莱斯大学未毕业学生作品集

**josieven** · 拓邦元帅|**josieven** 发表于 2012-4-4 11:10:01

本帖最后由 josieven 于 2012-4-4 11:16 编辑

偶尔看到莱斯大学建筑学院主页，不小心看到了作品集，感觉挺有意思的就收藏下来了，英语水平一般刚能看懂，于是乎我就不翻译了啊，不然误人子弟，自己看看感觉有价值和帮助的别忘了评分哦~

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101Prof. FinleyProjecting the _______ House, Spring 2011 Juncheng YangON&OFF House

ON&OFF House is a domestic houselocated at an imaginary site in Houston.The design interprets the concept of ON&OFF by creating binary conditionsin the house, while still bearing in mind its requirements of comfort andfunctionality as a living space.

The specially designed placement ofdifferent spaces sets up the first binary condition that reflects the conceptof ON&OFF. There are two staircases attached to the front and the backfaçades, and each staircase only leads people to certain rooms. In other words,these two staircases not only control spaces, but also define spaces. The frontstaircase leads people to public spaces, while the back staircase only gives accessto private spaces on the other side of the house. The front staircase connectsthe public living room, dining room, and public leisure area, while the backstaircase connects workspace, private living room and bedrooms. In this way,spaces within this house are assigned to two parts in general –public andprivate.

The other “ON&OFF” effect comes fromthe combination of openness and closure on the facades. Spaces are designed toopen to either the front or the back according to functions. While publicspaces open to the front, private spaces open to the back for privacy. By thismeans, the “ON&OFF” effect is evident on the exterior of the house. Inaddition, the interiors of the public spaces are treated with rough finishmaterial, whereas the private spaces are covered with smooth material. Such anuance indicates the difference of two types of space. Nevertheless, peoplewould not easily discover the subtle difference until they have carefullyexperienced the house.

Arch 102Senior Lecturer AlfordProjecting the _______ House, Spring 2011 Pyline TangsuvanichConvergent House

The Convergent House derives from theconcept of the datum. The organizing principle of the house plays out in itscirculation – the inhabitant must take the stairs and “converge” into thepublic space in order to “diverge” into a private space to rest or work.

The entrance is a triple-height space thatvisually unites the three levels of the house. The house has three floors, withthe central gathering floor sandwiched between the first and third floors. Eachprogrammatic area has its own rectangular subdivision and staircase. Thesubdivisions on the first floor are designated for sleeping spaces, and on thethird, for work spaces (office, kitchen). In order to get from one room orfloor to another, one must take the staircase and “converge” into the publicliving and leisure space in order to access the private spaces.

In addition, each subdivision also hasclerestory windows around the entire perimeter of the space to provide daylighting. The entire second floor is glazed because it is the most public spacein the house The glass walls allow for panoramic views and give the gatheringfloor a sense of openness. A single staircase goes up to the third floor balcony,which is entirely outdoor space and provides views of the urban landscape thatsurrounds the home.

Arch 202Prof. OliverPrinciples of Architecture II: Assembly,Spring 2011 Celine ZhouIndustrial Nostalgia

This project explores the potential oflong-span repetitive structural systems as principal definers of program andform; at the same time, it attempts to establish contemporary cultural identityin the puzzling, surrealistic urban context of Galveston Island.With its innovative structural design and use of rusted material, this open,public fish market intensifies the nostalgic sentiment embodied in thehistorical site, the nostalgia for the golden age of Galveston as a major port city.

The structural experiments start with thespecific parallelogram from the shape of the site, which proceeds directly intothe water. The entire system consists of 12 identical modules, whose shapes aredetermined by series of careful manipulations of geometry; each module has astrong inner skeleton concealed under a moiré patterned structural skin. Due toits extensive span, the canopy varies its thickness to maintain its strength,creating different spatial qualities in interior area.

Cor-Ten steel is the main material for thecanopy structure, whose rusted materiality is a direct response to theindustrial past of Galveston.Given the outrageously scaled infrastructures and cruise ships nearby, thecomparatively undersized structure and its repetitive system indicate ade-monumentalization that intends to encourage the chaos of eclecticism intothe structure. The “step” into water joins the formal interactions between theartificial creation and the natural waterfront, while it also functionsprogrammatically as a quick loading area.The circulation is determined by thehybrid of two grid systems: one parallel grid from the structure and oneorthogonal grid from the stall arrangement. Both are derived from the sitegeometry. The market structure is completely open and accessible from all sides,while major entrances for customers are located at the south and the east.

