johanna huang portfolio

PORTFOLIO

CONTENTS

4

1 House of Arts and Culture2 Torre Pedregal3 Capilla Ajusco4 Algaepelago

*this

*006

*008

*064

*106

CV

PROFESSIONAL

5 Performative Veins6 Machinic Processes7 SoundSpace8 Skin Deep

ACADEMIC

9 Maribor UGM

PERSONAL

5

CVJOHANNA N HUANGADDRESSFlat 323 41-65 Three Colts LaneE2 6JL, LondonUnited Kingdom

[email protected]

MOBILE+44 07761 608 405

6

SKILLS LANGUAGES

COMPUTATIONAL / DIGITAL

3D / 2D

Chinese (Mandarin), Spanish, English.

Rhino, V-Ray, AutoCad, Maya, Microstation, Revit, Odeon Acoustics, InDesign, Illustrator, Photoshop, FinalCut Pro, Pre-miere, After Effects, Microsoft Office. Mac + PC.

L.A., U.S.A.

2008 - 2009

*L.A. OFFICE LEADER

FREE / FERNANDO ROMERO ENTERPRISE

EXPERIENCE

*PROJECT ARCHITECT

Coordinated FREE’s (formerly LAR) competition office of +/- 10 designers in L.A. Responsible for projects and office manage-ment, business development, acquisition of competition pro-jects, resource planning, communications, press, exhibitions, events, and archive collection.

HOUSE OF ARTS AND CULTURE.

*PRODUCTION ASSISTANT

DELPHEY / GERDES ENGINEERINGL.A., U.S.A.

2006 - 2008 Responsible for documentation of residential, commercial, and industrial projects. AutoCad heavy.

*RESEARCH ASSISTANT

CHARLOTTESVILLE VISUALIZATION PROJECTVIRGINIA, U.S.A.

2005*INTERN

FEI + CHENG ARCHITECTSTAIPEI, TAIWAN

2004

Developed digital models and animations of key urban corridors for the City Planning Department of Charlottesville.

*MASTERS IN ARCHITECTURE + URBANISM (MArch)

EDUCATION

*BACHELOR OF SCIENCE IN ARCHITECTURE

*BACHILLERATO DIPLOMA

UNIVERSITY OF VIRGINIAVIRGINIA, U.S.A.

2002 - 2006 Studio-based pre–professional program in architecture design.

COLEGIO DOMINICO-AMERICANODOMINICAN REPUBLIC

1998 - 2002 Bilingual (Spanish + English) high school.

ARCHITECTURAL ASSOCIATION DESIGN RESEARCH LAB (DRL)LONDON, U.K.

2010 - 2012 Post-professional design programme.

Assisted with drawings in the construction phase.

*BACHILLERATO DIPLOMA

7

PROFESSIONAL

8

9

TYPOLOGY

LOCATION

AREA

STATUS

STRUCTURE

YEAR

Performing Arts Center

Beiut, Lebanon

15,901 m²

Competition

ARUP Los Angeles

2010

HOUSE OF ARTS + CULTURE

10 * PROFESSIONAL FREE / Fernando Romero

111

1CIVIC SYMBOLOGY12 * PROFESSIONAL FREE / Fernando Romero

The House of Arts & Culture is conceived to be an unprecedented civic space for artistic creation and expression. At once Lebanese yet interna-tionally recognizable, we propose the House of Arts & Culture take on a Lebanese cedar geome-try, a meaningful symbol revered both locally and internationally.

Generated by the dynamic urban conditions of Beirut and the typological requirements for a per-formance center, the cedar form will achieve the House’s ambition to become a local and global civic center.

[1]

[LEFT PAGE] Project from north.

[LEFT] SPATIAL ORGANIZATION Program is or-ganized as either boxes or voids. [1] BOXES are fixed programs—such as the two performance halls and movie theater—that, due to typological con-straints, must be exempted from the sensuality of the dynamic [2] SKIN. [3] VOIDS, on the other hand, are the interstitial spaces between boxes and skin. Programs with less typological restraints—such as exhibition halls, lounge areas, eating spaces, etc. are distributed in these interstitial spaces. While the amorphous skin generates diverse atmospheres, the logic of distinguishing boxes and voids, begins gener-ating multiple spatial dichotomies: private vs. public, personnel vs. visitors, etc.

