so.xi.

chan
2011
01 M A N - M A D E N A T U R A L L Y
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07 A C T I V [ A T E D ] A R C H I T E C T U R E
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15 P A R T T O W H O L E P A V I L I O N
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17 U R B A N C O R R I D O R
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25 C I T Y A N D S E L F
26
27
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30 I N N O V A T I N G G E O M E T R I E S
31
32 P A R A M E T R I C P A T T E R N I N G
33
34 I N H A B I T A B L E S T R U C T U R E
35
36 F L E X I B L E F O R M W O R K
37
01 M A N - M A D E N A T U R A L L Y
02 Instructor| Karl Daubmann
03
04 September - December 2008
05 UG3 Rock, Paper, Nature Studio, TCAUP
06
January - May 2009
Construction
 The artificial and the natural become
indistinguishable in a quarry on Kelley’s Island,
a place where even nature has been created by
man.

Where the ground has already been stripped of all

its useful limestone, a new landscape appears.
Quarry walls become strikingly beautiful cliffs
over pools of spring water and vegetation emerges
from strangely desert-like land.

At this place where man and nature meet, a new

kind of eco-tourism emerges.

Kelley’s island is located off the shore line of lake erie at

a point where wind speeds are some of the highest in the US
[dark blue].

Lobby Sheltered Courtyard Cafeteria Behind EcoHotel Suites

By seeing the site as an organism
within the human ecosystem, the
dependence of humans on wind
for ventilation, energy, and
recreation is magnified.

The wind is shaped and harvested

by the buildings and landscape.
Leaf filled branches form a
barrier gathering the wind
in the summer but then
emptying and releasing
the wind in the
winter.

When approaching
the complex, the
tall limestone
face of the

building stretches across the

rear of the quarry, linking
itself to the quarry wall.
 Original Date: 1/10/20
Student: Sophia Chan
Unique Name: xiaofa

LAB Instructor: Micha

1 2 3

4 Occupancy, egress, structure,

grass
HVAC, plumbing, cost and
soil structure were explored and
drawn up over the following
waterproofing membrane
rigid insulation
4 roof decking

semester with an emphasis on

Date Revised: 3/31/2009

coping

longest common
egress route (71 ft)
bolts
rigid steel frame
how code restrictions can
custom steel truss influence design decisions.
double paned window
longest egress route
(71 ft) A comprehensive set of
documents can be found online:

1/48” Ezban
= 1’
Bearing Wall
limestone shale

First Floor

Original Date: 1/30/2009

Open-web

Student: Sophia Chang

Floor / Michael
Unique Name: xiaofan
rigid insulation
steel joist. 6”
deep, 3’ o.c. waterproofing membrane

limestone block
http://issuu.com/soxichan/
Structural
docs/man-made_naturally

LAB Instructor:
ties
steel girder.
concrete foundation wall
6” deep

Complex First
Code Egress
S2
U
Structural
A1
steel girder.
A2 drainage mat
19 “ deep
A3
B 100 gross 2. Offices 51 ft sq ea. 1 person 1 exit min. 1 exit actual angle
Open web
R1 200 gross 1. Suites 76 ft sq ea. 1 person 1 exit min. 1 exit actual steel joist. raised floor tile
100 gross 3. Offices/Suites 51 ft sq ea. 1 person 1 exit min. 1 exit actual 26” deep, 3’
(incidental) 300 gross 4. Storage 194 ft sq ea. 1 person 1 exit min. 1 exit actual supporting beam
o.c.
R2 bolts

Open web steel joist.

Structural
steel girder.
02.01 premolded filler and sealant

3/31/2009
32” deep, 3’ o.c. 30 “ deep gravel

Open web steel joist.

22” deep, 3” slab, 1/2”

1’ Revised:
deck, 3’ o.c. cant strip

Custom structural steel drainage pipe

truss. 8’ deep, 3”

/ 1/48” =Date
gravel
decking, 6” slab, 12’ o.c.
footing

Clear-span rigid steel Basement:: Structure

LAB Instructor: Michael Ezban

footing ties
frame. 81” crown depth,

Date: 1/14/2009
11’ shoulder, 21” base

Student: Sophia Chang

Unique Name: xiaofan

Date Revised: 3/31/2009

Basement
Plan
Bearing wall
Exterior bearing

Code Framing
wall. limestone,
1 2 3 maintain 6”

Original
continuous vertical

3/31/2009Complex
Pros: Cons: bearing wall

07.01
Student: Sophia Chang
-Rigid frame system is less complex -The rigid frame takes up much of Enclosure System Structural steel roof
10 Unique Name: xiaofan
-Rigid frame minimizes need for the window area and blocks the joist. 6” deep, 1/2”
Complex / 1/4” = 1’ Original Date: 3/28/2009 Date Revised: 3/31/2009
columns natural light from getting into the lab. LAB Instructor: Michael Ezban decking, roofing
-Permits construction under adverse -Steel does not have a high membrane

