GSD M.Arch I Application Portfolio

CHIEH CHIH CHIANGB.A International Relations | Brown University ‘11

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Random Walk 4

Frames 5

9Access

Second Skin 6

12Supercut

Shelter 7

New York/Paris | Columbia GSAPP | Fall 2013

Career Discovery | Harvard GSD | Summer 2010

Interpolation 16

Re-Mix 20

Contents

Personal | Summer 2013

Informal Athens 1

Travels 3

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Informal AthensPersonal | Summer 2013

January 2013: In preparation for Japonica Partners’ EUR4 billion investment in Greek government bonds, I spent a month In Athens researching public finances. During my spare time, I explored the urban informal economy.

A major drain on tax revenue and GDP, the informal economy is output not accounted by conventional methodologies, the broadest definition of which encompasses the black market, undeclared income, and unreported work.

More robust than the formal economy during recession, Greece’s exceptionally large informal economy is often attributed to onerous tax policies, an entepreneurial culture, and labor market inefficiencies.

Architecturally, it is also both a consequence of and an influence on Athens’ urban design, reflecting the paradoxial juxtaposition of onerous government regulation and unbridled private development. The vernacular archetype, the polykatoikia, mixes private and social space. At the same time, there is a dearth of collective urban space.

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TravelsPersonal | Summer 2013

1/ Museum für Moderne KunstGraphite on paper

2/ St. Paul’s CathedralInk on paper

3/ Galaxy SohoInk on paper

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Random WalkProgram: New York/Paris Fall 2013Critics: Thomas de Monchaux, Sarah Carpenter

The “random walk” is a mathematical model applied to stochastic patterns such as Brownian motion, stock price fluctuations, and even circulation paths.

However, actual circulation is rarely“random” or unpredictable. We choose from a set of rational decisions when confronted with counter-forces: slowing down, changing direction, or surging past.

To truly randomize one’s decisions, I connected two oxford shirts arm-to-arm with safety pins so that the wearer can adjust the extent to which the shirts are bound together.

By generating different amounts of resistance against its wearer’s motion, the prosthetic device causes the body to twist and turn, randomizing one’s reaction to a counter-force.

1/ Circulation pattern after randomization18x24” Graphite on mylar

2/ Body movement under different resistances18x18” Graphite on mylar

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FramesProgram: New York/Paris Fall 2013Critic: Jane Kim

Flatiron is surrounded by urban frames formed by a series of edges each existing on a different plane, such as a wall, the curve of a bus, a lamp post.

The 2D virtual spaces implied by the frames are elongated real spaces in flux when an edge is formed by a moving object.

Using 1/16” and 1/4” basswood sticks to map virtual and real spaces respectively, I constructed the Armature to direct one’s sight to real spaces.

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1/ Virtual and real spaces around Flatiron18x18” Graphite on mylar

2/ Photo-collage of 12 frames around Flatiron

3/ Real space changes due to moving edges18x24” Graphite on mylar 5

Second SkinProgram: New York/Paris Fall 2013Critic: Babak Bryan

Can one space wear another as a second skin?

When wearing a second skin such as an Elmo suit, one’s personal spatial boundaries vary across one’s body. The boundaries of hitherto private regions, such as the groin, now expand and becomes socially acceptable to be touched.

Taking a cue from this variation, I designed the two Changing Rooms’ circulation to wrap around the other’s changing room to create variations in privacy.

1/ Personal spatial boundary variations18x24” Graphite on mylar

2/ Changing Room & Circulation generation9x6” Graphite on mylar

3/ (From Top) Changing Room A, Circulation A, Changing Room B, Circulation B

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ShelterProgram: New York/Paris Fall 2013Critic: Eduardo Rega Calvo

By analyzing different boundary conditions on Bryant Park, I designed a bleacher with a spectrum of sheltered spaces.

The urban rooms of Bryant Park are curated by boundaries of different permanence.

Spaces defined by effervescent (human traces) and changing boundaries (foliage) are used for circulation and quick breaks respectively while permanent boundaries (topography) are used for shelter.

