USF SACD Undergraduate Portfolio

Undergraduate Portfolio | SACD 2015 University of South Florida

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Table of Contents Introduction to Architectural Design and Graphics II: Le Petit Cabanon

Professor Nancy Sanders Fall 2014

The Waterwall

Professor Nancy Sanders Fall 2014

The Tectonic Umbrella

Professor Nancy Sanders Fall 2014

Introduction to Architectural Design and Graphics I: Kit of Elements

Professor Chadaphan Hawinsai Fall 2013

Movement in the Fields

Professor Chadaphan Hawinsai Fall 2013

Le Petit Cabanon Tom Kundig’s Delta Shelter Analysis

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Intro 2| Fall 2014 Professor Nancy Sanders

Tom Kundig’s Delta Shelter is one example of a building that highly values the environment. It is adaptable to its environment and landscape.

Despite being a small and compact house, the space quality that is revealed in the house is very engaging. The mechanical aspects of the house, including the sliding door, extend the space out resulting in blending the interior and exterior space together. Delta Shelter also has kinetic elements that highlight the circulation of space.

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The various forms of axonometric drawings display the process of thought and further investigation of the interior space. These drawings are examples of how different spaces in the cabin respond differently depending on their function. Also, there are several paused moments in the cabin that enable the inhabitants to connect with the exterior environment.

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Trace paper studies

Ghost axonometric

Kinetic Axonmetric

The overlay of trace paper helps to highlight the importance of light that penetrates into the space and how it travels in the interior area.

This is the initial axonometric drawing of Delta Shelter. This is the first drawing that will help us in the further investigation of spaces.

Sticky back is incorporated in this drawing. It serves a purpose to highlight the path where the light travels into the interior space.

Overall Axonometric This drawing displays the importance of light and the presence of the wall induces physical movements resulting in engaging space.

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6 Plan drawing

Transformation of Plan drawing

Plan drawing when the model is stationary

The moving element is displayed in the drawing on the right. The element that is shaded in yellow demonstrates how the piece began to shift to form a much more exposed space. The interior space is now able to merge with the landscape.

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Plan drawing after transformation

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After the investigation of the kinetic elements of Delta Shelter, I am inspired to build my own cabin with more adaptable yet distinct spaces: 1. Adaptable Private Space The private space in my cabin has tight, more compact characteristics.

The space is bounded by the walls to create a more private and secure place.

Adaptable private space

Despite being a restricted space, it can be transformed into a more open and engaging space.

Susceptible communal space

2. Susceptible communal space.

This is where the transformation of space begins to occur.

The enclosed private space is being revealed into a more open space.

Thus, it is no longer a place for one and evolves into a public space.

Observational space

3. Observational space The cabin’s kinetic elements are essential in creating a more adaptable space.

Not only are the individual and public spaces are reciprocal, the public space is also correlative to the observational space.

The transition of the public into observational area results in an explosion of space.

More intimate spaceew

4. Intimate space The more intimate area of the cabin is the more embedded place, for its place is stationary.

The intimate space serves a different function than the other three spaces that are interchangably.

Since this place is devoted to your loved ones including family and close friends, the place should embody a more peaceful and secluded area.

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The concept behind this proposal is not only inspired from Delta Shelte, Gary Cheng’s Hong Kong Apartment is the major stimulation to this project.

The approach to this model begins to speak about the transformation of space. Utilizing the space effectively by manipulating it enhance sour understanding about the space. It also helps us to explore the undiscovered. Most importantly, it pushes architecture towards the innovative world.

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initial state of the construct

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original section drawing

state of the construct after it transforms

section drawing after transformation

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The Waterwall Extensions Towards The Horizon

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Intro 2| Fall 2014 Professor Nancy Sanders

This project aims to help us gain a better understanding of the relationship between architecture and its surrounding. In this project, urban scale and contextual aspects are incorporated including a space outline, the role of time and also the matters of the urban world. First, we begin to anlyze and create our own primodial lines. Later on, we begin to use the study lines and shape the wall that will fit into the chosen site.

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Primordial Lines

Begins with the line

The movement of the fish

Line and curves are some of the important basic elements that exist in almost everything in our daily life. The creation of shape, space and forms begins with line. Thanks to line, we are able to abstract a concept or object depending on our interpretation.