[2]

[3]

13

[1]

AVE. DU GENERAL FOUAD CHEHAB

[SITE]

15,901 m²


Program is distributed according to site.

As such, public programs such as exhibition halls and foyers face east and west, where panoramic views of the city and the Mediterranean Sea are revealed.

Fixed programs such as workshops and offices face south, where Beirut is still recovering from years of civil turmoil. Service areas, on the other hand, are face west, where the site is connected by a service road.

SITE + PROGRAM

[1] Aerial view of site.[2] Public plaza from east.[3] Site map indicating entries from street level.

[2]

[3]

CHALGHOUL

AVE. DU GENERAL FOUAD CHEHAB

15

+32.00

+28.00

+23.00

+18.00

+13.00

+08.00

+03.00

-02.00

-06.00

-09.30

-13.60

Black Box200 Persons

Car Park3 Levels

Performance Hall800 Persons

Library + Media

Foyer / Exhibition

Bar

Workshops + OfficesLevels +13m to +28m

Lobby


-2.00

[LEFT]Section 1-1.

[ABOVE]Lobby floor plan -2.00 m.

Public Plaza

Service Core

Shops +Boutiques

Security

Information

Public Plaza

Tickets Office

1

1

17

3.00

8.00 28.00

-9.30 [1] [2]

[3] [4]

Car Park

Mo

vie

The

ater

Shelves

Reading Room

Offices + Workshops

Multimedia

Rec

epti

on

Lounge

Bar


Bar / Lounge

Foyer

Exhibition Area

Black Box200 Persons

Technical Areas


23.00

[1] Typical car park plan -9.30 m. [2] Library + media centre floor plan +3.00 m. [3] Per-formance hall entrance floor plan +8.00 m. [4] Floor plan +28.00 m. [5] Performance hall + administration floor plan +23.00 m.

[5]


Exhibition Area

ReceptionOffices

Administration

19


[THIS PAGE]Exterior view, project from north.

21


[THIS PAGE]Interior view, lounge / gallery.

23


[THIS PAGE]Interior view, foyer / exhibition space outside of Main Perfor-mance Hall.

25

TORRE PEDREGAL

TYPOLOGY

LOCATION

AREA

STATUS

STRUCTURE

YEAR

Mixed-use + offices

Mexico City, Mexico

39,413.8 m²

Concept design, ongoing

ARUP Los Angeles

2009


227

Torre Pedregal

2

Lomas de Chapultepec

Mexico City’s Skyscraper Axis

Chapultepec Park


PROGRAM

Program consisting of 26,197m2 of office space and over 3,573m2 of commercial space is stack over 30,200m2 of parking.

SITE

By placing the program on the site in the most rational manner a tower with a footprint of 50mX30m and height of 115m tall is achieved.

MAXIMIZE ENVELOPE

Taking advantage of the unique shape of the site the building is stretched out at it’s base to meet the shape of the site. As a result the office area increases from 26,197m2 to 32,201 m2 and the commercial area from 3,573m2 to 7,212m2.

PROGRAM


SITE


MAXIMIZE ENVELOPE


PROGRAM


SITE


MAXIMIZE ENVELOPE


With the majority of the skyscrap-ers blending in the city’s axial frontline along Chapultepec Park, Torre Pedregal will be a recogniz-able addition to the city’s skyline. The tower shape is derived from

[PREVIOUS PAGE] View from northwest.

[1+2] Site.

[A] PROGRAM Program consisting of office space (26,197 m²) and commercial space (3,573 m²) is stacked over of parking (30,200 m²). [B] SITE Program is distributed on site with a footprint of 50m x 30m and a height of 115m tall is achieved. [C] MAXIMIZE ENVELOPE Taking advantage of the property line, the building is stretched at its base. As a result, the rentable areas for office and commercial spaces increase to 32,201 m² and 7,212 m² (respectively).

C/ Pedregal 24

Mexico City’s Skyscraper Axis

Chapultepec Park

Lomas de Chapultepec

RATIONAL ICONOGRAPHY

[1]

[2]

a rational relation between the site’s footprint and the most rational office tower typology. This allows to maxi-mize the surface area and thus in-crease efficiency and rentability.

OFFICE

COMMERCIALCAR PARK

[A] [B] [C]

29


[BACKGROUND] View from Park Chapultepec.

