JEREMY

NGUYEN
ARCHITECTURE
DESIGN PORTFOLIO
2018
FOREWORD

04 — 09 ART MUSEUM
As an aspiring designer, I am constantly questioning both MUSEUM OF THE FUTURE
how to develop my architectural skills further and how MASTERS UCLA M. Arch II
can I use my architectural knowledge to make an impact. SPRING 2018
To best equip myself to be a difference-maker, I search to
strengthen my ability to communicate graphically through
10 — 13 TRANSPORT HUB KOREATOWN METRO STATION
MASTERS UCLA M. Arch II
SUMMER 2017
analog and computational methods, while integrating
sustainable design practices and technologies into my
design process. After five years of architectural school
14 — 17 SCHOOL OF EARTH THESIS: PERMACULTURAL SCHOOL
5TH YEAR Cal Poly: SLO B. Arch
2017 - 2018
at California Polytechnic University of San Luis Obispo, I
believe I have gained a strong foundation in the pragmatic
and structural understanding of construction and design.
18 — 23 IRIDESCENCE BUTTERFLY RESEARCH CENTER
3RD YEAR Cal Poly: SLO B. Arch
WINTER / SPRING 2015
However, I had a desire to build further on my experiences
and knowledge in order for me to reach the next level in
my architectural skills. To take advantage and broaden
24 — 26 APERTURE DIGITAL MEDIA INCUBATOR
3RD YEAR Cal Poly: SLO B. Arch
FALL 2014
my understanding of the innovative resources available to
architects, I pursued a M. ARCH at UCLA, with the access 27 — 29 TIMELESS SWITZERLAND STUDY ABROAD
4TH YEAR Cal Poly: SLO B. Arch

DESIGN
to new technologies such as robotics, VR/AR, animation, SUMMER 2015
and projection mapping along with the guidance and ways
to integrate these tools into my own design methodology.
30 — 33 EXPERIENCE PROFESSION STUDIO + CO-OP
4TH YEAR Cal Poly: SLO B. Arch
SEPT 2015 - JUNE 2016

34 — 35 SPATIAL PROFILE VIRTUAL DESIGN

MASTERS UCLA M. Arch II
FALL 2017

36 — 37 CARBON FIBER
NAME Jeremy Minh An Nguyen 2.5D SURFACE TO VOLUME

FABRICATION
ADDRESS 789 Kyle Street MASTERS UCLA M. Arch II
San Jose, CA 95127 WINTER 2018
EMAIL jeremy@visson.com
WEBSITE
PHONE
www.jeremy8085.wixsite.com/design
408.242.5922
38 — 41 COBOGO ADAPTIVE MASONRY UNITS
5th YEAR Cal Poly: SLO B. Arch
2017 - 2018

MUSEUM OF THE FUTURE
Hammer Art Museum
MODERN ART MUSEUM + MEDIATHEQUE
+ DIGITAL / VIRTUAL EXPERIENCE
Yibing Wu / Hengzhi Ye
Professor: Guvenc Ozel
10899 Wilshire Boulevard, Los Angeles
Spring 2018
ANIMATIONS + WEBSITE: www.jeremy8085.
wixsite.com/design/museum-of-the-future
1 LO BBY 2 THEATER 3 A R CHI V E
4 O FFI CE 5 MEDI ATHEQ U E & 6 MEDI ATHEQ U E &
GA LLERY GA LLERY
Where contemporary museums struggle to archive and store many of their physical collections, a solution where
the building becomes vessel for direct dialogue and relationship with the contents of their interiors. Through
the use of contemporary digital technologies such as AR/VR, the public can engage with the vast collection of
artwork, objects, and reveal relevant connections between items of different collections; the curator to design
processes of access rather than set exhibits with particular time-lines. Visitors filter and access certain parts of
collections independently, allowing the museum building to act as an interface to access physical and digital works
7 M EDI ATHEQ U E & 8 MEDI ATHEQ U E & 9 FO R MA L MA S S I NG
GA LLERY GA LLERY
/ representations of art. The building’s formal development revolved around the study of the intersection between
presence and absence, exploring the relationship between solids and voids using different computational methods.
The mediatheque becomes the programmatic solution that links the public to the digital archive through immersive
and interactive experiences, while is formed spatially from the intersection of galleries.
CONCE PT MATRIX VALUED CONTEXT

