ARCH 132 Winter 2016

J O A N N M O O RE A R CH 132 / W I N TE R 2 0 1 6 CA L IFOR NIA POL YTECHNIC S TAT E UNIVE RSIT Y S AN LUIS OBISP O

WO OD C H E N G B orn in H on g Ko ng , r a is e d in N ew Z ealand, an d s t u d y ing in t he U S

T r i lingu al , s pe a k ing E n g l is h, C an t onese an d F r enc h C h i nes e by e th n ic it y

O ne 10- y e ar - o l d y o u n g e r b r o t he r P a ssi on f or an y o f t he c r e a t ive a r ts, espec i al l y f o r m u s ic , l it e r a t u r e a nd of cours e ar c h i te c t u r e Hope to change society for the better with profound and meaningful architecture

01 02 03 04 05

6-37

38-85

86-107

SECRET COMPARTMENT PARAS

ITE

THE DRAWING HAUS

108-109

FOLDED SKETCHES

110-111

REFLECTION

WO OD C HEN G K EVI N MARER MIK K I OK AMOT O

TETR AH ED RON

C UBE

C ONE

S PH ER E

CYL INDE R

C U BE S TU DY

TET RA H ED R O N S TU DY

C Y L I N D ER S TU DY

SP H ER E S TU DY

C O N E S TU DY

OPENING 1 OPENING 2

‘MAZE’ ORIGIN

We set out with a concept 3 maze faces 3 untouched faces and a maze origin point Origin spreads ‘infecting’ the untouched faces ‘burrowing’ into the secret compartment

OPENING 3

FACE 1 (UNTOUCHED) FACE 2 (UNTOUCHED) FACE 3 (MAZE) FACE 4 (MAZE) FACE 5 (MAZE) FACE 6 (UNTOUCHED)

C O N S TR UC TE D WITH US ED FIL L ER PA PER

BANDSA W BLOCK C U T T IN G

DI A GONA L CU T T I NG FO R I NT E R I O R S L I C E S

GLUING...

FIL IN G EA CH INDIV IDU A L BLOC K

A ND S A NDI NG , TH E F I N AL TO U C H

C ON CE A L E D OP E N I N GS

F U LL CUBE IN TE RIO R C UBE OP EN SP AC ES IN TER IOR SP AC E S

SECRET COMPARTMENT

M IKKI’S P IEC E

WOOD’S PI ECE

K E V I N ’ S P I E CE

NET

S HE A R E D C Y L I N D E R

S HEA RED CONE

SHE ARE D T E

E T R AHEDRON

SHEA RED CUBE 1

SHE ARE D CUBE 2

VA RI A TI ON OF C U BE 2

This project has been essential in teaching me the use of space in architecture. Even though basic shapes were used, through the processes of removing, adding and shearing, I learnt that complex and profound spaces could still be generated.

While this was not a design-heavy project, I still learnt some very important skills that would later prove to be useful in the quarter. By working with wood and steel, I was forced to quickly learn how to use the machinery that would shape and sculpt the materials.

This was also one of the few projects where I genuinely was worried about not being able to finish. Limited shop hours meant that I had to make use of every available minute, enforcing the importance of time management and familiarity with shop tools.