31

I J M N K LA B F G C E H 9m9m9m9m 9m9m9m9m 9m9m9m9m

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I J M N K LA B F G C E H 9m9m9m9m 9m9m9m9m 9m9m9m9m

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[BACKGROUND] Section 1-1.

33


[BACKGROUND] Lobby.

35


[BACKGROUND] View of the bookshop.

37


[BACKGROUND] Office floor.

39


The structure is glazed with a glass skin for maximum luminos-ity and views. This envelope is wrapped with an expanded alu-

[1] Interior view: office floor.

[ABOVE] Typical detail section illustrating composite facade layers and different aluminum expanded metal mesh densities.

minium mesh membrane, with differ-ent densities to adjust to the different shading angles.

1’-3/4”

Type 1 Type 2 Type 3 Type 4 Type 5

[1]

FACADE

Aluminum expanded metal mesh

Steel framing

Post-tension floor plate

Insulated glass layer

41

TYPOLOGY

LOCATION

AREA

STATUS

STRUCTURE

YEAR

Market + Catholic Church

Mexico City, Mexico

1,225 m²

Concept design, ongoing

ARUP Los Angeles

2008

CAPILLA AJUSCO


343

3SACRED+ COMMERCIAL

[1]

[2]


Considering 76.5% Mexicans are devout Catho-lics, much of daily life revolves around the church. As such, it is common to find markets outside religious institutions, make shopping convenient for daily Mass-goers.

This project for a Chapel in Mexico City seeks to address this vernacular marriage between the sacred and commercial by creating a versatile space that resolves different necessities of the community. An inhabitable, single-surface roof allows religious celebrations and social/recrea-tional activities to be properly integrated.

The form is a direct translation of urban topogra-phy and religious typology that allows for com-mercial and sacred activities to occur.

[INSERT 1] REFERENCE: SACRED + COMMERCIAL. Much of daily life in Mexico revolves around the church; as such, it isn’t rare to find markets estab-lished outside religious institutions. * PHOTO CREDIT CAPILLA Y MERCADO EN CHAMULA, MEXICO http://journals.worldnomads.com/k-lero/photo/18331/523029/Mexico/Chamula-con-su-mer-cado-y-su-peculiar-iglesia-(prohibido-sacar-fotos-del-interi

[INSERT 2] Exterior view of the Chapel’s inhabitable roof with slopping gardens + an amphitheatre allows for proper integration of religious celebrations and recreational/commercial activities.

[BACKGROUND] Interior view of the Chapel’s main entry via C/ Yobain.

[PREVIOUS PAGE] Exterior view of the Chapel’s main entry via C/ Yobain.

45

C/ YOBAIN

C/ TEPEKAN

MAINENTRANCE


[BOTH PAGES]FORM: RELIGIOUS TYPOL-OGY + URBAN TOPOGTA-PHY. The form is a translation of the city’s topography and a religious institution’s typologi-cal needs. Existing terracing are left largely intact, as pro-grams are distributed in ex-isting excavations. A single-surface roof, comprised of a series of catenary domes, is generated to provide enclo-sures for religious programs organized below grade (chap-el, sacristy, crypts, parochial house, offices and salons for multiusages, etc.).

[LEFT INSERT]The domes above grade--meeting street level--provide slopping gardens + an am-phitheatre for proper integra-tion of religious celebrations and recreational/commercial activities.

[BACKGROUND] Aerial view indicating urban orientation.

47

[1]

[2]


NPT -2.00

NPT 0.00

NPT -2.00

NPT -2.00

NPT -1.00

NPT -3.20

NPT 0.00

NPT -2.00

NPT -2.00

NPT -1.00

NPT -2.00

NPT -1.50

NPT -2.50

NPT -3.50 NPT -4.40

C/ TEPEKAN

C/ Y

OB

AIN

C/ H

OP

ELC

HE

N

[1] Priest’s living room.[2] Main chapel seating.[3] Ground floor plan.[4] Section 1-1.

