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Design Portfolio
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Khang Q. TranA P o r t f o l i o o f C r e a t i v e W o r k b y :Portland State University, Ma s t e r o f A r c h i t e c t u r e 2 0 1 1
Contents
001. ARCH 582/SP 2010: Comprehensive Design Studio “Electric Vehicles Design Center” Instructor: L. Rudolph Barton ARCH 561/FA 2010: Detail Design Instructor:CoreyGriffins
002. ARCH 581/WI 2010: Portland State University Millar Library “Students’ Collaborative Commons” Portland State University Mediatheque “An Edifice for Breathing” Instructors: Will Bruder, Lisa Ward
003. ARCH 580/FA 2009: Powellhurst-Gilbert Neighborhood “Community Storage” Instructor: Jeff Schnabel
004. Related Interests: Architects without Borders “Wollega Adventist Academy Library” Leh, Ladakh Design/Build Summer Studio 3Form Sliding Door “Mari Seamless, Varia Ecoresin” Poetry, Graphic Design, Architectural Visualization
005. Thesis: Modern Anosmia of Urbanity Advisor: B.D. Wortham Gavin Committee: Clive Knights ARCH 511/FA 2010: Pro-Thesis Seminar Instructor: L. Rudolph Barton
ARCH 584/WI-SP 2011: Thesis Design Development Instructor: Jeff Schnabel
Serves as an inspiration for designers and makers by providingopenandflexibleworking environments to allow people to work collaboratively and effectively.
Be a member of the community by engaging the general public with the activities and events regarding Electric Vehicle’s new creation.
Educate users and the general public about Electric vehicle (EV); with the goals of raising awareness and increasing knowledge of the profession and their products.
Sustainability will be incorporate in all aspects of the design of the facility such as structural systems, furnishing, open-space, etc. It will respond to the specificsiteconditions;promotethe company’s philosophy of designing and producing sustainable and environmentally sensible products.
Re-investigate the relationship between people, vehicles and the built environment. To explorehowweshapedourbuilt environment to satisfy our mobility needs and how the built environment has shaped our everyday lives.
CoLLABoRATIoN VISIBILITy EDUCATIoN SUSTAINABILITy INTEGRATIoN
ProjeCT Goals:
001. eleCTriC VehiCles desiGn CenTer
Project Scope: This comprehensive design studio proposes a design center for electric vehicles where thinkers, makers, and consumers can come together. This facility will provide a creative environment for thinking, testing, making, and showcasing electric vehicles. A place where knowledge can be shared through an integrated.
Project Concept: The concept is to maintain the diagonalaxisonSandyboulevard,tocelebratethehistoricalcontextofthesite.Iproposetolocate all shop spaces/the Making along Sandy. Burnside street is a commercial and auto-centric street, which creates a good opportunity for displaying and showcasing electric vehicles. The design space, a place where people gather, brainstormandexpresstheircreativitywilllocatein the center ; acts as spinal cord connecting and supporting the entire building.
Project consists of a 3 story and one underground level; business, design and light manufacturing spaces, with 20 automated parking spaces for employees, 2 handicapped stalls available in the basement
Project Goals: Calmtrafficon12thandBurnsideSt.Encourage pedestrians movements around siteCreate an identity for this District, be an anchorBridge out to the communityEstablish a new image for this DistrictCapture people before they leave the District
Top Left: Aerial Map & Project AreaBottom Left: Site Plan @ 128” = 1’-0”
opposite Page:Top: Project Goals for the Electric Vehicles Design CenterBottom: Rendering of North Elevation on Burnside Street
n
SANDy BoULEV
ARD
BURNSIDE STREETPRoPoSED oUTDooR SEATING AND PLANTERS
oN-STREET PARKING
11T
H A
VE.
12T
H A
VE.
PRoPoSED SUPER BLoCK
BUS SToP, BUS
HyDRANT
PRoPoSED BUILDING PRoPERTyLINES
PRoJECT SITE
Tree
ExistingBldg.
Sewer Sanitary Pressure Main
Hydrant
Site Address: 1111 N/ SE SANDy BLVD
Project Site option #6 (Preferred Site) is bounded by Burnside St., 11th, 12th, and Sandy Blvd.; at the end of Burnside Couch Couplet Plan.Itlocatedinaninterestingintersectionwithtrafficscomingfrom many different directions, offering an opportunity to capture and engage more people.
Site has relatively moderate steep slopes of about 15 feet. It is located in an awkward intersection with danger pedestrian crossing. The City proposed to construct a building in a lot on 12th Ave. and Sandy Blvd.; which will eventually block the site’s views and access to day lighting.
Entry, Cafe & Reception
Exhibition&EventSpace
DesignFacilities&BusinessOffices
Large Conference Room
Small Conference Room
Small Conference Room
Small Conference Room
Small Conference Room
Research & Reference Library
Final Assembly
Loading, Shipping, Receiving
Storage (Hazardous)
Storage (Non-Hazardous)
Mechanics Shop
Welding Shop
Paint Booth
Material Testing Shop
Electric Motor/ Electrics Shop
Clay Modeling Shop
Wind Tunnel
Shower & Locker Rooms
Break Room
Kitchen (Employee)
Restroom Facilities
Parking (20 Vehicles)
Entr
y, C
afe
& R
ecep
tion
Exhibition&EventSpace
DesignFacilities&BusinessOffices
Larg
e C
onfe
renc
e R
oom
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Res
earc
h &
Ref
eren
ce L
ibra
ry
Fina
l Ass
embl
y
Load
ing,
Ship
ping
, Rec
eivi
ng
Stor
age
(Haz
ardo
us)
Stor
age
(Non
-Haz
ardo
us)
Mec
hani
cs S
hop
Wel
ding
Sho
p
Pain
t Bo
oth
Mat
eria
l Tes
ting
Shop
Elec
tric
Mot
or/ E
lect
rics
Shop
Cla
y M
odel
ing
Shop
Win
d Tu
nnel
Show
er &
Loc
ker
Roo
ms
Brea
k R
oom
Kitc
hen
(Em
ploy
ee)
Res
troo
m F
acilit
ies
Park
ing
(20
Vehi
cles
)
Entry, Cafe & Reception
Exhibition&EventSpace
DesignFacilities&BusinessOffices
Large Conference Room
Small Conference Room
Small Conference Room
Small Conference Room
Small Conference Room
Research & Reference Library
Final Assembly
Loading, Shipping, Receiving
Storage (Hazardous)
Storage (Non-Hazardous)
Mechanics Shop
Welding Shop
Paint Booth
Material Testing Shop
Electric Motor/ Electrics Shop
Clay Modeling Shop
Wind Tunnel
Shower & Locker Rooms
Break Room
Kitchen (Employee)
Restroom Facilities
Parking (20 Vehicles)
Entr
y, C
afe
& R
ecep
tion
Exhibition&EventSpace
DesignFacilities&BusinessOffices
Larg
e C
onfe
renc
e R
oom
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Res
earc
h &
Ref
eren
ce L
ibra
ry
Fina
l Ass
embl
y
Load
ing,
Ship
ping
, Rec
eivi
ng
Stor
age
(Haz
ardo
us)
Stor
age
(Non
-Haz
ardo
us)
Mec
hani
cs S
hop
Wel
ding
Sho
p
Pain
t Bo
oth
Mat
eria
l Tes
ting
Shop
Elec
tric
Mot
or/ E
lect
rics
Shop
Cla
y M
odel
ing
Shop
Win
d Tu
nnel
Show
er &
Loc
ker
Roo
ms
Brea
k R
oom
Kitc
hen
(Em
ploy
ee)
Res
troo
m F
acilit
ies
Park
ing
(20
Vehi
cles
)
Entry, Cafe & Reception
Exhibition&EventSpace
DesignFacilities&BusinessOffices
Large Conference Room
Small Conference Room
Small Conference Room
Small Conference Room
Small Conference Room
Research & Reference Library
Final Assembly
Loading, Shipping, Receiving
Storage (Hazardous)
Storage (Non-Hazardous)
Mechanics Shop
Welding Shop
Paint Booth
Material Testing Shop
Electric Motor/ Electrics Shop
Clay Modeling Shop
Wind Tunnel
Shower & Locker Rooms
Break Room
Kitchen (Employee)
Restroom Facilities
Parking (20 Vehicles)
Entr
y, C
afe
& R
ecep
tion
Exhibition&EventSpace
DesignFacilities&BusinessOffices
Larg
e C
onfe
renc
e R
oom
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Smal
l Con
fere
nce
Roo
m
Res
earc
h &
Ref
eren
ce L
ibra
ry
Fina
l Ass
embl
y
Load
ing,
Ship
ping
, Rec
eivi
ng
Stor
age
(Haz
ardo
us)
Stor
age
(Non
-Haz
ardo
us)
Mec
hani
cs S
hop
Wel
ding
Sho
p
Pain
t Bo
oth
Mat
eria
l Tes
ting
Shop
Elec
tric
Mot
or/ E
lect
rics
Shop
Cla
y M
odel
ing
Shop
Win
d Tu
nnel
Show
er &
Loc
ker
Roo
ms
Brea
k R
oom
Kitc
hen
(Em
ploy
ee)
Res
troo
m F
acilit
ies
Park
ing
(20
Vehi
cles
)
Desired Connection
Non-Desired Connection
Nearby/ Easy Access
Architectural Program Scheme #3: Preferred Scheme:
This scheme investigates an open studio environment, where all programs will be attached to the studio space. Design will play an important role in each of the design process. This scheme encourages collaboration, communication and critiquing through out the design process. Each space will be integrated and transitioned by a green/open space.
