PORTFOLIO_ANNIE_MAR.21

ART | SPACE | FORM YINING ANNIE

CHEN

PORT FOLIO 2020 | 2023

GEORGIA INSTITUTE OF TECHNOLOGY 1

POINT, LINE, PLANE- FROM TWO DIMENSION TO THREE DIMENSION MUSIC HOUSE- MODELS FUSION MOTIF FLYING NEST- FOLOGRAM AND REAL MODEL MIX CITY FARM- HYDROPONIC GREEN SYSTEM IN SHANGHAI

03

04

03

4- 6 7- 9 10- 11 12- 17

01 02

WORK CATAGORIES 01. STUDIO ARCHITECTURE PROJECT

p. 04

02. DIGITAL PROGRAMMING

p. 18

03. STRUCTURE &TECHNOLOGY

p. 30

04. CONSTRUCTION & FABRICATION

p. 56

05. RESEARCH &DESIGN PRODUCT

p. 62

06. INTERDISCIPLINARY ARTS

p. 68

02

PARAMETRIC BUILDING SYSTEM- CASE STUDY OF TOKYO AOYAMA FORM EVOLUTION- GRASSHOPPER ANIMATION WIND PAVILLION-VR INTERACTION IN DESIGN DRAGONBOT- CREATE MICROCLIMATE ABOVE THE HINMAN COURTYARD

04

BUZZ STATION- BUS STOP ON GEORGIA TECH CAMPUS 30- 31 OFFICE BUILDING CONSTRUCTION IN BOSTON- ARCHITECTURE | STRUCTURE | MEP 32- 59

EXPERIENTIAL INTIMACY- A PLAY WITH VIRTUAL REALITY HOLOLENS REBAR REVIVAL- TRASH TO TREASURE

05

06

KITCHEN SAFETY OF OLDER ADULTS- ELDERS’ UNIVERSAL KITCHEN RESEARCH CHEF SYSTEM- COOKING HELP FOR EXECUTIVE FUNCTION

62- 63 64- 67

BREAKING THE BOX- CONFINED SPACE X REBELLIOUS MOVEMENT DIGITAL DRAWING- SPACE COMPLEX DIGITAL DRAWING- MATHEMATIC FORM CITY FANTASY THE OTHER PLANET WHITE-THE OTHER COLOR

18- 21 22- 23 24- 25 26- 29

56- 57 58- 61

68- 73 74- 75 76- 77 78- 79 80- 81 82-83

ART | SPACE | FORM

06

05

ART | SPACE | FORM

01

TABLE OF

CONTENTS

CONTENTS

TABLE OF

PHOTOGRAPHY, DRAWING, MODEL #1

POINT, LINE, PLANE FROM TWO DIMENSION TO THREE DIMENSION Course: Core Studio I Instructor: Charles Rudolph Fall 2020 This exercise begins a sequence of exploratory activities in abstraction involving photography, drawing, and modelmaking. Each part of the sequence will derive from the one before it and apply both translations, which include a photo to sketch, drawing to model, and iteration, which involves making multiples). In each step of the sequence of design explorations. The following conditions are present in work: DIFFERENCE / REPETITION FIGURE / FIELD CENTER / EDGE MOVEMENT / STASIS TENSION / REPOSE OPEN / CLOSED The exploration involves selecting three photos from the group of nine and undergoing a translation process into a line-based drawing, one for each image. The media used for the pictures is a soft drawing pencil. Each illustration is 6” x 6” square on Bristol paper. Experiment using the iterative method, using tracing paper in overlays to test visual and compositional ideas. Use various lines’ values to achieve depth, transition, variety, etc. Experiment with compositions refers to the list of “dualities”.

The final stage is a translation from two-dimensional drawings to three- dimensional model. Transforming the abstractions of lines and spaces on the flat paper surface to the construction of characters that shape space is a step into architecture– although the critical dialogue of abstraction is maintained and intensified.

4

PHOTOGRAPHY, DRAWING, MODEL #2 PAINTING AS SITE

P O I N T, L I N E , P L A N E

5

MUSIC HOUSE MODELS FUSION MOTIF Course: Core Studio I Instructor: Charles Rudolph Fall 2020 Brief Introduction

THE SOLUTION TO “KIT OF PARTS” This corner park aims to provide a seggregated and tranquil space in the center of downtown city. The outside high wall ensures the pri-vate-intimate interior space. All long and thin kit of parts functions for tectonic use. The paths which lead to the center activity spaces are narrow just so the a sense of mystery is increased when travers-ing through the paths.

An open large courtyard in the center is open for public gathering, and two smaller chambers for priviate gathering are parallel to each other. The pavillion-like structures casts a good amount of shades and shelters for visitors.

This project combines previous models No. 2 and 3, and the site is Lancaster Community Park, Millersville Pike, Lancaster, PA, 1.5 miles and 8 minutes driving to Fulton Theatre for the final design. The model for the corner park is to be rotated 90 degrees. The “ground” becomes a vertical wall. The wall is altered but remains a structural entity that supports stairs and floors. The House negotiates the given forms and spaces of the site. The House aims to provide a comfortable living space for Broadway actors/actresses to spend their vacations, hold after-parties, and socialize with his/her friends.

The highlight of the House is an interior stage at the negative four level and an outdoor stage on the ground level connected by a circulation through the backstage. The backstage in between the circulation is a versatile space that could function as a place for make-up, storage, socializing, and a transitional space to the upper level.

MODEL #3 KIT OF PARTS 6

P O I N T, L I N E , P L A N E

7

ELEVATION, SECTION

NW

SE 8

MUSIC HOUSE

NE

SW

INTERIOR, EXTERIOR RENDERS

MUSIC HOUSE

9

The extended cantilevered platform exposes an outside view from the envelope.

CONCRETE

EXPLODED ISOMETRIC 10

This is a relatively steep slope. The traveler will be able to look down at the triangular courtyard.

METAL

FLYING NEST PROTOTYPE The idea behind the designed prototype is to construct a monumental public area for citizens and native birds to interact in the center of the cityscapes actively. The citizen could ascend gradually from the base level of the form, stop and rest on the platform at different levels, and then descend to the original start point. The steel pipe thrusting out from the envelope is a temporary habitat for the birds currently living in the city or migrating from other areas.

CIRCULATION

ENCLOSURE ISOMETRIC X-RAY

Course: Core Studio II Instructor: Keith Kaseman Collaborator: Ian Morey, Annie Yining Chen (Co-desgin) Fall 2020 QUARTER-MILE TWIST CHALLENGE Teams are responsible for refining and delivering a 1/4 MILE TWIST scheme. With the Utilization of cleanly modeled curves and surfaces, the goal is to thicken these spatial constructs into comprehensive architectural proposals incorporating articulated material and structural, programmatic, and situational strategies.

INTERIOR VIEW

FOLOGRAM AND REAL MODEL MIX

NOTATIONS FOR MATERIALS AND SLOPES

REAL-TIME FOLOGRAM PROJECTIONS

FLYING NEST

F LY I N G N E S T

11

INITIAL IDEA- OC TREE BLOCKS PROTOTYPING+ SITE

Course: Core Studio II Instructor: Keith Kaseman Fall 2020

12

Input

Type A

ASSORTMENT EXPERIMENT- ISOMETRIC

Type B STORAGE

LOADING DOCK

Type C LABORATORY+ OFFICES

SW

SW

SW

1

2

3

SW

SW

SW

4

5

6

SW

SW

SW

7

8

9

EXHIBITION/ HYDROPONIC FARM NE

NE

NE

A NEW CULTURE/GREEN INFRASTRUCTURE ALONG HUANGPU RIVER

HYDROPONIC GREEN EXPERIMENT IN SHANGHAI

N

CITY FARM

13

Acorus tatarinowii

Sagittaria trifolia var.sinensis.

Iris pseudacorus L.

Pontederia cordata L.

Thalia dealbata

PLANTS RESEARCH INDEX

The system includes a hydroponic system embedded in the tanks for exhibition and educational purposes. The users can experience the “gallery of greens” from the structure’s exterior and interior. The potential categories of plantation for the exhibition are listed in the index.

HYDROPONIC EXHIBITION TANKS

The distribution system allocates robots to clean the tanks and the gallery. The distribution center collects data on the building and monitors the hydroponic system, including basic information, for example, the water temperature, lighting condition, and sanitary situation.

ROBOT DISTRIBUTION

The cultivation lab grows seedlings which will be future exhibits in the hydroponic tanks.

CULTIVATION LAB

Typha orientalis

Polygonum orientale L.

INTERNAL DOCK FOR FERRIES

The solar panel is one of the significant energy sources for the building to run. All the panels on the roofs are Concentrator Photovoltaic (CPV) Panels. CPV panels are equipped with solar trackers, mirrors, and lenses to capture as much sunlight as possible. At the same time, their cooling systems ensure that this sunlight is converted into energy as efficiently as possible.

INFORMATION CENTER/ SOLAR PANELS

KEY SYSTEMS/ PROGRAMS

SECTION

14

OFFICE+GALLERY+DOCK

SECTION 0 25 50 ft 15

Besides merits that improve citizens’ physical activities, the ramp tracks could also foster a sense of community: Ramp tracks often attract a community of like-minded individuals who share a passion for extreme sports. They provide a space for people to come together, connect, and support each other in their pursuits.