Resolution of articulation to final form

INTERACTIVE MEDIATHEQUE IMMERSIVE MEDIATHEQUE LOBBY ATRIUM

Au g mented reality g lasses g ive viewers a n ima ge of
the w hole orig inal over a f rag ment of the a r tifa ct
CIRC UL AT ION
Vi r tu al real i ty tools a llow viewe rs to a cces s digit a l Pro j ec ti o n tec h n o l o gy dis plays a r tifa ct s from va r ious
re pres e nt ations of ite ms not cur re ntly on dis play. colle ctions togethe r w he n the ite ms may not a ll be
Othe r vis itors ca n obs e r ve the viewe rs expe r ie nce on phys ica l pres e nt .
proj e ction wa lls .

CURVED SURFACE
 Data Visualization - VR SIMULATION MODE 1: Material Transparency

Data Archaival System + Navigation Our research revolved around the study of the intersection between

presence and absence, the in-between space. Through a process

of computational methods, we looked at the conditions and spaces

created in the sequential overlapping of solids and voids.

PAT R I C K
SC H U M A C H E R MODE 2: Data Archive
Our next step was to bridge these transformations with virtual
SEQUENTIAL OVERLAP - ADDITION + SUBTRACTION
reality and connect the computation calculations such as sequential

overlapping, expansion, and fragmentation of the intersecting boxes

as a formal system for a data archive. Data is given a graphic and

visual form and archival activity interfaced with physical motion.

APPEAR - generation of data cubes SCRAMBLE - randomize set of data cubes

REM K O OL H A A S

The first mode explores the notions of transparency and revealment.

One can have a fundamentally different understanding of the project

and the relationship between different forms that make up the
Z A H A H A DI D
building. Secondly, the system of data archival demonstrates various
EXPANSION + CONTRACTION
methods of formal exploration of intersecting boxes undertook. SHIFT - re-organization of data cubes based on classification INDEX - highlight specific data
cube & show similar / related
data cubes

COMPUTATION OF SOLIDS + VOIDS MODE 3: Data Cube

FAR LEFT: Procedural system modeled in Houdini, a node-
based workflow visualization engine

MIDDLE LEFT: System for searching for related data sets and
draws connection showing pathway. Secondly specified data
cube can be exploded to view additional information
FRAGMENTATION
RIGHT: Using Unity, a cross-platform game engine, a
simulation was developed that:
CORE DATA C U BE E XPANDE D R E LATE D I NF O 1) visualizes our building in various material transparencies INSPECT - view selected data FRAGMENT - reveal relevant EXPLODE - expand similar infor-
2) demonstrates the data archival system cube data mation
 1 SITE BOUNDARY & 2 VOLUME EXTRUDED 3 SURFACE IMPRES SED
EXISTING METRO STATION OVER EXISTING STATION INTO VOLUME

4 BILLOWED COLUMN 5 VOLUME SPLIT BY 2 N D 6 BUBBLE & HOLE FORMED

INSERTED INTO SURFACE SURFACE BET WEEN T WO SURFACES

TRANSPORT HUB
K
Koreatown Metro Station
AUTONOMOUS VEHICLE PARKING +
METRO STATION + DRONE CENTER
Yi Qian / QianQian Song / Yu Zhang
Professor: Benjamin Ennemoser & Martha Novak
Wilshire Boulevard, Los Angeles
Summer 2017
VIDEO: https://vimeo.com/286648883
With technological advancements changing daily life, buildings must be prepared with the means to support these
new technologies. As a metro station of the future, new modes of transportation dictates new public infrastructure
to take advantage of autonomous automations. Located at the current end of the Metro Purple Line, the proposed
transport hub serves as a connection point for high-speed transportation systems. The top structure is designed to
interface with autonomous vehicles to allow for non-planar driving and parking. In addition, the transport hub acts
as a communication and drop-off center for drones. At night, the transport hub opens up to the people and turns
into a communal center. The undulating surface is connected to the street corner and folds upon itself to create the
7 SURFACES PUSHED
AT CORNERS TO FORM
separate levels.
CONTINUOUS CONNECTION
 TRANSFORMING BUBBLE

