SCI-Arc. B.Arch Undergaduate Degree Program

Portfolio_2010-13p.1

is an art of interacting spaces with humans activities. An art is the methods or principles to control and organize a type of craft. By meaning of architecture is an art, architecture should be thoughtful, sensible and communicable. Humans activities could be diverse according to needs and it might evolve along time. Spaces embrace scale, volume and boundaries. Scale is a relationship between wide and height to human body. Volume is a substance and fill of the amount. Boundary is where things extended to their limit. Spaces and human activities are not a unilateral effect, but deeply influencing the other. It could not be architecture without any of above essential.

Ariel Ip

rchitecture A

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Southern California Institute Of Architecture2010-2014Located in a quarter-mile long former freight depot in the artists district in the heart of Los Angeles, SCI-Arc is distinguished by the vibrant atmosphere of its studios, providing students with a uniquely inspiring environment in which to study Architecture.

Contents6-17 3A Studio

Field Operations: Static Architectural Systems

18-27 3B Studio Dynamic Architectural Systems: Anabolic, Metabolic, Catabolic

28-35 4A Studio City Operations: Architecture in Critical Settings

36-45 4B Studio The Imbalancing Act of Entropic Architecture

46-57

58-65

Japan Studio Culture Study Planning

Thesis SofT

Southern California Institute Of Architecture2010-2014

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3A studio The first studio of the core studio sequence locates the idea of architecture at the intersection of various systems of information: from technical to cultural, from visual to tactile. Students consider the uses of precedent and antecedent in their work, while the main investigation examines the impact of structure and material systems on site and building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making.

FALL 20113rd Year Fall SemesterInstructor_ Gregory Walsh Site_ Los Angeles Memorial Coliseum

Design Concepts

Site Content-Los Angeles Coliseum

Concept Sketch

Sun Study

Field Rotation

Seating

25 degree

From technical to cultural, from visual to tactile. this project consider the uses of precedent and antecedent in their work, while the main investigation examines the impact of structure and material systems on site and building form, and the capacity to use transformation as a methodological tool to guide a rigorous approach to decision making. It is a renovation of Los Angeles Coliseum, mainly focus on material and structure system for long span structure.

Direct sun light will affect football players performance. 25 dergee rotation will prevent direct sun light for football players.

Typical Seating Original Seat with problematic Sight Line.New seat with improved sight line, maximize good viewing area and minimize bad viewing area. Meanwhile allowed to use existed seating.

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Rendering

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Direct sun light will affect foot-ball players performance.

Original FieldOriginal Seat with prob-lematic Sight Line.

Typical Seating

25 dergee rotation will prevent di-rect sun light for football players.

New seat with improved sight line, maximize good viewing area and minimize bad viewing area.

Transformed SeatRotated Field

SeatIng Capacity

Luxury Boxes

Luxury Seat

Luxury Seating

Regular Seat

30

24

20 October 5pm

Existing Seat-

New Seating

October noon

October 3pm

Cover with light and translucent PTFE fabric.

Stable structure ele-ments and claming PTFE skin.

Horizontal elements joining main structures together.

6 tube as the most basic ele-ment of over all structure.

PTFE Skin

Tertiary Structure

Secondary Structure

Primary Structure

Tectonic Diagram

20

+16

Sections B

Sections A

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Ground Level Plan A

A

B

B

Studio 3A - Fall 2011 Fields OperationVolkan alkanoglu, john bohn, alexis rochas, greg walshRicardo Lledo + Ariel IP

The Los Angeles Memorial Coliseum is a large outdoor sports

stadium in the University Park neighborhood of Los Angeles, Cali-

-

ences University of Southern California Trojans football team. It is

the largest football stadium in the Pac-12.

It is located next to the Los Angeles Memorial Sports Arena adja-

cent to the campus of the University of Southern California (USC).

The stadium is jointly owned by the State of California, Los Ange-

les County, and the City of Los Angeles; it is currently managed

by the Los Angeles Memorial Coliseum Commission, which has

board members drawn from the three ownership interests.