Arch 202Prof. WittenbergPrinciples of Architecture II: Assembly,Spring 2011 Samantha MelcherGridded Undulation

This project for a new fish market in Galveston is driven bythe concept of undulation. The city of Galvestonis organized by a strict grid system, while the harbor area in which the sitecreates a diagonal to this grid. Two grids generated by these systems areoverlaid along with the dominant directionality of the wind. This overlaycreates a geometric undulation between systems, which acts as the organizingbasis of the project. The grid systems overlaid on the site are assigned a16’x16’ modularity, in accordance with the stall size, and are examined at thescale of the site boundaries.

The design uses a folded plate structure toaccomplish an undulating effect. Tracing the grid lines generates three canopyoutlines. The three separate canopy components are directed toward the ocean.The canopy is then folded along a series of lines formed by the geometry of thegrid intersections.

The amplitude of the folds createsdirectionality and velocity as the roof transitions from harbor to city. Thisanimation manipulates the system of V columns, continuing the pull across thesite. The structure responds to this increased distortion, being pulledincreasingly as the canopy amplitude increases.

Arch 302Prof. SchaumIconomics: Cultural Center of the Americas, Mexico City, Spring 2011 Alex GregorIconic Cultural Confoundry

This project concerns the creation of anicon which situates somewhere between the cynical alien building and theperpetual life of the city as it operates.

It is a iconic building in every way whileits regularized geometry reflects a regularity of the city itself. Its interiorprogram fits within the space delineated by two orders of organization whichproduce the grand form from two sets of seven units.

Arch 302Prof. JimenezArchitecture and Globalism: Cultural Centerof the Americas, Mexico City, Spring 2011

Michael MatthewsStitching the Void Courtyards are a strong fixture in thebuilt landscape of Mexico City.They recur in a variety of buildings with very different programs, from churchesto hotels to markets to infill buildings. However, despite maybe a change inscale, there is a strong uniformity to the configuration of these courtyards inregards to the relationship between the massing and the void. This isespecially true for the historical sections of Mexico City, such as the site of the projectat the Zocalo. The consistency of the site plan demonstrates that the manycourtyards nestled within the density of the Zocalo are relatively of the sameregularity of size, shape, and isolation from one another.

The project seeks to reinterpret therelationship of the massing to the void in the courtyard. It creates spacesinspired by the surrounding courtyards, but transcends the typology. It createsan infill of four courtyards that interlock with each other, thus freeingthemselves of the inward orientation of the other surrounding courtyards. Theend effect is a collection of dynamic spaces that provide the necessary reliefof density but without being completely introspective and isolated. At the sametime, each courtyard has its own distinct character through differentviolations of the courtyard typology.

The first courtyard is extruded upwards andreverses the inward orientation for an outward one which creates views onto thecity. It is the most public area of the building and houses the reception. Thesecond courtyard is also public and houses the cafe and theatres. It is aseries of perforated layers which result in a central, terraced void. Itreprograms the courtyard from a void of absence to a void of activity. Alllines of sight converge on the central area of a very public stage intended forlectures and demonstrations. The third courtyard is a gallery space where thecourtyard massing is severed to create strong linkages to other program. Thegallery space wraps around the neighboring courtyard to tie program together onmultiple levels. The fourth and last courtyard is the densest and most private.It contains the program related to production such as offices and studios. Herethe void is pushed to the edge of the massing, to allow the voidspace to serveas a boundary from the rest of the building and to allow light into theconcentrated spaces.While each courtyard is distinct in massing and program,they are tied together through a continuous circulation system. Ramps andpathways stitch the massing together to allow fluid movement between program.The stitching wraps around the voids in a figuire-eight, allowing for movementacross the building from street to street and allowing for a public space ofintersections at its center.

附件为整理的word文档还有一个纯图片的文件夹，一共5个作品，全部内容为帖子内容。

外国作品.rar (9.66 MB, 下载积分: e币 -2 e币充值 VIP免e币)