ROTATING FACADE

CURVED SURFACE

Autonomous vehicle communication & drone lidar detection system

TRAINSTATION

Autonomous vehicle navigation on non-planar surface

 1 Existing site on top of 2 Project volume 3 Central core t akes
hillside advant ag e of winds coming
up valley from North

4 Prog ram revolves around 5 Weave con ce pt ref l e c te d by 6 Wal l s an d for m re spon d to
circulation pathway ce n tral cou r tyard weav in g path an d cou r tyard
as k n ot ty in g areas togeth e r

SCHOOL OF EARTH
Permacultural Childen’s School For my undergraduate thesis project, I wanted to utilize my time and effort towards a project that would have an impact for a
5TH YEAR THESIS - JOURNEYMAN poor rural community by providing a place for young children to play, create, and learn. I partnered with Journeyman Interna-
INTERNATIONAL x NOSSA ESCOLA DA TERRA tional, a non-profit organization focused on designing humanitarian projects across the world. Working with an interdisciplinary
Kotaro Kihira / Linsdey Kuster / Kiersten Bakke team of structural engineering and construction management students, the project team engaged with the client from the
very start of the design process to understand the site’s geography and natural resources & identify possible eco-friendly site
Professor: Ansgar Killing & Greg Wynn planning and building design strategies. Our objective was to create a detailed design and construction service package for
Cabo de Santo Agostinho, Brazil our client in hopes of helping him execute his vision; Nossa Escola de Terra. The project is built out of local resources, and using
7 Roofing strateg y 8 Water filtration + retention 9 Gardens + outdoor areas
2017-2018 earthen clay as the primary construction material in compacted earth bags and bricks. Wholly site-specific, the construction inf luenced by sun exposure oriented around topog raphy respond to spaces carved
Fly-thru Video: https://vimeo.com/298122093 of the school reflects a commitment to a way of building derived from using the potential assets of a particular environment: and heat by path and cut into the
Thesis Book: www.issuu.com/jeremynguyen4/ availability of local materials, technical skills of the local community, the strategies and methods appropriate for the particular terrain
docs/thesis_book conditions of its surrounding context. The intensive research put forth for this project can be viewed via the ISSUU weblink.
 WATER STR ATEG I ES
For conser vation, treatment ,
and re - u se of water on-site

1. Rain Garden

2
3
4 2. Organic Pond

5 3. Natural Pool

4. Bio-Digester

6
5. Compost Tank
1

6. Waste-Water
7 Treatment Tanks

7. Anaerobic & Aerobic

Treatment Tanks
8

8. Water Tank for

Irrigation
 1. Entry Lobby 9. Men's BathRoom 16. Learning Lab
2. Gallery 10. Multi-Use Auditorium 17. Storage
3. Outdoor Gallery 11. Administrative Room 18. interactive Learning Lab
4. Elevator 12. Admin Meeting Space 19. Library
5. Cafe 13. Mechanical 20. Collective Research Lab
6. Outdoor Patio 14. Butterfly Interactive Space 21. Caterpillar Incubation Lab
7. Kitchen 15. Outdoor Public Area 22. Outdoor Social Area
8. Women's BathRoom 22. Monarch Butterfly Living Environment
255 SOUTH SANTA FE AVENUE
LOS ANGELES CA 90012

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1 Structural Section
Structural Section South Facing 21

12

IRIDESCENCE
16
11

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13 13 17
17

BUTTERFLY HABITAT
RESEARCH + INCUBATION LABATORIES
Professor: Dale Clifford
SCI-ARC, Los Angeles
Winter / Spring 2015
CASA d’ ARTE
In the heart of downtown Los Angeles, along a quarter-mile long former freight depot in the artist’s district, SCI- 18
ARC can be found. An emerging hub of innovation devoted to exploring unique solutions, SCI-ARC becomes the
14 15 23
perfect opportunity to merge two worlds together. Since the 1990’s, Monarch Butterfly numbers have declined more
than 90%. As our landscapes are becoming more fragmented the loss of habitat’s effect on monarch population is
undeniable. Thus, this building that grows from the existing SCI-ARC building can become a beacon of monarch