MAIN

ENTRANCE

SE

CO

ND

AR

Y

EN

TRA

NC

E

Vestíbulo AccesoEntrance Hall

Capilla PrincipalMain Chapel

Vestíbulo Capilla PrincipalChapel Foyer

Oficina del ParrocoPriest’s Office

Capilla Corpo Presente

Secondary Chapel

BautisterioBaptistry

Oficina del Secretario Secretary’s Office

SacristaSacristy

2

2

10M

4

4

1

1

3

3

10M


Capilla Corpo PresenteSecondary Chapel

Vestíbulo Capilla Principal

Chapel Foyer

[4]

[3]

49


[5] Section 2-2.[6] Section 3-3.[7] Section 4-4.[BACKGROUND] Corridor leading to Main Chapel.

SalonMeeting Rooms



Vestíbulo AccesoEntrance Hall


SacristaSacristy

10M [5]

10M [6]

10M [7]

51

ALGAEPELAGOEXPO 2012 PAVILION

TYPOLOGY

LOCATION

AREA

STATUS

STRUCTURE

YEAR

Pavilion

Yeosu, South Korea

5,750 m²

Competition

ARUP Los Angeles

2009


453

Expected Visitors daily

4CYCLE

[1]

INFO

EXHIBITIONS

INFO

EAT

AMPHITHEATRE

ADMIN.

LAB

LIBRARY

AMPHITHEATRE

EAT

EXHIBITIONINFO

MULTIPURPOSEPAVILION

EXPO 2012 POST-EXPO


[LEFT] Site plan. [ABOVE] Elevation. [1] Programmatic distribution. [2] Pavilions’ configura-tions; orbitation scheme.

Expected Visitors daily

INFO 400 m²

EXHIBITION 1000 m²+2000 m²

AMPHITHEATER 600 m²

CAFERESTAURANT 950 m²

GIFTSHOP 500 m²

ADMIN. 300 m²

ALGAEPELAGO seeks to generate a temporal architec-ture with a designed life-cycle.

The Expo’s temporality guides design decisions, from the pa-vilions’ fabrication, assembly, and demolition, to its time-based usages. The aim is to arrive at calculable design out-comes that consider the full life-cycle of this project

As such the project’s tec-tonic and material systems addresses environmental, pragmatic and socio-political issues through qualitative de-signed affects within a building life-cycle. The project consists of seven pavilions, with three

rotating pavilions orbiting four fixed ones. Orbitation allows for programmatic reconfigura-tion for an events-demanding EXPO. Their orbitation’s end will synchronize with the end of the EXPO, optimizing its configuration to more local needs and less visitor’s vol-ume.

Whilst considering environ-mental principles, the project seeks out qualitative aspects of a building’s life-cycle, that may produce archi-tectonic affects. As such, algae is incorporated into the façade system to produce clean en-ergy as well as create different architectural effects.

ROTATING

FIXED

OPENING EXPO 2012[2]

POST-EXPO

55


[LEFT INSERT] Exhibition.

[ABOVE] Restaurant.

57

[1]

[2]


RESTAURANT + BAR

LOW TIDEHIGH TIDE

[1] Interior: cafe/bar.[2] Interior: gift shop.[ABOVE] Ground floor plan + section 1-1, respectively.

Internet

INFORMATION

EXHIBITION 1

EXHIBITION 2

Office

ReceptionPlaza

Exhibition

Exhibition

MediaRoom

Window to Algae Production

Stage

VIP

Cafe/Bar

Kitchen Below

Stage

Bar

Playground

Mee

ting

Poin

t

Ocean Plaza

Stora

ge

Office

GIFT SHOP

AMPHITHEATER

ADMINISTRATION

[3] DIAGRAM: ACCESS

EXHIBITION 2ADMIN.

RESTAURANT +BAR

AMPHITHEATER

EXHIBITION 1

INFO

1

1

59


[ABOVE] Exhibition + Media Room.

61


[ABOVE] Open-air amphitheater.

63

ACADEMIC

64

65

TYPOLOGY

TUTOR

YEAR

TEAM

Pavilion

Theodore Spyropoulos

2010

4 Members [Sebastian Andia, Jo-hanna Huang, Thomas T. Jensen, Apostolis Macaco De Spotidis]

PERFORMATIVE VEINS

66 * ACADEMIC AADRL

5

5DIGITAL MATERIALITY68 * ACADEMIC AADRL

In this project, the notion of ‘digital materiality’ is explored. Here, two systems--material and digi-tal--are setup to continuously inform each other, thus creating ‘circular causality’ (feedback loop) between analogue and digital processes. The aim is to achieve polyvalent prototypes capable of performing quantitatively (structurally), while also achieving qualitative architectural effects (or-namentation, three-dimensionality, light, etc).