In addition, this ramp might also boost tourism and economic development, along with the EXPO pavillions right next to it: Ramp tracks can be a new popular attraction for visitors and contribute to the local economy by attracting tourists and generating revenue for businesses in the area.

BOTANICAL ART GALLERY

Besides merits that improve citizens’ physical activities, the ramp tracks could also foster a sense of community: Ramp tracks often attract a community of like-minded individuals who share a passion for extreme sports. They provide a space for people to come together, connect, and support each other in their pursuits. In addition, this ramp might also boost tourism and economic development, along with the EXPO pavillions right next to it: Ramp tracks can be a new popular attraction for visitors and contribute to the local economy by attracting tourists and generating revenue for businesses in the area.

OFFICE SPACE

The breezeway intends to improve air circulation: with an open triangular window and perforated aluminum roof, the breezeway provides an open space that allows for natural air circulation, which can help to reduce humidity and improve indoor air quality. By allowing for natural ventilation, a breezeway can lessen the need for air conditioning and other cooling systems, lowering energy bills and reducing environmental impact. It is a buffer zone between two gallery spaces, which can help to increase privacy and reduce noise pollution.

RAMP TRACK #02

The ramp track, which leads to the semi-open gallery, provides an exciting and challenging experience: Ramp tracks intend to promote physical activity and fitness: Using a ramp track requires a high level of physical fitness and stamina. It allows individuals to engage in a fun and exciting physical activity that can improve their overall health and well-being. Moreover, the tracks aim to encourage creativity and self-expression: Ramp tracks offer a creative outlet for riders to express themselves through their movements and tricks. They can experiment with different techniques and develop their unique style.

BREEZEWAY

RAMP TRACK #01

LONG PLANTATION GALLARY

VIEWS

ACTIVITY SPACES

16

The gallery intends to provide a sense of openness and transparency, allowing visitors to see through the walls and better view the surrounding environment, especially the great Lupu Bridge. The inflow of natural light and unobstructed views enhance the overall viewing experience. The exhibition space incorporates living plants into its design. These “botanical galleries” creates a unique and immersive environment that can enhance the viewing experience for visitors of both the interior and exterior space.

The botanical art gallery intends to celebrate the beauty of nature, promote scientific knowledge, encourage creativity, foster a sense of community, and provide educational opportunities.

17

PARAMETRIC BUILDING SYSTEM

Each facade of the building is split into nearly-

Projection lines traced between the segments described before frame the forms of the vertical chases that extend through the building.

FLOOR PLATES

EXTRUDED DIAMONDS

that relate to the edges of the diamond extrusions.

side touching a seam in the facade and the other reaching the middle of the opposite facade.

Herzog & de Meuron

Reflection on Diagrids of Prada Tokyo Aoyama

Structure Analysis

Diagrid is an essential geometry of the building. Comparing our present understanding of the diagrids and the first day we started studying them, our thoughts on the diagrid change on two points: the sizes of the diagrids utilized as units on walls and roofs; the other is the forming process of diagrids.

Our first speculation on these diagrids was that the shape of the diagrids on the walls and roofs was different in shape and size. Therefore when we first drew the diagrids, we treated them as various rhombic forms. There were five facades in total. Therefore we divided them into one diagrid unit for the walls and five others for different roofs. However, when we started to develop our diagrid system using the projection method, we realized there was only one diagrid unit for the whole cladding system. The diagrids on the walls are perpendicularly projected, whereas the projection on tilted planes causes the distorted diagrids on roofs.

For our systems of diagrids, we used points and lines as basic units of our diagrids because we initially intended to treat the size of the diagrids as a parameter. With individual lines and points, we could easily change the sizes and shapes of the diagrids. We discovered that the diagrid could vary by following or breaking the original rule. The height and width could go by the ratio 2: 3.2, and all sides remain equal; or the regular proportion could be changed to another ratio; or the sides of the diagrids could be unequal to each other, which transforms the diagrids into an irregular net shape.

However, it turned out that we used the original diagrid system and adapted it into different massings. As a result, the necessity of using points and lines as starting input was questioned. We wondered if there is a better way to begin the formation of the diagrid, for instance, starting with a single rhomb or an isosceles triangle. Further experimentation Annie Chen could be done by creating different geometries for the diagrid system.

A

B

C

D

D

1

2

3

4

5

6

6—B 6

8—E

E

4—E

3—E

6—F

2

5

F G

3

1—G 4

5—I

H

4

1—G

2—I

5

I 3

J

6

K

For this assignment, students will work in teams. Each team will continue their study on the selected case study building by 1) identifying 3-4 critical building systems.

2) designing and implementing a parametric model for each identified building system.

3) illustrating the work with original diagrams and drawings.

The requirements of the parametric models: a) 1-3 photograph(s) of the building system with proper citation(s). b) a simple introductory diagram highlighting the key components, dimensions, and relations. c) a sample derivation visually describing the generative process in a step-by-step manner. d) the original design of the building system generated by the parametric model. e) a set of design variations of the building system generated by the parametric model illustrating the expressiveness (consistency and flexibility) of the parametric model.(Set and Get) and State GateDispatch.

VERTICAL CHASES

1

Course: Media and Modeling III Instructor: James Park Location: Shanghai, China Collaborator: Yining Chen- Elevation Presentation+ Diagrid Analysis Richard Fridy- Plan Presentation+ Interior Structure Patricia Rangel- Section Presentation+ Massing Analysis Spring 2020

SEGMENT

2

7 4—11

8

Parametric Design Variation- Prada Tokyo Aoyama

9

10

11 1

Unit of Measurement L=3200 mm

H=2750 mm

FIVE FLOORS

PRADA AOYAMA CASE STUDY

Prada Aoyama Tokyo

(5) 10H

E W

4H (2)

(5) 10H

TWO FLOORS

(2) 4H

5H

2H

3L

EAST SECTION Scale 1 : 250

7L

5L

FULL FLOOR & WALL AREA Ratios

7L

5L 3L 3L

40% Wall with 2 Diamond Height

When examining the two full floors of the building there is a 2:5 ratio in terms of the diamond height of the 2nd and 5th floor. The light blue shaded area represent the sections of the east-facing wall that contains a celiling height of two diamonds. As a portion of the total area of the wall, the quantity of floor space that contains two diamond height ceilings is approximately 40% or a 2:5 ratio.

18

2L

VERTICAL WALL Ratios

EAST SECTION

5L

WEST SECTION

CANTILEVERED FLOORS Ratios

The vertical wall ratios have a strong 2: 5 ratio on the section facing east. When the mullions at the ceiling points are extruded down to their opposite wall, a clear 2:5 ratio is seen on the floor and along the northern and southern walls of the structure.

The pattern of the cantilvered floors from a vertical perspective goes 2-4-2-4 in terms of diamond height dimension. In terms of a horizontal diamond length against the eartern wall the sequence follows a 3-5-3-3 pattern. With the final length falling across a span of six diamonds as opposed to seven in the first three cantilevered floors.

As is seen by these diagrams of the east and west elevation and sections, in the entirety of the building, only the second floor is able to maximizes the entire surface area of the building’s footprint. The fourth floor because of the third tunnel is cantilevered on the east wall, though it appears complete on the west wall. The fifth floor, although not cantilevered, takes up a smaller footprint due to the angle of the roof. Therefore the 2:5 ratio exhibits itself once again by by establishing a center of stability on the second of seven levels.

19

Plan - Rich Fridy

ELEVATION

Interior Structure - Rich Fridy

GEOMETRY ANALYSIS

GLASS TYPE ANALYSIS

1:1000

This diagram estimates the proportion of each type of geometry on extorior wall of the building. Most of the glass panels are rhombic, on the edge of each spread, the rhombics are cut into different shapes of triangles.

1:400

1:400

11%

FLAT GLASS (OPENABLE) EAST

WEST

NORTH

SOUTH WEST

SOUTH

BUBLE GLASS (TO INSIDE)

>> About 20 % of the cladding

BUBLE GLASS (TO OUTSIDE)

>> Only ground floor (shopping windows)

SMOKY GLASS

>> About 25 % of the cladding >> most of them are distributed on facades next to other buildings (maintaining privacy)

Unit of Measurement

<1%

3%

>> fire escapes/ outlet air opening recooling

The base of the massing is the floor plan of this building. And the floor plan strategically begins with a dot on the ground that sits in the corner of an alley and a sidewalk in Tokyo, Japan. From that point, architects Herzog & de Meuron make a deliberate move that slightly shifts two equal-distant parallel lines. The vertex of those lines then determine the length and angle of the corresponding walls that became the main entrance and plaza of the Prada Aoyama building. The second most important piece of the massing is the roof line that connects all the vertex heights to one of its two ends.

L=3200 mm

2

3

4

5

6

7

Begin with a dot at the plan-SW.

Procedure by drawing a line at zero degrees, four rhomboid lengths along the site boundary at plan-S.

Draw a line that is seven rhomboid lengths plan-north and reorient it to be 98 degrees from original line.

Then, draw a parallel line to the original line at a length of four rhomboid lengths.

At the plan-N and plan-S vertices, draw two circles, one with a radius of three rhomboid lengths, one with a radius of five rhomboid lengths.