Scheme opportunities:• Flexibleworkspaces• open workspaces• Enable teams collaboration and coordination
Scheme Constraints:• Noise• Ventilation• Required more square-footage
Architectural Program Scheme #2:
This scheme investigates a Cyclical Design Process. In this scheme all of the programs will focus around the large conference room. This scheme encourages teams collaboration which will enable them to better understand the process and products. The goal is to produce innovative and high standard proto-typing through the process of thinking, making, testing and re-testing.Thesecondfocusofthisschemewillbetheexhibitionand event space, where all new invention will be display and people come together to celebrate.
Scheme opportunities:• Flexibleworkspaces• Teams collaboration• higher standard products
Scheme Constraints:• Inefficientworkprocess• Uncontrollable movements and access
Architectural Program Scheme #1:
This scheme investigates a Linear Design Process. It willprovideafluidworkprocessandanefficientworkenvironmenttomaximizeproductivityandminimizeenergy consumes by the facility and natural resources use by the employees.
Scheme opportunities:• Workproductivelyandefficiently• No hierarchy in the design process and space• Required less square-footage• Consistentworkflows
Scheme Constraints:• Lacksflexibility• Awkward transitions• Discourages communication between teams
Pre-desiGn: Programming analysis
ProgramS USageS SPatial QUalitieS SQ.Ft.
entry, Cafe & reception arrival, Waiting, gathering Space Double Height, access to Views 1,000
exhibition & event Space Display, lecture, Public/Social gathering Double Height, group assembly 2,000
Design Facilities & Business Offices Workspaces for individuals and groups (Hand-Drawing, Computer) Secure, Day lighting, access to Views 3,000
large Conference room Products Presentation, Office Meeting, Meeting with Clients, Design Charrette group assembly 375
Small Conference room Small team meeting (5-7People) Small group assembly 150
Small Conference room Small team meeting (5-7People) Small group assembly 150
Small Conference room Small team meeting (5-7People) Small group assembly 150
Small Conference room Small team meeting (5-7People) Small group assembly 150
research & reference library Products Catalogue, archiving,material Samples easy access, Secure access 1,500
Final assembly Full-Scale Product assembly open, airy 1,000
loading, Shipping, receiving receiving, Delivering easy access 500
Storage (Hazardous) Store Hazardous materials Secure access 500
Storage (Non-Hazardous) Store Non-Hazardous materials Secure access 1,000
mechanics Shop (Storage) making, testing, repairing Easy Access, Efficient, Secure 1,000
Welding Shop (Storage) making, testing, repairing Easy Access, Efficient, Secure 1,000
Paint Booth (Storage) Spray Paint Easy Access, Efficient, Secure 500
material testing Shop (Storage) making, testing, repairing Easy Access, Efficient, Secure 1,000
electric motor/ electric Shop (Storage) making, testing, repairing Easy Access, Efficient, Secure 1,000
Clay modeling Shop (Storage) Full-Scale Clay modeling Easy Access, Efficient, Secure 1,000
Wind tunnel Study the effects of air moving past solid objects Easy Access, Efficient 1,000
Shower & locker rooms Showering, lockers Secure access 1,200
Break room rest area Secure access, Quiet, access to View 500
Kitchen (employee) eating area, informal gathering Easy Access, Efficient, Access to View 500
restroom Facilities restrooms Day lighting, Ventilation 1,500
Parking (20) Vehicles Parking (Vehicles, bicycles) easy access 8,000
retail Sale of goods and merchandise (related to eV?) Visibility 1,500
Net SQ.Ft. total: 31,175including 30% Circulation 40,528
Clean Workspaces
DirtyWorkspaces
Public/Services
001. eleCTriC VehiCles desiGn CenTer
Site option #3: 16 NE Grand Ave. Site opportunities:located near Bridgehead Project Areasite has high visibilitylocated at the gateway of project areapotential views to West Burnside, the Willamette RiverBurnside and Couch Coupletproximitytoproposednewstreetcarstationproximitytobusroutes20,19,and6proximitytomaxstation,parkandride
Site Constraints:hightrafficpedestrian un-friendlynoiselimited parkingnarrow sidewalkslacks greeneryexposestoalotofsunlighthomeless
Site option #1: 11 NE MLK Jr. Blvd.
Site opportunities:located in Bridgehead Project Areasite has high visibilitylocated at the gateway of project areapotential views to West Burnside, the Willamette RiverBurnside and Couch Coupletproximitytoproposednewstreetcarstationproximitytobusroutes20,19,and6proximitytomaxstation,parkandride
Site Constraints:hightrafficpedestrian un-friendlynoiselimited parkingnarrow sidewalkslacks greeneryexposestoalotofsunlighthomeless
Site option #2: 30 NE MLK Jr. Blvd.
Site opportunities:easy accessproximitytobusroutes2019,6pedestrian movementsBurnside Couch CoupletCouch is alternative to Burnside
Site Constraints:visibility-viewsblockedbyexistingusedcardealershipnot visible to Burnside StreethightrafficmovementsonGrandAve.existingbuildingtotheWestnarrow sidewalkslimited natural lightingno opportunities for views
NE
MLK
Jr.
Blv
d.
NE
2nd
Ave
...
E Burnside St.
NE Couch St.
Site Option #1Vacant Land
NE
Gra
nd A
ve...
Busy Intersection, Dangerous Pedestrian
Crossing
Views towards West Burnside, Chinatown
Dangerous Zone, Homeless
Underneath Bridge
Burnside Couch Couplet
Burnside Bridgehead Project
NE
3rd
Ave
...
NE
Gra
nd A
ve...
NE
3rd
Ave
...
NE
MLK
Jr.
Blv
d.
E Burnside St.
NE Couch St.