This project begins with creating a positive and negatuve space through our definition of lines. We are supposed to come out with three initial concepts.

Through research and our understanding of the material, we create positive spaces that is shown on the left.

The negative spaces shown on the right are complements to the positive spaces.

Here, the line can be exaggerated to define spaces and their characteristics.

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Memory

Human Skin

The movement of the fish is highly dependent on the water and its tail. Despite fish having a flexible gesture, the fish is able to control the movement. This idea generates the importance of water in my model and also the flow of the water serves a purpose to direct the physical movement of the space itself. “fish”positive and negative parti model

The way of the brain receives and storesthe information is highly related to how spaces can relate to one another. This proposal focuses on the center or the core of the model that acts as a balance to control the movement .It is also a stopping point for people to reflect upon themselves. “memory” negative parti model

Skin is an important element for living things. Although it is very thin, it plays a very important role for the body including acting as a shield for protection and also regulating the body temperature. The skin has layering properties that is compatible with overlaying of spaces that create an interactive space. “ the skin “positive and negative parti model

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first process model

second process model

These process models are generated by the hybrid of two concepts that I have chosen. The curves that cut through the constructs in the core come from the idea of tail of the fish that directs its movements. The curves helps to induce a continuous movement leading to a certain direction.

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Also, the brain is the most vital part in our body, for it is important for us to function physically and mentally. The idea of memory creates the core that is located in the center of the construct as a public space that is served for a gathering place.

Construct of the Waterwall in the dark

Construct of the Waterwall in daylight

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plan view of the chosen

view of the bridge and the site

perspective view of the site

Before moving on to the final project, we are tasked to pick a site on campus that could blend in with our concepts.

I decide to locate my model in the surroundings where water exists at the Simmons Park. It is such a beautiful place as a park with a pond and fountain, yet people hardly stop by and appreciate the nature that exists over there. Thus, I wish to enhance interaction between the community and the area by reconstructing one of the bridges into a habitable wall. The picture in the right hand side shows an aerial view on how the wall can invite the surrounding. Therefore, bringing nature together could create a reciprocal relationship between landscape and the building.

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aerial or plan hybrid graphics

This waterwall does not only act as a habitable and interactive wall that spans above the water, but it also serves as a bridge that links one place and another.

In addition, this could enhance the circulation of space where it allows people to maneuver easily. Since nature is the main spotlight of this place, there is a sense of relaxing atmosphere where paused moments could occur in the mid section of the construct, be it as a place for rejuvenation, contemplation or interval.

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The Lightwell The Tectonic Umbrella

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Intro 2| Fall 2014 Professor Nancy Sanders

The Tectonic Umbrella addresses the vertical section as a spatial determinant. Light is incorporated as an architectural device to highlight the quality of the space and also the matter of architectural style that is closely tight into the design process. The presence of light is dependent on its counterparts, which helps to generate circulation and arrange a better organization of space.

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Light studies on materiality that can reflects light.

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Studies on the path of light travelling when it hits a surface.

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These light studies allow a deeper investigation of the relationship between the light and the path that it travels depending on its position. These studies also demonstrates how spaces are experienced at varying times of the day where light is constantly changing its position. In addition to that, the exploration of materiality further enrich the quality of space captured. The reflectivity of the material used clearly justifies the path of light travels and the reaction of the light when it touches the surface.

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Tenebristic and Chiaroscuro

Chiaroscuro and Chromatic

The photo collages and series of study models illustrates the inhabitable lanterns that slice through the mass provide a connection between the sky and the ground. Through those lanterns, three types of light are generated including: 1.Tenebristic - pointed. direct light 2. Chiaroscuro - flooded, diffused light 3. Chromatic - prismatic, tinted light

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Tenebristic and Chromatic

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Chiaroscuro and Chromatic

The three inhabitable lanterns not only serve to generate a variety of lightning conditions, but they are constructed to manipulate the lights (tenebristic, chiaroscuro, and chromatic) in a particular way. The lantern on the left is an example of how the lantern can manipulate the lights depending on the position of the light source. The lantern has a tenebristic and chromatic light quality when the light shines from the top and it casts a clear shadow on the plane, yet when the light changes its position, the lantern now generates a completely different lightning conditions, resulting in chiaroscuro and chromatic lights.

