Issuu on Google+

VICTOR A. LEONG


C O N T A C T

VICTOR ALBERT LEONG P.O. BOX 6939 ROSEMEAD, CA 91770-6939 (626) 823-8512 VICTORALEONG@GMAIL.COM


C O N T E N T

PAGE 43

PAGE 47

MUSIC HALL MINIMAL SURFACES GRAND CENTRAL MARKET / LOS ANGELES, SPRING 2010 / 1ST YEAR STUDIO CA. FALL 2010 / 1ST YEAR STUDIO

BODIES AND SKINS SPRING 2010 / 1ST YEAR STUDIO

PROPORTIONAL TRANSFORMATION FALL 2009 / 1ST YEAR STUDIO

PAGE 55

PAGE 61

PAGE 65

PAGE 69

PAGE 73

PROPORTIONAL TRANSFORMATION FALL 2009 / 1ST YEAR STUDIO

POINT, LINE, PLANE AND VOLUME FALL 2009 / 1ST YEAR STUDIO

THICK SKIN FALL 2009 / 1ST YEAR STUDIO

VILLA NM SPRING 2010 / 1ST YEAR STUDIO

SKETCHES

PAGE 07

PAGE 19

PAGE 27

PAN PACIFIC KINDER-CARE PAN PACIFIC PARK / LOS ANGELES, CA. FALL 2011 / 2ND YEAR STUDIO

ALUMNI COMMONS PASADENA CITY COLLEGE / PASADENA, CA. FALL 2011 / 2ND YEAR STUDIO

PAGE 51

MATERIAL MATTERS MATERIAL MANIPULATION FALL 2009 / 1ST YEAR STUDIO

PAGE 37


07

PAN PACIFIC PARK / LOS ANGELES, CA ARCHITECTURE 20A PASADENA CITY COLLEGE PROFESSOR COLEMAN GRIFFITH FALL 2011


PAN PACIFIC PARK KINDERGARTEN / LEARNING CENTER PROJECT LOCATION: 7600 BEVERLY BLVD., LOS ANGELES, CA 90036

etymologyd efinition

victor a. leong arch 20a

PROJECT DESCRIPTION: WE WILL BE DESIGNING A KINDERGARTEN THAT INCORPORATES A SPECIFIC PEDAGOGY FOR THE DEVELOPMENTAL YEARS OF FOUR, FIVE AND SIX. A FIELD TRIP TO THE P.C.C... CHILD DEVELOPMENT CENTER GAVE US A FIRST-­HAND LOOK AT HOW SECURITY, PEDAGOGY AND SCALE ARE BEING ADDRESSED.

SITE: THE SITE IS THE PAN PACIFIC REGIONAL PARK LOCATED BETWEEN THE GROVE, CBS STUDIOS AND A SINGLE-­FAMILY RESIDENTIAL NEIGHBORHOOD. CENTRAL TO LOS ANGELES, THE 28-­ACRE DETENTION BASIN AND PARK SERVES AS THE COMMON SPACE FOR COMMUTERS AND THE SURROUNDING COMMUNITY. THE PARK’S PERIMETER CONSISTS OF CONDOMINIUM BUILDINGS, A GATED COMMUNITY, SINGLE-­FAMILY HOMES, LARGE AND SMALL COMMERCE AS WELL AS A BANK, POST OFFICE AND HOLOCAUST MUSEUM. etymologyd efinition

CONCEPT DEVELOPMENT: WE BEGAN THE PROJECT BY CONSTRUCTING A WORD MAP USING TRANSITION, REUNION AND KINDERGARTEN AS THE ROOT WORDS. STARTING WITH THE ETYMOLOGY OF EACH WORD WE THEN EXPLORED RELATIONSHIPS BETWEEN THE WORDS AND THEIR MULTIPLE MEANINGS. A BI-­NUCLEAR CONCEPT, USED TO FOCUS AND GUIDE US, WAS TO BE DERIVED FROM THE RELATIONSHIPS DISCOVERED IN THE WORD MAP.

concept development TRANSITION

concept

gesticulate

tran-si-tion

noun movement, passage, or change from one position, state, stage, subject, concept, etc., to another; change: the transition from adolescence to adulthood.

intercommunicate

: 1550s, from L. transitionem (nom. transitio) "a going across or over," noun of action from pp. stem of transire "go or cross over"

trans-

prefix meaning "across, beyond, to go beyond," from L. trans-, from prep. trans "across, over, beyond," probably originally prp. of a verb *trare-, meaning "to cross"

it (pron.)

O.E. hit, neuter nominative and accusative of third person singular pronoun, from P.Gmc. demonstrative base *khi- (cf. O.Fris. hit, Du. het, Goth. hita "it"), from PIE *ko"this" (see he). Used in place of any neuter noun, hence, as gender faded in M.E., it took on the meaning "thing or animal spoken about before." The h- was lost due to being in an unemphasized position, as in modern speech the h- in "give it to him," "ask her," "is only heard in the careful speech of the partially educated" [Weekley]. It "the sex act" is from 1610s; meaning "sex appeal (especially in a woman)" first attested 1904 in works of Rudyard Kipling, popularized 1927 as title of a book by Elinor Glyn, and by application of It Girl to silent-film star Clara Bow (1905-1965). In children's games, meaning "the one who must tag the others" is attested from 1842.

