ARCHITECTURE + DESIGN
ARCHITECTURE + DESIGN
This is a focused obsession of color and facial expression in architecturalizing the theatrical behavior of blushing. The ambition is to have the blush belong to the materiality of the architecture as it brings faciality into the behavior of the skin.
The blush is a response to the attention paid to surface in architecture, particularly the post-modern attempt of expressive facades, but without defaulting into the clichés of contemporary façade treatments such as perforated skins, transparencies and layers. Therefore, this thesis defies the application of ornamentation onto facades; instead, it is rooted on the idea of cosmetics in architecture, as being indiscreet and working as fields1.
This project wants to intensify the expressiveness of the face of a building by literally using the facial qualities of a human face, a portrait. The abstraction of the portrait into a hierarchy of geometrical shapes suggests an overall figure of the face. The perception of the figure from form positions this thesis in close relation to sensation2 in an attempt to design a new diagram for contemporary sensibility.
Beyond formal manipulations, color embedded within the material makes the building blush. This thesis resides in the blushing occurring through the material and architecture as opposed to special effects of projections and animations. Specifically, the blush is underglazed coloration and its gradient effect is achieved by breaking it down into individual components that make possible the overall perception of a blushing façade.
In support of the argument that sensation is what is painted for color is in the body2, this method re-establishes the potential of architectural surface and its dependency on the viewer and the sensitivities of his sensory apparatus as it offers something to see3. Situated in Chicago, due to the existing frontality of buildings, The Auction House faces Grant Park on Michigan Ave., giving the opportunity for the building to be viewed at varying distances and angles. The front of the building is comprised of parts that delicately peel away from one another. This depth, carried through to the interior, establishes the separation between the font of the building and the exclusive, private auction house behind it.
1. Jeffrey Kipnis, “The Cunning of Cosmetics” El Croquis 84, 1997
2. Gilles Deleuze, Francis Bacon: The Logic of Sensation, University of Minnesota Press, 2003, 32
3. Sylvia Lavin, Kissing Architecture, Princeton University Press, 2011, 100
Thesis Advisor: Elena Manferdini, SCI-Arc 2013Architecture2013
A portrait can inevitably be iconic. Oleg Dou allows the emersion of human qualities through a pristine bleached screen of porcelained skin. The face is a construct; it unveils its frailty. Although the painting itself remains static, the human and non-human qualities glide back and forth on a scale stretching from frigid to warm. The Vanna Venturi house is taken as an example of face like features in the shape of a building.
The application of similar techniques of Puppet by Oleg Dou, to the facade of the building is an attempt at recreating a closer resemblance to the human, and then distancing it again away from it. In addition to a geometrical shift, a similarly treated surface can further enhance the duality of the face and a reconstruct of itself. The reduction of a photograph, an image into dots for instance can still provide the notion of a face, but with much dierent sensibilities.
The testing of the reconstructed image helps determine the threshold of where the shape starts to loose itself. To take such discourse into architecture, I have looked at Herzog and de Meuron’s work as the closest example in using the building envelope to continuously hide and reveal the interior of the same building. This surface manipulation also allows for reduction of information of the envelope itself and a blurriness of where that occurs.
My thesis claims that the coexistence of faciality and its abstracted qualities is a new diagram for building envelopes. The image abstraction is a potential veil for both the image itself and the building. This thesis lies in the glide between the recognizable face and recognizable building by means of depth, reconstruction and reduction of the portrait into geometry and its proximity to the face.
Thesis advisor: Elena Manferdini, SCI-Arc 2013Architecture, Digital Art2013
This project investigates the potential of the tension created by a sudden relationship between figure and material. Materials like stone, glass, and crystal have their immediate associated forms embedded in their traditional usage. The attempt of this project is to utilize this juxtaposition to create a different effect between the harsh, cold, strong, rigid, and static properties of stone and the intricate, dynamic curvilinear figures. The mass is therefore generated by the object qualities of natural stone and the 2D figure.
The tying element of these two otherwise non-related things, is an overall pictorial effect that occurs by means of the coloration and grain of the natural stone. This coloration is intensively applied in the proximity of the openings. Not unlike the traditional usage of contrast in openings and colorations of basilicas and cathedrals, this pictorial effect attempts to unify all these elements into one beautiful coherent whole.
Awkward, dressed is the awkward and monolithic gestures explored and exploited in the idea of a suite, a series.
Formally, this project is monolithic, but also relatively light by incorporating “feet” and “legs” into their form. These qualities are in response to the post modern problems of human and scale.
In addition to the formal gesture, the skin or envelope of the buildings also contributes to their seriality and monolithic qualities.
One of the most important aspects of this project is the skin articulation. The surfaces are reduced to lines. The usage of color, density, and overlaps attempts to redress the geometry and therefore disguise its monolithic qualities.
With ChengFeng Lin
The surface treatment for this project was to aggregate the surface with geometrical repetition of a polygon primitive and investigate the relationship between the exterior surfaces and the polygon density, scale, and position. We used a top down approach in terms of full pack, medium pack, and no pack. The polygon packing was also applied to find the most optimal design for openings on the middle-packing range facades.
This was used to design the South Beach Miami Concert Hall. There are three separate theaters enclosed by their own shells that are connected through the main central atrium space. The atrium space has a series of landing platforms and other types of vertical circulation, and is enclosed by glass. The overall color scheme is white, as suited for South Beach Miami, and the intention is for the top theaters to seem as if they are floating from the illuminated central atrium space. At any location in the atrium, the individual is entitled to views into the city, the theaters, the park, their own position relative to this negative space created by the three theaters.
*Some drawings done with DD Team: Robbie Crabtree, Laura Kwak, Raf RuizArchitecture2013