Connect the vertices to the intersection of these two circles closest to plan-E. The lines connecting these points will form the final two walls of the building,

Connecting all the lines will create the floor plan of the Prada Ayoama building in Tokyo, Japan.

WAL L A ( PL AN - N E) WALL LENGTHS IN # RHOMBOID MODULES

H=2000 mm

9%

1

3% 2%

3

4

5

6

7

8

9

3

SMOKY BUBLE GLASS (TO OUTSIDE) SMOKY GLASS (OPENABLE) H=2000mm

1:400

FLAT GLASS

L=3200mm

E

FIVE FLOORS

DIMENSION ANALYSIS ON FACADES AND FLOOR HEIGHTS

W

5

WA LL B (P LA N - S E)

(5) 10H

4H (2)

(5) 10H

HEIGHT 12H 10H

HEIGHT

9H

Tunnel 3

(2) 4H Tunnel 2

6H

8H

6H

6H

5H

4H Tunnel 1

2H

4H

2H

2H

2H 7L

LENGTH SPREAD

4L

5L

2

1

EAST SECTION

3

7L

3L

4L

4

5

2

1

SPREAD

5

4

3

2

1

SPREAD

VERTICAL WALL Ratios

EAST SECTION

3L 3L

BUBLE GLASS (TO INSIDE) BUBLE GLASS (TO OUTSIDE) SMOKY GLASS SMOKY BUBLE GLASS (TO OUTSIDE) SMOKY GLASS (OPENABLE)

Parametric Overview:

H=2000mm L=3200mm

1

2

CHASE #2

CHASE #1

2

2

This system, still in progress, creates horizontal tunnels that function similarly to the vertical chases.

Instead of referencing the structural diagrid nodes and producing extrudable shapes through projection lines, the tunnels are extruded from the steel diagrid itself. Tunnels are varied by assigning differing start and end panels. Floor slabs are, in turn, trimmed by the 2 3 intersections produced by these tunnels.

1

VARIATION

1

CHASE #3

2

3

SPREAD

3

20

Interior Structure - Rich Fridy 1

2

- This diamond shape occurs third frequently and all of them are on a facade of rhombic roof.

3

Input

Variation 6 + 11 rhomboid length Input: Unfolded elevation with folding edges

SECTION DETAIL OF DIAGRID PANEL, SHOWING THICKNESS THAT HIDES STANDARD W-FLANGE EXO-STRUCTURE.

3%

This exploded isometric view demonstrates Input: Unfolded elevation with folding edges. the potential changes to interior structural elements that takes place with a shift in the exterior massing.

1

2

Step 1: Make the the first triangular set of points, set the gap Step 2: Create the second set of points as Step 1. Move them Inputlength on the horizontal axis as 3200mm, and the gap length 1 1600mm to the right, then 1375mm up.

2 Step 1: Make theas the2750mm. first triangular of points, set the gap length Step 2: Create the second set of points as Step 1. Move them on the vertical axis The set number of horizontal intervals is 23, the number of vertical is 9. on the vertical on the horizontal axis as 3200mm, andin-tervals the gap length 1600mm to the right, then 1375mm up.

3

Step 3: Connect the first set of points with the second in an one-to-two relationship.

3 Step 3: Connect the first set of points with the second in an one-totwo relationship,

4

Step 4: Connect the second set of points with the first in an one-to-two relationship.

4 Step 4: Connect the second set of points with the first in an one-totwo relationship,

5

Step 5: Turn off the points and get only the diagrids.

Step 5: Turn off the points and get only the diagrids.

5

The far right drawing shows an overlay of vertical chases that mimics the chase location and shape of the original building. The two sets of chases to the left overlay variations that are unique to the 6 + 11 configuration, and rely on a strict interpretation of the formal logic developed by the projecting lines between diagrid nodes.

The compositional variations of interior structure are almost endless, even within a strict parametric system.

Final Step: Project the diagrids onto the building.

8H

Final Step: Project the diagrids onto the building.

6H

All diagrids are in a rhombic shape which has the identical length of side. One diagrid, as a module, determines the massing of the building All diagrids are in a rhombic shape which has the identical length of in terms of the amount and size of it. The ratio of the shorter diagonal side. One diagrid, as a module, determines the massing of the building to the diagonal is always 2: 3.2. inlength termsof ofone the rhombus amount and sizelonger of it. The ratio oflenght the shorter diagonal In the of manner of the generative process illustrated the2:diagrds length one rhombus to the longer diagonal lenghtabove, is always 3.2. keep expanding horizontally/ vertically to fitabove, a variety massing Incould the manner of the generative process illustrated theof diagrds (the prerequisite is that the massingvertically changestoinfitthe unit of of modules.) could keep expanding horizontally/ a variety massingIn all design variations, the diagrids expand in the horizontal direction In in (the prerequisite is that the massing changes in the unit of modules.) all design variations, the of diagrids expandand in the horizontal response to the length the Nothern Western Walls.direction in response to the length of the Nothern and Western Walls.

4H

4

5

2H

SPREAD

2

1

<1%

5

4

3

MASSING VARIATION THAT SPREADS CHASES MORE EVENLY THROUGH THE FLOOR PLATE

- These two strands of triangles reflect on each other.

11%

<1%

58% - This diamond shape occurs most frequently and all of them are on the vertical walls.

- This diamond shape occurs second frequently and all of them are on a facade of rhombic roof.

Variation 1: 6+11 rhomboid lengths NW Walls

Variation 1: 6+11 rhomboid lengths NW Walls

Design Variations Design Variations

Variation 2: 4+7 rhomboid lengths NW Walls

Variation 2: 4+7 rhomboid lengths NW Walls

MASSING VARIATION THAT AIMS TO PRODUCE INSIDE CORNERS, STILL ONLY USING THE SAME PARAMETRIC LOGIC.

Variation 3: 7+4 rhomboid lengths NW Walls

Variation 3: 7+4 rhomboid lengths NW Walls

Variation 4: 9+3 rhomboid lengths NW Walls

Variation 4: 9+3 rhomboid lengths NW Walls

Variation 5: 5+3 rhomboid lengths NW Walls

Points

Variation 5: 5+3 rhomboid lengths NW Walls

6

7

Variation 9 + 6 rhomboid length

Lines

Diagrids

SECONDARY SYSTEM- DIAGRID SECONDARY SYSTEM- DIAGRID Points

Diagrids- Annie Chen 5

Variation: 4 Roof Colla

axis as 2750mm. The number of horizontal intervals is 23, the number of vertical intervals is 9.

Diagrids- Annie Chen 4

rhomboid lengths variable walls

10H

- From the observation of the glass types on the surface where all tunnels begin and end, most of the glasses are buble glass (to outside), therefore the visitors who traverse through the tunnel could see the outside world.

- Most glass panels on SPREAD 5 and partial glass panels on SPREAD 1 are smoky glasses, those are the facades for where the staircases locate inside the building.

- Most of the openable glasses are on SPREAD 1, 2 and 3. The ones on the vertical walls are fire escapes. All the fire escapes locate on the floors with height of 4H, 6H, 8H and 10H, the distance ratio between these floors are 2: 2: 2.

- Tunnel 3, unlike Tunnel 1 or 2, starts from SPREAD 1 and ends at Spread 5 which is adjacent to Spead 1 on the building, on the spread the distance from the beginning centroid to the end of the centroid is 17 L. - According to the SPREAD, Each tunnel has a point hitting a corner of the building, Tunnel 1 hits the corner of the North and West facade (SPREAD 2&3), Tunnel 2 hits the corner of the East and North facade (SPREAD 1&2), Tunnel 3 hits the South-West and South facade (SPREAD 4&5).

The base of the massing is the floor plan of this building. And the floor plan strategically begins with a dot on the ground that sits in the corner of an alley and a sidewalk in Tokyo, Japan. From that point, architects Herzog & de Meuron make a deliberate

2%

9+3

rhomboid lengths variable walls

MASSING OF VERTICAL CHASES IN CONSTRUCTED BUILDING

<1% - This diamond shape occurs second frequently and all of them are on a facade of rhombic roof.

9%

Parametric Overview:

4+7

rhomboid lengths variable walls

SLAB VAR. 1

11%

—Diagrid Lines —Edges Vertical >> Only groundof floor (shopping windows) Chases (for >> About 25 % of the cladding >> most alignment) of them are distributed on facades next to other buildings (maintaining privacy) >> About 20 % of the cladding

5+3

rhomboid lengths variable walls

Massing- Patricia Rangel

3%

FLAT GLASS

The system derives complex 3D shapes from projection lines that extend across the plan of the building between structural diagrid intersections (suggesting locations of HEIGHT supporting beams inside Tunnel 3 8H of the floor slabs). The Tunnel 2 module creates 5-sided 6H shapes from sets of five intersecting axes, Tunnel 1 and these shapes are 2H then extruded to the height of the building 7L 4L 5L 3L 4L LENGTH and2 filleted at corners.

5 4 1 3 SPREAD Repositioning of axes to different nodes produce new/different shapes, - The centroid of Tunnel 1 is at the floor height 2H; the centroid of Tunnel 2 is at the floor height 6H; the centroid of Tunnel 3 is at the floor height 8H. The distance ratio between the ground which are extruded into level and the centroid of these three tunnels are 2: 4: 2.