axon terminal

intersect

synaptic cleftd

endrite

-ion

1834, introduced by English physicist and chemist Michael Faraday (suggested by the Rev. William Whewell, English polymath), coined from Gk. ion, neut. prp. of ienai "go," from PIE base *ei"to go, to walk" (cf. Gk. eimi "I go;" L. ire "to go," iter "a way;" O.Ir. ethaim "I go;" Ir. bothar "a road" (from *bou-itro- "cows' way"), Gaulish eimu "we go," Goth. iddja "went," Skt. e'ti "goes," imas "we go," ayanam "a going, way;" Avestan ae'iti "goes;" O.Pers. aitiy "goes;" Lith. eiti "to go;" O.C.S. iti "go;" Bulgarian ida "I go;" Rus. idti "to go"). So called because ions move toward the electrode of opposite charge.

kindergarten

synaptic vesicle

relationship

systematic study

kind

kin·der·gar·ten

noun A school or class that prepares children for first grade. A child in kindergarten is typically 5 or 6 years old.

: 1852, from Ger., lit. "children's garden," from Kinder "children" (pl. of Kind "child") + Garten "garden" (see yard (1)). Coined 1840 by Friedrich Fröbel (1782-1852) in reference to his method of developing intelligence in young children, the first one in England established 1850 by Johannes Ronge, German Catholic priest. Taken into English untranslated, whereas other nations that borrowed the institution nativized the name (cf. Dan. börnehave, Modern Heb. gan yeladim, lit. "garden of children").

kinder

garten

kindy , Often shortened to (in Australia and New Zealand): kindie a class or small school for young children, usually between the ages of four and six to prepare them for primary education

a piece of ground or other space, commonly with ornamental plants, trees, etc., used as a park or other public recreation area: a public garden.

receptor

emergent

knowledge

class room

etymologyd efinition finition

erudition

envelopment

synapse

didactic didactic 1650s, from Fr. didactique, from Gk. didaktikos "apt at teaching," from didaktos "taught," from didaskein "teach," from PIE base *dens- "wisdom, to teach, learn." Related: Didactically; didacticism.

research

REUNION

student

explore

harmony

repetition

instructor

re-un-ion

noun the act of uniting again.

alliance

: c.1600, from re- "back, again" + union. Cf. Fr. réunion (1540s). The island of Reunion, formerly known as Bourbon, was renamed during the French Revolution (1793) in commemoration of the 1792 union of revolutionaries from Marseille with the National Guard in Paris, renamed back to Bourbon after 1815, then back to the current name after 1848.

re-

prefix meaning "back to the original place, again," also with a sense of "undoing," c.1200, from O.Fr. and directly from L. re"again, back, against." Often merely intensive.

un

prefix of negation, O.E. un-, from P.Gmc. *un- (cf. O.Fris., O.H.G., Ger. un-, Goth. un-, Du. on-), from PIE *n- (cf. Skt. a-, an- "not," Gk. a-, an-, O.Ir. an-, L. in-), a variant of PIE base *ne- "not" (cf. Avestan na, O.C.S., Lith. ne "not," L. ne "that not," Gk. ne- "not," O.Ir. ni, Corn. ny "not"). Freely and widely used since O.E. times in compounds with native and imported words, it disputes with Latin-derived cognate in- the right to form the negation of certain words (indigestable/undigestable, etc.). Often euphemistic (e.g. untruth for "lie"). The most prolific of English prefixes, it even is used to make words from phrases (e.g. uncalled-for, c.1600; undreamed-of, 1630s; uncome-at-able, 1690s; unputdownable, 1947, of a book; un-in-one-breath-utterable, Ben Jonson; etc.). As a prefix in telegram-ese to replace not and save the cost of a word, it is first attested 1936.

unite

transition

reunion

kindergarten

-ion

1834, introduced by English physicist and chemist Michael Faraday (suggested by the Rev. William Whewell, English polymath), coined from Gk. ion, neut. prp. of ienai "go," from PIE base *ei"to go, to walk" (cf. Gk. eimi "I go;" L. ire "to go," iter "a way;" O.Ir. ethaim "I go;" Ir. bothar "a road" (from *bou-itro- "cows' way"), Gaulish eimu "we go," Goth. iddja "went," Skt. e'ti "goes," imas "we go," ayanam "a going, way;" Avestan ae'iti "goes;" O.Pers. aitiy "goes;" Lith. eiti "to go;" O.C.S. iti "go;" Bulgarian ida "I go;" Rus. idti "to go"). So called because ions move toward the electrode of opposite charge.

stage 2

stage 1

stage 3

stage 4

stage 5

stage 6

stage 7

stage 8

site matrix

2

1 a b c d e

light noise parking noise light accessibilty accessibilty homeless traffic homeless traffic noise

traffic homeless noise

noise emergency access light traffic accessibilty homeless

4

3 parking noise light emergency access accessibilty traffic

noise traffic light parking light homeless secure

light flood areas picnic area accessibilty picnic area flood areas light playground

light sports accessibilty light accessibilty homeless

light sports flood areas

accessibilty noise emergency access homeless parking noise picnic area light parking light emergency access accessibilty homeless