By connecting analogous boundaries on the facade of Center Pompidou to Bryant Park, a structure is generated upon which the Bleacher lies.

1/ Boundary conditions analysis40x40” Graphite on mylar

2/ Tape modules study

Effervescent Boundaries

Changing Boundaries

Permanent Boundaries

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Public Seats Semi-Private Entry Private Cocoon

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Private Cocoons suspended below the Public Seats and Semi-Private Entries form a cloud of activities above Bryant Park. To access the most sheltered spaces, one first ascends the Bleacher’s undulating surface of public spaces before walking deep into the Cocoons.

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AccessProgram: New York/Paris Fall 2013Critic: Eduardo Rega Calvo

In this Final 1 assignment, I sought to investigate how visual and physical accessbilities govern the interaction between Public Circulation, Program, and Site for a Fashion Atelier.

Bisected by the Metropolitan Opera’s Southern wall, the Site is divided into 3 sections between Lincoln Center, Danrosch Park, and the Met Opera.

A parasitic structure embedded in the Met Opera’s Southern wall, the Atelier contains Retail, Fabrication, Office, and Studio spaces, each with its own degree of accessibility to the public.

1/ Visual and physical accessibilities in Lincoln Center18x24” Graphite on mylar

2/ Visual and physical accessibilities in Met Opera6x24” Graphite on mylar

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I first studied Lincoln Center Plaza as well as the Metropolitan Opera, classifying visual and physical accessibilities as follow: See and enter, see but cannot enter, and neither see nor enter.

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3/ Public Circulation + Program (Clockwise)Retail: See and enter.Fabrication: See and enter - but cannot walk in.Office: See but cannot enter.Studio: Cannot see and cannot enter.

4/ Site + Program

5/ Public Circulation + Site

6/ Program + Program

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Public Circulation + SiteThe public weaves in and out of the Atelier and Met Opera through a sequence of views.

Site + ProgramStudio and Fabrication spaces are visible to Opera patrons.

Program + Program Fabrication, the most performative yet least accessible space, lies at the heart of the Atelier.

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Program: New York/Paris Fall 2013Critics: Thomas de Monchaux, Sarah Carpenter

My design condenses the Palais Garnier’s spatial experiences into a supercut trailer located in its facade - a sneak preview of the actual spectacle.

Palais Garnier’s public space is characterized by a gradient of strictly programmed spaces (Social stage, auditorium) and leftover spaces that encourage mixing and circulation.

Inserted into the Grand Foyer and Vestibule, the Atelier interacts with the existing structure to recreate the spatial experience of transitioning between Palais Garnier’s programmed and leftover spaces.

Supercut

1/ Axonometric of Garnier Opera public spaces18x24” Graphite on mylar

2/ Three spatial experiences: Compression/Expansion, Visual Folding, and Regulated/Unregulated circulation.24x24” Graphite on mylar

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3/ Found Object analysis: (Clockwise) Visual Folding, Interstitial, Expansion/Contraction and Regulated/Unregulated circulation.18x24” Graphite on mylar

4/ Found Object transformation: Push/pull, 60 degree rotation, and opacity18x24” Graphite on mylar

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I used a sketch model from Final 1 as a tool to recreate these spatial experiences. Comprising 4 boxes nestled within each other, the Found Object was originally a study of Program + Program relationships.

After breaking the Found Object into its component boxes, I applied 3 operators - push/pull, 60 degree rotation, and opacity - to reconfigure it into a Fashion Atelier within Palais Garnier.

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The final design inserts the Atelier through existing floors and walls to create a public circulation route that winds through the volume of the Grand Foyer and Vestibule.

Programs that depend on others for their raison d’etre - Warehouse, Archive, and Cafe - are housed in the leftover spaces between the Atelier and existing structure.

Core programs - Retail, Fabrication, Office, and Studio - are located within main volumes of the Found Object.