- Both Tunnel 1 and 2 begin from SPREAD 1 and ends at SPREAD 3, and both the distance from the beginning centroid to the end centroid of these two tunnels are 8L. different vertical chases.

ORIGINAL

Inputs: >> fire escapes/ outlet air opening recooling

9+6

11

Design Variations This diagram estimates the proportion of each type of geometry on extorior wall of the building. Most of the glass panels are rhombic, on the edge of each spread, the rhombics are cut into different shapes of triangles.

— Rich Fridy

ORIGINAL SLABS

ORIGINAL MASSING

2 2

1:400

The system flows a series of horizontal planes into the simplified 3D massing diagram. The planes are designed to be able to be shifted HEIGHT in increments that are 12H equal to the height of the10Hdiagrid module, 9H allowing the user to develop different spatial relationships on each 6H level of the building. The 4H simplified 3D massing diagram trims each 2H plane, and the planes are extruded downward.

2

Parametric DIMENSION ANALYSIS ON FACADES AND FLOOR HEIGHTS Overview:

SOUTH WEST —Massing Outline at SOUTH Ground Plane —Critical Axes between Diagrid Module Nodes

FLAT GLASS (OPENABLE)

HORIZONTAL TUNNELS

rhomboid lengths variable walls

rhomboid lengths variable walls

10

MASSING VAR. 1

WEST

AXIS VARIATIONS

MASSING VAR. 2

NORTH

2

EAST

FILLET EDGES

ORIGINAL TUNNELS

Inputs:

BASE SHAPES

1:400

TUNNEL RELOCATION VIA CHANGING FLOOR HEIGHTS

Inputs:

CRITICAL AXES

GEOMETRY ANALYSIS

C

TUNNEL RELOCATION VIA CHANGING RELATIONSHIP WITH DIAGRID NODES

VERTICAL CHASES

1:400

COMBINED

SLABS

—Massing Surfaces —Diagrid Module Dimensions

GLASS TYPE ANALYSIS

B

1:1000

6 + 11

rhomboid lengths variable walls

3+5

WEST SECTION - These two

<1%

7+4

rhomboid lengths variable walls

9

5L

7L

5L

8+5

rhomboid lengths variable walls

5

4

3

3L 2L

5L

FULL FLOOR & WALL AREA Ratios

ELEVATION

5+8

7 8

- From the observation of the glass types on the surface where all tunnels begin and end, most of the glasses are strands of - The centroid of Tunnel 1 is at the floor height 2H; the centroid of Tunnel 2 is40% atWall thewith floor height 6H; the centroid of Tunnel 3 is at the floor height 2 Diamond Height Scale 1 : 250 triangles reflect CANTILEVERED Ratioscould see the outside world. buble glass (to outside), therefore the visitors who traverse through theFLOORS tunnel 8H. The distance ratio between the ground level and the centroid of these three tunnels are 2: 4: 2. on each other.

Asthe is seen by these diagrams of the east and west elevation and sections, in the entirety of the building, only the second floor is able to maximizes the entire surface area of When examining the two full floors of the building there is a 2:5 ratio in terms of The vertical wall ratios have a strong 2: 5 ratio on the section facing east. When The pattern of the cantilevered floors from aon vertical perspective goes 2-4-2-4 in Most glass panels on SPREAD 5 and partial glass panels SPREAD 1 are smoky glasses, those are facades for - Both Tunnel 1 and 2 begin from SPREAD 1 and endstheatdiamond SPREAD 3, and both the distance from the beginning centroid tothethe end centroid of these the building’s footprint. The fourth floor because of the third tunnel is cantilevered on the east wall, though it appears complete on the west wall. The fifth floor, although terms of diamond height dimension. In terms of a horizontal diamond length height of the 2nd and 5th floor. The light blue shaded area repremullions at the ceiling points are extruded down to their opposite wall, a 11% not cantilevered, takes up a smaller footprint due to the angle of the roof.

Therefore the 2:5 ratio exhibits itself once again by by establishing a center of stability on the where the staircases locate inside the building. <1% against the eastern wall the sequence follows a 3-5-3-3 pattern.

With the final two tunnels are 8L. sent the sections of the east-facing wall that contains a ceiling height of two clear 2:5 ratio is seen on the floor and along the northern and southern walls of second of seven levels.

58% length falling across a span of six diamonds as opposed to seven in the first three As a portion of the total area of the wall, the quantity of floor space structure.

- Most of the openable glasses are on SPREAD 1, 2 and 3. The ones on the vertical walls are fire escapes.

All the fire cantilevered floors.

- Tunnel 3, unlike Tunnel 1 or 2, starts from SPREAD 1diamonds. and ends at Spread 5 which is adjacent to Spead 1 on the building,theon the spread the distance - This diamond shape occurs that contains two diamond height ceilings is approximately 40% or a 2:5 ratio. escapes locate on the floors with height of 4H, 6H, 8H and 10H, the distance ratio between these floors are 2: 2: 2. most frequently and all of from the beginning centroid to the end of the centroid is 17 L. them are on the vertical - According to the SPREAD, Each tunnel has a point hitting a corner of the building, Tunnel 1 hits the corner of the North and West facade (SPREAD walls.

2&3), Tunnel 2 hits the corner of the East and North facade (SPREAD 1&2), Tunnel 3 hits the South-West and South facade (SPREAD 4&5).

Section- Patricia Rangel A

6

8H TWO FLOORS

10H

98°

4

Variation 9 + 6 rhomboid length

Lines

Diagrids

21

SPATIAL INSTRUMENT

FRAME #001

FRAME #002

FRAME #003

FRAME #004

FRAME #005

GRASSHOPPER ANIMATION

FILM A

Course: Media and Modeling III Instructor: Keith Kaseman Location: Shanghai, China Spring 2020

ROTATING CUBE

This project aims first to explore the animation plugin in grasshopper, then flex an intricate Spatial Instrument in GH, utilizing dynamic analytical approaches for geometric construction and parametric operation.

The limit of digital volume is 25m x 25m x 25m. In the volume, develop operable mechanisms that afford numerous modes of a variable input, relational hierarchies, dataflow logic, and behavioral differences.

The required operations, approaches, and components are Global Values (Set and Get) and State GateDispatch.

FILM B

DIAGNOL GROWTH

FILM C

BREATHING MESH

22

TEST ANIMATION

KNIT VORONOI

FILM D A BATTLE

S P AT I A L I N S T R U M E N T

23

WIND PAVILLION

1

6

2

7

3

8

4

9

5

10

MONTAGES

OPERATIONAL SPATIAL SYSTEM Course: Media and Modeling III Instructor: Keith Kaseman Collaborator: Jiayong Lu, Botao Li, Yining Chen (Form Design) Location: Georgia Institute of Technology Spring 2020 This project tasks to develop, demonstrate, and document an interactive spatial system in real space and at full scale within the volume defined by the Hinman Courtyard. Utilizing Fologram for phones, the collaborative operability of the system uses three synced parameters (live on phones) along with device tracking on more than one phone. The operable spatial systems are free-floating architectural frameworks – spaceframes and canopy structures.

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The following constraints and techniques are to be employed: • Primary curves to be 1 degree; fillets and controlled blend curves • Global Variables, Stream Gates, State Gates, and Stream Filter operations • All geometry visible within Fologram on phones for a live demonstration to be synced grasshopper objects (no visible Rhino geometry!), and a reset button

W I N D P AV I L L I O N

25

DRAGONBOT

1

PEDESTALS- CONCRETE

2 PRIMARY SUPPORTS

3

JUNCTION SUPPORT

4

HINGE JOINTS

5

6

TENSION CABLES

GRASSHOPPER DEFINITION- PRIMARY MEMBER BEAM ROTATION

CREATE “MICROCLIMATE” ABOVE THE COURTYARDE Course: Media and Modeling III Instructor: Keith Kaseman, William S. Reynolds Location: 723 CherrySt NW, Atlanta, GA Team: Yining Chen, Patricia Rangel, Shrutam Prabhu Responsibility: Wings Design Fall 2021

PRIMARY MEMBER- BEAM

The Hinman Research Building of Georgia Institute of Technology was originally designed as a research facility in 1939. It was later adapted to include graduate-level architecture studios, computer labs, and interdisciplinary research labs.

As the former dean of the College of Architecture, Alan Balfour said, “Hinman is the perfect union of the past, present, and future of architectural research and education at Georgia Tech.” The building carries all the talents and witnesses the birth of great inspirations and works. The back courtyard of the Hinman Building is a crucial area for the students to socialize, repose, and refresh.

The Dragonbot aims to create a recreational space for the users and visitors of the Hinman Building. The inspiration comes from the shape and movements of dragonfly wings. The hightech metallic giant installation consists of a prime arm carrying tiny wings fluttering in the air. With the fluttering wings, the Dragonbot creates a breeze and shades above the courtyard during mid-summer time. The designers envision further tech development on the wings to provide heat during winter.

26

Set the point on the lower Hinge Joint as the Centroid and set the Amplitude/ Rotation angles of the Primary Member

Deconstruct the rotated Primary Members, and list out all the vertices.