Site Option #2Existing Parking Lot
Opportunity for Retail Storefront
Opportunity for Retail Storefront
On-street Parking
Retail along Burnside
Nightlife, High Pedestrian Movements
Busy Intersection, Dangerous Pedestrian
Crossing
Burnside Couch
Couplet
NE
6th
Ave
...
NE
MLK
Jr.
Blv
d.
NE
Gra
nd
E Burnside St.
NE Couch St.
Site Option #3
NE
7th
Ave
...
Parking Lot
ExistingBuilding
On-Street Parking
High Pedestrian Movement
Busy Intersection, Dangerous Pedestrian
Crossing
Pre-desiGn: site analysis
001. eleCTriC VehiCles desiGn CenTer
1/4 Mile Walking Distant
MajorStreet,HighTraffic
Bus Route
ExistingBuildings
Views
Streetcar,Max
Proposed Burnside Bike Improvements
Site option #6: 1111 N/ SE SANDy BLVD.Preferred Site: Site opportunities:high visibility to BurnsideretailhighpedestriantrafficBurnside and Couch Coupletproximitytobusroutes20,19,and12proximitytomaxstation,parkandrideon-street parkingnightlifeaccessibility
Site Constraints:hightraffic,trafficpassingthroughnoiseexistingbuildinglimited viewslimited daylightingcrime ratesnarrow sidewalkssteep slopes
Site option #4: 701 E Burnside St..Site Opportunities:surrounded by other retailhigh visibility to BurnsideBurnside and Couch Coupletproximity to bus route 20, 19, 12proximity to max station, park and rideon-street parkingpedestrian movementsaccessibilitynightlife/ activities
Site Constraints:existing buildinglimited day lighting, blocked by surrounding buildingjaywalking
Site option #5: 710 E Burnside St.
Site opportunities:high visibility to BurnsideretailhighpedestriantrafficBurnside and Couch Coupletproximitytobusroutes20,19,and12proximitytomaxstation,parkandrideon-street parkingnightlifeaccessibility
Site Constraints:hightraffic,trafficpassingthroughnoiseexistingbuildinglimited viewslimited day lightingcrime rates
Key Plan n
1 23 4
5 6
NE
6th
Ave
...
NE
7th
Ave
...
E Burnside St.
NE Couch St.
NE
8th
Ave
...
NE
9th
Ave
...
Site Option #5
Existing Building
Retail
NE
10t
h Av
e...
NE
11t
h Av
e...
E Burnside St.
NE Couch St.
NE
12t
h Av
e...
NE
9th
Ave
...
Site Option #6
Proposed Future
Development,Blocking Views
Awkward Intersection
NE Sandy Blvd
.
E Burnside St.
NE Couch St.
Site Option #4
NE
6th
Ave
...
NE
7th
Ave
...
NE
8th
Ave
...
NE
Gra
nd
Existing Building Blocking
views and lighting
Unsafe Pedestrian
Crossing
Potential Development
on Couch
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BASEMENT SECoND & THIRD FLooR
1
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2
3
4
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6610
1011
2 8
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11 10
Above: Interior Perspective of Clay Modeling and Design StudioBelow: Floor Plans1. Shops/Dirty Workspaces, 2. Car Elevator, 3. Final Assembly/open Workspace, 4. Entrance/Reception, 5. Cars Display, 6. Conference Room, 7. Public Garden, 8. Clay Modeling Studio/Design Studio, 9. FlexibleWorkspace,10.Office,11.MaterialLibrary,12.AutomatedCarpark
opposite Page:Top Right: Conceptual SketchTop Left: Conceptual Models Shown in Chronological orderBelow: Rendering of Southeast Perspective at Sandy Boulevard, Burnside Street, and 12th Avenue intersection.
001. eleCTriC VehiCles desiGn CenTer
001. eleCTriC VehiCles desiGn CenTer
Natural materials and environmental pollutions are amongst some of the major issues the Universe is currently facing. As inhabitants, we need to step up and take responsibility for our actions. Natural resources will not be available to us forever and we need to think of the future generations.
Itismorethenever,weneedtofindalternatives to gasoline-powered vehicles. Electric vehicle will help protect our natural resources and protect the environment from air pollution. Along the visions of Portland’s Future City; this Design Center for the Electric Car will be a leader in the automobilesfield,workingcollaborativelywith the city, community, and individual towards the vision of a sustainable city. To produce and showcase creative products that contribute to green living and sensible to the environment
Rendering of East Perspective at Burnside Street, 12th Avenue, and Sandy Boulevard.
1. Individual Study Space2. Laptop Stations with Glass Partition Wall3. Group Study Area4. Presentation Room
1
2
3
4
002. sTUdenTs’ CollaBoraTiVe CoMMons
Project Scope: Portland State University is lacking in workspaces for students, and the spaces that are available are function inadequately, with poor lighting and technology, as well as uncomfortable furnishing. Therefore I would like to propose a design that allows students to work individually and/or collaboratively for groupprojectsinacreativeandefficientenvironment.The renovation will include pocket spaces for individual students to focus on their reading and studying, and three presentation rooms available for students to practice presentations as a group, and an open space with seating for groups of students to meet and work on class projects or to wait to enter the presentation rooms. For security purposes, students will only access presentation rooms by using a card key. The design will bevisuallyexposedforaesthetics,naturallighting,andmonitoring purposes. I envision this space as functional, creative and inspiring, where students will want to workandenhancetheiracademicexperiences.
Project Site: Portland State University Branford P. Millar Library1875 SW Park Avenue, Portland, oregon 97201
Top Left: Aerial Map and Project AreaBottom Left: Interior Rendering of the Group Meeting RoomBottomRight:ExteriorandInteriorRenderings
opposite Page
Top Right: Conceptual SketchTop Left: Floor Plan @ 1/64” = 1’-0”Below: Interior Rendering of Studen’s Collaborative Commons
n
Project Site is bounded to the North by Southwest Jackson Street, to the South by Southwest I-405 Freeway Southbound, to the East by Southwest 6th Avenue, and to the West isSouthwestBroadwayStreet.Thereareexistingbuildings located on site to be demolished.
Top Right: L-R: Schematic Models.Below: South Perspective; West Hills Looking towards project building and views of Portland State University campus and Portland Downtown.
opposite PageTop Left: Aerial Map & Project Area, Site Plan NTSTop Right: Conceptual SketchBelow: Northeast Perspective
002. an edifiCe for BreaThinG
Project Scope: The Knowledge Commons acts as a bridge between two urban conditions: the low density residential area of the West Hills and the city’s central urbancore;aplacewhereknowledgeiscaptured,filtered,distributed, and is readily accessible. The design will exemplifytheimportanceofplacebyrespondingtotheurban edge conditions. The organic and breathing form oftheverticalgardenclimbingonthestonefinishesofthe Western façade that wraps around the Southern and Eastern façades; which creates a conversation with the West Hills to provide visual aesthetic for the surrounding residentsandthepatronsofthelibrary.Theexperientialjourney through The Knowledge Commons will provide the patrons with a sense of discovery, and a place where knowledge can be absorbed, interpreted, and comprehended.
n
SW JACKSoN ST.
SW 6
TH A
VEN
UE
SW B
RoA
DW
Ay S
TREE
T
SW I-405 FREEW
Ay SB
SW 5
TH A
VEN
UE
SW HALL ST.