Following the history of experimental analogue computation led by Antonio Guadi and Frei Otto, this design methodology harnesses the compu-tational potential inherent within material systems and form finding processes.

Based on the study of prototypes cast in fabric formwork, our project investigates a system of formation and spatial configurations informed by material behaviour. This fabric casting system treats matter as information, allowing the genera-tive potential of material computation.

For the design and fabrication technique of each cast prototype, digital simulation enables evalua-tion and refinement of each prototype’s structural performance and their material distribution.

In effect, a digitally controlled design and fabrica-tion process is developed where a phase chang-ing material is iteratively recast and evaluated through digital and analogue means.

This project culminates with a large-scale fabrica-tion of cast pieces assembled onto a panelized frame.

[LEFT PAGE] Pavilion top view render.

[LEFT] DIGITAL PROCESS Geometries and pat-terns from digital files are iteratively tested as base geometries for physical model tests in order to ob-serve associative relationships between initial set out geometries and subsequent material behaviors (casting process). [1] Geometries and patterns are prototyped digitally before they are tested physically. [2] Material distribution and structural performance is tested through digital simulation. [3] Result: 3D pan-els with spatial, formal, and material effects.

[1]

[2]

[3]

69

70 * ACADEMIC AADRL

[BOTH PAGES] Assembly of panelized frame structure for cast prototypes. This project--where a meth-odology of digital and physi-cal prototyping is developed--culminates with the assembly of cast pieces onto a pan-elized frame. The fabrication process took place during a one-week charette in Hooke Park facilities.

71

72 * ACADEMIC AADRL

[LEFT] DIGITAL Perspective render of pavilion.

[LEFT INSERT]REFERENCE: SURFACE-TO-STRAND STRATEGY IN TURTLE SHELLS. Examin-ing the interior of a turtle shell reveals how the shell itself is partially a surface-based exoskeleton and partially a frame-based endoskeleton. The smooth gradient between radically different types of structural system offers pos-sibilities for new architectural hybrids which can respond to a wider range of force pat-terns and single-system so-lutions. * PHOTO CREDIT http://www.emergenttomwis-combellc.com/about_analo-gies.php?id=47

73

[1]

[2]

74 * ACADEMIC AADRL

[1,2,3] ANALOGUE Large-scale prototypces cast in fabric formwork.

[1]The aim is to achieve poly-valent prototypes capable of performing quantitatively (structurally), while also achieving qualitative architec-tural effects (ornamentation, three-dimensionality, lighting effects, etc).

[2]Sense of scale of each cast panel.

[3]Matter as information explores the generative potential of material computation. Mate-rial experiments that privilege behavior through structural morphologies are explored through pattern versioning and correlated physical mod-elling processes. The project follows in the history of experi-mental analogue computation that led to seminal techniques developed by Antoni Gaudi’s workshop and the IL research institute of Frei Otto--both privileged evolutionary struc-tural optimization methods to explore formal logics of com-plex structures.

[3]

75

[1]

76 * ACADEMIC AADRL

[1, 2, 3] DIGITAL Geometries and patterns from digital files are iteratively tested as base ge-ometries for physical model tests in order to observe as-sociative relationships be-tween initial set out geome-tries and subsequent material behaviors. Material experi-ments that privilege behavior through structural morpholo-gies are explored through pat-tern versioning and correlated physical modelling processes. For the design and fabrication technique of each cast proto-type, digital simulation ena-bles evaluation and refinment of each prototype’s structural performance and their mate-rial distribution.

[1]Close-up top view.

[2]View beneath pavilion. Re-sult: Spatial, formal, and ma-terial effects qualitative spatial effects

[3]Close-up perspective show-ing ornamentation, three-di-mensionality, lighting effects, etc.