Programmatic
awareness for the public, way-stop/overwintering grounds for monarch butterflies, & an opportunity for research &
timeless art record learn / nurture / educate

Section
study. With 55,000 ft2 of walkable space out of 84,000 ft2 total area, this habitat transforms the downtown LA site. 2
Programmatic Longtitudinal Section
GROUND LEVEL FIRST LEVEL SECOND LEVEL
Ground Floor 1st Floor 2nd Floor
 SPATIAL DIAGRAM & CIRCULATION

CREATE.
Monarch Habitat and Immersive Space
PLANT.
Interactive Labs and Research Facilities
EDUCATE.
Library and Children’s Learning Center
RECREATE.
Gallery / Mixed Use Space / Cafe / Admin.
NORTH ENTRANCE INTERIOR COURTYARD BALCONY & WALKWAY
PHYSICAL MODEL DESIGN DEVELOPMENT
Entering the building, one is met by the openness of the north entrance and the CIRCULATION
beginning of the repetition of the steel frames. Sliding into the next space, the LONGITUDINAL SECTION
surroundings are closing in around the visitor. A cascade of flitted light escapes
through the façade and bounces off of the steel frames, trapping the visitor in
beauty and awe. Through the repetition of steel members, the idea of visual
transformation begins to achieve the alteration of people’s visual perception
LEVEL 4
through the building based on location. Major structural steel frame members
are spaced approximately 30 feet away while secondary steel frames are spaced LEVEL 3

3 feet in between and support the various secondary components contained

LEVEL 2
within the ‘cells’.

LEVEL 1
 CL
CL CL
FACADE DEVELOPMENT
STRUCTURAL DRAWINGS 52’ 1
Fascinated by how the unique molecular
structure of a butterfly’s wing gives off a
11
2
Facade

iridescent shimmer, I wanted to emulate

10 12
9
14 7
1 Butong Panel Facade
13 2 Shear Connector
3 3 Open Web Steel Joists
4 Steel Connection Plate
15

4
[7 Roof
5 ]
5 Concrete Roofing

how visual perception could be manipulated

6 5 Air & Vapor Control Layer
8
6 Rigid Insulation
7 Steel Stud
8 Water Barrier
17
9 Steel Decking
23 10 Exterior Sheating
21 22 11 Wood Cant
19

through perspective, developing a facade

12 Roof Edge Flashing
20
16 13 Joint Sealant
14 Light Gauge framing
18
Glazing
15 Ceiling Mullion
16 Typical Mullion
17 2-Paned Glazing w/ Film

system with openings angled which would

18 Air Cavity

Ceiling
19 Suspension Tee
20 Suspended Ceiling Panel
21 Supply
22 Recessed Lighting Fixture

allow passage through for butterflies, take

23 Return

advantage of natural ventilation, provide

Half Steel Moment Frame
Low-e Glazing Curtain Wall
32’
desirable levels of light, while acting as a
Concrete Facade Cladding sound barrier. The rotated octagon form
was also derived through the microscopic
16VG Joist Truss System 24’
Window
24 Glazing

form of the monarch’s wing in addition

25 Rigid Insulation 26
26 W8x26 Steel Beam 27
27 L-Angle Bolted Connection 28

28 Hex Bolt 25

1’
24
Wall
29 Metal Stud Layer W12x26

to studying the monarch’s eyes. Acting

30 EIFS Exterior Ins. Finish
31 Plywood Sheathing
32 Moisture Barrier

4.5”
33 Air Gap
34 Air Infliltration barrier /

W8x26 Wide Flange Beam

Vapor Retarder
35 Gypsum Panel Board

as a sound absorber, the façade brings

Foundation
36 W12x26 Column Beam
37 Bolt HPM-1 30/L
38 Column Base Plate 35
39 Concrete Footing 34

40 Concrete Slab 33

41 Foundation Anchor 32

peace and tranquility to those within the

42 Earth 31

30

29

15’

lux
structure that seek to escape from the
lux
W12x26 Wide Flange Beam 48000 44000 bustle of downtown LA.
4500 17000
2000 6000
3000