The Coliseum is the only stadium to have hosted the Olympic

Games twice, in 1932 and 1984. It is also the only Olympic sta-

dium to have also hosted Super Bowls and World Series. It was

declared a National Historic Landmark on July 27, 1984, the day

before the opening ceremony of the 1984 Summer Olympics. Site Plan

Rendering

Detail Model

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Public Program Circulation

Existing concourse

amphitheater

Seating

Private Seating Circulation

office

Exhibition space

Circulation

Program

1-0=1/8 Final Model

SPRING 2012This studio introduces students to the comprehensive development of a build ing, from conception to large-scale detail, with an emphasis on the assimilation of building systems. Students examine interrelated systems which are able to both modify the spatial structure of a building, and articulate expectations of their performance structurally, thermally, acoustically and environmentally. Both classes comprise the academic sequence in fulfillment of NAAB condition 13.28, Comprehensive Design, defined as Ability to produce a comprehensive architectural project based on a building program and site that includes development of programmed spaces demonstrati ng an understanding of structural and environmental systems, building envelop systems, life safety provisions, wall sections and building assemblies and the principles of sustainability.

3rd Year Spring SemesterInstructor_ Herwig Baumgartner Site_ Los Angeles Memorial Coliseum

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Site Content-New York City- New museum

N

Site Plan1/32=1-0

Main View

UnderGround Level

Ground Level

1st Level

2nd Level

3rd Level

4th Level

5th Level

6th Level

7th Level

8th Level

NYMoCANew York Museum of Contemporary Art

Set in new york, built into the grid our museum uses the grid and also strays away from the grid. Typically museums are horizon-tal, and they make use of the vast spaces around them to lead up to the museum, forcing the visitors to walk longer and preapares themselves for the museum itself. Having picked up from this tradi-tion we now imply the concept to a vertical museum, hence - top heavy. Museums tend to have their gallery spaces as more pri-vate, intimate spaces with a very generic form. In our museum we have the regular generic shape which is occupied by the private programmes and then we have introduced a more irregular form that houses the public spaces. The public space is situated between the streerammes such as the learning center, to enjoy and otherwise, they are used for framing art pieces or projections towards the street. The intention of this being, of not only attracting people to the museum but to also, - take the museum out to the street

Detail Section 1/4=1-0

Interior Gallery

Interior Gallery

Interior Gallery

Interior Gallery

EXterior Gallery

EXterior Gallery

EXterior Gallery

Cafe

Of ce

Learning CenterLobby

Of ce

Of ce

Intallation Space

Theather Storage

Storage

street View

DowntownNew York

Norman FosterSperone Westwater gally

SoHo

SKY

Art Showcase

Enter from Large Scale Installation Space

Public and Private Separation

Window, opening, aperture, the apertures at the museum are facing toward specific views, New York city line, street level, and even the sky. Each aperture provide space for art projection or hang-able installation art just like a 24/7 showcase that could exhibit art to the public audiences.

To be able to stand out amount all the other museums in NYC, a new museum needs a clear selling point and direction, a outstanding characteristic. This museum design with a bottom light four level exhibit space on the entry level. This space could be use for large installation pieces or performance art.

Selection

Design Concepts

Typically museums are horizontal, and they make use of the vast spaces around them to lead up to the museum, forcing the visitors to walk longer and prepare themselves for the art experiences. Having picked up from this tradition we now imply the concept to a vertical museum, hence - top heavy. Museums tend to have their gallery spaces as more private, intimate spaces with a very generic form.In our museum we have the regular generic shape which is occupied by the private programs and then we have introduced a more irregular form in the front part, that houses the public spaces.The public space is situated between the gallery space and irregular space. Program such as the learning center is placed, to enjoy framing art pieces or projections towards the street. The intention of this being, of not only attracting people to the museum but also, - take the museum out to the street. The architecture is a large art showcase itself.