[3]

[2]

77

TYPOLOGY

TUTOR

YEAR

TEAM

--

Marta Malé-Alemany

2010

4 Members [Maya Bartur, Johanna Huang, Wandy Mulia, Chris Sazos]

MACHINIC PROCESSES

78 * ACADEMIC AADRL

679

6AUTONOMOUSFABRICATION

[2]

80 * ACADEMIC AADRL

[BACKGROUND] AUTONOMOUS DRAWING DEVICE + OPERATIVE PARAMETERS [1] LOW-TECH DRAWING DEVICE, programmed to fly and move in the xyz-coordinates based on three param-eters: track LIGHT [2], avoid OBSTACLES [3] and respond to SURFACE REFLECTIVITY (color) [4]. The result is an obstacle-avoiding, light-seeking fly-ing robot that continuously recalibrates its movement due to contextual inputs and its own output.

Scan QR code to watch device seek light and avoid obstacles while in flight.

This project investigates the interface between sensor-acquired data (input) and mechanical setups (machine) that drive physical production (output).

Through the development of low-tech mechani-cal apparatuses in combination with open-source physical computing (i.e. Arduino), this project fo-cuses on the creation of autonomous fabrication processes involving environmental input.

As contextual variables (temperature, solar expo-sure, sound, prevailing winds, etc.) are simulta-neously embedded and recorded in the material result (i.e. machinic output), the project explores how locality allows for hyper-specific outcomes. In other words, considering that the production process is dependent on external factors of site, recorded data will be physically translated and materialised in outcomes that contain both pro-grammed design intentions and information from the environment. As such, physical production becomes emergent and ‘harvested’ from context.

Accordingly, a flying drawing device with embed-ded behavioral intelligence is designed. Perfor-mance is informed by contextual parameters--in this case, light, obstacles, and surface reflectivity. Machinic output (i.e., the drawing device’s per-formance, behavior, and movement), based on contextual inputs (light and obstacles), redefines environmental values (surface reflectivity), creat-ing performance within a closed feedback loop.

[1]

[3]

[4]

81

[2]

[3]

82 * ACADEMIC AADRL

INPUT ANALYZE AXIS

x,y

z

TRAJECTORIES

Side Top

MATERIAL/SURFACE RELECTIVITY

White surface

Black paint

PAINT DEPOSITION METHOD

Obstacle

White surface

SETUP 1

[1]

Two performative scenarios are set up, resulting in two dif-ferent types of physical out-puts, or machinic “paintings”.

In the first scenario, the draw-ing device is designed to de-posit paint while in flight.

The paint the machine depos-its, recalibrates its movement in space.

Machinic performance is in-formed by contextual param-eters (light, obstacles) as well as its own output (surface re-flectivity or deposited paint). Different sensors dictate how hacked toy helicopters, or mo-tors should move in the xyz-directions.

HORIZONTAL MOVEMENTLight sensors control mo-tors moving horizontally [3], dictating the device to move towards the dominant light source, while object sensors dictates the device to move away from obstacles.

VERTICAL MOVEMENT Light sensors responding to surface reflectivity, control mo-tors responsible for vertical movement [2]. Vertical mo-tors turn off when it senses a high reflection value (white) [A] (causing its descent), and vice versa. As such, when the machine deposits paint [B], it reduces surface reflectivity, thus allowing the machine to ascend higher [C].

PERFORMATIVE SCENARIO SETUP 1 OF 2

PAINT DEPOSITION

[A] [B] [C]

83

84 * ACADEMIC AADRL

[LEFT PAGE] Adding more black paint to the drawing machine. Light sensors responding to sur-face reflectivity, control vertical movement. Vertical motors turn off when there is a high reflection value (white), and vice versa. As such, when the machine deposits paint, it reduces surface reflectivity, thus allowing the machine to ascend higher.

[INSERT]Pattern result from PER-FORMATIVE SCENARIO 1 OF 2: DEPOSITION.

Scan QR code to watch video of drawing device deposit paint while it responds to sur-face reflectivity, tracks light + avoids obstacles.

85

* ACADEMIC AADRL

The second scenario is set up to use the device’s physical move-ment to make patterns out of a field of styrofoam balls.

As foam is a lightweight material, it is easily agitated by the blow-ing caused by the motors of the device, as well as its descent onto the surface when motors control-

ling vertical turn off due to high surface reflective values.

Thus, the white foam disturbed by the machine recalibrates its movement in space.

The resulting pattern on the foam is a physical translation of this feedback loop.

PERFORMATIVE SCENARIO SETUP 2 OF 2

AIR AGITATION

* ACADEMIC AADRL

[LEFT PAGE] Setup for second scenario as motors fan foam, recalibrating its movement in space.

