• 2 Faces

    2 Faces
    los angeles CALIFORNIA

    suckerPUNCH: Describe your project.

    suky HO: My project addresses having two different facade based on site condition of the East and West elevations. I want to build a connection to the surrounding site, yet also maintain a sense of individuality. I was most interested in how the site is exposed to the public on the East (Edgewater Terrace) and West (Silver Lake Blvd.) elevations. There are different characteristics’ among Edgewater Terrance and Silver Lake Blvd. that I addressed in my project as well as how it relates to Richard Neutra VDL House which sits on the North elevation.

    The East elevation (Edgewater Terrace) is considered to be a quiet residential neighborhood. Houses are set back from the property displaying a yard. The neighborhood consists of mainly one to two story homes overlooking a view of the mountains. My project responds to these conditions by pushing the house back towards Silver Lake Blvd and creating a yard. From this elevation, the house is display a to two story with a car ramp elevating the house to capture a non-obstructive view of the mountains. The East facade consists of thin horizontal paneling with strips of operable transparent glazing to allow a connection to the outside view of the mountain. The house entrance is located on this side of the street.

    The West elevation (Silver Lake Blvd.) is a busy street which overlooks the reservoir. The West elevation is the most exposed during the hottest hours of the day. On the West elevation, an opaque facade is used as a sound and sun barrier. The house at this elevation is considered to be a three story building, aligning with the VDL House. The second level displays translucent bi-fold doors to allow views of the reservoir.

    sP: What or who influenced this project?
    sH: As a influences, I evaluated how Le Corbusier started his design of Villa Stein with a proportional grid, the golden section in plan and elevation. I took this aspect to subdivide the site based on the golden section in a 3diminsional space. When working with the interior space, I turned to Mies Van de Roche’s Farnsworth House to understand how he generated centralize dense mass and left the surrounding open to interpretation.

    sP: What were you reading/listening to/watching while developing this project?
    sH: I was studying Volkan Alkanoglu Design and Tom Wiscombe Design of their processes of generating forms. I got interested in how they generate forms through the use of modern technology software. I took this aspects and applied to Le Corbusier’s Villa Stein principals to find a way of generating new forms. I was reading Le Corbusier’s Modular and Modular II to understand human proportion and scale as they relate to the built environment. I referenced Zaha Hadid’s “Complete Works” book for not only design but the relationship of movement from outside to inside. I looked at Morphosis and Eric Owen Moss for their line composition, and the poetry they could capture with line drawings.

    sP: Whose work is currently on your radar?
    sH: Tom Wiscombe, Volkan Alkanoglu, Wes Jones, and Zaha Hadid.

    Additional credits and links:
    Instructor: Volkan Alkanoglu
    Facebook: suky HO

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    • Sergio Ormachea Says:

      It is inspiring to see the rigors of architectural history are not left behind as a side note in a world of lawless scripting.