GRoUND LEVEL / MEzzANINE LEVEL
LEVEL 2 LEVEL 3 LEVEL 4 LEVEL 5 LEVEL 6
002. an edifiCe for BreaThinG
Above: Terrace Garden; Interior Perspective of Single Carrel Study Area on Mezzanine Level, Terrace Garden AreaRight: Conceptual ModelBelow: Interior Perspective of Reading Area
opposite PageAbove: Interior Perspective of computer study areaBelow: L-R: Ground Floor Level - Floor Level 6
Project Scope: Traditionally the relationship between self-storage facilities and tenants is broken. The storage facilities are always disconnecting and hide itself from the community. I would like to address these issues by proposing a storage facility that would provide a meaningful experienceforthetenantsastheyusethestorage and could provide opportunities for the tenants to engage with the process of things being stored. I also proposed to reveal and elevate the presence of the storage facility in the community. My goal is to re-establish the image of self-storage facility by making the facility a better member of the community.
Top Left: Aerial Map & Project SiteBottom Left: Conceptual SketchBottom Right: Site Plan NTS
opposite PageTop Right: Conceptual SketchesBottom: Rendering of West Elevation on 82nd Avenue
n
82N
D A
VEN
UE
BROOKLYN STREET
WOODWARD STREET
FUBONN SUPERMARKET
PROPOSED PROJECT SITE
003. CoMMUniTy sToraGe
BRo
oKL
yN S
TREE
T
82ND AVENUEn
Preferred Project Site: The site is located at 2930 SE 82nd Avenue in a growing commercial and residential area in the Powellhurst-Gilbert neighborhood. The site is bounded to the West by 82nd Avenue a commercial strip. The site is bounded to the North by Woodward Street and South by Brooklyn Street. The site is bounded east by a residential house.
Top Left: Conceptual ModelsBottom Right: Interior Perspective of Storage
opposite PageTop: A Serie of Facade StudyBelow: Rendering of North Elevation on Brooklyn Street
003. CoMMUniTy sToraGe
Arch. 510 Sustainability in the Developing WorldLeh, Ladakh Design/Build Summer Studio
“In 2010, students collaborated through several group charettes to design a much-needed Visitor Centre for the School. Using traditional Ladakhi mud-brick construction techniques, the Centre incorporates a greeting space with a corner window and seating area for serving tea; a gallery space for displaying artifacts, information about the school, and student artwork; and a custom built semi-transparent cabinet that divides the two rooms while providing additional display space.Thegallerybenefitsfromfourskylights,which highlight the hand-made mosaic pattern insetintothefloor.Otherdetailsincludeahand-carved wooden bond beam, and an angled partition wall used to bounce light from the window far into the space.” Basic Initiative.
I collaborated with other students and faculty from design through construction phase.
Architects Without BordersDongoro, Ethiopia
Project Team: Sean Boily, Dave Hurley, Khang TranClient: Wollega Adventist AcademyBuilding Type: LibraryProject Concept: To design a library that will be an iconic/focal point for the school campus. It will be a prominent place and is intended to serve the students, faculty, staff, local residents, and surrounding communities. It will serve as a place for students to gain education, where knowledge isexchange.Iproposetocreatearelationshipbetweentheinteriorandexteriorspaces.Iproposetomaximizethenaturallightingandminimize the heating in the Atrium/balcony area. The library will promote social cohesiveness for the campus and the community.Building Functions: Academic: book stacks, reading spaces, study areas. Multi-purpose: formal + informal conference room, meeting spaces, art display. Public space: outdoor spaces, sustainable designs.
Project Descriptions: I was inspired by the texturesandtranslucentqualityofthe3-form materials. I designed a sliding door for a residential bedroom. The door is 3’-6” by 6’-8”; three panels of mari seamless varia ecoresin, framed with aluminum C-channels, and run on a track above.
Design Issues and Solutions: The layout of the bedroom have an awkward wall at the entry which creates wasted and uncomfortable space. Replacing the existingswingdoorwithaslidingdoorcanmaximizetheentryandprovideaspaciousexperience.Theuseof3-formmaterial allows the room to lit up by the bothinteriorandexteriorlighting.Italsogive the room a modern looks.
Right: A photograph of the new door taken from inside the bedroom.
Mari Seamless, Varia Ecoresin
004. relaTed inTeresTs
Tran Residence- Modeled with Sketch-Up, Collaged with Photoshop
Arch. 530 Contemporary Architectural TheoryPoem Composition: Door
My little hands pushingRustic, heavy metalDark cyan paint, peeledLaughed heartedly adoredFaded, forgotten, yet memorable
Lighter however heavierWood, painted white, golden knobClaws pulling shutting closedBreathing heavily, sweat drippingTerrified,eyesshutWithdrawing
Reversible, childhood fantasyopen with my little handsopened, light shone upon meFamiliar, warmthPeacefulness
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Main research Question:
Abstract: Historically, Western culture has been more focused on the sense of sight, touch, and soundasavehicleforsensorialexperiencesofdesign, architecture, urban space, and habitation. This thesis proposes to investigate the sense of smell as a new dimension in creating architecture and place by creating a smellscape orchestrating by scents. Though the modern society is currently in an anosmic stage, it is critical to use olfaction tore-configureoursenseofspaceandsenseof time, with smells triggering and stimulating sensorialexperiences.
This thesis proposes an architecture that will change human perceptual horizons using the sense of smell as the dominant sense by unveiling the invisible characteristics of smells beyond their cultural baggage through a journey that will enable them to be temporarily suspended in time and be captured by the redolence world of smell.
metHoDology teCHNiQUeS SeleCtioN Criteria DeSireD oUtComeS eValUatioN Criteria
literatUre reVieW/ ComPreHeNSiVe reSearCH oN tHe toPiCS oF Smell aND SeNSe oF Smell
Sources related to smell and the sense of smell
this method will allow the researcher to narrow his research and enhance his design process.
Sources must enrich the researcher’s knowledge of smell and the sense of smell.
arCHiteCtUral PreCeDeNtS architectural projects using scents as a medium for design.
this method will allow the researcher to critically analyze the opportunities and constraints for scents designs.
the selected projects have to inform the research in his architectural design.
PerSoNal iNterVieW WitH a PerFUmer
the ideal candidate should have great knowledge on the topic of scents and the sense of smell. this candidate must possess technical and pragmatic knowledge of perfumery.
this method will increase the researcher’s technical and pragmatic knowledge in the field of perfumery.
the information collected from this interview will help the researcher apply to his design process.
reSearCH oDor ClaSSiFiCatioNS aND tHeorieS
research all existing odor classifications and theories.
this method will allow the research to understand how odor can be classified and theorized
Having a thorough understanding of the classifications of smell, it will help the researcher identify the language for smell.
reSearCH PerFUmery PraCtiCe aND PriNCiPleS
research technical and pragmatic techniques of perfumery. Such as, techniques for smelling, workspace for composing perfume, perfumery raw materials, perfume application procedures.
this method will provide the research with a comprehensive knowledge of the perfumery field and world of smell.
the focus will be on the composition and application of perfume, and the raw materials use in perfumery.
olFaCtory eXHiBitioNS identify various methods for exhibiting odors such as perfume and olfactory art
this method will allow the researcher to identify the most appropriate way to exhibit odors, to educate to the nose and heighten the sense of smell
the ideal method should allow the nose to fully experiencing the smells without overwhelming it causing over-stimulating subsequently leading to anosmia
Site aNalySiS the selected site will have to locate in a non-contaminated area. Site analysis will be performed using normative analysis techniques and smell will also be employed as an experiential medium for analyzing the site.
the outcomes of the site analysis will enable the researcher to propose how the smellscape can be orchestrated.
the smellscape will enable the speculators to fully experience the redolence of the world.
