A202b_Spring 2011 Portfolio

Daniel Nguyen | John Frane

A202bSTUDIOWORK

A01 Material Precedent

This segment focused on deployment of an assigned architectural material cast study. Through the unpacking of a precedent of specific historical significance, we learned to produce a collection of analytical and representative models focused on the tectonic and material implications of design. As a formatted aggregation of diagrams and analytiques, our studio produced a unified body of architec-tural research [2D and 3D] that would document a significant segment of architectural thought.

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MSP Building at Scottish ParliamentEnric Miralles

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Site Plan

Fabrication ProcessSection

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Full AxonometricOffice Detail Axon

Full ElevationFacade Detail Elevation

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Steel Frame EnclosureOak Lattice

Steel Panel Glass Window

SycamoreFrame

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Field Effect

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Weighting of Material

Mockup of contemplation spaces

A02 Assemblies

The second segment engaged the relationship of connections and larger systems of assembly. Given a very specific unit and a limited collection of operations [cutting, drilling, notching] we each developed an individual tectonic. Both the resulting joint conditions molded [full scale to illustrate the detail] as well as the collective effect of the assembly. Assembly drawings focused on the sequence of the system and the collective field effect.

Every student’s design process initiated with the same 2 x 2 x 12” standard douglas fur unit, and the exploration was determined by the techniques and manipulations of the block.

Starting Point

A02 ASSEMBLIES - MATERIAL COMBINATIONDaniel Nguyen | John Frane

Material Operations (1) 2x2x12” standard douglas fur unit

(2) 2 45 degree cuts

(3) 3 cuts

(4) 1 cut

(5) split seperate pieces

A02 ASSEMBLIES - MATERIAL COMBINATIONDaniel Nguyen | John Frane

Aggregated Model

A03 Performative Object

The third segment confused on design through making. Adopting a specific function, the associated rituals and needs will collaborated material to define form. The end result was a full-scale material fabrication.

INTRO The following pages consist of several conceptual model studies performed through experimental tests using a spray foam insulant. Throughout the process, several models were developed that allowed our group to gather a deeper understanding of how spray foam can be manipulated and casted into any desirable form.

Casting BoxSpray foam injected into rectangular box; experiment done to examine the performative qualities of the material; deficiencies in this technique included bubbling at the surface as sacrificing the bottom edge of the material since it was not able to dry entirely in the box. We theorize that the reason the foam was unable to dry successfully was due to the aluminum cover, as well as the use of cooking spray which resulted in the discoloration of the foam.

Methods of Spraying FoamSimilar to the first experiment, this experiment was done in a rectangular box lined with aluminum foil; however, the process varied by laying massings of foam spray in lines andvarious positions. From this study,we learned that without the cooking oil, aluminum allowed for simple tearing from the foam. Also, the foam was able to merge with one another even if the second application was done hours after. The experiment on the left was done in different time intervals, in which the first application was done in blobs. After an hour, the second application was done to fill the gaps of the first application, which proved to be a success as they were able to merge despite the time gap between the applications. Similarly, the experiment in the middle was done as strips, while the one on the far right was done along side one another in chunks rather than strips.

Water ApplicationIn these studies, we experimented with the possibility of using water to cure the foam fast-er. The studies dried quickly, which proved to be a success. In the bottom right, we experimented with apply-ing foam in two chunks first, spraying water, and then applying another layer of foam to see how they would react to one another. The result showed that despite the separate application and spraying water to make it cure faster, they were able to fuse together as one.

Plastic BagsVery few, if any, of the tests we did in plastic bags were sucessful; the spray foam was unable to dry in a closed plastic bag even when there was a bit of air that we left in the bag, and if it did it took much longer than the initial test done in the rectangular box, which was exposed to open air.

FabricOne of the tests was done by filling a bag of cloth with insulation foam. Suprisingly, this was our most suc-cesfull cast done. The formwork was created by folding cloth in half with sewn sides with the top tied and wrapped around with a rubberband. It produced a smootly curved product and made it possible for us to generate whatever form we wanted with the formwork that was sewn.