noise emergency access light traffic accessibilty homeless

noise sports

noise emergency access light traffic accessibilty homeless

light secure

noise emergency access light traffic accessibilty homeless

noise

a b c d e

light

accessibilty

parking

emergency access

postsynaptic density

atrophy

sports

traffic

flood areas

homeless

picnic area

playground

secure

classes


PAN PACIFIC PARK IS WELL KNOWN PARK TO THE LOCAL COMMUNITY AND TO LOS ANGELES. WE WERE GIVEN RULE SETS AND GUIDE LINES TO CREATE A KINDER/DAY CARE CENTER. WE ARE ALSO GIVEN AN IDEA USING KINDERGARTEN AND TRANSITION TO CREATE A BI-NUCLEAR IDEA AND CONCEPT. AFTER EXTENSIVE RESEARCH I HAVE COME UP WITH THE BI-NUCLEAR IDEA OF EMERGENT AND ATROPHY. ALONG WITH MY CONCEPT “SYNAPSE”. I CAREFULLY TOOK INTO SURVEY THE CONDITIONS OF THE LANDSCAPE BY USING MY BI-NUCLEAR IDEA. EMERGENT IS THE CAUSE OF THE PROJECT ABOVE THE GROUND PLANE. ATROPHY WILL BE THE USE OF SPACE BELOW THE GROUND PLANE INTRODUCING IT AS A SURFACE PROJECT. MY CONCEPT SYNAPSE THE COLLABORATION OF THE TWO WHICH MEETS IN THE MIDDLE WHERE THE INDOOR PLAYGROUND IS LOCATED. axon view

z

z y

z y

x

1. CAREFULLY STUDYING THE TOPOGRAPHY, I DECIDED TO USE THE EXISTING TOPO LINES TO BEGIN MY SURFACE PROJECT.

section bb 1/8” scale

z y

x

2. I CAREFULLY SELECTED MY TOPO LINES AND USED THE DIVIDE COMMAND AND CREATED 50 NEW CV SPREAD OUT EVENLY.

y x

3. AFTER CHOOSING EACH CV AND DIRECTING THEM IN THE DIRECTION DUE TO HIERARCHY WITHIN MY UNDERSTANDING WHERE MY ENTRANCE WILL BE AND USING MY ELEVATION DATUM, I CAREFULLY CALCULATED THE AREAS OF WHAT WAS CHOSEN.

x

4. WHEN ALL THE CV WERE DETERMINED, I SELECTED EACH CV POINT USING THE POLY LINE TOOL TO JOIN THEM. AFTER I LOFTED THEM TOGETHER TO CREATE A SURFACE.


ROOF TOP GARDEN

circulation

programs lobby administration office classrooms garden playground restrooms kitchen/dining area storage

1

entrance

STRUCTURE

lobby

restroom

2

closet

lounge

3 kitchen/dining

3

classroom

4

office

SURFACE

4

classroom

washroom restroom

playground

4

4

4

classroom

n SEQUENCE

11

restroom

admin

indoor playroom

4

PLAN

art room restroom

restroom

EXPLODED AXON


site analysis

DESIGN DEVELOPMENT: USING THE CONSTRAINTS ESTABLISHED PRIOR AND FOCUSING ON THE PRIMARY USER’S DAILY SEQUENCE, IN THIS CASE A FOUR TO SIX YEAR OLD CHILD, WE WERE ASKED TO DEVELOP MASSING MODELS AND CIRCULATION DIAGRAMS. PLANS AND SECTIONS FOLLOWED IN THE INVESTIGATION OF THE PROJECTS ORGANIZATION AND RELATIONSHIP TO THE GROUND PLANE. THIS IS A LANDSCAPE ARCHITECTURE PROJECT THAT REQUIRES US TO ADDRESS THE GROUND PLANE IN OUR STRATEGY. AN EXPLODED AXONOMETRIC DRAWING IS REQUIRED TO SHOW THE SURFACE STRATEGY IN RELATION TO THE INTERIOR.

density program

circulation for dropoffs

exisitng parking

flood areas

points of interaction

family activities adult activities (sports/fitness)

public space residential space commericial space

site analysis

public

north elevation circulation

west elevation

topography density

private

N traffic circulation

public transportation

existing structures

public vs private

green space


beverly blvd.

gardner st.

the grove drive

13

N

n datum diagram

dropoff circulation

3rd s t.

N

site plan


north elevation


15


main entrance

south interior

n


19

ALUMNI COMMONS / PASADENA CITY COLLEGE / PASADENA, CA ARCHITECTURE 20A PASADENA CITY COLLEGE PROFESSOR COLEMAN GRIFFITH FALL 2011


PCC ALUMNI COMMONS PASADENA CITY COLLEGE

DESCRIPTION: INVESTIGATION OF THE UNIQUE RELATIONSHIP BETWEEN ARCHITECTURE AND LANDSCAPE THROUGH FOLDING AND DEFORMING OF SURFACES, IN THEORY AND PRACTICE. AN UNDERSTANDING OF HOW THE MANIPULATION OF TOPOGRAPHIES AND SURFACES IMPACTS OUR PERCEPTION OF SPACE. IN RECENT YEARS, LANDSCAPE ARCHITECTS AND ARCHITECTS HAVE JOINTURES IN CREATING BUILDINGS THAT INTERACT WITH SURFACE AT THE SITE. THE GOAL IS TO INVESTIGATE THE OPPORTUNITIES OF DESIGN INVENTIONS BY COMBING LANDSCAPE AND ARCHITECTURAL BUILDING DESIGN, AS OPPOSED TO TRADITIONAL BOX-SHAPED, SYMMETRICAL STRUCTURES. VICTOR A. LEONG ARCH 20A