Program aNalySiS Program analysis will be performed using experiential qualites of smell for the smellscape. Normative program analysis techniques will be employed for support buidings.
this method will enable the researcher to design the architecture responding to smell and allow people to experience smell.
the architecture should work harmoniously with the site to heighten the smellscape experience
arCHiteCtUral DeSigN iNVeStigatioNS
the design of the architecture needs to respond to the language of smell.
the architecture will respond to the smellscape on both micro and macro levels.
to enable the speculators to fully engage and experience the smellscape.
research Methodology
Limbic System
olfactory Bulb
olfactory & limbic systems
sickly, acidy, acrid, aromatic, balmy, briny, burnt, damp, dank, earthy, fishy,fragrant, fresh, gamy, gaseous, mildewed, moldy, musty, perfumed, piney, pungent, putrid, reek, rotten, savory, scented, sharp, sour spicy, spoiled, stagnant, stench, sweet, tempting, flowery, floral, powdery, gourmand, chypre, warm,heavy, light, oriental, aquatic, citrus, fresh, fruity, subtle, versatile, intoxicating,sensual, elegant, dark, exotic, honeyed, luscious, seductive, green, sophisticated,earthy, incense, burnt vanilla, animalic, unisex, masculine, feminine, spicy,herbal, aromatic, clean, dirty, old-fashioned, modern, watery, soft, creamy, loud, minty, metallic, synthetic, natural-smelling, unique, harsh, sharp, smooth, Acrid - pungent, bitter, food can acquire thisqualitywhencookedoverawoodfire.A m b r o s i a l - d i v i n e , s w e e t s m e l l i n g , f r a g r a n t , a r o m a t i c .Anosmic - odourless, no smell at all.Aromatic - perfumed, fragrant, scented, sweet smelling, pungent, usually pleasing - it is not odourless and unscented.Balmy - having the pleasing fragrance of aromatic balm, mild, pleasant, gentle, soft and not pungent at all.Corky - smelling like cork.Comforting - pleasant aroma.Delicate - subtle, faint, fine, elusive,tantalizing - never overpowering.Fetid - rotten, putrid, foul, rank, squalid, fusty,stinking, smelly, the mouldy, decaying smell of decomposing food - it does not smell fresh.Foul - unclean, dirty, stinking, rank, tainted, soiled, fetid, polluted - it does not smell clean and fresh.Fragrant or perfumed are similar - you
could say instead aromatic, scented, sweet smelling, sweet scented, odorous - the opposite of smelly and not odourless.Fresh - the aroma is clean, clear, cool, refreshing, sweet and new, crisp as newly picked fruit or vegetables, warm as newly baked bread hot from the oven, - the smell does not feel insalubrious, mouldy, stale or worse. Fulsomgenerous toexcess,excessive,over the board - not mild and bland. Gamy-having the distinctive fragrance of game, either the tangy smell that reminds of grass, forest and wild aromatic herbs in fresh game, or the rich, weet, slightly rank and stale smell in “ripe” game as it is usually held` until it is slightly decomposed.Heady - strongly aromatic, pungent, rich, intoxicating,spicy,piquant-notamildsmell.Malodorous - scented, aromatic, redolent, fragrant, stinking.Muscadine - something with the
olfactory language
1700s
Carl von linne known as linnaeus. Linnaeus’s Classification (1707 - 1778):
FragrantSpicymuskygarlickygoatyFoulNauseating
1800s
Class Typical Odor Odors in Same Class
Rose Rose Geranium, sweetbriar, rosewood
Jasmine Jasmine Lilly-of-the-valley
Orange flower
Orange flower
Acacia, syringa, orange leaves
Violet Violet Orris-root, cassia, mignonette
Balsamic Vanilla Benzoin, storax, tonka bean, heliotrope, balsams of Peru
and Tolu
Spice Cinnamon Cassia, nutmeg, mace, pig-mento
Clove Clove Carnation, clove pink
Camphor Camphor Patchouli, rosemary
Sandal Sandalwood Vetivert, cedarwood
Citrine Lemon Bergamot, orange
Lavender Lavender Spike lavender, thyme, mar-joram
Mint Peppermint Spearmint, balm, rue, sage
Aniseed Aniseed Caraway, dill, coriander, fennel
Almond Bitter almonds Laurel, peach kernels, mirabane
Musk Musk Civet
Ambergris Ambergris Oakmoss
Fruit Pear Apple, pineapple, Quince
E. Rimmel’s Classification (1865):
a music-inspired taxonomy of scent offered by english chemist and perfumer george William Septimus Piesse in his seminal book the art of Perfumery (1857).
Flowers:Indoloid groupAminoid groupHeavy groupAromatic groupViolet groupRose groupLemon groupFruit-scented groupAnimal-scented groupHoney group
Leaves:Turpentine groupCamphor groupMint groupSulphur group
Woods:Aromatic groupTurpentine group
CountKernervonMarilaun’sClassificationofFlower Perfumes (1893):
Class Sub-divisions
Ethereal Fruits, beeswax, ethers
Aromatic Camphor, coves, lavender, lemon,
bitter almonds
Balsamic or Fragrant Flowers, violet, vanilla and coumarin
Ambrosial Amber, musk
Alliaceous Sulfuretted hydrogen, arsine, chlorine
Empyreumatic Roast Coffee, benzene
Caprylic Cheese, rancid fat
Repulsive Deadly nightshade, Bedbug
Nauseating or foetid Carrion, feces
2000s
michael edwards’s Fragrance Wheel (2011)
1900s
H. Henning’s Classification (1915):
1. Spicy, e.g. cloves, fennel, anise.2. Flowery, e.g. heliotrope, coumarin, geranium.3. Fruity, e.g. oil of orange, oil of bergamot, citronellal.4. resinous of balsamic, e.g. turpentine, eucalyptus oil,
Canada balsam.5. Burnt, e.g. pyridine, tar.6. Foul, e.g. sulfuretted hydrogen, carbon bisulfide.
R. C. Erb’s Classification (1927):
infra-odors which by their strength and pungency produce distracting sensations (probably common chemical reactions).
Fragrant odors.empyreumatic odors.Caprylic odors.acid or sour odors.Ultra-odors, feeble non-registering smells.
