Midterm Learning Portfolio

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A R C H I T E C T U R E

MIDTERMPORTFOLIONICOLE H.Y. NGUYEN

DESIGNSTUDIO II

SPRING 2013

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IN REFERENCE TO DESIGN STUDIO IA PIECE OF SF ARCHITECTURE (DE YOUNG FINE ARTS MUSEUMS OF SAN FRANCISCO)

A HIKERS’ BRIDGE PROGRAM IN RELATION TO •THE HUMAN CONDITION •TECHNOLOGY •MAKING OF PLACE

1ST CONCEPTUAL MODEL

FRAMING CONVERSATIONABSTRACT MODEL

POTENTIAL DIRECTION WITH RESPONDING MODEL

RELEVANT QUESTIONS + MODEL (ITERATIVE)RELEVANT QUESTIONS(REFINED) + MODEL ITERATION

MODEL SNAPSHOTMODEL ITERATION

BIGGER SCALE MODEL ITERATION

VISUAL INSPIRATION + MODEL ITERATION

RESEARCHCASE STUDY

MODEL: SITE & NON-SITE BASE + SECTION STUDY: STRATEGYMODEL: ALTERED SITE BASE + SECTION STUDY: CHARCOAL MEDIA

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32-34 Pg. 35-36 Pg. 37-39 Pg. 40-43

TABLE OFCONTENTS

1. What were the essences of studio-1, what you have after you started?

2. What did you expect to get but didn’t get in studio-1?

Commute and expectation for design studio-II

3. How long is your commute to school?

4. Do you use private or public transportation?

5. What is it that you presently want to take away from studio-2?

A. The iterative design process in studio-1 slowly but surely, made me feel more comfortable and knowledgeable with my own design, optimistically discovering and crafting toward my own signature style.B. Studio-1 encouraged me to think outside -the-box, leading me to experiment, discover, and harbor new ideas.C. Studio 1 validated my major of interest and I want to continue studying architectural de-sign, even-though frustrations are bound to happen often as it did in studio-1

A. A reason outside of design left my grade falling short and therefore did not reflect my level of skills in studio-1. Using grade as measurement of mastery in skill is subjective and life is not fair. Fact!B. Thought I would be told how-to-design but it was mainly self taught, learning from others and take notes of instructor’s critique, which is fine by the way.C. I expected substantial progress throughout studio-1 but did not get from the second half of the semester period due to group project. Working with others is great and not so great at the same time, it’s a game of luck, and how often are we lucky? Nonetheless I still learn from it all, good and bad!

The distance between my home and school is 4.5 miles

My scooter and bus travel the same hectic Ocean Avenue route. I will try to avoid traffic and make it to class on time throughout the semester.

A. Learning and nurturing a design signature style of my ownB. Continue to push for higher level of progressC. Success! the kind that I’ll never get tire of producing

DESIGN STUDIO IIN REFERENCE TO

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A PIECE OF SF ARCHITECTUREDE YOUNG MUSEUM

October 15, 2005 | Golden Gate Park, San Francisco, California, USAArchitects: Jacques Herzog, Pierre de Meuron and Fong + Chan

Exterior copper clad, 163,118 sq ft (15,154.2 m2), is expected to oxidize to a distinc-tive greenish tone and texture overtime to echo the nearby eucalyptus trees.

To foster harmony with the surround-ings, shapes were cut into the top re-vealing gardens and courtyards.

The 144 ft. (44 m) twisting tower ex-tend above treetops creating views of the Park’s Music Concourse, the Golden Gate, and Marin Headlands.

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1.What’s the essence of this project?

2.What are the important constraints of this project?

3.What can I bring to the table?

The essence of this project is to design a bridge to a popular hiking trail, and an overnight facility for hikers. The client is seeking a landmark making design alongside a hiking trail oa-sis for hikers.

I’m not a hiker so this is a challenge for me to design accu-rate accommodations for hikers. The setting for this site is off the grid and it calls for a different approach to accommodate fellow travelers. The different elevations of the two sides of the gorge calls for an irregular bridge design.

My lack of hiking experience allows me to approach this project with freedom from busy influences of repetitive practice(s) of most hiking trails.