VICTOR A. LEONG ARCH 20A

SITE PROGRAM: SNACK SHOP, BOTANICAL GARDEN, OUTDOOR GATHERING LOUNGE AND RESTROOMS VICTOR A. LEONG ARCH 20A

OBJECTIVE: TO CREATE AN URBAN LANDSCAPE ON THE ALUMNI COMMONS SPACE ON THE PCC CAMPUS. THE PRIMARY EMPHASIS OF THE PROJECT IS THE RELATIONSHIP BETWEEN BUILDING AND LANDSCAPE. DESIGN AN ARCHITECTURE THAT INTERACTS AND EMERGES WITH SURFACE AT THE SITE. THE DESIGN CAN BE USED AS A COMPLEMENTARY SITE FOR STUDENT AFFAIRS AND FACULTY MEETINGS AND BECOME PART OF THE COLLEGE’S SYSTEM OF STRUCTURES. AFTER CAREFULLY RESEARCHING THE PATH OF COMMONLY USED CIRCULATION AND DENSITY, I CREATED A GRID AND PATH WAY CONNECTING THEM WITH A POLY LINE FROM THE TWO GRIDS CONNECTING THEM ALONG THE PATH WAY COMMONLY USED. WHEN THE POLY LINE WAS CREATED, I THEN LOFTED AND CONNECTED IT TOGETHER CREATING A USABLE AND OCCUPIABLE SPACE. heavy traffic area

created a grid from north to south and east to west

density program

pattern was choosen due to circulation. polyline was directed above and below ground plane.

loft

victor a. leong arch 20a


EVENING

N

N

GRID

AFTERNOON

MORNING

N

SUN DIRECTION

PERVAILING WIND DIRECTION SUMMER BREEZE WINTER WINDS

Pasadena Green Building Program

OPEN SPACE CIRCULATION CIRCULATION SERVICE CIRCULATION

PROGRAM arts and visual communications technical building gym english/performance building boiler house service facilities cooling towers -under constructionlocker rooms

VICTOR A. LEONG ARCH 20A

SECTION CC


23

victor a. leong arch 20a


victor a. leong arch 20a


25


A

27

GRAND CENTRAL MARKET / DOWNTOWN LOS ANGELES, CA ARCHITECTURE 10B PASADENA CITY COLLEGE PROFESSOR COLEMAN GRIFFITH FALL 2010


GRAND CENTRAL MARKET MUSIC CONCERT HALL LOCATION: 317 S. BROADWAY, LOS ANGELES, CA 90013

A

Section a BETWEEN THE OBJECTIVE: TO REINVENT THE RELATIONSHIP ORCHESTRA AND THE COMMUNITY. THROUGH ARCHITECTURE, THIS RELATIONSHIP SHOULD BE ENHANCED. EXTERNAL REFERENCE: MUST CHOOSE AN ACOUSTICAL MUSICAL INSTRUMENT AND INVESTIGATE HOW IT CREATES SOUND THROUGH IT’S FORM, MATERIALS, AND COMPONENTS.

DESCRIPTION: TO DESIGN PERFORMANCE IN THE GRAND CENTRAL MARKET LOCATED IN DOWNTOWN LOS ANGELES. EACH STUDENT WAS ASKED TO SELECT A MUSICAL INSTRUMENT AND DESIGN THE PERFORMANCE SPACE BY USING THE CHARACTERISTICS OF THAT INSTRUMENT. A

PROCESS: INVESTIGATING AN INSTRUMENT AND STUDYING HOW IT CREATES SOUND THROUGH ITS FORM, MATERIAL,AAND COMPONENTS. WE WERE TO REINVENT THE RELATIONSHIP BETWEEN THE ORCHESTRA AND THE COMMUNITY AND HOW WE CAN ENHANCE THAT RELATIONSHIP AND THE ROLE AND SCOPE OF TODAY’S ORCHESTRA IN THE COMMUNITY. A

A

Scroll Peg Box

Peg Nut

Peg Box

Scroll

Peg Box Fingerboard

Neck Neck

String

A

Scroll

Neck

String

Ribs

String

Peg Nut

A

Peg Nut

Fingerboard

Fingerboard Ribs

sound post F Hole

Bridge F Hole

Chinrest End Pin

Section a

Chinrest End Pin

F Hole

E Tuner Tail Piece

sound post

Ribs

Bridge E Tuner Tail Piece

sound post Bridge

E Tuner Tail Piece THE BODY OF THE VIOLIN IS A LARGE HOLLOW CHAMBER THAT FUNCTIONS AS A SPEAKER OR AMPLIFIER FOR VIBRATION. THE STRINGS ARE SUSPENDED ABOVE THE BODY OF THE INSTRUMENT ChinrestBY A BRIDGE, A SMALL MAPLE PIECE OF WOOD SECURED TO THE TOP OF THE INSTRUMENT BY THE TENSION OF THE STRINGS. THE VIBRATION FROM THE STRINGS TRANSFERRED THROUGH THE BRIDGE OF THE BODY End Pin OF THE INSTRUMENT WHERE THE SOUND IS THEN AMPLIFIED

Section a

Section a


Sound Decibel SOUND TOPOGRAPHY CREATED BY TAKING SOUND DECIBEL READING OF THE GRAND CENTRAL MARKET DURING DIFFERENT TIMES OF THE DAY HELP CREATE THE TEMPLATE FOR THE LANDSCAPE.