Translation
700
200 1000
70 450
300
10
200
3
39
36
75
0’
37

38
1 40
0
40

10
41

42

Ground Level 1st Level 2nd Level

West Elevation
Wall Section

Rotation
9am Sept 16 - GHI:518 DNI: 676 DHi:86w/m2 Illuminance threshold falls between minimum
Jeremy Nguyen
Area Below Minimum threshold: 6% threshold of 300 lux and maximum of 3000 lux
Studio - Dale, Practice - Killing
Area Above Upper Threshold: 7% w/o automated shades -> achieves LEED v4 EQ
Section, Elevation, Plan
ARCH 342 Wall Section
Plan View
Area Fulfilling Threshold Limits: 87% Credit 7 opt. 1 Absorption
Scale 1/2" = 1'-0"

DAYLIGHTING ANALYSIS Sound

LEFT: Desired 1000-2000 lux range of daylighting met for public programs, including the
gallery, mixed-use space, and administrative rooms on the ground level

MIDDLE: Learning Labs situated facing Sci-Arc on the 1st floor take advantage of the existing
ABOVE: Exploded Axonometric building to reduce the habitats direct heat gain of the hot LA weather. In the interactive space, more
daylighting is necessary thus lighting levels rise is desirable
TOP LEFT: Section
Wind
TOP RIGHT: Elevation RIGHT: The library is located at the northern most portion of the building on the 2nd floor, and as
the building transgresses through research labs, varying light levels reflect the varying needs of the
RIGHT: Structural cross-section caterpillar incubation lab, monarch monitoring lab, and interactive butterfly habitat
 GALLERY + LIVE / WORK ESOOG ECURPS ELGOOG

The project serves to provide downtown Los Angeles’ historic
district a unique digital media platform where the creation,
exhibition, and fostering of the digital media industry comes
into play with the artists and entrepreneurs that work and
reside in the community. The building becomes a center where
community members and inhabitants can gather, connect, and
express themselves. The program is split into the public digital
media labs and galleries along with services / administration
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on the first four floors. The live / work lies above, sitting on y b d e p o l eve d n g i s e d d n a t p e c n o c ; s l e n a p n e d o o w f o t u o e d a m

top like a cassette slotted into a VCR player. A wooden facade flesym

wraps around the exterior lower portion of the building like TIF ERUTINRUF

recording tape, allowing indirect light to travel through while

minimizing glare and heat gain. In contrast, the live / work
leveL drihT
units are veiled in the interior by wood louvres, keeping a
seamless appearance while reflecting the magnetic tape
medium around two reels.

IRIDESCENCE
APERTURE
DIGITAL MEDIA INCUBATOR The term aperture refers to the optical hole in which light travels. Thus, ‘aperture’ refers to an opening that shines
MIXED-USE + LIVE / WORK UNITS line. Similarly, this structure, derived from the humble shapes and forms of a camera’s aperture, becomes a ‘hole’ in
Professor: Umut Toker downtown LA that seeks to open the eyes of society and both express and showcase the creative talents in digital
media. White and dark concrete are used to form the structure, while bright brick patterning line the ground like a
Financial District, Los Angeles
digital array. Exterior and interior horizontal timber screens flow around the building and glazing to provide varying
Fall 2014
CASA d’ ARTE levels of transparency and lighting, akin to the vinyl tape of cassette tapes. The digital media incubator serves as TOP: Exhibit hall
timeless art record live / work / create
studio, art gallery and live / work residential units for artists to gather, work, and display their artwork to the public. BOT RIGHT: North-face isometric perspective
 MAIN ENTRANCE INTERIOR COURTYARD ROOFTOP BALCONY

BOTTOM: Floor plans,

ground floor to 6th floor
from left to right

RIGHT: Longitudinal and

latitudinal Section

TIMELESS
C A S A D’ A R T E A sanctuary for travelers and locals of Matera, Italy to gather, learn, and share. The art foundation acts as
WORKSHOP + GALLERY + LIVE / WORK a time record– affected physically and visually by all the practice and human interaction that takes place
Molly Chen / Roxy Kermani / Ramon Robles over time within the space. Artists are encouraged to learn from past travelers, apply that knowledge
Professor: Tom Di Santo
Matera, Italy to their current practice, and then influence future occupants of the space technically, stylistically, and
Summer 2015 Switzerland Study Abroad culturally. Collaborating with three other architecture students to develop the design of the project, the
CASA d’ ARTE
t ri m
e ce loers ds oa fr t a rr et c /o rrde c o r d o f t i m e / r e c o r d o f p e o p l e drawings and diagrams shown were created by myself unless otherwise noted.
 FLOOR PLANS MATERIAL ASSEMBLY
RIGHT: Exploded axonometric showing
materiality. Designed to preserve the