[INSERT]Pattern result from PER-FORMATIVE SCENARIO 2 OF 2: DEPOSITION. Since the pattern-making process is dependent on external fac-tors of context, materialised outcomes contain both pro-grammed design intentions and information from the en-vironment. As such, physical production becomes emer-gent and ‘harvested’ from context.

Scan QR code to watch video of drawing device make 2D patterns as it agitates sur-rounding styrofoam balls while responding to surface reflec-tivity, tracking light + avoiding obstacles.

TYPOLOGY

TUTOR

YEAR

TEAM

Cultural Center in Barcelona

Rob Stuart-Smith

2011 - 2012

4 Members [Maya Bartur, Marzieh Birjandian, Johanna Huang, Chris Sazos]

SOUNDSPACE

90 * ACADEMIC AADRL

791

792 * ACADEMIC AADRL

SOUNDSPACE challenges cur-rent acoustic design in architec-ture through a proposal for a mul-tievents space. Situated within a field where sound is engineered for static and homogeneous acoustic conditions, the research of this project focuses on design-ing spaces that produce differen-tiated sound phenomenologies.

Acknowledging that sound embodies a lifecycle with fluctuating durations and locations, the research attempts to materialize the temporal aspects of sound as an architectural effect. Subsequently, phenomenological cri-teria of sound establish design ration-alizations.

PHENOMENOLOGICS

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94 * ACADEMIC AADRL

[ALL] STL models of SOUND-SPACE implanted in the Mer-cat del Born.

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[3]

[2]

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[1]

[1] TRANSITIONAL SPACE BETWEEN NODES 1.1 AND 1.2 Experiential events (such as Zimoun’s Sound Sculptures) are programmed in transitional spaces. Here, sounds between nodes are intermixed. [2] Gala event held where SOUNDSPACE faces MERCAT ENTRY 4. [3] Fashion show where SOUNDSPACE faces MER-CAT ENTRY 4.

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[LEFT] Art exhibition near MERCAT ENTRY 2.

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[LEFT] The mercat’s dome is used to create acoustically focused performances outside the implant.

[LEFT INSERT] Restaurant entry. Allows for performance experience tak-ing place below dome.

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TYPOLOGY

TUTOR

LOCATION

YEAR

Tent

Nataly Gattegno

Arizona

2007

SKIN DEEP

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8103

8

SkinPores

XStatic FibersWicks inhabitant’s sweat away.

Soft StructureHeat sensors / solar mouths

Hard StructurePrimary hinged lattice

[DAY] Solar Shade Parasol

104 * ACADEMIC University of Virginia

RESPONSIVEThis project explores the notion of site as a set of contextual data (sun, wind, moisture, etc.). Pre-occupied with the relationship between environ-mental processes and form, this project explores ways an environment’s infrastructural systems can affect the design outcomes of inhabitable spaces through the design of a bivouac (a tem-porary enclosure that is, lightweight, and trans-portable for one or two people).

Designed to be deployed in the Valley of the Sun, Central Arizona, the bivouac is designed as a wearable, secondary skin with internal mecha-nisms responding to climatic extremes of the de-sert. Calibrating to the sun’s temperaments, its folding mechanisms is meant to protect its inhab-itants from extreme climatic changes as it folds from breathable parasol at day to thermal insulant enclosure at night.

[BACKGROUND] PERSPECTIVE Bivouac trans-formation from day time (left) to night time (below). [LEFT] EXPLODED AXONOMETRIC Bivouac’s re-sponsive mechanisms to climatic fluctuations.

[NIGHT] Thermal-Insulant Enclosure

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PERSONAL

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TYPOLOGY

LOCATION

AREA

STATUS

YEAR

Art Gallery

Maribor, Slovenia

Masterplan 1.5 ha Building 16,900 m²

Competition

2010

MARIBOR UGM

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9109

9 URBAN FOLDS110 * PERSONAL

Maribor, Slovenia’s second largest city, is poised to capture its new future as European Capital of Culture in 2012. It. This Eastern Eu-ropean city moving beyond its turbulent past, seeks to welcome an international community with urban renewal projects in order to height-en the urban and cultural dynamics coursing through the city. Such major urban redevel-opments include a new bridge over Drava, the city’s urban core, remodelling of the Prom-enade, and the current project under review, the New Maribor Art Gallery.