THE HUMAN CONDITION TECHNOLOGY AND MAKING OF PLACEA HIKERS’ BRIDGE PROGRAM IN RELATION TO MODEL

CONCEPTUAL

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1.The designated site consists of a steep gorge and so how can I make it

both fun and with significant value on safety for hiker while they cross the bridge?

2.With 50ft. difference between the two sides, how can I make it seems ef-

fortless to reach the other side?3.

What are the ways that I can make the journey on the bridge similar to that of the hiking trail?

or4.

Do I want the setting on the bridge completely detach from the setting of the following hiking trail

5.WhAT Are The ATTrIBuTes of The sITe ThAT I CAn leArn AnD TAke

AWAy froM?6.

how do I exaggerate certain feature(s) of the site/location?7.

Do I make the built bridge and the facility hidden within the site or do I design it to rise above and demand attention?

and8.

Will this affect hiker’s sense of location?9.

What are the needs beyond the client’s list of demands?10.

how can I make hiker’s experience of the bridge and the facility a lasting impression?

fRAMING CONVERSATION MODELQUESTIONS OF THE ISSUE ABSTRACT

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To address the framing of conversation, this project is about designing a bridge and an overnight facility for hikers in the red rock similar to the American Southwest. Because hikers are the operators of these two structures I want to understand the context1 and content2 of hiking with the nature of the site3.

Aren’t hikers…?•Travelers/Journeyman

•Treasure hunter (metaphorically)•Walking towards a goal/to the end trail (literally and figuratively)

Don’t hikers…?•Walk in nature & be in the moment

•Climb on trail•Trekking up to climatic effect/gaining perspectives and views (literally

and figuratively)•By choice, make conversation with fellow hikers or not•Seek isolation/solitude, a contemplative frame of mind

What is the nature of crossing and bridging?

site:Red rock – warm days & cool nights like the American Southwest

POTENTIAL DIRECTION MODELRELEVANT QUESTIONS TO RESPONDING

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MODELRESPONDING

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MODELRESPONDING

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QUESTIONSRELEVANT MODEL

ITERATIVE

1.What is the nature of hiking?

“hiking is an outdoor activity which consists of walking in natural environments, often in mountainous or other

scenic terrain.” -Wikipedia, the free encyclopedia.

2.What does it mean to cross/bridge?

Bridging is a process of stepping into and walking on a path that leads to the other side.

3.What is the nature of the site?

The red rock provides warm days and cool nights like the American Southwest and its geological flat rocky repre-

sentation with The Gorge cutting through.

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MODELITERATIVE

What is the nature of the site?The red rock provides warm days and cool nights like the American Southwest and its geo-

logical flat rocky representation with The Gorge cutting through.

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QUESTIONS [refined]releVAnT MoDel

ITerATIVe

1.What is the nature of hiking in relation to

the human condition?

2.What does it mean to cross/bridge in ref-

erence with technology?

3.What is the nature of the site and its influ-

ence in making of place?

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MODELITERATIVE MoDel

ITerATIVe

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sNAPSHOTMODEL MoDel

ITerATIVe

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MODELITERATIVE MODEL

ITERATIVE

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MODEL [bigger scale]ITerATIVeMODEL [bigger scale]

ITerATIVe

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InsPIrATIonVIsuAl MoDel

ITerATIVe

• Cranes play a vital part in the construction industry and in manufacturing heavy equipment.

• Cranes can be fixed to the ground or mounted on a specific-built vehicle.

• Operation of cranes are done by infrared, radio control or by a push button pendant control station by an operator in a traveling cab with the crane.

• Cab operator of cranes communicates with workers on the ground through a system of standardised hand-signals.

• Using an effective series of signals, an experienced crane operator can position large installations with great precision.

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reseArCh CRANE [machine]In late 6th century BC the Ancient Greeks invented the crane for hoist-ing hefty loads, the Romans took the idea and broaden it further.

Cranes typically execute vertical transport more

safely and economically than by customary methods.

“Cranes illustrate the use of one or more sim-ple machines to create mechanical advantage.”

1.Cranes, like all machines, obey the principle of conservation of energy.