Manipulating FormworkSimilar to the experimentation with the pinching, except at a larger scale, this formwork was more complex in that we wrapped around the cloth diagonally with wires allowing for creases to form diagonally throughout the structure. In this model, no sewing was done, only folding and knots were involved in the process.

Conforming to the bodyTwo or three tests examined the foam’s reaction to a bodily form and weight at a smaller scale that would give us a better idea of how the spray would react on a larger scale. The purpose was to take advantage of the foam’s characteristics enabling possible manipulation in its form, including to that of the human body.

CoatingWe experimented with coating the foam; however it seemed to make no difference except in color and roughness. On the side that we sprayed the glaze, the foam seemed to feel rougher than normal. Also, the color seemed to turn whiter than the natural cream color. Overall, with this experiment, we con-cluded that coating was not an issue that we should involve ourselves with as it made little difference from the original product.

Design Production

After our small study models, we scaled our experiments into larger sizes to get a sense of how we could work with the material in a much larger scale. We took what we learned from our previous experiments: using fabric as a formwork and the necessity of having the foam be able to breathe so that it could dry in due time.

CoatingDespite its simplicity, this fundamental model gave us an idea of where we should start with our form when ex-perimenting with fabric. This test was successful in that it dried within eight hours and was able to por-tray a perfectly uniformed textured surface.

Balloon and Wire Work After surveying all of the experiments performed, we expanded the scale of our tests and implemented a few of the most successful techniques to construct small mock- ups of the bench, or components of the bench that would be fabricated for the final model. Injecting insulanted foam into small holes cut out of the fabric allowed us to fill the different parts of the sewn cloth, which would generate specific massings depending on where we pinched or tightened the cloth with wire, certain sewing techniques and knots.

StitchingThis cast focused on the idea of stiching in certain areas to allow for seating. We were able to fill the form-work successfully. When it dried, the expansion of the form was exponential to the point where the fabric ripped. The pink one; however, was not as successful in that we worked with the formwork and moved the model around after casting the foam. The corners are not expanded with foam because of the handling we had done to move it around and wrap the wires around.

Final Design PrototypeCompiling everything that we’ve learned, we finalized our design such that it was site specific. We de-cided on this site because of its surrounding that water fountain that would be able to show how our foam bench would be water resistant even if it got wet from the water. The form is dependent on the fountain’s height. We used different types of s-tching to create the different types of seating.

Page Intentionally Left Blank

ConclusionThe insulated foam sealant works very well with the fabric, as long as we are able to do the form-work ahead of time. The process is affect as long as there is minimal physical contact with the form once it is casted to allow for the model to naturally expand and dry on its own. Once the form is manipulated after it is casted, the natu-ral tendencies of the material are not as effective.

A04 Material Systems

The fourth segment engaged the limitations and capabilities within the existing systems of materials. Using concrete masonry as a base framework, the modules, shapes, capabilities and effects of working a system were engaged. A simplified program allowed for the complexity of focus to be on the material application.

PERFORATEverb |ˈpərfəˌrāt| [ trans. ]pierce and make a hole or holes in

ELEVATION Scale: 1/4” = 1’

FIELD EFFECT

SECTION Scale: 1/4” = 1’

Light Projected into SpacesInspiration4 x 8 x 16 Plain CMU Block

Initially, several implementations of the CMU block were examined by our group in order to determine the most versatile unit that could be used in limitless situations and therefore be the most economically feasible unit to use

PRECEDENTS // LIGHT STUDIESAlex Dimento | Spencer Mischka | Daniel Nguyen | Jordan Roberts

DAN FLAVINJAMES TURRELLWORKS / ARTISTS & ARCHITECTS STUDIED

INSTALLATIONS / ARCHITECTURE

LUIS BARRAGAN HOLY ROSARY CHURCH COMPLEX

TADAO ANDO SJAKKET YOUTH CLUB

Our group quickly grasped a strong interest in manipulating light, and that became an aspiration in our design as well during the process of the two weeks. A couple of precedents were examined early on to understand how previous architects had intentionally controlled light to produce atmospheric experiences

A simple shifting technique determined our design and it would ultimately become the deciding factor in how the wall would react to the site and how it consumed light.