Concept study Models

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Skin Morphology

NUnderGround Level Ground Level1st Level

2nd Level3rd Level4th Level

5th Level6th Level

Interior Gallery

Interior Gallery

Interior GalleryInterior GalleryEXterior Gallery

Midia CenterEXterior Gallery

Cafe

Learning Center

Lobby

Of ce

Of ceOf ce

Intallation SpaceTheather

Storage

7th Level8th Level

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Underground

eater Lobby

LargeScale

InstallationSpace

Exterior

Gallery

Learning

Center

Oce

Media

Center

Exterior

Gallery

Exterior

Gallery

Exterior

Gallery

Interior

Gallery

Interior

Gallery

Interior

Gallery

Interior

GalleryCafe

margorP Circulation

Bowery StreetllaWlarutcurtSeroC

Ground Level

offi ce Level

3rd Level

4th Level

5th Level

6th Level

7th Level

8th Level

Envelope

Gallery

Cafe

ExteriorGallery

ExteriorGallery

Gallery

Gallery

Gallery

3D Axo

Elevation

ADA & Egress AxoADA- Ground Level

ADA- Top Floor

Egress- Ground Level

Egress- Top Floor

eather Plan

ADA- Bathroom

Section

8th Level

7th Level

6th Level

5th Level

4th Level

2th Level

Ground Level

UnderGround Level

3th Level

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Gallery

Cafe

ExteriorGallery

ExteriorGallery

Gallery

Gallery

Gallery

Elevation

ADA & Egress AxoADA- Ground Level

ADA- Top Floor

Egress- Ground Level

Egress- Top Floor

eather Plan

ADA- Bathroom

Section

8th Level

7th Level

6th Level

5th Level

4th Level

2th Level

Ground Level

UnderGround Level

3th Level

Elevation

ADA & Egress AxoADA- Ground Level

ADA- Top Floor

Egress- Ground Level

Egress- Top Floor

eather Plan

ADA- Bathroom

Section

8th Level

7th Level

6th Level

5th Level

4th Level

2th Level

Ground Level

UnderGround Level

3th Level

Elevation

ADA & Egress AxoADA- Ground Level

ADA- Top Floor

Egress- Ground Level

Egress- Top Floor

eather Plan

ADA- Bathroom

Section

8th Level

7th Level

6th Level

5th Level

4th Level

2th Level

Ground Level

UnderGround Level

3th Level

Final Model 1-0=1/8

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Final Model 1-0=1/4

4A studio The premise of this studio is that

cities and buildings are largely shaped by a

dynamic flow of interrelated cultural, social,

political, and economic forces. Different

cities are chosen by individual studio faculty

and used as a basis for student projects.

During the course of the term, students

test the nature of interfaces between

architecture and its various settings within

the contemporary city. Individual and varied

theoretical assumptions, within the separate

design studios, are tested and developed

as an integral part of the building design

process.

FALL 20124th Year Fall SemesterInstructor_ Dwayne Oyler Site_ Los Angeles Downtown

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FALL 2012

Design Concepts

Site infomation

Extract Volume and Surface from informational Lines From the linedrawing a couple of key affects was interested me, as you can see in this drawings, there are moments of overlap, crossing over , misalignment or misregistration. All of the 2D movement can lead to a almost three dimensional reading.

What interested me about in the drawing is the misregistration of lines, so utimilely I am trying to reproduce that in the Architectural from, museum of cartography.

Site Content-Los Angeles

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In this creation of lines, this project was interested in mapping two condition of the city, the first was mapping the topography of the city including my site, which have a dynamic topographic condition. And it is also address the condition of Downtown Los Angeles was uniquely located on a sloping landscape other then most of the city centers was build upon flat lands. The second is the mapping to address the original site function and how it connecting to the city, a parking lot. It shows the linear movement of the cars that move through the parking on site.

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Divided into program

Divided into Zone

Tertiar

y Stru

cture

Site

Second

ary

Struct

ure

Prima

ry Stru

cture

Roong

Create Relationship

Between Simplied Lines

Create moments of overlap, crossing

over , misalignment or misregistration.