existing parts of the building and creating

spaces without taking away the aesthetics

of the existing stone structure. Corten

PUBLIC VS PRIVATE SPACE
steel is used as a curtain to frame special

areas, while glass and louvres promote

transparecy throughout the building.

First Level BELOW: To take advantage of the ample
of outdoor areas while minimizing direct

light, we designed louvres that both

CIRCULATION serve to diffuse light and provide shade,

functioning as a connection between the

different programmatic areas.

BOT RIGHT: The use of glass in the

workshop area provides transparecy to
ARTISAN / ARTIST LIVE-WORK STUDIOS the artists at work while emphasizing the
MATERIALS & FORM original building’s openness.
Ground Level
FORMAL DEVELOPMENT exploded axonometric worked on with Ramon Robles

ABOVE: The path of circulation through the Casa reflects this idea
of time. Weaving through gallery and workshop spaces, it reveals

glimpses into what is to come further along the path and into
moments that have passed, but from different vantage points.

RIGHT: In order to encourage artists to want to stay at Casa d’Arte,

we wanted to create living quarters which drew its inspiration from the

vernacular practice of excavating down into the stone and stacking

the unearthed stone on top, also known as sassi. The concept, model,

and rendering of the living quarters are my own original contributions. ROOF TOP GARDEN WORKSHOP AS LIVING GALLERY
Below Grade

EXPERIENCE
PROFESSIONAL WORK
PROFESSIONAL STUDIO + CO-OP EXP
Zimmer Gunsul Frasca, LLP.
Los Angeles
Sept. 2015 - June 2016
GOOGLE SPRUCE GOOSE Longitudinal Section
255 SOUTH SANTA FE AVENUE
LOS ANGELES CA 90012
The Google Spruce Goose is an office development within an old
historical building in Playa Vista. The site was previously created as Badging/Reception Tech Talk Collaboration Center Microkitchen Workstations
an airplane construction hangar but is now being turned into office
Third Level
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space and sound stages for the Marketing and YouTube sectors of
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Google. Each floor plate is approximately 100,000 sf with workspace
n
Workstations
collaborative areas to accommodate 1400 workers. I was closely
involved with the development of the designs and space planning Microkitchen/Gameroom
for the microkitchen spaces, collaborative spaces, workstations, and
soundstages. Each level had its own themed microkitchen space as Workstations
a place of refuge, and I was given the responsibility of designing the
game room on the third level. Faceted triangular panels wrap along
the floor, wall, ceiling through the microkitchen, a major intersection
between the adjoining workspaces. Clad in wood, the panels
USER FLOW
articulate to form various surfaces, seating areas, and an enclosure
for the gaming room. The entryway pulls you within the spine, into
TOP: Longitudinal section highlighting the different vertical circulation types and programmatic organization
another world for employees to retreat.
ABOVE: Third floor plan showing circulation paths through the 3rd floor plate connecting between collaboration
spaces, workstations, and other amenities
interior rendering of Google Spruce Goose project; aided by ZGF in-house renderer
MICROKITCHEN / GAMEROOM
LEFT: Entry way into the central
After the Professional Studio program ended in December, I wished to continue my experience at ZGF and applied for recreational area located within the spine
an extended internship & Co-Op experience. The additional exposure, investment, & responsibilities that came with RIGHT: Interior view of microkitchen
being a full-time intern allowed me to test my ability as a designer. To get course credit, I needed to show my university / gameroom showing different areas of
that my co-op experience at ZGF would fulfill the requirements of a typical studio course. A majority of the time was interaction and uses
spent working on the new Google offices in Playa Vista. Since completed, the new building is built with-in a historic
air-plane hangar that was the largest timber vaulted structure in the world. With the Google office project I was directly
involved with building design development, digital modeling, concept and space planning, team / firm critiques, and client
meetings. All drawings created, diagrams illustrated, and renders made entirely by myself unless noted otherwise.
ALL IMAGES ARE PROPERTY OF ZGF ARCHITECTS LLP. AND ARE CONFIDENTIAL. ALL IMAGES ARE PROPERTY OF ZGF ARCHITECTS LLP. AND ARE CONFIDENTIAL.
 EXPLODED AXONOMETRIC CULVER CITY COMPETITION
TOP: Built inside an old historical
airplane hangar. The existing exterior
For the Culver City Design Competition, the majority of the
in addition is left untouched while the
spine will be removed and replaced design decisions were already developed by the lead architect

