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Cover Page 03 /09/2017


Yuchen Wang 2016-2017 Portfolio Southern California Institute of Architecture


Contents

Statement

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1GA Design Studio I

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1GA Visual Studies I 1GA Intro to Contemporary Architecture (HT)(PAPER) 2

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1GB Design Studio II 1GB Visual Studies II 2

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Statement

Sci-arc is architecture, that's the reason I came here one years ago. My work experience inspired me to study abroad to get more indepth contemporary international architectural education in the hopes of forming my own architectural conceptions. I am very interested in the design and professional practice courses provided by Sci-arc with which frameworks are underpinned by digital-design media, international perspective studios and continued emphasis on design and ecology. Also, I want to be based in China due to my strong personal connection with this rapid developing country and I ultimately would like to work to contribute to city construction here; and also play a role in protecting and invigorating Chinese architecture, traditional lifestyle and culture, folk arts and craft in rural areas. Sciarc is a wonderful place to study due to it links with the developing world, demonstrated by Environmental Design and Urbanism in Developing Countries courses. The high value it puts on research and teaching on both architectural and Urbanism will enable me to develop my own way of design. I hope this experience will enable me to clearly communicate my original view and contribute to my country and its culture.

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Tony Smith Study Model

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1GA Design Studio I Semester Year: Fall 2016 Instructor: Matthew Au

Project 1 is an introduction to the disciplined production of form and space through the intensive study of the lattice and geometry found in the sculpture Smoke by Tony Smith from 1967. Through a series of steps introduced in class each student is to document Smoke as a digital model and to produce from that model drawings and physical models. The project then continues with a series of initial manipulations of that model. In the course of this project students will be given an initial introduction to geometry, software, and the craft of drawing and model making.

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1GA Studio


Line Weight Study

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Color Rendering

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1GA Studio


Plan

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Elevaion

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up

HOUSE

Site Plan

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1GA Studio


Elevaion 1

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Elevaion 2

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1GA Studio


First Floor

Second Floor

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Section

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1GA Studio


Study Model

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Study Model

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1GA Studio


Sweeps & Contours

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1GA VISUAL StudiES I Semester Year: Fall 2016 Instructor: Matthew Au

In the following I shall show how to construct an insturment that can be used to draw a variety of lines, including a serpentine line. This insturment consists of rods which can be turned and twisted or reversed by means of joints which consists of disks. In the center of these disks are the hubs around which the rods can be turned forward or backward in any direction. -Albrecht DĂźrer, Four Books on Measurement, 1522

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1GA Visual Studies I


G4

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ARC G2 L5

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Arc

Arc In Space

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Arc

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Arc In Space

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1GA Visual Studies I


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1GA Visual Studies I


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1GA Visual Studies I


1GA VISUAL STUDY Yuchen Wang

cut 8 of 12

1 3/8”

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

December 9, 2016 revision: 1 page: 11 of 15

Cut 8 of 12 Instruction: -position jig 16.11.p01 on jig table 16.11 at alignment holes p01.s10.p01 and p01.s10.p02. - position stock material against the jig table and nested against jig 16.11.po1 at p01.s10.n01. -set table/jig/stock assembly on bandsaw table and slide towards the blade until jig table stop aligns to bandsaw table edge. -discard cut off piece.

1GA VISUAL STUDY

Yuchen Wang

Yuchen Wang

cut 1 of 12

cut 2 of 12

cut 3 of 12

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

1 13/16”

December 9, 2016 revision: 1 page: 4 of 15

December 9, 2016 revision: 1 page: 5 of 15

1 1/16”

1GA VISUAL STUDY

Yuchen Wang

1 1/16”

1GA VISUAL STUDY

1GA VISUAL STUDY

1GA VISUAL STUDY

Yuchen Wang

Yuchen Wang

Yuchen Wang

cut 4 of 12

cut 5 of 12

cut 6 of 12

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

December 9, 2016 revision: 1 page: 7 of 15

December 9, 2016 revision: 1 page: 8 of 15

December 9, 2016 revision: 1 page: 9 of 15 5 3/4”

3 3/8”

1GA VISUAL STUDY

Jig for arc

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December 9, 2016 revision: 1 page: 6 of 15