Move the vertices in a fixed amplitude to confirm the thickness of each member

Connect all the vertices and create the edges of the rotated Primary Member

Make surfaces of the Primary Member out of all the edges. The volume of the rotated Primary Member is later synced with Fologram

GRASSHOPPER DEFINITION- FLUTTERING SEQUENCE SETTING 7

WINGS

10 FLUTTERSHIFT SEQUENCE NO. 06

8

SURFACE CURVES

9

11

FLUTTERSHIFT SEQUENCE NO. 12

12 FLUTTERING-

FLUTTERSHIFT SEQUENCE NO. 0

SHIFT SEQUENCE NO. 18

The flutter movement is controlled by several variants including Unit Vector (Direction), Fluttering Domain (the range of movement), Fluttering/ Rotation Pattern (in the designed script, the mathematic expression is fixed as sine), and Shift Sequence

INSTALLATION & MOVE SEQUENCE

The way of fluttering on both sides of the wing is identical

D RAG O N B OT

27

ELEVATION: PRIMARY MEMBER BEAM ROTATION

10ft

10ft

30 °

15 °

FORM INTERVENTION

0°

Matt Anderson, Director of Communications at Olson Kundig Architects, said, “Ultimately, truly timeless architecture is inseparable from the place; its authenticity derives from its context, allowing it to remain relevant.”

Though highly technical and futuristic, this project intends to reflect a growing desire for more subtle, harmonious interventions with surrounding hardscapes.

The shiny metallic color, the subtleness of mechanical details, and the unique shape of the machine make it a landmark near the Hinman building. As water waves under the impact of the wind, it is constantly dancing with the branches and leaves of the cinnamon trees. From the observation above the courtyard, the curvature of the Dragonbot resonates with the surrounding cinnamon trees. The edge of the Dragonbot maintains its organic form, and the space segregated by the installation and circulation also mimics the shape of the surrounding nature.

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D RAG O N B OT

D R AG O N B OT

29

BUZZ STATION BUS STOP ON GEORGIA TECH CAMPUS Course: Construction Technology I Instructor: Charles Rudolph Fall 2020

INITIAL IDEA The project aims to provide shelter, seating, and social distancing (to prevent COVID-19) for waiting for passengers on the campus of Georgia Tech. BUZZ, the school mascot, inspires the shape of a beehive/ hexagon. The hexagon develops into an octahedral space and other three-dimensional spaces which connect to it on edge. Each room is segregated from one another.

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B U Z Z S TAT I O N

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

54

55

MANUFACTURE PROCESS- REBARS CUTTING AND WELDING

BASIC IDEA- BOOT ROTATION The boot rotation is the primary motif and key to initiating the design. In other words, this gesture highlights the central axis—­ the inclination of the structure. During the design progress, the designers put on the holo lenses, rotated the boots, and synchronized the rotation on the laptop. Afterward, the boots are fixed at an angle, and designers can explore different connections between the nodes.

1

2

3

DESIGN PROCESS- DIGITAL FABRICATION The project aims to integrate various design tools, including laptops, holo lenses, and boots. These three main incentives determine the configuration of the project. The design process demands several team members operate simultaneously. The holo lenses need to be connected to the grasshopper script on the laptop and the QR Code from the boots, so they can accurately capture the hand gestures and locate the two structures and the nodes on them to initiate the design process.

EXPERIENTIAL INTIMACY

A PLAY WITH VR BY HOLOLENS SIMULTANEOUS MANUFACTURE Course: Advanced Production Instructor: Keith Kaseman, William S. Reynolds Location: 723 CherrySt NW, Atlanta, GA Team: Yining Chen, Moath Rabahbah, Jiayong Lu, Sophie Myers, Bhoomika Taneja Responsibility: Hololens Design Progress+ Manufacture Spring 2022 56

HINMAN GATE- SUMMER The silver rebar gate sits sturdily in the courtyard, with the breeze dabbing and birds chirping.

The summer is hot, and the coldness of the color on the rebars and the holographic plastic sheets cools down the fever.

The sheets are iridescent: they shine brightly, as the green cinnamon leaves shine under the sun.

Everything is in crazy colors— the trees, the gate, the shadows, like a midsummer fantasy in the backyard.

E X P E R I E N T I A L I N T I M A C Y 57

As an industry representative, Liming Resources dedicates to reusing all accessible sources to protect the urban environment. Liming Resources officially launched the research on waste and nutrients in July 2019. Based on the systematic analysis of the nutrient composition, the researchers analyzed pollution characteristics of the biogas residue from the anaerobic fermentation of food waste in the region and the ability of partial biogas residue to be carbonized and used as a biochar base fertilizer. The agricultural safety of biogas residue and the effect of biochar and carbon-based fertilizer on improving the fertility of farmland soil were studied.

H.A.B.O.R.

XL PERGOLA

D

ue to an increment in urban reconstruction, the city will abandon more wasted constructive materials like rebars. The large-scale sculptural piece could be constructed on a riverbank or coast to celebrate the re-bloom of the material in our daily life. LED light tubes are attached to the framing. The recovered rebars accompany the city’s revival- both old and new materials are included and utilized. When night comes, the city is still wide awake. The lights on the rebar monument and the city lights twinkle in the darkness. With great lighting, the monument functions as a lighthouse gallery introducing the magic of recycling to the citizens. The lights are on from early morning to late night.

The celebration of the old material on the water in the city is always on.

IN THE FUTURE

MATERIAL REUSING AND DESIGN IN THE FUTURE

INTRODUCTION

T

he rapid advancement of urbanization and the dramatic rise of the urban population lead to a drastic increment in the output of municipal solid waste. The nation’s waste has exceeded 250 million tons, with an average annual compound growth rate of 2.1%. Therefore, the government tends to treat this garbage quickly and effectively to prevent the garbage siege phenomenon and severe air, water, and soil pollution.

This collaborative project with Shanghai Liming Resources Recovery Co. Ltd focuses on recycling methods of constructive and domestic waste in Shanghai. Eventually, with the research data and documentaries of the research process, these dumped materials are reformed and reconstructed into an interesting, monumental, and natural lab for future experimentation on reproducing fertilizers from the residue of incinerated domestic waste.

REBAR REVIVAL TRASH TO TREASURE Course: Material Diversion Instructor: Debora Mesa Molina Location: Shanghai, China Collaborator: Shanghai Liming Resources Reuse Co., Ltd. (Client) Shanghai Jiading Jiaxi Blower Limited Company (Manufacturer) Spring 2021 58

R E B A R R E V I VA L

59

DISCOVERY TO PRACTICE

Field Trip and Material Hunting

Material Gathering and Transportation

This project involves field trips, resource gathering and selection, and industry collaboration. Visiting the Resource Company to browse the recycling progress and products could inspire the use of material, and understanding the industry’s ultimate goal could promote an ideal project built for this environmentally friendly space.

The final selected material is a colossal rebar piece disassembled from a vast machine- it primarily functioned as a filter that sorts the waste.

After several design experimentations, including sketching and modeling, the pieces are cut into designated sizes on-site for the intended design and more accessible transportation. Two process gasses, Oxygen (O2) and Acetylene (C2H2), were mixed in the oxygen-acetylene torch. Separate compressed gas cylinders stored both gases. The gases were mixed at the correct proportions and ignited. Gas valves on the torch were adjusted precisely to the volume flow of the gasses. With the help of an additional oxygen blast trigger, the nozzle released extra oxygen. The supplemental O2 reacted with the metal to produce iron oxide and process heat, which is essential for the cutting process.

Oxyacetylene Rebar Cutting on Site

Shapes+ Body Exploration This process tests a series of explorations of the shape and accessibility of furniture. Use sizes to categorize the sitting prototypes: Small, Medium, Large, and Extra Large. After a bunch of installation and testing with the body, decide on prototypes to use in the final design.

Framing + Facializing 1

Use the rebar to construct the framing of the pergola.

3

Cut the rebar meshes to fit in the frames.

52 min 58.5 km Shanghai Jiading Jiaxi Blower Limited Company

2

Weld all the rebars into the standing pergola.

On-site Installation

Installation- Wielding

4

Install the acrylic pieces to the frame.

A

B

A. Progress of Rebar Meshes Welding to the Rebar Frame (Electrowelding) Lay the piece flatly on the ground due to safety concerns. The progress produces many sparks and flames, so gloves and goggles are required.

B. Steel Slots Welding & Installation of Acrylic Panels (Gas Shielded Welding) Mosiac the acrylic panels to the welded frames while the piece stands straight up. Use a ladder during the installation of the components at higher levels.

After the pergola is complete, it is transported back to the Liming Resources as an educational, artistic piece. This project’s construction could happen in different places.

Designers could transform it into a public gallery in the city center or make it into a monumental structure in the suburban area, an evidence representing human intrusion into nature in this prosperous industrialized era.

biomass Shanghai Liming Resources Reuse Co., Ltd.

C2H2

60

R E B A R R E V I VA L

O2

R E B A R R E V I VA L

61

affects the work-flow, could increase the possibility of falling.(Kitchen Safety at the Center of a Kitchen Design, 2022) CONCLUSION (FINAL INSIGHT)

PATH INSIDE OF KITCHEN DINING ROOM TO KITCHEN OTHER ROOMS TO KITCHEN POTENTIAL SLIPPERY SURFACE

9:00 A.M.