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5/ Three spatial experiences: Compression/Expansion, Visual Folding, and Regulated/Unregulated circulation.24x24” Graphite on mylar

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Core programs Expand while leftover programs Contract. Retail Visually Folds back to look upon the production process at Fabrication and Studio.

Circulation in public programs, such as the Cafe and Retail, is Unregulated while circulation in private programs, such as Studio and Office, is Regulated.

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InterpolationCareer Discovery | Summer 2010Critic: Nathan Fash

In this project for two families, I designed two houses spiralling around each other across a lightwell. The two families are reminded of the presence of the other through interlocking volumes and select sightlines.

The Buffs, a fitness-minded intellectual couple, enjoy a sequence of mostly private spaces housing a gym, pool, and library.

The Yuppies, an artist couple and their two young children, have larger social spaces designed for art collection and video screening.

Together, the two families share the common lightwell and rooftop garden.

2010 2013

My original 2010 design from Career Discovery failed to integrate the two houses sufficiently, leaving them as two stacks of boxes.

Over the next three years, I returned to the project frequently to test new ideas. Finally, in 2013, I attempted to resolved both form and circulation with a new design.

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Buffs

Yuppies

Adjacencies

Collective Space - Mutual sightlines

Social space - Maximal intrusion

Private space - Minimal intrusion

Program

Social spaces: Levels 1 to 3Private spaces: Levels 4 to 5

Tectonics

Massing: Heavier on side of larger neighborOrientation: Views switch between Ware St & parking lot

Buffs: Exercise & Reading spacesYuppies: Art & Video display

Circulation

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I arrayed moments of adjacencies throughout the two houses’ circulation.

The collective space of the lightwell features mutual sightlines on the lower, more social levels.

The social spaces are defined by translucent walls suggesting the other family’s presence.

Private spaces contain more opaque walls between the two families.

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Re-MixCareer Discovery | Summer 2010Critic: Nathan Fash

My design for an Artists Complex seeks to alleviate the unbalanced circulation problem on Boston City Hall Plaza.

Acting as a second topographical layer, the Complex’s Roofscape rises from the Plaza, creating a public space that is simulatenously a stage and also an audience for the Plaza.

Public programs (Exhibition spaces, theater, and studios) are nestled in the interstitial space between the Plaza and Roofscape, while the private apartments are located atop to receive sunlight.

In 2013, I revised my Career Discovery design, starting with an analysis of City and Plaza.

Plaza

Activities Circulation Shelter

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Summer

Autumn

Winter

City

Boston City Hall Plaza lies at the nexus of the city’s major axes:1) Commercial artery (High Spine and Boylston)2) Civic path (Historic Trail and Kennedy Greenway) and 3) Public space (Back Bay Fens to the Boston Common)

Despite its centrality, the Plaza remains isolated from the city.

This is in part due to its two disparate topographies: 1) The physical, fragmented 28’ slope from Cambridge Street to Congress Street and 2) The functional terrain, unevenly concentrated along the Cambridge Street - Fanueil Hall passage, leaving the remaining expanse of the Plaza barren for most seasons.

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2010

Interstitial space between Plaza and Roofscape houses public programs.

Apartments rise above Roofscape for lighting and views.

Roofscape creates new circulation paths below and on it.

Concept sketch: Directing circulation towards the Plaza’s Southern edge.

2013

My original Career Discovery design organized public and private programs along two internal streets, one atop the other. A Garden Annex containing retail and cinema is sunk into the Plaza in order to activate the neglected Northern edge, The main problem with the design was its lack of integration with the Plaza and City Hall - the building was simply too confrontational.

Revising the project in 2013, I first folded the Plaza’s physical fragmented topography based on its usage (Activities, Circulation, and Shelter) to inform the design of the Roofscape.

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Apartments

Roofscape

Museum

Open Gallery

Studios

Concourse

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A B

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Chieh Chih CHIANG#14-04 10 Newton RdSingapore 307947Tel: (65) 840 12360Email: cc3655@columbia.edu 24