The sm

allest t

ertiary

struct

ure

was lin

es that

shit fr

om the

primary

and s

econda

ry

connec

ting 3

dimens

ionalit

y,

so on

and so

forth t

o crea

te

suppor

tment

and s

patial

qualitie

s.

second

ary str

ucture

which

mostly

use fo

r divid

ing

spaces

.

The sys

tematic

struct

ure

eleme

nt sta

rting fr

om th

e

mapp

ing lin

e whic

h crea

ted th

e

Prima

ry stru

cture

and cro

ssing

over b

y the s

econd

ary str

ucture

it in such a way the line not only moving

linear in plan but it happen 3

dimensionality

museum of cartography. Which

including some simple programs

like indoor gallerys, outdoor gallerys, a

Lobby, oces, lecture rooms,

mechanical and storage.

Site topographic Lines Parking lot movementSimplied Line

oces/classroomsindoor gallery

indoor gallery

indoor gallery

outdoorgallery

outdoorgallery

mechanical/Storage/miscellaneous

Lobby

Original Lines Create relationship between Lines

Shift and Duplicate Mutiply movement for denseness

Through the design of a research center for the Los Angeles Department of Water and Power (DWP) focusing on the production and distribution of energy in the context of finite natural resources, the studio will explore the development of synthetic architectural systems that are informed by and integrate systems of organic matter. The design of the center should addresses the peculiarities of the mediated groundplane in which it is located, reconsidering the ground as a site for the development of synthetic architectural systems by working through the existing plinth and establishing a new datum or artificial ground. we will examine the complex terrain defined by the interference between nature and the articificiality of its physical support. The design work will seek to cull out and amplify latent environmental and atmospheric performances in the interest of producing an architecturewhich has the capacity to integrate a multiple concept of nature.

SPRING 20134th Year Spring SemesterInstructor_ Marcelyn Gow Site_ Los Angeles Department of water & Power

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Design Concepts

Site Content-Los Angeles DWP

Artificial Plinth

Casting Technique

The plinths water circulates above and below the plinth on a daily basis, through several internal capillaries and straight into the masses of the Research Center below.

The Dome are produce by the minimum mold and use casting to maximum the variety of shapes.

SUSPENDED ANIMATION

The water fountains surrounding the DWP, once a symbol of fertility in an otherwise barren desert, are now read as a barometer for the water crisis of recent years. The sights and sounds of gurgling water on this artificial plinth indicate prosperity; their absence means trouble.SUSPENDED ANIMATION plays a strong role in extending these indications to the public. The Research Center itself is read as one large room with several porous and translucent landmarks. The research partners will determine for themselves where to set up offices, research labs, and sanctuaries. The expanding and contracting capillaries within these landmarks, buzzing and whirringlike an intrusive HVAC system, indicate a crisis to be solved. The tension between these two environments, the concern of the public and the responsibility of the private, is made explicit in suspended animation.

Short Section

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Final Model

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IT IS AN INFINITE SPHERE, THE CENTER OF WHICH IS EVERY-WHERE, THE CIRCUM-FERENCE NOWHERE.

-BLAISE PASCAL

...I AM VERY IN-TERESTED IN THE OTHER NATURE, THE ARTIFICIAL WORLD OF CHEMISTRY, ELECTRONICS, AND INFORMATION THAT SURROUNDS US. AND EXTENSIVE AND INTRUSIVE NATURE, IN WHICH MAN IS IM-MERSED LIKE A FISH IN THE SEA...

-ANDREA BRANZI

AXONOMETRIC

p.37Floor Plan

Final Model

p.39

THE PROVOCATION IN USING THE IMAGES OF THE BUBBLE RESIDES IN THE FACT OF REPRESENTING A VAGUE SPHERE WITH TWO OR MORE POINTS OF FOCALIZATION, SO THAT WE ABANDON THE CENTRIST IDEAOLOGY WITH THE MENTAL IMAGE OF ITSELF.