1GA VISUAL STUDY

Yuchen Wang

Yuchen Wang

cut 7 of 12

cut 8 of 12

cut 9 of 12

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

December 9, 2016 revision: 1 page: 11 of 15

December 9, 2016 revision: 1 page: 12 of 15

December 9, 2016 revision: 1 page: 10 of 15

1GA VISUAL STUDY

1GA VISUAL STUDY

Yuchen Wang

Yuchen Wang

cut 10 of 12

cut 11 of 12

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

December 9, 2016 revision: 1 page: 13 of 15

December 9, 2016 revision: 1 page: 14 of 15

1 7/8”

1GA VISUAL STUDY

Yuchen Wang

1 3/8”

1 7/16”

1GA VISUAL STUDY

1GA VISUAL STUDY

2 7/16”

Yuchen Wang

cut 12 of 12 stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

December 9, 2016 revision: 1 page: 15 of 15

Cut 12 of 12 stock: mdf, 1-1/2” x 9” x 9” tool: Delta Bandsaw 05sw03

1GA VISUAL STUDY Yuchen Wang

cut 12 of 12 stock: mdf, 1-1/2” x 7” x 7” tool: Delta Bandsaw 05sw03

December 9, 2016 revision: 1 page: 15 of 15

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1GA Visual Studies I


HT AS


1GA Intro to Contemporary Architecture (HT) (PAPER) Semester Year: Fall 2016 Instructor: Todd Gannon

This course introduces and contextualize key concepts and ideas in 20th-century and contemporary architecture to provide a foundation for the study of both the discipline and practice of architecture. After introducing fundamental concepts related to architectural form and composition, lectures will focus on major 20th-century movements including modernism and postmodernism, will review major projects and polemics of the periods, and unpack salient theoretical arguments associated with them. The course will devote significant attention to specific relationships between the organization, configuration, and articulation of buildings and the historical, conceptual, and cultural arguments with which they are associated. The course will also emphasize the use of historical precedents by architects and the cultural and social implications of design decisions, particularly those related to issues of diversity and social equity.

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Intro to Contemporary Architecture


Historical precedent & Contemporary architectural practice

In design studio of this semester, the work of the sculptor Tony Smith becomes a starting point for my design origin. In practice I experience how the historical precedents in general (and Tony Smith in particular) play in the production of my new work. From my opinion, geometry, color and porche are the main three things building the relationship between my project with Tony Smith sculpture. Geometry, the genes from Tony Smith, becomes the concept in design process. This is always the common parts that related historical precedents with new works. We transform the sculpture and identify specific geometry of our own projects but we all control by same origins and limitation. When we rendered it, we chose color and take reference art work. At this time, historical works influence my work again. For me, I really like Jasef Albers art work and his color system. I developed his color and matched my own system. New work may inspired by history and develop themselves at the base of historical work. Poche, in history means the walls, columns, and other solids of a building. But in my work, poche is never a simple solid things and it becomes space. This innovation really help me is designing my project and generate new things. Each poche become a independent diagram space and organize my circulation From essays we have examined in class, together with the specific concepts and practices we have encountered in the readings throughout the term, historical precedents focus more on the historical building style and style of inheritance and imitation. It is a kind of academic architectural thinking, also the traditional architectural style, style and detail, step by step on the students in strict professional training to enable students to master in accordance with the existing tutorials taught by each of the traditional architecture of the detailed approach, and on this basis, to behave to "correct" architectural design.

AS


In other words, the production of new work has also become a continuation of the traditional, whether in accordance with the standard Bauhaus teaching methods in accordance with the training of students, whether in strict accordance with the modern architecture of the golden rule of design, To the extent of carrying the mark of "traditionalism". For example, in recent years, the modern architect, IM Pei, with its profound oriental culture and modern architecture, has created some modern buildings of great oriental architecture, such as the Beijing Xiangshan Hotel, Japan MIHO Museum of Art, Suzhou Museum. These works are the excellent use of the history of China or Japan architectural symbols, meanwhile expressing a special Oriental meaning of modern architecture. Without imitation of traditional Chinese or Japanese architecture practices, other than with a rich Chinese or Japanese text meaning and symbolic expression. Thus, we can clearly determine that the creation of new works are not only different from the traditional precedent to adhere to those historical stereotypes, but also different from our current design market, the one which is often seen in those blind antique, symbolic collage, or European-style buildings. This kind of phenomenon will only cause some rough chaos, without any theoretical thinking, leaving only no logical correlation, shallow and full of commercial impetuous sense of vulgar things. In other words, we can easily find that, designers need to have a wealth of theoretical and historical knowledge, and the style and detail of historical building re-creation must be used, which can freely combined within their own design in the current architectural practice. Expressing the historical connotation of the work, also need to focus on the style of re-creation, to load the spirit of the creator of their own era, which embodies an era, national and cultural will. And it is necessary for us to regard "contemporary" as "detached to recognize history in history" in the production of new work, it may be in the construction of new works, not just a repetition of the classic, I hope through the re-historicization of the archives, providing the impossibility of providing with the possibility of that period, the withdrawal of the principle of access to the media, the withdrawal of the masses into the hands of the professional tools as a transformable weapon to find and inspire a new texture that lives together.