Being well connected to the urban tissue, the building composes small and medium sized pockets of public space. Not only providing poetic and urban pauses to the architecture, these voids will provide integral yet interstitial placeholders for programs such as bicycle stands, library garden, and a playground for the kindergarten.

[LEFT PAGE] Project from south bank of the Drava River. Main access to the New UGM is via the Prom-enade.

[1] URBAN FABRIC This design proposal sees the accretion of Maribor’s urban spaces as calibration for the massing strategies of the New Maribor Art Gallery itself [2] VOIDS Being well connected to the urban tissue, the building composes small and medium sized pockets of public space. Not only pro-viding poetic and urban pauses to the architecture, these voids (indicated with dashed lines) will provide integral yet interstitial placeholders for programs such as bicycle stands, library garden, and a playground for the kindergarten.

[2]

[1]

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[1]

[2]

DRAVA RIVER

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The Maribor Art Gallery an-chors the river front prom-enade giving purpose and ori-entation to scenic strolls and urban circulation along the Drava. Flanked by the historic city and new market place on the west and new apartment developments in the east, the site is mediated by a roof-scape which gathers in bulky mass along the apartments and slopes down towards the populated roof decks of the marketplace.

Similarly, it reflects the land-scape and topography of the surrounding lots which gen-

erally descends from north to south down to the river Drava.The cityscape of Maribor, es-pecially the housing blocks and the old city center nearby, is characterized by small scale architectural massing ranging from the middle-ages to Ju-gendstil. This typological ar-chitecture forms smaller more intimate courtyards while ag-gregating into larger complex arrangements of city blocks.

This design proposal sees the accretion of urban spaces as calibration for the massing strategies of the New Maribor Art Gallery itself.

SITE

[1] Site map.[2] East elevation.[3] Site photo showing Prom-enade and the Drava River. Main access to the New UGM is via the Promenade.

[3]

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[LEFT INSERT] Exterior view from the Pristaniška Ulica (north).

[THIS PAGE] Exterior view from the Old City (west).

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CHILDREN’S MUSEUMENTRANCE

MAIN ENTRANCENEW UGM

ARCHITECTURAL CTR.ENTRANCE

1

1

LIB

RA

RY

EN

TRA

NC

EM

AN

AG

EM

EN

TE

NT

RA

NC

E

RESIDENTIAL APARTMENTSENTRANCE

Gallery Shop

Information

Cafe OfficeChildren Care Units

Restaurant

KitchenTransport Hall + Delivery Room

Stacks

Studio

Studio

Info Desk

Apartments

Exhibition

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A prominent portion of the program is the Gallery run-ning from north to south as it interfaces with the market running in along the east-west axis, producing a urban rhythm along and against the respective spaces of intense commercial traffic and a re-flective and thoughtful space of culture. In the following se-quence, the artists’ studios, library, and museum person-nel is located west of the Gal-lery, though well connected accessed across bridges to-wards the Gallery. Apart from

the gallery bar, all the intersec-tions provide light wells and egress circulation. The Gallery is accessed from the north where the downward ramp directs visitors towards the permanent collection and the upward ramp towards chang-ing exhibitions. The ramps circulate around a big Light well connecting all five stories including the basement. This massive light well provides a dramatic and sensational connection between all floors while allowing natural light to fill up the spaces.

PROGRAMMATIC ORGANIZATION

[LEFT PAGE] Ground floor plan indicating entrances. At the intersection of the Gallery and the northern bar, an entrance to the Gallery is provided, drawing people from the promenade up the grand stairs through the open courtyards into the Gallery space and the architecture exhibitions.

[ABOVE] Section 1-1.

[1] PROGRAMMATIC ORGANIZATION

[2] VOIDS: PUBLIC SPACES Connecting to the urban tissue, the proposal composes pockets of public spaces that connect the Promenade (south) with the Ulica E (north).

[3] DRAVA RIVER VIEWS Facades providing openings to reveal views of the Drava River.

SupportLibrary, administration, kindergarten

Museum Exhibitions, restaurant

Residential

[2]

[3]

[1]

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[LEFT INSERT] Exterior view from the south-ern bank of the Drava River.

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2002 - 2012WORKS BY

JOHANNA HUANG

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