74

76

73

75

82

77

80

75

72

71

75

74

76

82

80

90

76

72

70

75

74

76

8-

80

Broadway

74

hill

77

29


SOUND TOPOGRAPHY (section)

Morning 10:00am - 11:00am

Hill

G

H LL A

A

B

B

C

C

D

D

E

E

F

F

Afternoon 1:00pm - 2:00pm

H LL

Evening 6:00pm - 7:00pm

Broadway

H LL

G


C

B

DN

UP

A DN

A

UP

first floor section ee C

B

31

SECTION AA

D

E

D

E


Sec DD

STUDY MODELS

Sec FF

Sec EE


second floor section dd

C

33


INTERIOR VIEW

EAST ENTRANCE

Final Project Arch 10B Victor A. Leong


EAST ELEVATION


37

MINIMAL SURFACE ARCHITECTURE 12B PASADENA CITY COLLEGE PROFESSOR NEIEL NORHEIM SPRING 2010


SITE PLAN SCALE 1/32” = 1’-0”

N

THE USE OF A MINIMAL SURFACE GEOMETRY RULE SET AS A BASIS FOR THE DESIGN OF ARCHITECTURAL SPACE. THE PROJECT WILL BE SITED ON THE FOOTPRINT OF THE VILLA NM HOUSE AND MANTA DIAGRAM WILL USE THE BASIC EXTERIOR EDGE CURVES OF THE HOUSE. A

A

A

B

B

B E

CONCEPT: THE CONCEPT OF MANIFOLDS IS CENTRAL TO MANY PARTS OF GEOMETRY AND MODERN MATHEMATICAL PHYSICS BECAUSE IT ALLOWS MORE COMPLICATED STRUCTURES TO BE EXPRESSED AND UNDERSTOOD IN TERMS OF THE RELATIVELY WELL-UNDERSTOOD PROPERTIES OF SIMPLER SPACES. E

E

D

D

D

b

C

C

C

IN AUTOMOTIVE ENGINEERING, AN INTAKE MANIFOLD OR INLET MANIFOLD IS A PART OF AN ENGINE THAT SUPPLIES THE FUEL/AIR MIXTURE TO THE CYLINDERS. AN EXHAUST MANIFOLD OR HEADER COLLECTS THE EXHAUST GASES FROM MULTIPLE CYLINDERS INTO ONE PIPE. THE INTAKE MANIFOLD IS A PASSAGE SYSTEM THAT ALLOWS THE FUEL AND AIR TO PASS THOUGH AND FROM THE CARBURETOR AND THE ENGINE VALVES. IT RESTS AT THE MIDPOINT OF THE CARBURETOR AND CYLINDER HEAD. STEP 1

STEP 2

STEP 3

1. FORM A TETRAHEDRON 2. DRAW A POLYLINE FROM POINT A TO B TO C. 3. DFROM MIDPOINT B,C CREATE A SPHERE FROM ENDPOINT b TO MIDPOINT B,b.RAW A POLYLINE FROM A TO B TO E. 4. DRAW A POLYLINE FROM A TO C TO D.

1. DRAW A POLYLINE FROM MIDPOINT TO MIDPOINT BETWEEN LINE A,E TO LINE B,C.

1. SPHERE INTERSECTING SURFACE, RADIUS FROM QUARTER POINT TO MIDPOINT. 2. FROM MIDPOINT B,C CREATE A SPHERE FROM ENDPOINT b TO MIDPOINT B,b. 3. SELECT SPLIT TOOL. THEN SELECT PLANE AND SPHERE TO CREATE A CURVE FROM OBJECT TO OBJECT INTERSECTION.

MANTA DIAGRAM A

A

A

A

B

B

E

E

E

D

B c

D

D

B

A

d

E

E

C

C

STEP 1

STEP 2

STEP 3

1. FORM A TETRAHEDRON 2. DRAW A POLYLINE FROM POINT A TO B TO C. 3. DFROM MIDPOINT B,C CREATE A SPHERE FROM ENDPOINT b TO MIDPOINT B,b.RAW A POLYLINE FROM A TO B TO E. 4. DRAW A POLYLINE FROM A TO C TO D.

1. DRAW A POLYLINE FROM MIDPOINT TO MIDPOINT BETWEEN LINE A,E TO LINE B,C.

1. SPHERE INTERSECTING SURFACE, RADIUS FROM QUARTER POINT TO MIDPOINT. 2. FROM MIDPOINT B,C CREATE A SPHERE FROM ENDPOINT b TO MIDPOINT B,b. 3. SELECT SPLIT TOOL. THEN SELECT PLANE AND SPHERE TO CREATE A CURVE FROM OBJECT TO OBJECT INTERSECTION.

STEP 1

C

C

STEP 5

STEP 6

1. SPHERE INTERSECTING SURFACE, RADIUS FROM ENDPOINT MIDPOINT 2. CREATE A SPHERE FROM ENDPOINT c TO THE SPHERE MIDPOINT B.

1. THREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT MIDPOINT TO MIDPOINT 2. DRAW A POLYLINE AT 3 DEGREE FROM POINT d MIDPOINT A, E.