-PETER SLOTERDIJK

SECTION

The Japan study program introduces students to the architectural and cultural vibrancy of the contemporary Japanese city. The three-month program consists of a design studio and a seminar led by SCI-Arc faculty, and specialized travel seminars and workshops taught by Japanese faculty from leading institutions such as the University of Tokyo, Kyoto Seika University, Keio University, and Hosei University.

In addition to formal coursework, the program includes excursions to areas of specific interest in Tokyo and its surroundings. Students will also attend lectures, openings, and exhibitions related to topics highlighted in the current program.

SUMMER 2013

Tokyo Study-Aboard Summer SemesterInstructor_ John Bohn Site_ Tsukiji Fish Market, Tokyo

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SUMMER 2013

Design Concepts

Site Content-Tsukiji fish market- Tokyo

We attempt to synthesize competing agendas under

a grand vision and propose a specific master plan

strategy for the Tsukiji Fish Market in Tokyo. The

remainder of the studio will be spent designing a

structure on the site of the Tsukiji Fish Market that

articulates resilient 21st century urban master plan

coastal strategies.

The interstitial spaces are as important as the volume

of program, providing each unit with its own individual

facade while allowing different degrees of wind,

water, and sunlight to enter or exit. In this approach

everything will decay independently based on material

use and elemental placement.

The interstitial spaces is also where plant growth

thrives. In that sense the program volumes act as

moldings for the plant growth. Overtime the program

materials will dissipate but the volumes will remain.

The building is alive and elements of it will die one by

one, unit by unit, leaf by leaf allowing room for new

life new beginnings.

We are proposing subtle destruction, slow

decay, the nuances of change. Our building is

more delicate than it appears.

We are using the logic of previous successful

precedents of circulation(tokyo station, Ginza

station, Roppongi Station) and structure

(A-bomb Dome, concrete structures that

survive tsunamis) so we can focus of

subtleties of material growth and decay.

Master Plan from the Existing City Gird

The City of Decay and Growth

TSUKIJISHIJO TSUKISHIMA

SHIODOME

GINZA KOKKAIGIJIDOMAE ROPPONGI

AZABUJUBAN

TOKYO

LEGEND

2 mins boundary

Commercial/Business

Public spcae

Green Space

Park

Main street

5 mins boundary

8 mins boundary

PASSENGERS PER DAY

YEAR OPENED

Ginza

commercial and housingSlower meandering paths that gen-erate successful shopping environ-

ments along with more intimate spaces at the scale of the body.

design strategy to move many bodies qiuckly.

scale product.

Tokyo

Roppongi

event space

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TSUKIJISHIJO TSUKISHIMA

SHIODOME

GINZA KOKKAIGIJIDOMAE ROPPONGI

AZABUJUBAN

TOKYO

LEGEND

2 mins boundary

Commercial/Business

Public spcae

Green Space

Park

Main street

5 mins boundary

8 mins boundary

PASSENGERS PER DAY

YEAR OPENED

Ginza

commercial and housingSlower meandering paths that gen-erate successful shopping environ-

ments along with more intimate spaces at the scale of the body.

design strategy to move many bodies qiuckly.

scale product.

Tokyo

Roppongi

event space

Olympics venue type

Fish market type

Housing type

Green Spaces

Market/Event

Event/Housing

Event/Housing

Volume Boolean Method

Structure Boolean Method

Volumn and Circulation Morphology

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Concept Drawing of the CityScape

TSIKIJI MARKETOUTER MARKETPRODUCE MARKETPARK SPACEHOUSINGHOTEL PARKINGOLYMPIC SEATING RETAIL/ENTERTAINMENTSHRINE

Program Diagrams

Master Plan Growth and Decay Renderings

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Fish MarketHousing /HotelStructureWater

Long Section

Master Plan Growth and Decay in Axo Chunk Scale

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SpeedFastMidSlow

Fish MarketHousing /HotelStructureWater

Circulation Diagrams

THESIS 2014The intent of the undergraduate Thesis Studio is for students to demonstrate proficiency in mak ing proposals for buildings that integrate knowledge from the principal disciplines represented within the program. Building Design, History, Theory and Humanities, Technology, and Visual Studies weigh into the execution of a synthetic work of ar chitecture. Students work with a committee consisting of representative mem bers of each academic discipline, and design a project from proposals developed in the prior semester.