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Intro to Contemporary Architecture


Among them, the dialectical tracking combines of these multiple incarnations of the necessary principles. Gropius, for example, in his opening remarks to The New Architecture and the Bauhaus (1935), emphasizes the restoration of the opinions and abilities of the users of everyday life through "new buildings". Now the public's activism is no longer what he said to be stimulated interest, but corresponds to more participation and do-it-yourself demand, and now it seems that participation and DIY needs have been the diverse, no need to be excited. However, the real problem that has been translated from this is that in a consumer society that has been separated, the differences that may have been created by diverse needs have led, in part, and to a deeper separation of the eyes and the hands, which are subject to their respective technical divisions. Take another example, Greg Lynn guest-edited an issue of Architectural Design, dedicated to an emerging movement in architecture: folding, in1993. Lynn, a Los Angeles-based architect/ educator with a background in philosophy and an attraction to computer-aided design, was the ideal person to organize this publication and, in effect, define the fold in architecture, a concept that generated intense interest during the remainder of the decade. In his contributory essay, ''Architectural Curvilinearity: The Folded, the Pliant and the Supple," Lynn ties together a variety of sourcesincluding the work of Gilles Deleuze, Rene Thom, cooking theory, and geology-to present an alternative to existing architectural theory and practice. He states that since the mid-1960s architecture has been guided by the notion of contradiction, whether through attempts to formally embody heterogeneity or its opposite; in short, postmodernism and de-constructivism can be understood as two sides of the same coin. Yet, for Lynn, "neither the reactionary call for unity nor the avantgarde dismantling of it through the identification of internal contradic­ tions seems adequate as a model for contemporary architecture." Rather, he offers a smooth architecture (in both a visual and a mathematic sense) composed of combined yet dis­crete elements that are shaped by forces outside the architectural discipline, much as diverse ingredients are folded into a smooth mixture by a discerning chef.

AS


This new architecture, what Lynn calls a pliant, flexible architecture, exploits connections between elements within a design instead of emphasizing contradictions or attempting to erase them all together. Of equal importance is that this architecture is inextricably entwined with external forces, both cultural and contextual. From the above review, I think a good architect in the production of new work should be such a "become", he re-construct rather than maintain a relationship, he entered the community, people gathered together; At the same time, his entry must not enter the social reality in the usual sense, but face the divine power of "God" and disturb the "entry" of the existing order. All in all, traditional architecture is a profound system, which is worth learning a lot. If you can seize a detail to be refined, in the structure, materials, construction means to be refined, it may get good results. Architecture is an abstract art. It is a cultural problem. To solve cultural and ideological problems, we need to work together and take a very long time.

Reference: Le Corbusier. Theories of Architecture (Part Two): Chapter 5, "Meaning and Historicism." Todd Gannon, Graham Harman, David Ruy & Tom Wiscomb The Object Turn: A Conversation Evans, R. (1997). Translations from Drawing to Building and Other Essays. The MIT Press. Eisenman, P. (1976). Post-Functionalism. Architecture Theory Since 1968. The MIT Press. Greg Lynn. (2004). Architectural Curvilinearity: The Folded, the Pliant and the Supple

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Intro to Contemporary Architecture


Site Plan

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1GB Design Studio II Semester Year: Spring 2017 Instructor: Alexis Rochas

The 1GB studio expands on the fundamental problems of architectural geometry and representation developed in the 1GA studio, completing the foundational studio sequence of the first-year. The studio project is a duplex of two single-family homes in Los Angeles. The form and program of the duplex is framed through the analog of the diptych painting: a symmetrically arrayed pair of frames that contain calibrated similarities and differences, each image complete in and of itself while simultaneously comprising a part of a whole.