RI LEY BR ANT WO OD C HEN G MAT TH EW T HUR MA N DEVIN WIL L IAMS

GROUP 102 A ’S

P A R A SI T E

L OCAT I ON

WARM AIR

TEMPERATURE

SOUND

FOOT TRAFFIC

COOL AIR

COMB I NED PHE N OM E N A M A P

TE XTURE M AP

MOR NI NG L I G H TI N G

NOON L IGHTING

A FTERNOON LIG HT ING

9:00 - 12:00

12:00 - 3:00

3:00 - 6:00

S U N L I GHT STUDY

OR A N GE

M U ST A R D

GOL D

GR E E N

NAVY

B U R GU N D Y

GR A Y

COLOR BANALYS L A CK

leaves earth

water

webs

dust

D E B RI S M AP P I N G

103

102A

SIT E P LAN

N

A

B

C

C1

D1

A1

B1

FLOOR P LAN

N

D3

D2

D4

R EFL ECTED C E ILING P LAN

N

D4

D5

D1

D3

WEST SE CT ION C-C1

D5

D4

NORT H SE CT ION A-A1

D4

D1

NORT H SE CT ION B-B1

D2

D4

102A D1

D5

SIT E SE CT ION

DE T AIL 1 : RAILING

D ETA IL 3: CE ILING CRE VICE

D ETA IL S 4/ 5: BEA M AND WALL CRE VICE

ID EA 1: S HA D E/SHADOW SCULP T URE

ID EA 2: RE FLE CT IVE CHAIR

C H O SEN I DEA : BICYCL E RA CK

RACK DE VE LOP ME NT

I DE A E X P L OR A T I ON

P ARASI TE F RO N T

R AC K S I D E

R A CK I S O ME TRI C

E X P LO D E D R A CK

C UTTI N G L I ST

N

S I TE P LA N W / P ARASI TE

W E S T S E CTI O N W / P A RASI TE

W ELDING P R EP A RAT I ON

W E L D E D J OI N T S

CNC MILLING

C ON N E C TING MILLED P IEC ES

T E ST I N G OU R R A CK

M O V ING TO S ITE DRI L L I NG AND SANDI NG T E ST F I T T I N G T H E F I R ST T

RIANG L E TR IAN GLE C ANOPY COMPL ET E I NST AL L I NG T HE T R I A N GL E CA N OP Y

Although undoubtedly very stressful, paraSITE has been a very rewarding project indeed. Unlike any other group project we have done before, this one really needed all group members to take responsibility, communicate well, and of course, give 110% effort.

I cannot fault any group member in this regard. We had numerous setbacks, yet by organizing and planning well ahead of time we were able to prepare for the worst.

Despite a conditionally offered building permit which saw us consequently change 80% of our design, to difficulties with the d[Fab]Lab which forced us to complete almost all of our project within the last two days, we still managed to push on through sheer determination to create an elegant, well crafted bicycle rack paraSITE. The paraSITE project has shown me that it is crucial to spend time carefully analyzing and combing over every little detail of the site. Only by doing this at the beginning of the project were we able come up with a design that complements and contrasts site 102a so effectively.

SUPERT OOL - SCRI ARS? P L E W D R I V E R ?

LINE OF SIGHT SHOULDER HEIGHT

KNEE HEIGHT

LINE OF SIGHT SHOULDER HEIGHT

KNEE HEIGHT

SCA L E 1- 1/ 2” =1’

LINE OF SIGHT SHOULDER HEIGHT

KNEE HEIGHT

LINE OF SIGHT SHOULDER HEIGHT

KNEE HEIGHT

SCA L E 1- 1/ 2” =1’

3 P M SUN L IG HT

12 P M S U NL I G HT

6 A M S U NL I G HT

ST U D Y M OD E L 1 ST U D Y M OD E L 2

IMP R O V ED E RG ONOMI C SEAT

CONCAVE D R A W I N G T A B L E

As the last project of the quarter, the Drawing Haus project challenged us to apply all the skills we had learnt over the course of Secret Compartment and paraSITE. In particular, we were encouraged to study our own body dimensions and design for ourselves based off those measurements. In the process of doing so we discovered new things about the way we sit, relax and draw; our final designs reflected our own behaviour when doing these activities.

Having completed this project, I feel much more comfortable designing for humans on a human scale. I am more familiar with the posture and movement of our own bodies, and as a result I am better equipped to make inhabiting a space more comfortable.

Designing with anthropometrics and ergonomics in mind will definitely be useful for future projects!

UNFOL D ED

FOLDE D

SCULP T URAL

Looking back at the work that I’ve completed this quarter, I don’t know whether to be surprised or scared by the sheer quantity. If you had asked me before this quarter if I would be able to finish it all, I would likely have been very doubtful. But the fact that I’ve made it to the end of the quarter (in one piece, mostly) really is testament to how much this course has helped us grow in merely half a year.

I think that giving us the opportunity to build at full scale has really opened my eyes to how architecture works in real life. It’s one thing to hold up a pier platform using sticks of balsa wood and glue, and another entirely to make sure a bike rack doesn’t come crashing down. Yet despite these ‘limitations’, I have continued to design with the same creativity and curiosity as ever.

As well as learning to work with scale, and to use workshop tools safely and efficiently, I feel that the most important lesson I learned this quarter is the importance of time management. In the Secret Compartment and paraSITE projects at least, with limited shop hours, it was crucial to budget time, and set out a plan for the amount of work I needed to complete each day.

Following a successful second quarter, I feel more confident going into ARCH 133 and against the challenges I will be put up again. I feel confident that I will meet great new friends and teammates that will make the journey along my architectural degree enjoyable. The only thing I don’t feel so confident about is a good night’s sleep.