SofTUndergraduate Spring SemesterAdvisor_ Florencia Pita Site_ SCI_Arc

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Thesis Statment

This thesis is part analog, part digital, and part material research. Although the efforts of contemporary architecture and technology have attempted to be much softer, this softness has only been applied visually or to shells/membranes in form. This thesis is about literal softness. It is intentionally open-ended, as a set of explorations into the size, shape and color of softness. It begins with soft built-ins and then moves through scale changes to the tile and the pattern. Using polyurethane foam, that can be cast in shape with color, or with color applied, this thesis seeks the irregular structures of soft materials in order to form aggregated wholes walls, surfaces and interiors that will delight the eye and the touch. Exploring the various shapes that the cast foam offers

new tectonics of softness.

My thesis title is Soft, with a capital letter T, to emphasize the sense of touch. This thesis is an open-ended material speculation which centers on literal softness, by using polyurethane foam that can be cast in shape with color, or with color applied; this thesis seeks the irregular structures of soft materials in order to form aggregated wholes walls, surfaces and interiors that will delight the eyes and the touch. Softness is available as a way to make solid form both visual and textile, it could create what hardness could do, like making bricks and tiles.

In comparison to a lot of recent architectural projects, for example, Elena Manferdinis MoCA installation, rather having complete control from the digital to material form, this thesis is embedded in what the materiality will do. With the foam material neither the brick or the tiles have to be rectangular, because the soft shape doesnt have a certain pattern, the material agonizes over being constrained in the given form, it extends and escapes naturally beyond the mold. This creates unexpected textures, bubbles and puffs. In other words, the geometry of any one part cannot be completely modeled and predicted digitally.

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The aggregation of wholes from these parts is a logical next step. At one time, I imagined softness as a continuous entity, like a built-in, but more investigation into larger-scaled soft elements revealed how they were actually aggregates and assemblies of smaller pieces. Initial experiments with the foam material brought forth the lobed form, because an orthogonal shape would not remain flat. I had to cut the rectangle in addition, as opposed to the lobed form which popped right out of the mold. Any time, I met a resistance like that, it yielded information. In this case, the module of the foam wanted to be rounded.

Space, forms and shapes could be revealed in different proportion and scales, but the physical senses couldnt, therefore, this project attempted to create a piece work with one to one human scale. By stacking foam pieces together, (point to the puff wall) just like bricks tectonic, to demonstrate Soft material is capable to be part of architectural element, the wall, a divider. This act of stacking and fitting the pieces together began to yield more information.

Each piece here was casted with the same amount of raw foam material, same technique same base pattern, and same amount of pigments applied. But still, the variety of the outcome is speaking for the mutinous characteristic of foam. Foam expended by absorbing the surrounding atmosphere, the growth is natural and non-artificial. This thesis delights in this aspect of the materiality. Each piece has two colors, mixed from two types of foam. Each piece has a base color and a secondary color but the spread of the colors was unpredictable. Some came out more pink, others more orange. So, I began modeling an assembly logic based not on pieces fitting together but on their color gradient, so that the overall effect was one of moving from color to color across the wall. This also enhances the human experience of touching and perceiving.

Unlike traditional rigid building material, foams are able to directly interact with human body. It could be apply architecturally with infinite possibility. This open-ended material speculation speaks to a more interactive culture we live in and

allows for a new tectonics of softness.

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- Ariel Ip

Philosophy is a rationalized poem Poem is a living philosophy

The shelter between poem and philosophy, is Architecture.

+1.626.463.3539ariel.ip029@gmail.com

www.arielip.comAriel h. Ip