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Section drawing of the first lantern

Section drawing of the second lantern

Section drawing of the third lantern

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Kit of Elements Sequence of Construction Project 1| Intro 1 Fall 2013 Professor Chadaphan Hawinsai

This project is a fundamental initial learning process that enhances our understanding about spaces and design vocabularies; through three-dimensional’s construction of basic kit .The Kit of Elements consists of simple planes, masses and volumes will be assembled into a spatial construct that has a basic narrative of spatial principles and compositional details. From here, I came out with a conceptual analysis “Memory” that helped guide me in the development of the construct.

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The meaning behind a construct does not only rely on its composition and materials, but also on concepts that facilitated in the construction of it. The initial thought of the process of the memory come together to generate the overall look for this model.

The process of the memory is comprised of three phases: Phase 1 - Encoding Phase 2 - Storage Phase 3 - Retrieval These main concepts induce the basic narrative and composition of the spatial elements of the cubicle construct.

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Axonometric drawing of the memory

A photograph of the memory construct

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Phase 1- Encoding

Encoding is the process of receiving and combining all the information from all external sources. The picture on the right displays a large open space that is enveloping the smaller cubical model. With that, the eyes will automatically lead our attention from the larger open space to the more enclose space. This experience is also an analogous on how the information is collected by the brain. encoding process of the memory

Phase 2- Storage

Next, the brain will then store those information and eventually it becomes a part of your memory. The space that is enclosing the cube is pretty small, this illustrates the limitation of space to store information in the memory. Here, the hierarchy begins to speak its language. The size and dimension of the space in the cubicle construct is extruding outwards. The space begins to open up into a larger scale. Despite having a limited capacity, the brain is able to store the information for sometimes. storing process of the memory

Phase 3- Retrieval Finally, the brain could retrieve back the moments that is stored, thus it enables you to remember things. The construct on the right hand side presents a penetration of the basswood creating an implicit space. Hence there is reciprocity between the cube in front and the back due to the connection of the baswood. There seems to be force applied to the mass resulting in the void that connects the space together.

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retrieving process of the memory

A photograph of the memory construct

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In the first part of this project, we are required to do a visual inspection and interpretation of Equinox painting. Through observations of the painting, we begin to discover that it is actually composition, movements and pauses, rhythm and repetition, light and organization. The purpose of this exercise is to synthesize the spatial and the chromatic layers of the painting Equinox. The painting has its own sort of dichotomies where the two sets of emotions induce dynamic and shifting modes of articulation within the layered construct.

With that, we are tasked to come out with a pair of ideas that represent sacred and profane for the construct. While the profane represents the inhabitable ground plane, the sacred epitomizes the occupiable sectional construct.

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Movement in the Fields The Dichotomy

Project 2| Intro 1 Fall 2013 Professor Chadaphan Hawinsai

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Process construct that illustrates Perception and Reality

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Construct that represents the idea of Perception and Reality

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Perception and Reality.

Perception is the narrative construction of the Reality. Living in the world of perception can sometimes be deceiving. The world which we often think of “real” is actually a perception. The things that we feel, see, hear, and touch and anything that are associated with our body sensory devices is all perception.

However, within the Perception there is Reality for Perception does not exist without Reality. Similarly, Reality would be meaningless without Perception. Thus, there is a strong reciprocal relationship that ties the two ideas together.

Despite the strong interconnection of the two ideas, there is also a dichotomy that causes them to have their own characteristics. Perception is simple and easily discerned because everything is revealed on the outer appearance. In contrast, Reality is more complicated and it is not only about the simple facade of a thing; in fact, there is hidden meaning that is concealed.

Photograph of Perception and Reality construct

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Hence, the architecture vocabularies that is used in the construction of the profane and sacred part of the model is distinct. The profane part of the construct uses a lot of layering.

The elements is aligned and may overlap one another to create a deception of the construct. While the elements in the sacred part keep appearing and disappearing within the porfane elements. Where there is reality within the perception.

The perception may foreshadow the reality but it may not be always the truth.

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Side view of Perception and Reality

Section and Plan drawing of Perception and Reality

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