2.Energy delivered to load cannot exceed energy put into machine

3.A pulley system times the applied force by 10, the load moves only 1/10 as far as the applied force.

4.Since energy is proportional to force multiplied by distance, the output energy is kept roughly equal to the input energy (in

practice slightly less, because some energy is lost to friction and other inefficiencies).

5.The sum of all moments about any point such as the base of the crane must equate to zero. In practice, the rated load; the magnitude of load that is permitted to be lifted is some value less than the load that will cause the crane to tip (providing

a safety margin).

-Courtesy of Wikipedia, the free encyclopedia

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TyPes GANTRY CRANE

Carry deck crane overhead crane Mobile: Truck-mounted crane Mobile: Developed truck-mounted crane Crawler crane rail crane

floating crane Aerial crane Telescopic crane loader crane Deck crane Level luffing crane

stacker crane hammerhead crane Jib crane Pick and carry crane fixed: Tower crane cabin fixed: Tower crane

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“[P]articularly suited to lifting very heavy objects and huge gantry cranes have been used for shipbuilding where the crane straddles the ship allowing massive objects like ships’ engines to be lifted and moved over the ship.” –From Wikipedia, the free encyclopedia

Gantry crane has a hoist in a fixed machinery house or on a trolley that runs horizontally along rails, usually fitted on a single beam (mono-girder) or two beams (twin-girder). The crane frame is sup-

ported on a gantry system with equalized beams and wheels that run on the gantry rail, usually perpendicular to the trolley travel direction. These cranes come in all sizes, and some can move very heavy loads, particularly the extremely large examples used in shipyards or industrial installations. A special version is the container crane (or “Portainer” crane, named by the first manufacturer), designed for loading and un-

loading ship-borne containers at a port. Most container cranes are of this type. –http://en.wikipedia.org/

wiki/Crane_%28machine%29

sidelift crane

CrAne CASE STUDY sCIenCe & TeChnoloGy

1.OPERATOR ROOM2.BOOM3.OUTREACH4.SPAN5.BACKREACH6.MACHINE ROOM7.RAIL8.SPREADER9.CONTAINER SHIP

References:

Commons.wikimedia.org Author: TosakaFigure 2: Skewing Forces by Gjdavis-pe

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MODEL [non-site base]ITerATIVeGANTRY CRANE

CASE STUDY sCIenCe & TeChnoloGy

The world’s strongest gantry craneTaisun (2008)Yantai, China at the Yantai Raffles ShipyardLift 20,000 metric tons

historic Monuments & Archaeological objects under Article 3Samson (1974) and Goliath (1969)Belfast, Northern IrelandHeight of 70 metersSpan 140 metersLift 840 tons

early manufacture1840: Mass production of overhead cranes starts in Germany1861: First steam powered overhead crane, installed by John Rams-bottom at the Crewe Railway workshops. Power was transmitted to the crane from a pulley driven by a stationary engine through an endless cotton rope.1887: Ludwig Stuckenholz company introduces electrical compo-nents to overhead cranes determining industry design.1910: first Mass production Electric motor hoist start being produced in Germany.

References:

Kurrer, Karl-Eugen (2008). The history of the theory of structures: from arch analysis to com-putational mechanics. Berlin: Ernst & Sohn. pp. 411–415. ISBN 3-433-01838-3. www.mhia.org/industrygroups/hmi/technicalpapers

Samson and Goliath are now retained in Belfast as historic monuments under Article 3 of the Historic Monuments and Archaeological Objects (Northern Ireland) Order 1995.

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MODEL [site base]ITERATIVE sTrATeGy

seCTIon sTuDy

LEFT GESTURAL AND SITE MODEL IN CLASS :(WILL UPDATE WHEN SCHOOL IS BACK IN SESSION

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MODEL [altered site base]ITERATIVE

LEFT ALTERED SITE MOCK-UP IN CLASS :(WILL UPDATE WHEN SCHOOL IS BACK IN SESSION

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ChArCoAl MeDIAseCTIon sTuDy

Charcoal-on-NewsprintSite-base drawings with gestural model altering the natural site

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A R C H I T E C T U R E

MIDTERMPORTFOLIONICOLE H.Y. NGUYEN

DESIGNSTUDIO II

SPRING 2013