p o r t f o l i oa r c h i t e c t u r e | a r t | d e s i g n

kate chen

Contents

demonstrative architecturemonstrous landscapes

the adaptive precedent

structural systemsfragment

transectdigital media

art

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A FLEXIBLE CONSTRUCT [sequence 1]

The first sequence focuses on the defamiliarization of architecture through the analysis of unusual creatures or “monsters”. Given the mimic octopus, I examined its physical attributes, behavior and movements in order to identify salient qualities inherent to its nature.

One of the most remarkable characteristics of this creature is its highly versatile skin and muscle structure that allows it to morph into different forms. The model is fabricated to articulate this quality is a perforated and folded membrane which encloses space to create a sinuous and flexible construct.

[de]monstrative architectureDesign Studio I

Fall 2013

BECOMING MONSTERS[sequence 2]

Continuing the process of defamiliarization , this sequence required the creation of an apparatus to be worn by a class-mate that illustrates some aspect of the creature’s animate characteristics. The apparatus must also generate a graphic record of its motions.

This iteration further develops the concept of a flexible membrane through the materiality [fabric] and supple movement. A system of plastic rings and wires, evoking the muscle structure of the octopus, is operated by the move-ment of my classmate’s opposing arm. This results in the ap-paratus articulating a highly specific curling motion, which produced a field of curving lines.

monstrous landscapes[sequence 3]

In this final sequence, the density of lines produced by the apparatus was used as a topographical plan for a immense, wind-

swept landscape.

The process of sanding and laminat-ing plywood layers revealed a series of curves derived from the drawing. The

organic quality of the landscape captures the fluidity and elegance of the creature’s

movements.

investigating the adaptive precedentDesign Studio I

Spring 2014

This semester was structured around the notion of dissecting rituals, systems, and concepts from vernacular precedents in order to adapt them to modern architectural programs. My initial precedents were the stilt house in Loreto, Peru and the Shivering Sands Army Fort on the Thames estuary in the UK.

ADAPTIVE MODIFICATIONS [sequence 1 + 2]

Both precedents are composed of heavy, dense masses intersected by thin structural members. For the stilt houses, I focused on how the elevation of the structure above the ground and the layering of wood beams maximizes the natural ventilation that cools the interior space. The concept of a membrane that responds to the external environment became an important consideration.

Through a series of detailed diagrams, the structural, material and spa-tial organization of the army forts is deconstructed. While the forts are also elevated above the water by stilts, the purpose is actually to al-low for 360-degree panoramic views. The ability to circulate efficiently through the different layers of the fort is also an essential quality. This concept is abstracted by introducing the operation of rotation [demon-strated by the study model] which becomes integral to the rest of the design process.

a final adaptation[sequence 3]

The final challenge was to design a modern preschool that adapts to site and pro-grammatic constraints while also taking inspiration from the original precedents of the stilt house and army fort.

The site is in Galicia, Spain, where the climate is Mediterranean and the landscape consists of gently rolling hills. I considered the two systems of rotation and layering from the initial precedents to regulate my design process. The architecture thus be-comes a continuation of the undulating landscape and utilizes passive design strat-egies of cross ventilation. The goal is to create a bright, open space that fosters the imaginative, creative sensibilities of the children.

1/8 Scale Model

AN OPERATION OF ROTATION1/4 Scale Sectional Model

This sectional model demonstrates the way in which the architecture adapts to fit the landscape. Rotation allows the structure to engage with the hilly landscape, which also creates a series of ramps for circulation. On a smaller scale, the operation also leads to different typologies of furniture, such as desks, swings and wind panels, which could be rotated to fit the program.

A SYSTEM OF LAYERSExterior and Interior Renderings

The layering system creates a dynamic membrane that utilizes natu-ral cooling ventilation. The mass vs. void duality resulting from the layering also gives the space a playful, light quality in which chil-dren can explore different views through the windows and between the narrow openings.

STRUCTURAL SYSTEMSFall 2014

group project with Sisi Yu, B.Arch ‘18

This semester long project was a detailed case study of the Sea-Folk Museum [Naito Architects | Toba, Japan | 1992]. The architecture draws inspiration from traditional Japanese precedents while also creating a sense of simple

modernity.

A system of wooden arched frames and supporting portal frames that evoke an inverted ship hull comprise the structural frame which spans across the entire exhibition space. The museum re-vives the legacy of the fishing villages by intertwining landscape,

history and tradition within the architecture.

INTERPRETING A HISTORICAL EVENTDesign Studio II

Fall 2014

On January 15th 1919, the Purity Distilling Company in downtown Boston was going about their normal business of producing large quantities of molasses (a standard sweet-ener during the time) when a strange anomaly occurs. The 50 foot tall tank containing the molasses suddenly collapses, sending a “black tsunami” exploding in every direction. This incident, known as the Boston Molasses Disaster, claimed 21 lives and caused widespread

damage and injury.

FRAGMENT

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The concept of fragmentation, which reflects the actual disaster itself and its devastating af-termath, regulated the language of the visitor’s center. In the plan [left], the fragmented walls radiate outward from the circular footprint of the molasses container, a manifestation of the explosion that occured a century ago. The structure explores dualities of heavy|light and compression |expansion so that visitors experi-ence the sensation of submergence, as if within

a dark tide.

Not only will the visitor center educate about the history of the molasses disaster, it becomes a physical and programmatic extension of the nearby recreational parks, historical sites and

harborwalk it is connected to.

Environmental SystemsAn ecological site analysis of a transect through the Colombia River utilizing programs such as Ecotect,

GoogleEarth and Adobe Illustrator. Fall 2013

Untitledtwo illustrations within a larger series that examine figures and portraits within space

pen & ink2013

© this portfolio contains the design work of Kate Chen 2013 - 2015