CINE-Scape seeks to be a hub of entertainment and a main performing arts attraction for the metropolis of Busan, South Korea. As a response to the Pusan Film Festival in 2005, the objectives included providing striking views of the mountain backdrop and the port, to be a symbolic landmark that hosts globally renowned films and performances, and to reflect the dynamic mood of the maritime culture in the city. The proposal is adjacent to the East China Sea that is part of the largest port in South Korea; this site demands a building that is a provocative form and visible from a distance, while still alluring people to it. It was conceived as a cinematic village with a multitude of performing arts and commerical spaces. There are crucial aspects in theater and cinema design, such as acoustics and attractive lighting, which can be addressed by recreating innovative program spaces and optimizing collaborative design features.
The project addresses these specific requirements through multiple scales of interaction. The orientation and manipulation of the geometry respond to the surrounding buildings and scenery. The iconic shape carves out space and curls up to maximize performance and create intimate spaces within the structure in addition to open-air spaces for public use. The careful articulation of angles and surfaces of the architecture for viewing, gathering, and celebrating create an ideal viewing experience for the visitors and employees.
I am interested in specifying the link between environmental conditions and human behavior. The psychological effects of architecture are proven to have a large impact on a person’s mental and physical state; instead of using this power as a means of profit and manipulation, architecture can provide a service that goes beyond what meets the eye, but stimulate and improve a person’s life. I am seeking to use design to craft spatial experiences using sensual perception and stimulation to engage users and provide them with a higher level of engagement, intellect, and well-being.
The proposal for an experimental pavilion located in Central Park is a machine for learning about human behavior in an ever-changing society. Sensor technology embedded in the surfaces humans come in contact with will detect behavior when posed with zones of intensity, neutral zones and gradients between. The non-invasive technology acts as a survey to provides architects and neuroscientists information about the human psyche, while providing a mutually beneficial feedback to the user as well as areas for public use including lounge, market, and exercise space.
Design in this realm is derived with physiological shifting intentions. From the way one’s heartbeat changes from different rates of inclination, to the perceptual adaptation of crossing a threshold, to the sweat and discomfort from radiant heat and humidity, or the chill from unexpected cool air, design can change people. People are complex and fluctuating, never static or consistent. Design with parameters that condition the way we perceive, interact, and change from our environments is achievable.
This project began by analyzing the Curutchet House by Le Corbusier. The mixed residential and commercial building in La Plata, Argentina is not one of his most recognized works, yet it epitomizes many of his ideals. Corbusier takes visitors on a processional ride with large entrance ramps that separate the programmatic spaces as well as enhance the perspective views throughout the house. With my analysis of the way Le Corbusier designed the Curutchet House, I extended the same logics in my proposal for an apartment complex for travelling scholars. I used a structural system of columns that act as as vectors; they interfere with the interior of the units directing the inhabitant in certain trajectories and heightening the sense of perspective throughout the complex.
In my analysis of the Curuchet House, I focused on the perspectival views that Corbusier sets up for the viewer. Since it is a multi-purpose building, there is a difference in the way an inhabitant would use the space, versus how a patient would use the space. I interpreted the shifting angles and use of ramps as creating a sense of forced perspective. I chose to develop this in my own proposal. I used structual columns that shift and create a vector field in plan, and create a sense of forced perspective and procession for the viewer.
The columns allow the structure to optimize the amount of glazing for natural lighting and views out to the river. There is translucent glass where more privacy is needed. The columns also are deeply embedded in the units themselves, acting as drivers for program and spacial division inside. Sometimes they are part of the wall and sometimes they protrude out to direct the inhabitant or allow for more privacy.
One of the artifacts once crafted by the Shakers is the grass seed harvester. The relationship of this tool with a field of grass is a very intricate extracting process, which related to the intricacy and rigor of their lifestyle. I explored the field condition and how accumulation and bundling can create unique patterns and trajectories in the same way which the grass seed harvester performs in a field of grass. The performances I analyzed from the harvester translated into the architectural qualities I used to develop in my proposal for a museum that would house the Shaker artifacts and gift drawings such as the grass seed harvester itself. I wanted to relate the structure and landscape to the field condition in a naturally integrated way.
My analysis of the grass seed harvester investigates the connection between the tool and a human, acting as an extension of the human arm. I also investigated the craft of the tool itself, the pretensioned metal stiffens the tool to optimize the amount of grass seeds it can scoop up at a time. I also analyzed the intricate relationship the harvester has to a field of grass. It creates an accumulation of grass seeds by bundling the grass between the metal teeth of the tool and leaving the field of grass in tact. I then took these concepts and applied them to my museum proposal. My museum incorporates the idea of the field condition, and I created bundles in the field for variation and light openings. The museum emulates the nature around it, as an extension of the landscape in its architecture.
The concept for this project was to create a component that can respond to multiple environmental conditions and construct a working prototype for it. The tube loop components we chose vary in density depending on the given environmental condition needed. Our prototype is an interactive panel using Arduino technology which uses a capacitive sensor to sense when human interaction occurs. In our prototype we chose to use LED lights which turn from blue to red to show the energy exchange that occurs when it senses human interaction. We then applied our component to a full scale proposal for an outdoor space using the same concept. Our structural fabric allows the users in the space to interact with the skin above in regards to shading and thermal comfort.