9:55 - 11:05 A.M.

ONLINE CHAT WITH FAMILY/ FRIEND + TAKE MEDICINE

11:05 A.M.- 12:20 P.M.

11:00 A.M. 12:00 P.M.

BATHROOM

CLOSET 1

CLOSET 2

1:00 P.M. 2:00 P.M. Figure 1. Functional Capacity by Age, Retrieved October 20, 2022, https://longevity.stanford.edu/mobility-division/

12:20 - 1: 20 P.M.

AFTERNOON TEA + WATCH TELEVISION

1: 20 - 2: 35 P.M.

3:00 P.M.

METHODOLOGY

FLOOR FINISH + RAIL/ HANDLE DESIGN

4:00 P.M.

TAKE SHOWER+ NAP

DINNER PREPERATION + SOCIAL (NEIGHBOR/ FAMILY)

5:00 P.M.

CLEAN UP + TAKE MEDICINE + HOT TEA

6:00 P.M.

LIGHTING CONDITION + RUG POSITION

2: 35 - 4:00 P.M.

SINK

RUG

4:00 - 5: 00 P.M.

REFRIGERATOR

5: 00 - 6: 10 P.M.

parallel

INTRO + TIMELINE (CASE STUDY)

PLAN DRAWING (INITIAL INSIGHT)

ONLINE CHAT WITH FAMILY

8:00 P.M. DESIGN OPPORTUNITIES (DETAILS)

Lighting is essential for a safe environment.

Low lighting causes less clear vision, and increase the chance of tripping. Adequate fixtures in every room is necessary. (Aging in Place Ideas for Common Areas, 2022)

KITCHEN LAYOUT (EFFICIENT WORKFLOW)

7:00 P.M.

6: 10 - 7: 20 P.M.

connected

SYSTEM MAP (FINAL DESIGN)

BEDROOM 2

MIND MAP (EVALUATION)

9:00 P.M.

WATCH TELEVISION

7: 20 - 8: 20 P.M.

BED TIME

8: 20 - 9:00 P.M.

Unsecured rugs could cause tripping or falling. (Aging in Place Ideas for Common Areas, 2022) Slippery surfaces will increase the possibility of falling. (Aging in Place Ideas for Common Areas, 2022)

Lacking of grab bars on slippery surface could increase the possibility of falling.(Burfield, 2019)

The layout, especially the placement of stove which affects the work-flow, could increase the possibility of falling.(Kitchen Safety at the Center of a Kitchen Design, 2022)

CONCLUSION (FINAL INSIGHT)

PATH INSIDE OF KITCHEN DINING ROOM TO KITCHEN OTHER ROOMS TO KITCHEN POTENTIAL SLIPPERY SURFACE POTENTIAL FALLING AREA DUE TO LACK OF LIGHTING

DESIGN OPPORTUNITY 62

A kitchen’s layout and design plays a crucial role in its function and safety. The useful design suggestion related to risk of falling are: - Stoves should be installed where they won’t present a work-flow or traffic hazard. If placed too close to a doorway, anyone entering the kitchen may accidentally knock a pot off the stove, brush their skin against the heated metal, or even catch their sleeve on fire.

2. DIFFERENT KINDS OF GRAB BARS Grab bars could significantly reduce the risk of falling (Burfield, 2019, online). From the collected information about grab bars, the suction grab bar is least friendly to the uses due to its instability.

ounted

1. GENERAL KITCHEN LAYOUT COMPARISON STOVE+ FRIDGE+ SINK+ (DINING)

These grab bars are installed securely to the wall with mounting screws and anchors (Hall, 2022, online).

3. INCREASE LIGHTING - Lighting a kitchen in layers eliminates shadows and helps ensure a safe work surface. The key to lighting in layers is to install light fixtures in a variety of places, including the ceilings, under cabinets, inside cabinets, over kitchen islands and in the form of pendant lighting.

- Install Different Types of Lighting. Installing different types of lighting is another way to light in layers. Different types of light fixtures point light in different directions, which ultimately helps ensure kitchen surfaces are properly lit.

- Make the Most of Natural Lighting. Multiple windows, skylights and large windows in the kitchen will maximize natural light. And most of the kitchen lighting should be pendant lighting.

Additionally, it is eco-friendly and efficient to use dimmable CFLs and LEDs.

Course: Health Care Design of the Future Instructor: Yousef Bushehri 4. FLOORING Fall 2022

One of the most common injuries in the kitchen is caused by slipping and falling. When people are cooking with slippery substances like oils and water, it’s inevitable that some of them will get on the floor. Slip resistance is vital because grease, spills and even wet food can cause a nasty fall. Therefore, installing non-slip flooring in the kitchen is recommended.

•

Some good slip-resistant flooring choices are laminate, textured tile and soft-glazed ceramic tile. Some types of synthetic material, cork, vinyl planks and laminate are all non-

Wall-mounted

One of the most common injuries in the kitchen is caused by slipping and falling. When people are cooking with slippery substances like oils and water, it’s inevitable that some of them will get on the floor. Slip resistance is vital because grease, spills and even wet food can cause a nasty fall. Therefore, installing non-slip flooring in the kitchen is recommended.

Some good slip-resistant flooring choices are laminate, textured tile and soft-glazed ceramic tile. Some types of synthetic material, cork, vinyl planks and laminate are all nonslip.

• The floor should support promote the ease of trave-the right flooring allows clients to move quickly, even if they are using a wheelchair, walker or cane.

• If the kitchen has a tile flooring, a throw rug with a non-skid backing is a good idea, especially around areas that get wet often.

(Kitchen Safety at the Center of a Kitchen Design, 2022, online) •

Bathtub-mounted

STOVE SINK

REFRIGERATOR SINK

REFRIGERATOR SINK

SINK

Affordability: the choosen material should fit the budget without compromising on quality and durability.

Maintenance: elder people do not want to spend too much time on cleaning. Try to find a flooring material that’s easy to clean and doesn’t require regular treatment to maintain it.

• Comfort: Softer flooring puts less pressure on users’ joints, so they won’t have as much pain as they walk. Avoid materials that retain heat or cold because they could be uncomfortable for users’ feet.

• Health concerns: If users have allergies or other respiratory conditions, the dust and allergens in the air can trigger symptoms. Consider the best flooring to prevent allergies so their house can be safe and comfortable.

(Best Flooring for Older Adults, 2022, online) •

These grab bars attach to the wall with suction cups and are best used as a temporary measure, such as when traveling or while recovering from certain surgeries or injuries. Suction grab bars are generally used to assist with balance and not intended to support your full body weight. These bars should only be installed on a nonporous surface, such as tile—never on drywall (Hall, 2022, online).

These grab bars fold-down or flip-up when not in use to save space in tight areas, such as beside the toilet or sink (Hall, 2022, online).

Free-standing grab bars are often floorto-ceiling tension bars located beside the tub or shower to assist with exiting and entering. Another type is a toilet enclosure with stand-alone rails and a safety base to help with sitting down and standing up (Hall, 2022, online).

•

Figure 4. Different types of light bulbs and lamps. Retrieved October 20, 2022,https://happyhiller.com/blog/indoor-interior-lighting-guide/

REFRIGERATOR

FLOW CHART

BEDROOM 1

STOVE

The poster integrates a study that intends to examine different parts in the kitchen that could cause the accident of falling, starting by observing the journey map of an elder’s one day in the kitchen. According to the journey map, a plan mind map is drawn in order to analyze and collect design problems in the kitchen. From the plan mind map, a set of elements are highlighted, including the layout, flooring, grab bars and lighting according to the collected information. Next in the design opportunities, each of the highlights will be parrelly layed out and discussed with more detailed researched information and design variations. At last, a system map will conclude the work flow of design for the kitchen regarding different levels of functional independence.

DESIGN OPPORTUNITIES RESEARCH

FLAT CLEANING

POTENTIAL PROBLEM EVALUATION

8:50 - 9:55 A.M.

SINK

GROCERY SHOPPING GROCERY MANAGEMENT + LUNCH PREPERATION + TAKE MEDICINE

10:00 A.M.

REFRIGERATOR

Suction

KITCHEN

4. FLOORING

- Lighting a kitchen in layers eliminates shadows and helps ensure a safe work surface. The key to lighting in layers is to install light fixtures in a variety of places, including the ceilings, under cabinets, inside cabinets, over kitchen islands and in the form of pendant lighting.

- Install Different Types of Lighting. Installing different types of lighting is another way to light in layers. Different types of light fixtures point light in different directions, which ultimately helps ensure kitchen surfaces are properly lit.

- Make the Most of Natural Lighting. Multiple windows, skylights and large windows in the kitchen will maximize natural light. And most of the kitchen lighting should be pendant lighting.

Additionally, it is eco-friendly and efficient to use dimmable CFLs and LEDs. (Kitchen Safety at the Center of a Kitchen Design, 2022, online)

Adjustable clamps fit the grab bar base tightly over the rim of the bathtub, providing stability when getting in and out of the tub (Hall, 2022, online).

Folding

7:45 - 8:50 A.M.

REFRIGERATOR

REFRIGERATOR

ONLINE CHAT WITH FAMILY/ FRIEND + HOT TEA

These grab bars are installed securely to the wall with mounting screws and anchors (Hall, 2022, online).