Unit

UNIT TYPE / ORGANIZATION

JOHN FRANEALEX DIMENTOSPENCER MISCHKADANIEL NGUYENJORDAN ROBERTS

CONDITION ACONDITION B

Site Plan

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A05 Material Architecture

The fifth and final segment integrates process, material and program in a specifically sited context. The program required an integration of previous projects as well as site and material to develop a clear concept of design through making. Resolving all the complexities of structure, materials, program, site and experience all organized with a clarity and cohesiveness, the scheme required total aggregation of tectonics, history, and representation through design. The final segment of the studio investigated the influence of material on a fixed program. The design emerged from materiality and the application of construction to use: material logic.

Line / Folding This logic would propose a system in which the simple shifting and redirection of glass planes would diffuse light

One of the intial excercisesfor the final project was to choose one of the three logics: casting, unit, or line, and devleop the design further from those initial decisions

Casting / Push & Pull Pushing and pulling in key points in the wall would allow for shaded caverns or various other programmatic elements in the project

LINE / FOLDING

A05. MATERIAL APPLICATION | DANIEL NGUYEN | JOHN FRANE

CURVED / RIBBONED CONCRETE

STACKED CONCRETE CUBES SEVERED SPHERES

LINE / FOLDING




LINE / FOLDING




Unit This process would allow the aggregation of a similar unit to adapt and provide spaces and voids for program as well as structure by removing and adding cube units

A202b. A05. MATERIAL APPLICATION. 03/28/2011

DANIEL NGUYEN | JOHN FRANE

SITE

PRECEDENTS / STUDIES

FABRIC FORMED CONCRETE / CONCRETE IMPREGNATED FABRIC “CONCRETE CLOTH”

WOOD

GLASS / ALUMINUM

PROGRAM REQUIREMENTS / DETAILSLobby with Information / Security Desk 300sf Locker room/bathroom/shower area75 lockers, 8 stalls, 5 showers each. M & F Vending Area/Snack Bar 100sf -Offices 350 sf Storage 100sf Laundry 100sf Olympic Sized Pool 25m x 50m Toddler Pool 10' x10' Shading Seating 300sf Life Guard Station 80 psf Exterior green space / play area 1000sf

Programmatic RequirementsLobbyLocker RoomsRestroomsVending AreaOfficesStorageLaundryOlympic Sized PoolToddler PoolShaded SeatingLife Guard StationExterior Green Space

Site



SITE

PRECEDENTS / STUDIES

FABRIC FORMED CONCRETE / CONCRETE IMPREGNATED FABRIC “CONCRETE CLOTH”

WOOD

GLASS / ALUMINUM

PROGRAM REQUIREMENTS / DETAILSLobby with Information / Security Desk 300sf Locker room/bathroom/shower area75 lockers, 8 stalls, 5 showers each. M & F Vending Area/Snack Bar 100sf -Offices 350 sf Storage 100sf Laundry 100sf Olympic Sized Pool 25m x 50m Toddler Pool 10' x10' Shading Seating 300sf Life Guard Station 80 psf Exterior green space / play area 1000sf

Material Exploration Fabric formed concrete, wooden, aluminum and glass construction meth-ods were all examined to understand which would appropriately construct the design I had in mind

Fabric Formed Concrete

Wood

Aluminum + Glass

Further Exploration

A202b. A05. MATERIAL APPLICATION. 03/30/2011 DANIEL NGUYEN | JOHN FRANE

MATERIAL PRECEDENT STUDIES FABRIC FORMING CONCRETE

Frame Method

Diameter of cavities

DepthofPool

Cavity Size

Kenzo Unno

Quilt Method Bulged Wall Construction

HYBRIDIZATION OF TYPOLOGIES = UNIT + LINE + CASTING

SITE

1/64” = 1’

Kenzo Unno

Frame Method Quilt Method Bulged Wall Construction Method

A202b. A05. MATERIAL APPLICATION. 03/30/2011 DANIEL NGUYEN | JOHN FRANE

MATERIAL PRECEDENT STUDIES FABRIC FORMING CONCRETE

Frame Method

Diameter of cavities

DepthofPool

Cavity Size

Kenzo Unno

Quilt Method Bulged Wall Construction

HYBRIDIZATION OF TYPOLOGIES = UNIT + LINE + CASTING

SITE

1/64” = 1’

