City in a turn-of-the-century wood frame house. He had the habit of placing his needles in the leather of the chiropractic table. He rented the upper floor of the house. He always purchased two tickets for the Policeman’s Ball. The pig farms of Secaucus annoyed him. He wore tan shoes with tiny holes in them to air his feet. The second-floor tenants had ice delivered. He and his wife decided that the Farm was where they wanted to be. They enjoyed eating piglet ear drums.

/OBJECT: Chiropractic/Acupuncture Place Description of Chiropractor’s table.

/FILM: Folding tables, pinprick needles: A Quest of Dwelling A one minute stop-motion film.

Video link: https://tinyurl.com/masque38 F O L D I N G TA B L E S , P I N P R I C K N E E D L E S : A Q U E S T O F D W E L L I N G

Intro:

Entering

Masque No. 38 - The Chiropractor/Acupuncturist || Chiropractic/Acupuncture Place

Hejduk's

World

Welcome to the farm! We have just the specific role and place for you. A place where every idea lives, all are welcomed.

Scenes:

Choosing

ACT

generic

1:

The

ACT

4.5:

???.????!

Impending

crisis

of

building(v).

L i n e 1 : I n s p e c t i o n . Q u a l i t y. D e t a i l s .

L i n e 2 : P i n s m o r e i n n u m b e r, h o l e s g e t t i n g l a r g e r. L i g h t g e t s b r i g h te r.

Line 3: Separation! Separation? Can we be freed of tectonic forms?

Houses

form.

This plot and house, all yours! Feel free to modify as you like. We don’t bite. Ah yes, it would be very very helpful to distinguish your occupation, just a tip.

ACT

1.5:

Pinpricks

of

light.

An acupunturist! May I suggest you a personal form, one with precision and intended disturbance. Let us borrow the air and light from nature, toying with boundaries - dissolving architecture.

ACT

5:

Crossing

boundaries.

Congratulations on your expansion! More clients, more tenants... I wonder how you will occupy your new space?

Outro:

What

defines

a

place?

Do you still need the houses? Would the table suffice for your practice, as your place?

ACT

2:

(Pinprick

needles),

folding

tables.

/THE ACTORS

Tu r n t h e k n o b , l o w e r y o u r t a b l e . G o i n g t o t h e top, unfold the stairs - you are able.

ACT

3:

Extend,

complying

favours.

central independent clear simplified

A c u p u n c t u r i s t ’s t a b l e

C h i r o p r a c t o r ’s t a b l e

Ta b l e - n o n d e s c r i p t s c a l e

/THE PROPS

Adjust to height, compact and adaptable.

ACT

4:

Divide

or

turn,

periphery duality ambiguity complex

define.

Ta b l e a s s u b j e c t & o b j e c t

#1 The Generic Form

#2 Fold

#3 Extend

# 4 D I v i d e / Tu r n

# 4 D i v i d e / Tu r n

#5 Crossing boundaries

/THE SET

Defined boundaries, divided physicalities.

Rooms - a place within place. No need to fuss.

To y o u r l e f t , t h e a c u p u n t u n c t u r e c l i n i c . To your right, the chiropractic.

Tu r n a r o u n d , s p a c e a b o u n d ! F r e e l y m o v e y o u r b e d s a t t h e l owe r. D ec i d e b e fo r e t u r n i n g a r o u n d t h e p e r i m e t e r . To y o u r l e f t , t h e a c u p u n t u n c t u r e c l i n i c . To y o u r r i g h t , t h e c h i r o practic.

the farm - general populace

houses to complex

object as place

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THANK YOU

FOR YOUR TIME

RT T