Free-standing

8:00 A.M.

SINK

STOVE

DINING TABLE LIVING ROOM

STOVE

6:35 - 7:45 A.M.

SINGLE-WALL KITCHEN

BREAKFAST PREPERATION + TAKE MEDICINE

Grab bars could significantly reduce the risk of falling (Burfield, 2019, online). From the collected information about grab bars, the suction grab bar is least friendly to the uses due to its instability.

3. INCREASE LIGHTING

Other Factors to Consider

ISLAND KITCHEN

7:00 A.M.

SINK

6:00 - 6:35 A.M.

PENINSULA KITCHEN

WAKE UP FROM BED + MORNING ABLUTIONS

STOVE

6:00 A.M.

FLOOR PLAN OF MY GRANDPARENTS’ APARTMENT WITH TRAVEL ROUTINE RELATED TO KITCHEN

STOVE

Some physical illness and mental discoordination have impeded the elderly from fully interacting with their environment because they lose functional independence. For example, the common disease osteoarthritis causes stiffness and decreases the older’s range of motion, and some of them will have difficulties walking or even standing (Stuck et al., 1999, p. 445-446); cognition impairment like dementia could cause difficulties reading, understanding, or expressing. With the malfunctioning body, the interaction with the surroundings will be challenging (Parke et al., 2013, p. 1206). Additionally, other major risk factors like falling could exasperate the functional status decline, and community-living persons who are 65 years or older have experienced at least one fall annually (Fahlström et al., 2018, p. 575). It may seem surprising that so many people fall in their own kitchen, yet some of the seemingly most innocent rooms in the home can actually be the most dangerous (Parnes, F., 2009, p.01 ). In this poster, the research tends to reduce the risk of falling and maintain independence for the elders in the kitchen design.

TIME RANGE SPENT IN KITCHEN

STOVE

The level of functional independence is determined by the level of functional limitation, which means the restrictions on basic mental and physical actions (Stuck et al., 1999, p. 445-446). According to Figure 1, the functional capacity starts to decrease from adult life to older age. Therefore it is important to consider levels of functional independence- whether the client lives with a wheelchair or caregiver- when designers are designing for different clients, especially for the elders.

A kitchen’s layout and design plays a crucial role in its function and safety. The useful design suggestion related to risk of falling are: - Stoves should be installed where they won’t present a work-flow or traffic hazard. If placed too close to a doorway, anyone entering the kitchen may accidentally knock a pot off the stove, brush their skin against the heated metal, or even catch their sleeve on fire.

- The refrigerator and stove should be kept far enough from one another that anyone transferring hot things from the oven will not run into someone else who is getting food from the refrigerator.

(Kitchen Safety at the Center of a Kitchen Design, 2022, online) From the observation of the popular kitchen plan, most of the layouts are not friendly enough for the wheelchair because it is challenging to make lots of turns in a confined space. According to the circulation presented, it is hypothesized that the single wall and L-shaped kitchen could be the most friendly layout for users with wheelchairs.

STOVE

GRANDMOTHER’S ONE DAY IN HER APARTMENT

2. DIFFERENT KINDS OF GRAB BARS

REFRIGERATOR

WHY SHOULD WE CARE ABOUT KITCHEN DESIGN FOR THE ELDERS

U-SHAPED KITCHEN

JOURNEY MAP + PLAN MIND MAP

1. GENERAL KITCHEN LAYOUT COMPARISON STOVE+ FRIDGE+ SINK+ (DINING)

GALLERY KITCHEN

INTRODUCTION

DESIGN OPPORTUNITY

L-SHAPED KITCHEN

KITCHEN SAFETY FOR OLDER ADULTS

ELDERS’ UNIVERSAL KITCHEN RESEARCH

POTENTIAL FALLING AREA DUE TO LACK OF LIGHTING

Figure 2. Popular Kitchen Layout. Retrieved October 20, 2022, https://redhousecustombuilding.com/kitchen-design-101-part-1-kitchen-layout-design/

Figure 3. Grab Bars. Retrieved October 20, 2022, https://www.forbes. com/health/healthy-aging/best-grab-bars/

Figure 5. Comparision between different lamps. Retrieved October 20, 2022,https://happyhiller.com/blog/indoor-interior-lighting-guide/

Figure 5. Comparision between different lamps. Retrieved October 20, 2022,https://happyhiller.com/blog/indoor-interior-lighting-guide/

SYSTEM MAP CONCLUSION According to the journey map, the elders could spend a lot of time in kitchen in their every-day life, and according to all the collected information, kitchen is a room where contains lots of safety threats that could cause elders to fall when they are spending their time in there. Therefore it is important for designers to be aware of these latent threats and reduce the risk of falling in the kitchen. In order to achieve this goal the designer could improve the general kitchen layout, add grab bars to necessary places in the kitchen, increase lighting in the kitchen, and choose non-slippery flooring. By the observation of different layouts, the single wall and L shaped layout could be most the friendly for the wheelchair users. All the grab bars expect for suction bar are efficient to reduce the risk of falling. From researching about types of fixtures, there are five different types of lights that could be combined to increase lighting. At last, the material of flooring in the kitchen should be abrasive enough to prevent falling. With all the information a system map is designed, the stronger the functional independence, the wider range of propriate design options are given to the designer. According to different independence situations, different design elements are chosen from the list. And there could be further study about the accessibility to different devices and different appliance dimensions for different levels of independence.

K I T C H E N S A F E T Y F O R O L D A D U LT S 63

CHEF SYSTEM

COOKING HELP FOR EXECUTIVE FUNCTION

Course: Health Care Design of the Future ANNIE YINING CHEN, SARAH GRUNERT, RYAN STODDARD, ALEXANDRA RACHMAN, DOUGLAS DILLMAN INSTRUCTOR: YOUSEF BUSHEHRI Fall 2022 Cooking and Aging into Cognitive Decline Many adults that wish to age in their homes are aging into disability. Instrumental activities of daily living can be difficult to independently complete when an individual has cognitive disabilities that present declining executive functioning over time. Most of these activities require at least one type of executive function to complete independently. In the kitchen, cooking a meal presents many personenvironment interactions that are impacted by the decline of organizational function (Marsden et al., 2001). Cooking is considered a joyous part of life, and cognitive decline can make it impossible to do it independently (Reitman Centre Team, 2020). Across the majority of cognitively declining individuals, the ability to use the executive function to follow the complex instructions of a recipe makes the type of meals possible to cook simple (Johanasson et al., 2011).

We want to propose a solution that allows the individual to cook even with EF deficits, not only to mitigate the risks associated with the IADL but to inspire joy in the activity. We propose a user interface that acts as an interactive recipe book connected to additive lights that connect through Bluetooth. Essentially, a device-specific to the kitchen that you input the directions to your recipes and enter which appliance corresponds to each morning. The interface at each step would allow you to read the task (or hear it if you have acoustic needs), select the appliance used (which turns on the corresponding light), and begin the task, which starts the timer. This system allows you to break down a recipe by step in a way that printing it does not since it isolates each task.

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MIND MAP + JOURNEY MAP The literature review found that design principles encompass assistive technology, environmental design, and universal design as a response to cognitive decline in aging adults. CHEF System addresses each one (Grey et al., 2015): • • • • • • •

Participatory Design: CHEF System encourages the user to adjust the interface to their needs, and allows the user to add their recipes.

Familiar Design: An interface with colors, fonts, and icons that are easy to recognize.

Personalization: CHEF allows you to develop a user bio, have favorite recipes, and personalize the accessiblity features.

An Environment that is Easy to interpret/Calm: CHEF System allows you to walk through the recipe one step at a time, highlights the space you should be in through the lights, and engages you in the process of cooking.

Visual Access to Key Areas/Objects: The additive lights act as guides to where you are in the recipe, as it is controlled by the recipe.

Unobtrusive Safety Measures: Providing Assistive Technology System that controls the environment of your cooking experience at your own pace.

Distinct/Legible: Distinguishes the different areas of the kitchen with lights.

C H E F S Y S T E M 65

METHODOLOGY + INTERFACE

Cook: Select

Cook: Butternut Squash Soup

Cooking Time: 00:35 Ingredients: 1/2 cup of celery 1/2 cup of onions 1/2 cup of carrots 3 cups of butternut squash 2 cups of chicken stock 1 cup of whole milk 1 tsp of cinnamon 1 tbsp of salt 1 tsp of pepper 1 cup of breadcrumbs Difficulty Level: Easy

MODIFY

00:35

Cook: Butternut Squash Soup

Step 1 Dice 1/2 cup of celery, 1/2 cup of onions, 1/2 cup of carrots, and 3 cups of butternut squash.