Pockets and Spaces The material tectonic intrigued me because it would allow this pulling and pushing of the fabric material that would generate slumps in the concrete in which people visiting the pool could sit inside and relax in right beside the pool as well as create shaded space

Curving and Wrapping There were also proposals of using curved concrete wall to envelope the site and hang it above the pool to provide shape as well as shadow to the spaces below


PRECEDENT PROJECT(S) FELIX CANDEL A “THE SHELL BUILDER”

CORNER CONDITION / ASSEMBLY

MODELING - MATERIAL STUDIES

FORMAL STUDY

Believed structural strength should come from form, not mass


This diagram essentially shows my interest in the ability to curve the fabric formed concrete material and generate movement in the walls that would not only engulf the pool and its additional programmatic ele-ments, but also overhang above the pool project and its contents

I am using Candela’s works as reference and utilizing these wall formations that I’ve mod-eled to generate programmatic spaces as well as craft the enveloping form that will sur-round the pool project

In addition, the curved concrete will be used to form corners and they will be supported by wooden beams during construction and removed once the concrete has entirely cured

The physical models allowed a deeper understanding of how to treat the material and force it to conform to a curved shape in order to obtain the exact form I was trying to achieve

The first model demonstrates how the concrete would react as an overhang;; making the concrete span above the pool and act as a shading element will be a task as well in order to eliminate cracking of any sort at the curve

For the second model, I had interest in reproducing what the pool floor would look like, by generating the depressions and dimples that would show up in the surface of the pool floor

Further Experimentations with FabricThese formworks were made to see how plaster would react to openings in the sewing work, and this would determine if the final design would allow openings for windows or to expose light into spaces


PRECEDENT PROJECT(S) FELIX CANDEL A “THE SHELL BUILDER”

CORNER CONDITION / ASSEMBLY

MODELING - MATERIAL STUDIES

FORMAL STUDY

Believed structural strength should come from form, not mass


This diagram essentially shows my interest in the ability to curve the fabric formed concrete material and generate movement in the walls that would not only engulf the pool and its additional programmatic ele-ments, but also overhang above the pool project and its contents

I am using Candela’s works as reference and utilizing these wall formations that I’ve mod-eled to generate programmatic spaces as well as craft the enveloping form that will sur-round the pool project

In addition, the curved concrete will be used to form corners and they will be supported by wooden beams during construction and removed once the concrete has entirely cured

The physical models allowed a deeper understanding of how to treat the material and force it to conform to a curved shape in order to obtain the exact form I was trying to achieve

The first model demonstrates how the concrete would react as an overhang;; making the concrete span above the pool and act as a shading element will be a task as well in order to eliminate cracking of any sort at the curve

For the second model, I had interest in reproducing what the pool floor would look like, by generating the depressions and dimples that would show up in the surface of the pool floor

Fabric Formed Plaster ModelsModeling the design at a small scale was fairly suc-essful but there was a no-ticeable amount of breaking when attempting to making sharp curves in the form-work

SiteScale: 1 = 500

Fabric conforms to floor

Fabric opens for pourFabric conforms to floor and binds with adjacent wall

Fabric constricted to form window(s)

Fabric sewn with adjacent wall

Fabric opens for pour + fabric is sewn with adjacent wall

Fabric constricted to form door(s)

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Wall Depth (ft)Wall Conditions

Interior ElevationsScale: 1/8" = 1'

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Rippling / Daniel Nguyen / Frane Studio

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Exterior Wall

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Interior Elevations & Shell Operations

Interior Programmatic Elements

SiteScale: 1 = 500







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Exterior Facade from StreetScale: NTS

Greensace / Dry AreaScale: NTS

Roof PlanScale: 3/32" = 1'




OfficesSnacks

Laundry + Storage

Lifeguard Station

ShadedSeating







The exterior wall was intended be a plain fa-cade, almost like a tabula rasa, whereby en-tering the exterior walls would present the public with the interior, more sophisticated and defined walls that were shaped to ac-comodate programmatic use and conform to the humans’ needs

Final Model

Documents

A202b_Spring 2011 Portfolio