Hans Henning's Odor Prism (1915–1916):
A. Heynix’s Spectral Arrangement (1917):
acridrottenFoetidBurningSpicyVanillaetherealgarlicky
Paul Jellinek's classificatory system (1951):
J. E. Amoore’s Primary Odors (1952 - 1965): Seven odor receptor sites, therefore seven basic or primary-type smells:
CamphoraceousmuskyFloral PeppermintetherealPungentPutrid
1. Fragrant2. Sweaty3. Almond-like4. Burnt-smoky5. Herbal-green, cut
grass, etc.6. Etherish, anaesthetic7. Sour, acrid, vinegar,
etc8. Blood-like, raw
meat9. Dry, powdery10. Ammonia-like11. Disinfectant,
carbolic12. Oily, fatty13. Like mothballs14. Like solvents,
gasoline15. Cooked vegetables16. Sweet17. Fishy18. Spicy19. Paint-like
20. Rancid21. Minty, 22. Peppermint23. Sulfidic24. Aromatic25. Meaty (cooked)26. Sickening27. Musty, earthy,
moldy28. Sharp, pungent, acid29. Camphor-like30. Light31. Heavy32. Cool, cooling33. Warm34. Metallic35. Fruit (citrus)36. Fruity (others)37. Putrid, foul, de-
cayed38. Woody, resinous39. Musk-like40. Soapy41. Garlic, onion
Harper, Bate-Smith, land’s odor Character Descrip-tor (1968): intensity expressed on a scale of 0 - 5:
e. C. Crocker and l. F. Henderson’s arrangement (1972):
Rose odor: 6423:Fragrant: Stimulated to a degree of 6acid: Stimulated to a degree of 4Burnt: Stimulated to a degree of 2Caprylic: Stimulated to a degree of 3
Michael Edwards’s Fragrance Wheel (1983)
Odor Classifications & Theories
LavenderBergamotRosemaryRosewood
GeraniumJasmine
Rose
Tonka bean
Opopanax
Jicky by: Aime Guerlain
BergamotNeroli
Ylang-YlangPeach
CarnationOrange Blossom
VioletJasmine
Rose
VanillaCoumarin
Sandalwood
by: Francois Coty Shalimar by: Jacques Guerlain
Bergamot
RoseJasmine
OpopanaxVanilla
IrisTonka
LavenderBergamotRosemaryRosewood
GeraniumJasmine
Rose
Tonka bean
Opopanax
Channel N 5 by: Ernest Beaux
JasmineYlang-Ylang
May Rose
Violet LeavesMousse de Saxe
Lily of the Valley
SandalwoodVetiver
Nuit De Noel by: Ernest Daltroff
AldehydesBergamot
Neroli
Ylang-YlangRose, IrisJasmine
Coriander, Clove buds
Geranium, TuberoseLily of the Valley
PatchouliVetiver
Arpege by: Paul Vacher and Andre Fraysse
Bulgarian Rose
TuberoseYlang-Ylang
JasmineMay Rose
Jasmine
Joy by: Henri Almeras
BergamotOrange
BlossomBasil
CarnationOriental
RoseJasmineClover
Patchouli
Tabu by: Jean Carles
JasmineOrange
BlossomAldehydes
Ylang-Ylang
NarcissusJonquil
VioletSandalwood
Je Reviens by: Maurice Blanchet
BergamotSpicePeacePrune
Bulgarian Rose
ImmortelleJasmineYlang-Ylang
AmbergrisMusk
Femme by: Edmond Roudnitska
GardeniaGalbanumClary SageAldehydes
Jasmine, Rose, Neroli, Narcissus,
Iris, Carnation,Lily of the Valley
Patchouli, cistus labdanum, Oak-moss, Ambergris
Sandalwood,
Miss Dior by: Jean Carles & Paul Vacher
BergamotCarnation
Spicy Rose
GardeniaJasmine
Rose
MuskIris
Sandal-wood
L’Air du Temps by: Francis Fabron
Lily of the Valley
Ylang-YlangRosewood
Lily of the Valley
AmaryllisBoronia
JasmineSandalwood
Diorissimo by: Edmond Roudnitska
GalbanumYlang-Ylang
Bulgarian Rose, Clove
Jasmine, Tuberose
Iris, Spices
Ambergris, Balsam
Musk, Patchouli
Fidji by: Josephine Catapano
BergamotAldehydes
Rose, Lily of the
ValleyJasmine,
Geranium, Ylang-Ylang
Vetiver, Oak-moss
Sandalwood, Cedar
Calandre by: Michel Hy
HyacinthGalbanum
Ylang-YlangRose
JasmineBlackcurrant Buds
VanillaWoods
Chamade by: Jean-Paul Guerlain
NeroliGalbanum
IrisMay RoseNarcissus
Ylang-Ylang
Jasmine
OakmossCedar
Channel N 19 by: Henri Robert
LemonBasil
HoneysuckleJasminePeach
VetiverOakmoss
Diorella by: Edmond Roudnitska
BergamotBlackcurrant Buds
Mandarin
Jasmine, Nar-cissus
Aldehyde, Turkish Rose
Ylang-Ylang, Cloves
SandalwoodVanilla, MuskTonka Bean
First by: Jean-Claude Ellena
Aldehydes, Tangerine, Plum,
Pepper, Coriander, Lemon,
Bergamot
Clove Buds, Jasmine, Cinnamon, Rose, lily of the Valley,
Ylang-Ylang, Peach, Myrrh
Benzoin, Vanilla, Patchouli, Opopanax, Cedar, Sandalwood, Cistus Labdanum,
Opium by: Jean-Louis Sieuzac
HyacinthOrange Blossom
Tuberose, Jasmine, Honeysuckle, Lily of the Valley, Rose,
Carnation, Ylang-Ylang, Iris
Sandalwood, Cedar, Vetiver,
Amber, Incense,
Anais Anais by: Paul Leget, Raymond Chaillan, Robert Gonnon & Roger Pellegrino
GalbanumMandarin
Neroli
Rose DaffodilJasmine
VanillaSandalwood
VetiverMusk
Tonka BeanCivet
Must de Cartier by: Robert Cartier
MimosaGeraniumBergamotMayflowerHawthorn
Juniper
Damascus RoseMay Rose
Violet
SandalwoodIris
Amber
Yves Saint Laurent by: Sophia Grojsman
Jasmine, Peach, Frangipani, Mimosa,
Orange Blossom
Cascarilla, Orange Flowers, Bulgarian Rose, Clove Buds,
Angelica
Labdanum, Sandalwood, Tonka
CoCo Channel by: Jacques Polge
Bergamot, LemonHyacinth,
Ylang-Ylang, Angelica, Clove
May Rose, Jasmine, Lily of the Valley,
Mimosa, Iris, Coriander
Oakmoss, Castoreum, Sandalwood, Vetiver,
Patchouli, Amber,
Paloma Picasso by: Francis Bocris
Mandarin, Ylang-Ylang
Orange Blossom
Jasmine, Tuberose,Rose, Iris
Sandalwood, Patchouli,
Musk,Ambergris,
Civet, Clove, Vanilla, Bay-Rum
Ysatis by: Dominique Roption
Orange Blossom,Honey,
Wild Berries
Cinnamon, Corriander,
Pepper
AmbergrisCistus-Labdanum
Opopanax
Poison by: Edouard Flechier
Cedrat, Cardamom, Aldehydes
Iris, Jasmine, Lily of the Valley,
Tuberose,Turkish Rose
Amber, Heliotrope,
Musk, Patchouli,
Byzance by: Nicolas Mamounas & Alberto Morillas
Bergamot, Blackcurrant Buds,
Green Leaves, Marigold Mandarin
Jasmine, Heliotrope, Mimosa, Tiare, Ylang-Ylang
Tonka Bean, Incense, Iris, Musk, Vanilla,
Sandalwood
LouLou by: Jean Guichard
Bergamot, Cassia-Tree Buds, Green
Basil, Marigold, Orange Blossom
Jasmine, Mimosa, Rose, Violet, Ylang-Ylang
Iris, Sandalwood,
Nina by: Christian Vacchiano
Top Notes
Middle Notes
Base Notes
also known as Head Notes or La Note De Depart
also known as Heart Notes or Body Notes
also known as Bass Notes or Dry-out Notes
FreshCitrusFruityGreen
FloweryAromatic
Spicy
WoodyPungent
CamphorMusk
Evaporization
Time
T h e P e r f u m e r y Tr i a n g l e
Project Type
Project Name
Architect/Artist
Photographs
Art Installation
Exhibition
Cultural
Seed Pavilion, ShanghaiExpo2010
Heatherwick Studio
Ernesto Neto
Noxlars spuybroek
Noxlars spuybroek
L’osmotheque
Haus Der Musik
Svalbard global seed vault
H2o Pavilion
Interactive Art
Dominique Ghiggi,zavana, 2004
zurich’s Kloten Airport
Landscape Architecture
David SweeneyIndustrial Design
Quale
Joe & Joey
architectural Precedents
Arrival/ Entry Top Notes Pavilion Middle Notes Pavilion Base Notes Pavilion Art + Science of Perfumery Perfume Vault
ParkingSemi-Public Gathering AreaTicketOfficeCloakroomPrivate Gathering AreaCafeLockersOfficeConference RoomLandscape MaintenanceStorage
Top Notes PavilionPerfume Garden
Middle Notes PavilionPerfume Garden
Base Notes PavilionPerfume Garden
Perfume Studio
Program
Spatial Qualities
Transparentopen
Fragmented SpaceA Transition Between Light and Dark
MovementsMysterious
ContemplationPaused
Technical Requirements
Landscaping Design & Maintenance
Temperature, Air, & Lighting ControlledScents Dispensing System
Temperature, Air, & Lighting ControlledScents Dispensing System
Temperature, Air, & Lighting ControlledScents Dispensing System
Perfume StudioMaterials Storage
Well Ventilated, Temperature Controlled
Temperature, Air, & Lighting ControlledScents Dispensing System
Notes Classification
N/A Fresh, Fruity, Citrus, Green
Flowery, Aromatic Musk, Woody, Amber, Pungent,
Perfume Vault
organized by odor Classes
Temperature at 53.6 Degree F.No Direct Sunlight
ReceptionExhibitionGalleryPerfume ShopOfficeConference RoomClassroomMaterials & Literature LibraryGreenhouse open Space
open, Well Ventilated,Temperature Controlled
Temperature, Air, & Lighting ControlledScents Dispensing System
N/A N/A N/A
Program development
FRAGRANCE NoTES
PERFUMER’S INTERPRETATIoNS RESEARCHER’S INTERPRETATIoNS
ARCHITECTURAL LANGUAGE/DESIGN INTENTIoNS
ARCHITECTURAL PRECEDENTS
THERMAL AND LIGHTING REQUIREMENTS
BUILDING MATERIALS
Top/Head Notes The scents that are perceived immediately on application of a perfume. Top notes consist of small, light molecules that evaporate quickly: they form a person’s
initial impression of a perfume and thus are very important in the selling of a perfume. The scents of this note class are usually described as “fresh,” “assertive” or “sharp.” The compounds that contribute to top notes are strong in scent, very volatile, and evaporate quickly. Citrus and ginger scents are common top notes. Also
called the head notes.