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1GB Studio


Elevaion 1

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Elevaion 2

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1GB Studio


Isometric View

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Isometric View

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1GB Studio


Case Study: Eisenman HouseVI

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Figure Ground Study

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1GB Studio


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1GB VISUAL StudiES II Semester Year: Spring 2017 Instructor: Anna Neimark, Matthew Au

This course forms the continuation of Strategies of Representation 1. It expands on the use of representational tools to emphasize formal legibility through systems of regulation, annotation and scripting. The assignments focus on building precision and intentionality toward architectural drawing and developing a critical sensibility to the inherent bias in each medium of representation. Students will analyze a letterform, through exercises in constructing, regulating, transforming, projecting, and rendering. The characters of Le Romain du Roi, developed in late 17th and early 18th century France by the decree of Louis XIV will offer the starting point for drawing and modeling exercises.

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1GB Visual Studies II


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1GB Visual Studies II


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1GB Visual Studies II


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Letter “U” Projection

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1GB Visual Studies II


Coner Elevation

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Coner Elevation

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1GB Visual Studies II


1GB VISUAL StudiES II Semester Year: Spring 2017 Instructor: Anna Neimark, Matthew Au

This course forms the continuation of Strategies of Representation 1. It expands on the use of representational tools to emphasize formal legibility through systems of regulation, annotation and scripting. The assignments focus on building precision and intentionality toward architectural drawing and developing a critical sensibility to the inherent bias in each medium of representation. Students will analyze a letterform, through exercises in constructing, regulating, transforming, projecting, and rendering. The characters of Le Romain du Roi, developed in late 17th and early 18th century France by the decree of Louis XIV will offer the starting point for drawing and modeling exercises.

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Practice

FTA Architectural Design Group Shanghai Office Professional work ( 3 people teamwork)

My major work: Concept design, Construction drawing design, Site supervision

It is intresting that client is also an architect and the space we design is used for architect who want a clean and powerful office. Site supervision is the key to control the quality of project when site sitution is always not as easy as drawings. I was in charge the whole communication work with constructor and client during this period and learn details in site.


Singapore Private Apartment Professional work ( 3 people teamwork) My major work: Concept Design

Concept Sketch 概念手绘

ORCHARD Residence Singapore

The concept is ‘ Box ‘ growing from floor and ceiling. Black oak, brown walnut, light oak, these three elementary material make up the colour of each space.We transformed the original fully furnished room with dull layout and lack of sunlight. After the demolition of all the original walls, we use the most environmentally friendly materials, to create a new healthy living space.

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建筑

思作设计 小透视 AC地块总平面图

Vanke Liuxiandong Greenbelt Design Professional work ( 3 people teamwork) My major work: Concept design

思作设计 小透视 AC地块总平面图

建筑

效果图 AC地块总平面图

建筑

Four architects were invited to design the space together. The government require the site will be design looks like a grennbelt and open to public while Vanke, a leading real-estate company in China, hopes to design interior ofice space as much as possible.Working within constraints of size, layout and requirements, four architects designed a special space combined open park and provate office.


Jiangsu CTTQ Phamaceutical Ltd Headquarter Professional work ( 8 people teamwork) My major work: Model Making

Crystal grow in site indicates the pharmaceutical extraction process, convicing client by material express in physical model. I started my intership and began to learn professional architecture knowledge from this model. During this project, i saw the intresting role model played in design research and expressing.

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Shanghai Power Station of Art Exhibition Hall Professional Work (3 People Teamwork) My major work: Concept Design

We created a fluid and open layout to allow people to move freely according to their desires and imagination. Visitors discover a white cocoon used as a protective envelope for experimentation. Raised platforms provide spaces to display furniture. The video room was transformed into a huge mattress on which to lie down and contemplate the artists work projected on suspended screens. A cafe area was also designed as an interactive space, etched in a block of wood to create seats and openings that you can also climb.


Kiss Market Pavilion Professional work ( 3 people teamwork) My major work: Concept Design

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FINAL

2013 winter, the fashion Landmark of Xintiandi in Shanghai is celebrating Christmas on the theme of the kiss and we were invited to design a special pavilion to host their stylish Christmas gift market. Our client, Yan Ran Foundation, which is founded for helping cleft palate children helping cleft palate children as a famous charity group in China, se this pavilion for a charitable photography exhibition.

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Portfolio (first year in sci arc)  
Portfolio (first year in sci arc)  
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