Butternut Squash Soup

Select recipe

Time Remaining:

blender

stove

Time: 00:05

oven

microwave

counter

Time Remaining:

Step 2 Heat oven to 400 F. Add chopped butternut squash to a baking sheet. Season with salt and pepper, then put in the oven for 10 minutes.

air fryer

blender

stove

Time: 00:10

BEGIN

oven

microwave

counter

SCENARIO SIMULATION

air fryer

BEGIN

NEXT STEP

BEGIN

00:30

NEXT STEP

S1

S2

S3

S1

S2

S3

Interventions: Universal Design, Environmental Design, + Assistive Technology Understanding the deficits of ADLs and IADLs can inform where the emphasis is placed when designing their executive functioning (Zilm, 2014). A guide to Universal design for Dementia-friendly dwellings has already been published in Ireland, establishing guidelines that allow people with dementia to stay in their homes and community while supporting their cognitive function (Grey et al., 2015). The guide empowers individuals with dementia with spaces that promote personal identity, high self-esteem, personal autonomy, and meaningful activities. In the context of cooking a meal in the kitchen, these strategies can be applied to aid in instrumental activity and inspire the joy that cooking brings to many lives. Principles that encompass these ideas are listed in the diagram (Grey et al., 2015).

Cook: Butternut Squash Soup

Time Remaining:

00:20

Cook: Butternut Squash Soup

Step 3 Add 2 cups of chicken stock and the diced celery, onions, and carrots, into a pot. Bring to boil, and add oven roasted butternut squash. Leave for 5 minutes on low simmer.

blender

stove

Time: 00:15

oven

microwave

counter

00:05

Cook: Butternut Squash Soup

Step 4 Add contents of pot to a blender. Add 1 cup of whole milk, 1 tsp of cinnamon, 1 tbsp of salt, and 1 tsp of pepper to the blender. Mix for 1 minute until creamy.

air fryer

blender

stove

Time: 00:02

BEGIN

NEXT STEP

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Time Remaining:

oven

microwave

counter

Time Remaining:

Step 5 Add soup to an oven-safe 8x8 inch dish. Sprinkle a thin layer of 1 cup of bread crumbs to entire surface. Broil on high for 3 minutes.

air fryer

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Time: 00:03

BEGIN

NEXT STEP

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BEGIN

FINISH

S4

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00:03

Prototype The prototype of the user interface comprises a series of transparent icons that aim to lower the user barrier. The home screen includes icons of three sub-screens: Settings Screen, User Profile Screen, and Recipe Book Screen. Users could edit personal information on the User Profile Screen, and the intelligent system could generate a suggested cooking help setting for the users to adopt.

Users can keep personalizing the lighting, sound, and fonts on the Settings Screen in their own cooking assistant system. The Recipe Book Screen provides online and offline recipes for users to import, and users can also personalize their recipes.

Simulations The CHEF system produces unlimited scenarios; the user interface cooperates with the kitchen lighting system (see Figure 5). During the cooking process, the task and time length of each step in the cooking recipe and corresponding task lighting will appear on the screen. Meanwhile, in the kitchen, the task light above the appliance needed for the task will be on. The users can start or end each step based on personal needs.

C H E F S Y S T E M 67

I

CONFINED SPACE X REBELLIOUS MOVEMENT Georgia Tech with Savannah College of Art and Design SARAH COLLINS (Instructor) YUAN TIAN (Fashion Design) YINING CHEN (Set Design) PARKER ASEL (Model) LYCORIS YAN (Photography) Fall 2022

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n the 1948 film Red Shoes, Peggy, the ballerina, is painfully torn between her career and love. The story is a tragedy. The red shoes are a piece of attraction worn by the protagonist, symbolizing feminine ambition. In the old days, women were not allowed to have career desires. Therefore, in Andersen’s fairy tale, the gods punished the heroine by making her lose her feet for wanting the red shoes.

This project aims to show a modern, feminine attitude toward the old story. It intends to exhibit the softness and power of females when pursuing dreams and living life, like a ballet dancer dancing to her music and like her toes in ballerinas, shiny and bright outside, pain and persistence inside.

INITIAL CONCEPT | RED SHOES

SKETCH OF FASHION DESIGNER AND SET DESGINER 69

Soubresaut

Assemble

Glissade

GT X SCAD

GT X SCAD

Arabesque

Temps Levé

DANCER #001

DANCER #007

DANCER #002

DANCER #008

DANCER #003

DANCER #009

DANCER #004

DANCER #010

DANCER #005

DANCER #011

DANCER #006

DANCER #012

T

o resonate with the concept of women’s ambition and desire towards their voice and choice in society, along with their gentile yet strong spirit to survive, the condition of the space intends to depict growing and struggling gestures inside of a defined and confined “box. “ The exterior shape conveys minimal space for the development of the body whereas the vigorous geometry, within the strength accumulated inside of the box, suggests a possibility of breaking through the confined shape and growing with freedom.

P

hysarum is one of the easiest eukaryotic microbes to grow in culture, and it is a model organism for many studies involving amoeboid movement and cell motility. It uses the shortest path to find its food. In grasshopper, the forms of Physarum mimic the dancers’ movements and grow vigorous in the “box.”

SPATIAL CONCEPT | WILD GROWTH DANCER- SPACE INTERACTION

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FORM DRIVER | PHYSAREALM WILD GROWTH + DESIGN VARIATIONS

DRAFT

Movement Code: PHYSAREALM

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FINAL LINE-UP

GT X SCAD

PRODUCTION PLAN | A SECTION

FINAL INSTALLATION

HUNT HUNT

GROW GROW T

he final set involves a section of the design for model and photo shooting.

Both fashion design and set designer determine the selection of units to fit the shooting scene and final looks better.

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THRIVE

DANCE DANCE

FORM DRIVER | PHYSAREALM WILD GROWTH + DESIGN VARIATIONS

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PROJECTIVE GEOMETREY

BASIC IS BASIC

LINE DRAWING - PLAN, ELEVATION

DIGITAL DRAWING

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Motif: Libeskind “Micromegas” Drawing

SPACE COMPLEX Course: Media and Modeling I Instructor: Harris Dimitropoulos Spring 2020 P R O J E C TRI V E BE AGRE ROEMVEI VA T RY L

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SURFACE CURVATURE ANALYSIS- A FLYING KITE

A square is deformed into a ripply surface.This dynamic surface resembles a flying kite- the kite flies on a windy day. The colors vary with the degree of curvature, and the highest degree of curvature on the kite is colored in blue.

MATHEMATIC FORMS I Course: Media and Modeling II Instructor: James Park Spring 2020 76

P RO J EC T I V E G EO M E T RY

DUCTILE PENTAGON

TRIANGULAR WAVING

In contrast to the soft surface of the kite, a sharp hollow pentagonal ring is morphed into the surface. By virtue of the wavy surface, the shape of the pentagon becomes dutile.The blue and orange seggregate the surface into a “hot zone” and a “cold zone”.

In contrast to the soft surface of the kite, a sharp hollow triangular ring is morphed into the surface. By virtue of the wavy surface, the shape of the triangle becomes dutile.

The color gradient from orange to yellow is harmoniously displayed on the structure.

For this assignment, students will work individually to construct a parametric model of morphed tessellations in Grasshopper and generate surface curvature analysis and two design variations using the model. Students will learn fundamental concepts in parametric spatial transformations and how to create a spatial arrangement of a three-dimensional parametric motif specified by the morphing relations from a standard instance of the motif to the subdivisions of a complex surface with varying curvature.

CALLA LILY

TURBO BLADE IN MOTION

MOON SNAIL

Calla Lily symbolizes magnificant beauty. It is exquisite: even when it is full-blown, its outer petal strives upward.

This is a Turbo blade spinning in a fluctuating motion.

The motion trail of the sharp rim creates a drapery pattern.

Nature produces elegant and organic geometry. A small creature has a marvelous universe and its center.

Construct Point X: ((a*cos(u))*sin(v)) Y: ((a*sin(u))*sin(v)) Z: (a*(cos(v)+log(tan((0.5*v)))))+(b*u)

Construct Point X: v*cos(u) Y: v*sin(u) Z: a*cos(b*u-v)

Construct Point X: (1+cos(u/2)*sin(v)-sin(u/2)*sin(2*v))*cos(u) Y: (1+cos(u/2)*sin(v)- sin(u/2)*sin(2*v))*sin(u) Z: sin(u/2)*sin(v)+ cos(u/2)*sin(2*v)

MATHEMATIC FORMS II Course: Media and Modeling II Instructor: James Park Spring 2020

For this assignment, students will work individually to construct a parametric model of mathematical surfaces in Grasshopper and generate a set of three variations using the model. Students will learn fundamental concepts of three-dimensional geometries and operations and how to develop a three-dimensional parametric surface specified by mathematical expressions.

P RO J EC T I V E G EO M E T RY

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SPACESHIP

EARTH

ARTIFICIAL

PLANET

DANGER

REFLECTION

INNOVATION

LIGHT

EXPERIMENT

EXTRATERRESTRIAL ANTI-GRAVITY

DIGITAL

FUTURISTIC

CITY FANTASY

INTERWEAVE

RORRIMMIRROR

PERSPECTIVE TIME

SCI-FI TECHNOLOGY

KALEIDOSCOPE

THE INAUGURATION DAY

SPATIAL AMENDMENTS

Course: Core Studio II Instructor: Keith Kaseman Spring 2021 78

FUTURE BUND C I T Y FA N TA S Y

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THE OTHER PLANET

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BLACK ON WHITE, INK ON FABRIC

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WHITE- THE OTHER COLOR

The drawing is inspired by the reading The Invention of The White Race by Theodore Allen.

The arguments include whether “Racism” is innate and if the European American workers are a part of this “privilege.” The drawing reveals the objectivity of the existence of the two different colors and asks which color dominates the canvas.

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