Immediate ImpressionDeteriorate
Volatile = evaporate quicklyCapturing, Seductive
Dissipate
The top notes pavilion will allow the visitors to get an immediateimpressionbyexperiencingaquickwhiffofthe scent of top notes. Before they can even attempt
to verbalize the smell, it will deteriorate and evaporate. They will transition into an intimate zone where they will be captured by the space and allowed them to fullyexperiencethescent.Theywillexitthetopnotespavilion through a cool temperature and dark hallway, as if the odour molecules are dissipating into the air. As theyapproachtheexit,thesightofthemiddlenotes
pavilion emerges in front of their eyes.
Counter Arguments: Should the space be spacious? To heighten the evaporization process of the top notes.
zone 1: warm-hot, humid
70 deg.F. exposedtosunlight
zone 2: warm 60 deg.F.
shaded
zone 3:cool 55 deg.F.
dark
Middle/Heart Notes The scent of a perfume that emerges after the top notes dissipate. The middle note compounds form the
“heart” or main body of a perfume and act to mask the often unpleasant initial impression of base notes, which
become more pleasant with time. Not surprisingly, the scent of middle note compounds is usually more mellow and “rounded.” Scents from this note class
appear anywhere from two minutes to one hour after the application of a perfume. Lavender and rose scents are typical middle notes. Also called the heart notes.
A mysterious journey; searching for the source.
MaskAnticipation
Linger
The middle notes pavilion will create a mysterious journey by masking the source of the scent; enticing the visitors to search for it. The pavilion lingers with aromaticandfloweryscents,whichevokeasenseofanticipation for the visitors and as they move through thespacetheirvisualandolfactoryexperienceswill
changegradually.Afterexitingthemiddlenotespavilion,the path will lead them to the entrance of the base
notes pavilion.
CounterArguments:Shouldtheexperiencebemoreexposed,toprovideanimmediateunderstandingfor
the visitors?
60 deg.F.fresh air, well-ventilated
natural lighting, shaded
Base Notes The scent of a perfume that appears after the departure of the middle notes. The base and middle notes together are the main theme of a perfume. Base notes bring depth and solidity to a perfume. Compoundsofthisclassareoftenthefixativesusedto hold and boost the strength of the lighter top and
middle notes. Consisting of large, heavy molecules that evaporate slowly, compounds of this class of scents are typically rich and “deep” and are usually not perceived until 30 minutes after the application of the perfume
or during the period of perfume dry-down. Some base notescanstillbedetectableinexcessoftwenty-fourhours after application, particularly the animalic notes.
The true esscense of perfume reveals, allow the individual to personalizetheexperienceinan
intimate space.Rich, Depth, Solidity
Drydown = evaporate slowlythe scent and the individual
become one
The base notes pavilion will allow the visitors to contemplateandreflectupontheexperience.The
pavilion creates a dialogue between the interior and exteriorspaces,andprovideamomentwheretheycould pause and adjust themselves.The woody and
musky scents of the base notes are overpowering; the vertical gesture and openness of the space will allow the visitors to slowly reveal the true essence of scent andnotbeoverwhelmed.Whenthevisitorsexitthe
garden and continue with their journey. They will leave with a sense of veritable osmalgia (an acute sense of
loss and yearning).
Counter Arguments: Should the space be compressed toheightenexperienceofthepowerfulscentofthe
base notes?
53.6 deg.F.natural lighting
odorless Veritable osmalgia, an acute feeling of loss, an acute feeling of yearning
A feeling of emptiness and void Thesupportbuildingprovidesfunctionaloffice,laboratory, gallery, classroom, public spaces, etc.
controlled temperature
Chroma
SITE DESIGN CRITERIA WITH SCENTED PLANTSThe air must be fairly still allowing gentle breezes to waft scent to the nose; providing shelter is vital otherwise strongwindswilldispersethesmellsquickly.Onexposedsites, it is best to use evergreen, deciduous trees and shrubs as windbreaks. Hedges acting as internal walls cantrapandreflectsunlight’sheatgivingplantswarmthtorevealtheirscents.Allpleasantlyscentedflowersneed to be within reach of the nose. Pleasantly leaves generally need to be rubbed for the scent to be released; therefore,theyneedtobewithinreachofthefingersandthe feet. Scented plants need to be closer to pathways. Provide seating area will allow scent to linger; the nose is more receptive to a fragrant siege when it is in a relaxedstate.Scentsofflowersandleafareseasonal;theycome and go in tune with the life cycle of the plants and atmospheric conditions; therefore, it is critical to have a goodunderstandingofthefloweringandleafingseason.Different plants should be placed in different zones; massing and layering of individual plants is recommended. As Pallasmaa writes “ What a delight to move from one realmofodortothenext,throughthenarrow
Top Right: conceptual sketchBelow: Site photos: from nature to citya serie of site analysis
opposite page:Top Left: arial planBottom Right: Site Plan
200’
Freem
ont B
ridge
Front Avenue
Project Site
Willamette River
The project site located on 18th and N.W. Front Avenue, in N.W. Industrial area in Portland, oR; the site is currently vacant. To the North of the site istheWillameteRiver,ontheEastisthePacificacondominiums and a series of town homes, to the NEisaheavilyindustrialareaandtotheS.amixedof residential and commercial area. The selected site locatedinanon-contaminatedsitewithproximitytourban and nature conditions. The site is accessible by private, public transportations and by foot. Parking is provided to accommodate individual and group visitors. on this non-contaminated site, it is best suitable for the placement of the smellscape.
005. Modern anosMia of UrBaniTy
n
design Process & design development
The top notes pavilion will allow the visitors to get an immediate impressionbyexperiencingaquick whiff of the scent of top notes. Before they can even attempt to verbalize the smell, it will deteriorate and evaporate. They will transition into an intimate zone where they will be captured by the space and allowedthemtofullyexperiencethescent.Theywillexitthetopnotes pavilion through a cool temperature and dark hallway, as if the odour molecules are dissipating into the air. As they approachtheexit,thesightofthemiddle notes pavilion emerges in front of their eyes.