TOP-MID: Removal off existing and designer for the project. Therefore, my contributions to
wooden spine walls and floor to be the overall design submission were limited to the exploration
refurbished and placed back of the facade & entry portal for this multi-use commercial
BOT-MID: Floorplate and circulation development. My approach which I presented during a design
to accommodate 1400 workers, visi-
charrette explored different horinzontal & vertical louvre
tors, and Youtube specialists
applications to achieve dual sustainable performance while
BOTTOM: Diagram depicting
completed design, showing all new adhering to a strong design aesthetic. In addition to doing
construction elements integrated with plan & form studies of the 4-story tall building, I created
the existing hangar
diagrams & plans for their client submittal package. Two week
competition over a mixed-used development. I was involved
with form studies, diagrams, illustrations, design charrettes,
and partner design critiques.

EXTERIOR ELEVATION RENDERING: Entrance from main street entry, showcasing the stacked
panels of vertical louvres running horizontal. Louvres rotation create dynamic visual perspectives;
MICROKITCHEN / GAMEROOM rendered by ZGF
DESIGN SKETCHES
TOP: Entry way framed by faceted panels SITE DIAGRAMS
MIDDLE: Panels undulate to create interior LEFT: Diagram shows surrounding diverse
surfaces and spaces uses in relation to the zone boundaries
along the commerical corridor
BOTTOM: Video game room enclosure
RIGHT: This diagram shows the major SOUTHERN CALIFORNIA

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ALL IMAGES ARE PROPERTY OF ZGF ARCHITECTS LLP. AND ARE CONFIDENTIAL. ALL IMAGES ARE PROPERTY OF ZGF ARCHITECTS LLP. AND ARE CONFIDENTIAL.

SPACIAL PROFILE
Virtual Reality & Kinematic System
FACEBOOK-DRIVEN MINIMAL
SURFACE MANIPULATION
Karan Pashine / Evgenia
Professor: Guvenc Ozel
Fall 2017
VIDEO: https://vimeo.com/298528695
IMAGES
TOP LEFT: Virtual universe with different
peoples’ spatial profiles created w/in Unity
platform
TOP MIDDLE: ‘Liking’ a photo triggers
transformation
BOTTOM LEFT: Workflow diagram
BOTTOM RIGHT: Physical model
The project explores a geometrical shape: a minimal surface as a space within Virtual Reality, to develop
tools for designing in VR. The project starts with analyzing and conceptualizing the minimal surface
in different scales through VR. This was achieved by connecting our digital model in Grasshopper to
Unity to use physical movement to manipulate values. An UI is developed on Unity Engine for a Virtual
experiential space initially using the Oculus controllers and later replacing the interaction with Leap
Motion controller for a more intuitive interface. Then the digital model is developed in Rhino using
the Grasshopper plug-ins and the Mosquito plug in is used to get live data from Facebook through
Facebook opengraph, and connected to Unity via the g-Howl plugin.