1. BOUNDARY LOFT 2. JOIN ALL THE POINTS TO SELECT FOR LOFTING

1. FORM A TETRAHEDRON 1. SPHERE INTERSECTING SURFACE, RADIUS FROM ENDPOINT 2. DRAW A POLY LINE FROM POINT A TO B TO C. MIDPOINT 3. FROM MIDPOINT B,C CREATE A SPHERE FROM 2. CREATE A SPHERE FROM ENDPOINT c TO THE SPHERE MIDPOINT B. ENDPOINT b TO MIDPOINT B,b. DRAW A POLY LINE FROM A TO B TO E. 4. DRAW A POLY LINE FROM A TO C TO D. A

B

c

STEP 5 DUPLICATE AND MOVE

E

D

STEP 5

STEP 2 C

1. DRAW A POLY LINE FROM MIDPOINT TO MIDPOINT BETWEEN LINE A,E TO LINE B,C

C

STEP 4

STEP 5

STEP 6

1. SPHERE INTERSECTING SURFACE, RADIUS FROM ENDPOINT MIDPOINT 2. CREATE A SPHERE FROM ENDPOINT c TO THE SPHERE MIDPOINT B.

1. THREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT MIDPOINT TO MIDPOINT 2. DRAW A POLYLINE AT 3 DEGREE FROM POINT d MIDPOINT A, E.

1. BOUNDARY LOFT 2. JOIN ALL THE POINTS TO SELECT FOR LOFTING

STEP 3

G

B

E

D

C

F

d

E

D

C

STEP 1 USE THE ARC TOOL TO CREATE AN ARC FROM END POINT (A) TO MIDPOINT (B) REPEAT THIS STEP FROM POINT (C) TO POINT (D). REPEAT FOR POINT (E,F,G, AND H).

A

A

B

A

D

STEP 6 USING THE BEND TOOL CHOOSE THE MIDPOINT TO THE ENDPOINT AND BEND AT 15 DEGREES

1. THREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT 2. DRAW A POLY LINE AT 3 DEGREE FROM POINT d MIDPOINT A, E.

STEP 6

1. SPHERE INTERSECTING SURFACE, RADIUS FROM QUARTER POINT 1. BOUNDARY LOFT TO MIDPOINT. 2. JOIN ALL THE POINTS TO SELECT FOR LOFTING 2. FROM MIDPOINT B,C CREATE A SPHERE FROM ENDPOINT b TO MIDPOINT B,b. 3. SELECT SPLIT TOOL. THEN SELECT PLANE AND SPHERE TO CREATE A CURVE FROM OBJECT TO OBJECT INTERSECTION.

E

H

C

C

STEP 4

STEP 4

H

D B

C

E

D

E

D

D

b

A

A

B

B

STEP 7 USING THE STRETCH TOOL CHOOSE THE END OF POINT (E,F,G,H) AND STRETCH ON THE X, Y AXIS ALSO HAVE THE PROJECT TAB SELECTED TO AVOID STRETCH TO TAKE THE Z AXIS DIRECTION.

B

F

STEP 2 LOFT POINTS (A,B TO E,F) THEN LOFT POINTS REPEAT THIS PROCESS WITH POINTS (C,D TO G,H).

G STEP 3 AFTER LOFTINGCHOOSE THE OFFSET TOOL TO CREATE WALL THICKNESS.

STEP 4 SELECT SCALE 1D TO CREATE LENGTH


B

B EAST ELEVATION SCALE 1/8” = 1’-0”

EAST ELEVATION SECTION AA SCALE 1/8” = 1’-0”

SOUTH ELEVATION SCALE 1/8” = 1’-0”


CONCLUSION: THE DESIGN (EXTERIOR): DESIGNING A GALLERY THAT FITTED OUR CLIENT INTERESTS. AFTER LEARNING THAT THE CLIENT AND HIS WIFE WERE BIG FANS OF INVENTIONS, BOTH AFICIONADOS OF CURRENT DESIGN AND ART. WE CAME UP WITH THE CONCEPT OF A MANIFOLD. A MANIFOLD HAS AN INTERPRETATION OF FLOW AND CIRCULATION ALLOWING THIS CONCEPT TO INTERACT BETWEEN PROGRAMS MAKING IT POSSIBLE TO CREATE A HYBRID EXPERIENCE. AUTOMOBILES ARE CONSTANTLY RE-INVENTING THEMSELVES WITH STYLISH BODY DESIGNS, PERFORMANCE, AND NEW AGE TECHNOLOGY. THE PERFORMANCE (INTERIOR/CIRCULATION): THE INTERIOR WAS DESIGNED WITH THE CONCEPT OF FLOW TO WHICH IT ALSO REPRESENTS THE WAY AN INDIVIDUAL WOULD EXPERIENCE THE CIRCULATION OF THE INTERIORS PROGRAMS. THE INTERACTIONS BETWEEN THE GALLERIES SPACES SUCH AS THE ART GALLERY, PHOTO GALLERY AND THE SCULPTURE GALLERY ARE A REPRESENTATION OF THE FUEL/AIR MIXTURE WHICH ALLOWS THE HYBRID EXPERIENCE. MATERIALS: EXTERIOR WALLS WOULD BE BUILT WITH A TRANSLUCENT CONCRETE TO EMIT LIGHT THROUGHOUT THE INTERIOR OF THE STRUCTURE TO MAINTAIN EFFICIENCY. THE WINDOWS WOULD BE CONSTRUCTED WITH A HYBRID GLASS TECHNOLOGY. IN ADDITION TO BASIC UV OR HEAT CURABLE HYBRID GLASSES, HGT OFFERS CUSTOM MATERIAL DESIGN SERVICES. IT HAS A SPECIFIC NEED TO PROTECT PRODUCT FROM HEAT, WATER OR CHEMICAL CORROSION. WHICH IN MIND WE ARE PROTECTING ART.