ToP NoTES PAVILIoN
005. Modern anosMia of UrBaniTy
Above: Path leading towards Top Notes PavilionL-R: The orangery, Top Notes Pavilion transition space, Intimatespace,exitingTopNotesPavilion
opposite Page: Conceptual Sketches, Parti
design Process & design developmentmiDDle NoTES PAVILIoN
The middle notes pavilion will create a mysterious journey by masking the source of the scent; enticing the visitors to search for it. The pavilion lingers witharomaticandfloweryscents, which evoke a sense of anticipation for the visitors and as they move through the space their visual and olfactory experienceswillchangegradually.Afterexitingthemiddle notes pavilion, the path will lead them to the entrance of the base notes pavilion.
005. Modern anosMia of UrBaniTy
First Row: Path leading towards Middle Notes Pavilion, Middle Notes Pavilion EntranceSecond Row: Middle Notes Pavilion view 1, 2, 3ThirdRow:MiddleNotesPavilionExit,Pathleading towards Base Notes Pavilion
opposite Page: Conceptual Sketches, Parti
design Process & design developmentBaSe NoTES PAVILIoN
The base notes pavilion will allow the visitors to contemplate andreflectupontheexperience.The pavilion creates a dialogue between the interior and exteriorspaces,andprovidea moment where they could pause and adjust themselves. The woody and musky scents of the base notes are overpowering; the vertical gesture and openness of the space will allow the visitors to slowly reveal the true essence of scent and not be overwhelmed. When the visitors exitthegardenandcontinuewith their journey. They will leave with a sense of veritable osmalgia (an acute sense of loss and yearning).
005. Modern anosMia of UrBaniTy
Path leading towards Base Notes PavilionBelow L-R: Base Notes Pavilion Entrance, Contemplation, Stairs leading to Balcony, Balcony lookingtowardstheRiver,ExteriorContemplation
opposite Page: Conceptual Sketches, Parti
design Process & design developmentSUPPort BUilDiNg
The support building provides functionaloffice,laboratory,gallery, classroom, public spaces, etc.
005. Modern anosMia of UrBaniTy
L-R: Support Building Entrance, Reception & AtriumSpace,ExhibitionGallery,PerfumeStudio,ExitSupportBuildingonDock,ExitonResidentialPath, Residential Path looking towards Freemont bridge, NW Front Ave. looking EBelow: Public Space on the Dock,
opposite Page: Conceptual Sketch, Parti
SUMMER
Drimys winteri Tiliaxeuchlora Cytisus battandierie
Hemerocallis H. lilioasphodelus
Viola tricolor
H. citrina
Magnoliaxveitchii Lavandula angustifolia Philadelphus coronarius
Rosa rugosa Rosa ‘Albertine Trachelospermum jasminoides
Hosta Phlox Verbena bonariensis
Rosmarinusofficinalis
Hoheria glabrata Robinia pseudoacacia ‘Frisia Genista aetnensis
Lathyrus odoratus Wisteriafloribunda
Jasminumxstephanense Thymus Nicotianaxsanderae
FALL
Magnoliagrandiflora Abeliaxgrandiflora Buddlejaxweyeriana‘Sungold’
osmanthus heterophyllus Coriandrum sativum
Parrotia persica Buddleja davidii osmanthus armatus
Rosa ‘Mermaid’ Passifloracaeurulea
Nerine bowdenii
Lilium speciosum
Romneya coulteri
Arbutus unedo Plumeria rubra Prunus subhirtella‘Autumnalis Rosea’
Choisya ternate Elaeagnusxebbingei
Lonicera japonica Scabiosa atropurpurea
Myrtus communis
Achilleafilipendulina
WINTER
Cyclamen coum EranthisPrunus mume
Amomyrtus luma Cornus mas Coronilla valentina subsp. Glauca
Hamamelisxintermedia Loniceraxpurpusii
Sarcococca hookeriana Crocus chrysanthus Group
Mahoniaxmedia
Abeliophyllum distichum
Azara microphylla Eucalyptus perriniana Daphne sericea
Ericaxdarleyensis Skimmia japonica
Edgeworthia chrysantha Narcissus papyraceus
Chimonanthuspreaecox
Galanthus nivalis
SPRING
Laburnumxwatereri‘Vossii’ Magnolia kobus Magnoliaxsoulangeana
Corylopsis vv, Cytisusxkewensis
Freesia Citrus lemon
Gardenia augusta
Cytisusmultiflorus
Lily of the Valley Syringa oblata Osmanthusxburkwoodii
Hyachinthus orientalis Narcissus Wisteria
Myosotis sylvatica Hoya carnosa Tulipa
Acacia longifolia Daphne mezereum Euphorbia mellifera
Hyachinthus orientalis Clematis armandii
Loniceraxemericana Murraya paniculata Stephanotisfloribunda
Akebia quinata
Top Notes zone
Middle Notes zone
Base Notes zone
Top Notes zone
Middle Notes zone
Base Notes zone
THE SMELLSCAPE: THE ARoMAS oF TIME
SUMMER FALL WINTERSPRING
This thesis proposes an architecture that will change human perceptual horizons using the sense of smell as the dominant sense by unveiling the invisible characteristics of smells beyond their cultural baggage through a journey that will enable them to be temporarily suspended in time and be captured by the redolence world of smell.
To test this proposal, I propose to design architectural spacesthatallowthespectatorstoexperiencethesmellscape and engage with the site, sited in a non-contaminated of the Northwest Industrial area along the Willamette river, a site that is overlapped by the nature
and urban conditions, using smell as a medium for creating architectural form, space, and materials that would cultivate and stimulate people’s olfaction. The speculators will be constantlychallengedbytheexposureandrepressionoftheir sense of smell, which evoke an acute sense of loss, an acute sense of yearning and a veritable osmalgia. oliver Sacksaneurologistphysiciandefinedveritableosmalgiaas “a desire to remember the smell-world to which they had paid no conscious attention, but which, they now felt, had formed the very ground base of life.” These strategies consist of:
1. Investigate how smell can be a medium for architectural designs and orchestrating space.
2.Investigatehowsmellcanbeclassified,verbalized,exhibitedandexperienced.
3. Investigate how human perceptual horizons can be modifiedifsmellwasthedominantsense
First Row, L-R: View from Parking Lot, View from NW Front Ave., Semi-Public Gathering Space, PrivateGatheringSpace,LockersHallway,ExitSupport Building looking towards the Garden, Path leading to Top Notes Pavilion
Second Row, L-R: Path leading towards Top Notes Pavilion, The orangery, Top Notes Pavilion transitionspace,Intimatespace,exitingTopNotes Pavilion, Path leading towards Middle Notes Pavilion, Middle Notes Pavilion Entrance, Middle Notes Pavilion view 1, 2, 3,
Third Row, L-R: Middle Notes Pavilion view 3,MiddleNotesPavilionExit,Pathleadingtowards Base Notes Pavilion, Base Notes Pavilion Entrance, Contemplation, Stairs leading to Balcony, Balcony looking towards the River, PondlookingtowardsGreenwall,ExteriorContemplation, Public Space on the Dock
Fourth Row, L-R: Public Space on the Dock, Support Building Entrance, Reception & Atrium Space,ExhibitionGallery,PerfumeStudio,ExitSupportBuildingonDock,ExitonResidentialPath, Residential Path looking towards Freemont bridge, NW Front Ave. looking E
A WALKTHRoUGH oF THE SMELLSCAPE