CARBON FIBER
Kuka Robot & Kinematic System
2.5D SURFACE TO VOLUME
TRANSFORMATION
Yibing Wu / Roxanna Perez
Professor: Benjamin Ennemoser
Winter 2017
VIDEO: https://vimeo.com/298528695
1 CO N TO UR - embed lines upon 2D 2 CR EA S E - Lif t an d lowe r c u r ve s 3 S U BTR ACT
surface
4 SO F T 5 FO LD 6 T W I ST
2.5D surface generated based on topological forms found in nature along with the folding and flexible
qualities of paper to design a dynamic form. Single elements form a spatial composition that begin
as flat and twist and fold to form an enclosure. Carbon fiber is re-envisioned with the aesthetic and
structural quality of paper. Alternating patterns of sloped surfaces were sculpted into the surface to
allow for the transformation into different key moments while highlighting the aspect of 2.5D. The
Kuka robot is used to systematically apply epoxy resin in varying layers to harden the carbon fiber in
specific zones, combining the advantages of the hard and soft qualities of baked and unbaked carbon
fiber simultaneously as one object. In addition, the robotic arm enables us to control the panels to live-
simulate the surface to twist, bend and curve in multi-direction.

COBOGO
ADAPTIVE MASONRY UNITS
COMPACTED BRICK MODULES FOR
SCHOOL OF EARTH
Professor: Mark Cabrinha
Cabo de Santo Agostinho, Brazil
Winter 2017
OPENING
RECESSED FACE
CURVE
1. M AS S + VOID 2 . PAI R 3 . STAC K + RUNNI NG
Op ening throug h mass al l ows for B r ic k modu l e de sign e d to wor k in Modu l ation patte r n s con siste n t
ventilation, p oros ity, an d v isu al ex pe r ie n ce. twos w ith diffe re n t var iation s th rou gh re gardl e ss of asse mbl y.
Dep ressed face in c rease s v isibil ity an d f l ippin g, rot atin g, an d mir ror in g br ic ks
ad d s d epth. Cur ve c reate wate r c h an n e l s.
4. ST RU CT U RAL 5. PAV ING + P L A NT E R S
By rot at i ng modul e o n i t s s i d e, a n ew va r i a t i o n Br i c ks c a n b e u s e d a s p o ro u s p ave rs w i t h
where t he aper t ures b e co m e ve r t i c a l re i n- p l a n te rs t h a t a l l ow wa te r to d ra i n .
VAR I AT I ON S
FACI N G D I RECTI ON PAT T E R N D I AGO NA L CH A NNE L
WAT E R
In unison with my thesis project in Brazil , I developed and designed an adaptive masonry unit.
Inspired by the cobogo brick development in Brazil , an element that allows sunlight and natural
ventilation in construction openings, the cmu module is an exploration of a singular element
which can be utilized for different applications. This gives Nossa Escola Da Terra a unique
building block which also provides its own identity and cultural relevance. The goal of the
design was to break away from the concept of a masonry unit and re-conceive it as a system
that works in pairs. In doing so, variation and apertures can be increased while functionality
and structural properties of brick building remain the same. The blocks needed to be able to
function flexibly, for different applications, & primarily increase ventilation & light penetration.
B RIC K D E S I G N
1.) In i ti a l b r i c k
2 Ap e r tu re w i t h
d i a m ete r 4 . 35 c m c u t
th rou g h w i d th of bri c k
a t q u a r te r m a r k
3 Fa ce s p l i t i nto
h a l ve s a n d p u s h ed i n
by 2 c m . Re c i p ro c a ted
a l on g q u a r te r ma rk
4 Voi d s t ra n s l a ted
a c ros s m i d p oi n t
5 Mod u l e com plete
MO LD
H E AD CAP -
W: 6” (1 5 . 2 5 cm) x L: 1 2” ( 30. 5 cm)
- > swi n g s i n to p la ce ove r op e n i n g of b r i ck p re s s
M OL D I N FI L L DI ME N SI ON -
W: (1 2 . 5 cm) x L: ( 2 5 cm)
- > s h a p e of b r i ck n e g a t i ve comp a ct s s oi l a g a i n st
h ea d ca p
M OL D FRAME DI ME N SI ON -
W: (1 2 . 5 cm) x L: ( 2 5 cm) x H : (6 cm)
- > f i ll i n 2 .63 cm a lon g wi d t h a n d 1 . 37 cm a lon g
l e n g t h to f lu s h wi t h ou te r ste e l con t a i n e r
BRI CK P RE S S BAY DI ME N SI ON -
W 6” (1 5 . 2 5 cm) x L 1 2” ( 30. 5 cm)
-> brick press assembly utilizes shaped bottom plate in
order to create desired face and form; baseplate compacts
added clay upward