HYBRID C

CIRCULATION GALLERY EXPERIENCE

HYBRID EXPERIENCE

ART GALLERY

PHOTO ART GALLERY

PHOTO GALLERY

SCULPTURE ART GALLERY

SCULPTURE GALLERY

E

C

ENTRY

SCULPTURE GARDEN

ART GALLERY

RECEPTION AREA

SCULPTURE GALLERY

SCULPTURE GARDEN

HYBRID EXPERIENCE EXPERIEN E

HYBRID EXPERIENCE XPERIEN E

SCULPTURE GARDEN

PHOTO GALLERY

ART GALLERY

RESTROOM SCULPTURE GALLERY

FLOOR PLANS / PROGRAMS SECTION BB SCALE 1/8” = 1’-0”

SCULPTURE GARDEN

PRIVATE SPACE

41


43

BODIES AND SKINS ARCHITECTURE 12B PASADENA CITY COLLEGE PROFESSOR NEIEL NORHEIM SPRING 2010


DESCRIPTION: INTRODUCES THE CONCEPT OF NURBS MODELING AND THE CONSTRUCTION AND REFINEMENT OF SELF-SIMILAR CURVE GEOMETRIES AS WELL AS OUTPUT TECHNIQUES/ PREPARATION FOR LASER CUTTING / MODEL BUILDING. USING A SINGLE MANIPULATED CURVE, LOFT AND CREATE A SURFACE WHICH CAN BE COPIED AND ROTATED TO CREATE A VOLUME. OBJECTIVE: A BASIC COMMAND OF NURBS CURVATURE USING SIMILAR MODELING TECHNIQUES. OPERATIONS INCLUDE DRAFTING IN RHINO, REBUILDING, LOFTING/OFFSETTING AND SERIAL SECTIONING (CONTOURING). USING THE BASIC TECHNIQUE OF MANIPULATION OF CURVES VIA CONTROL POINTS IN RHINO, CREATE A VOLUME WHICH CAN THEN BE CONVERTED TO A LAMP SHADE.


45

AFTER THE VOLUME WAS DIGITALLY CREATED IN RHINO, IT WAS DIVIDED AND TAKEN TO BE LASER CUT, AND CONSTRUCTED TO CREATE A LAMP SHADE.


47

PROPORTIONAL TRANSFORMATION ARCHITECTURE 10A PASADENA CITY COLLEGE PROFESSOR DEBORAH BIRD FALL 2009


DESCRIPTION: COMMUNICATE THE CONCEPT OF BALANCED COMPLEXITY THROUGH THE DEVELOPMENT OF A PROPORTIONAL SYSTEM OF INTERLOCKING MODULES. PROCESS: CREATIVE INVESTIGATION OF THE CONCEPT OF BALANCED COMPLEXITY THROUGH PROPORTIONAL INTERLOCKING APPROPRIATE APPLICATION OF THE PRINCIPLES OF PROPORTION, INTERLOCKING, MATERIALITY + TRANSPARENCY. RIGOROUS DESIGN PROCESS THROUGH ITERATIVE PRODUCTION OF MODELS + DRAWINGS. EFFECTIVE COMMUNICATION OF DESIGN THROUGH QUALITY PRESENTATION MATERIALS AND TECHNIQUES.


THE CANOPY PROVIDES SHADE FOR THE PUBLIC AS THEY MOVE THROUGH THE SPIRAL PATHWAY DOWN A ROUGH AND RIGOROUS LANDSCAPE. THE SHADE IS NOT CONSTANT HOWEVER, LIGHT ALTERS THE EXPERIENCE AND LIGHTING BY INTERMITTENTLY APPEARING AND DISAPPEARING FROM THE VIEWERS SIGHT AS THEY MOVE DOWN THE PATH. THE CANOPY GETS ITS GEOMETRY BASED ON THE LINES GENERATED FROM THE CIRCULATION DIAGRAM OF THE BEACH. THIS TIME THE LINES, AND POINTS ARE GIVEN A THREE DIMENSIONAL PROPERTY. IT EMERGES FROM A SPECIFIC POINT ON THE BASE AND RETURNS TO THE BASE AT THE END OF ITS GESTURE.

PROPORTIONAL TRANSFORMATION ARCHITECTURE 10A PASADENA CITY COLLEGE PROFESSOR DEBORAH BIRD FALL 2009


51

MATERIAL MATTERS - MATERIAL MANIPULATION ARCHITECTURE 10A PASADENA CITY COLLEGE PROFESSOR DEBORAH BIRD FALL 2009


DESCRIPTION: TRANSFORM THE TWO DIMENSIONAL ORDERED SYSTEM INTO A DYNAMIC THREE DIMENSIONAL SYSTEM. PROCESS: USING AN APPROPRIATE FORMAL TECHNIQUES TO TRANSFORM AN ORDERED TWO DIMENSIONAL SYSTEM INTO A DYNAMIC THREE DIMENSIONAL SYSTEM WITH QUALITIES OF THICKNESS, TEXTURE AND FLEXIBILITY.


55

PROPORTIONAL TRANSFORMATION ARCHITECTURE 10A PASADENA CITY COLLEGE PROFESSOR DEBORAH BIRD FALL 2009


Critical point

225 atm

1 atm Water (liquid)

Ice (solid)

Pressure

Water vapor (gas) 0.006 atm

Triple point

0.01O C

Temperature

100 O C

374 O C

CONCEPT: SUBLIMATION THEME: TRANSFORMATION OUR TASK WAS TO DEVELOP A PROGRAMMATIC SOLUTION FOR ‘THIRST TEA’, A GROUP OF URBAN GARDENERS, GREEN TECHNOLOGY AND BARRISTAS WHO WANT TO GENERATE PUBLIC AWARENESS OF THE POTENTIAL OF RECLAIMED URBAN WATER RUNOFF, GREEN WALL GARDENING AND THE ENJOYMENT OF A GOOD BEVERAGE. WE WERE TO CREATE A ‘SUSTAINABLE THIRST QUENCHING SYSTEM’ COMPRISING WATER RECLAMATION, VERTICAL GARDENING AND BEVERAGE SERVICE USING ONLY RESOURCES CAPTURED AND PRODUCED ON SITE.


61

POINT, LINE, PLANE AND VOLUME ARCHITECTURE 10A PASADENA CITY COLLEGE PROFESSOR DEBORAH BIRD FALL 2009


THIS PROJECT WE TRACKED THE MOVEMENT OF PEOPLE THROUGH A BEACH IN MALIBU, CA. WE LOOKED AT THE WAY PEOPLE ALWAYS SEEM TO FIND THE EASIEST WAY FROM POINT A, TO POINT B. WE ALSO OBSERVED THE DIFFERENCE IN VOLUME, AND DIRECTION AND HOW THEY CHANGED THROUGH DIFFERENT TIMES OF THE DAY. WITH SO MANY PATHS CROSSING AND INTERSECTING AN INTRIGUING PATTERN BEGAN TO EMERGE. FROM THIS PATTER A POSITIVE / NEGATIVE ATTRIBUTE WAS GIVEN TO EACH SPACE BASED ON A GIVEN RULE SET. ONCE THIS PATTER WAS ESTABLISHED, A STUDY MODEL WAS CREATED TO FORM THE BEGINNING OF A CANOPY SYSTEM, WHICH WILL LATER BE DEVELOPED INTO A CONTINUOUS FLOWING

POINT, LINE, PLANE AND VOLUME DESCRIPTION: USING THE CONCEPT OF DYNAMIC MOVEMENT, MAKE A VOLUMETRIC FORM + SECTION DRAWING INTERPRETING THE THREE DIMENSIONAL POTENTIAL OF THE FIGURE/GROUND DRAWINGS. PROCESS: CREATIVE INVESTIGATION OF THE CONCEPT OF DYNAMIC MOVEMENT USING POINT, LINE, PLANE, VOLUME + SURFACE. APPROPRIATE APPLICATION OF FORMAL/SPATIAL PRINCIPLES IN THE CREATION OF AN EXPERIENCE OF ARCHITECTURAL FORM + SPACE, MOVEMENT + SCALE. RIGOROUS DESIGN PROCESS THROUGH ITERATIVE PRODUCTION OF MODELS + DRAWINGS. EFFECTIVE COMMUNICATION OF DESIGN THROUGH QUALITY PRESENTATION MATERIALS AND TECHNIQUES.


65

THICK SKIN ARCHITECTURE 12A PASADENA CITY COLLEGE PROFESSOR NEIEL NORHEIM FALL 2009


OBJECTIVE: TO MOVE BEYOND THE 2D DRAWING WHICH RESULTS IN THE 3D MODEL, WHICH RESULTS IN THE 2D RENDERING; OR IN OTHER WORDS, DIFFERENT INSTANTIATIONS OF THE SAME THING. INSTEAD WE WILL WORK MORE LIKE SCIENTISTS, PRODUCING EXPERIMENTS VIA MULTIPLE MATERIALS, METHODS AND TECHNIQUES. IN AN EFFORT TO DISMANTLE THE “STABILIZING EFFECT” THAT CERTAIN MODES OF REPRESENTATION SUGGEST, WE WILL UTILIZE COMPUTER SOFTWARE TO NOT ONLY AID IN THE DESCRIPTION (REPRESENTATION) OF ARCHITECTURAL CONCEPTS, BUT AS A DEVICE TO GENERATE POTENTIALS FOR TRANSFORMATIVE AND UNFORESEEN SPATIAL EFFECTS.


69

VILLA NM 3.0 PRECEDENT STUDY RESEARCH AND STUDY DIAGRAM ARCHITECTURE 12B PASADENA CITY COLLEGE PROFESSOR NEIEL NORHEIM SPRING 2010


3.0 PRECEDENT STUDY / RESEARCH & 3D DIAGRAMS

Victor A. Leong Arch 12B

0

10

01


73

SKETCHES



Architecture_Portfolio