Original Date: 2/17/2009

Student: Sophia Chang
Unique Name: xiaofan
weather conditions. fire-resistance rating
-Minimizes on-site erection and -Does not minimize the number of Exterior bearing
construction time separate trades needed to complete wall. limestone
10
-Avoids the need for diagonal a building
04.01Clear-span rigid

Date Revised:
bracing and shear walls Limestone tiling Open-web steel
4 joist. 6” deep, 3’ o.c.
longest egress route longest common steel frame. 81” Open-web steel joist.
5 6 7 8 crown depth, 11’
(71 ft) egress route (40 ft) 22” deep, 3” slab, 1/2” Concrete bearing
shoulder, 21” base deck, 3’ o.c. wall beyond section
cut
Custom structural

LAB Instructor: Michael Ezban

9 Concrete bearing
steel truss. 8’ deep, wall. 2’ thick
3” decking, 12’ o.c. Structural steel

Date: 1/14/2009
girder. 2’ deep

Student: Sophia Chang

Unique Name: xiaofan
Footing beyond

= 1’
Hollow section cut

Basement partition
wall. 1’ thick

/ 1/48”
Complex BasementOriginal
Concrete bearing
wall. 2’ thick with
limestone facing
S2
U Foundation footing

Code Egress
A1 1 with rebar
A2 200 gross 4. Kitchen 782 ft sq 3 people 1 exit min. 1 exit actual reinforcement
15 net 5. Restaurant 2330 ft sq 155 people 2 exits min. 3 exits actual
6. Cafe 605 ft sq 40 people 1 exit min. 2 exits actual
A3 100 gross 7. Stacks 605 ft sq 6 people 1 exit min. 2 exits actual

Code Structural Section

100 gross 8. Stacks/Reading Area 1601 ft sq 16 people 1 exit min. 3 exits actual 2
B 100 gross 9. Biotech Laboratory 10,024 ft sq 100 people 3 exits actual

Complex / 3/32” = 1’
2 exits min. 3
R1 200 gross 1. Suites 112 ft sq ea. 1 person 1 exit min. 1 exit actual longest common 4
3. Suites/Cells 112 ft sq ea. 1 person 1 exit min. 1 exit actual egress route (52 ft) Footing tie
(Incidental) 300 gross 10. Laundry Room 351 ft sq 1 person 1 exit min. 1 exit actual grouted into
5
Basement / 1/48” = 1’

R2 200 gross 2. Cells 112 ft sq ea. 1 person 1 exit min. 1 exit actual longest egress route limestone
(175 ft) 02.02

Lower Basement
04.02
07 A C T I V [ A T E D ] A R C H I T E C T U R E
08 Instructor| Ingeborg Rocker
09
10 Coordinator| Preston Scott Cohen
11 November 4 - December 9, 2009
12 First Semester Core, GSD
13
14
 Stage 1. Stage 2. Stage 1. Stage 3. Stage 2. Stage 1. Stage 3. Stage 2. Stage 3.
Pedestrian Crosses Bridge Moves Apart
Pedestrian Crosses Boat Crosses Bridge MovesPedestrian
Apart Crosses Boat Crosses Bridge Moves Apart Boat Crosses

“This project is a study of movement in architecture. Architecture

becomes the geometrical inscription of a series of actions and positions.
As such, it kinetically redefines the fundamental tenets of stasis and
permanence. -P.S.C.

At the site, pedestrian and nautical passage intersect. Each pauses

for the other to pass. The program is a building, parts of which are
connected to and move with the gate of a boat lock.
 Private Private
Meeting Meeting
Room Room

Private
Meeting
Public Plaza Public Plaza Room Public Plaza

Second Floor Second Floor Second Floor

Second Floor

Restroom Restroom Restroom Restroom Restroom Restroom

Safe Zone

Sheltered Viewing Platform

Gallery / Local Exhibition Space Gallery / Local Exhibition Space

Plaza Extension

Sheltered Waiting Area

Site/Roof Pla
Public Plaza Public Plaza Public Plaza

Safe Zone

Personal
Travel Planning
Advisory
Lobby
Information
Center
Personal
Travel Planning
Advisory
Lobby
Information
Center
1/8” = 1’

First Floor First Floor First Floor

First Floor
 Section
1/16” = 1’

Elevation
1/16” = 1’

Elevation Elevation
Elevation 1/16” = 1’ 1/16” = 1’
1/16” = 1’

The Visitor’s center locates itself at a junction where people are entering and exiting
into new urban environments.

When the lock is closed, pedestrians pass through the building to cross the lock. When
a boat comes, the building compresses into itself, creating smaller private spaces
inside, but also bringing the boat into a new public space in front of the building.
15 P A R T T O W H O L E P A V I L I O N
16 Instructor| Mariana Ibanez
Jan 25, 2010 - February 15, 2010
Second Semester Core, GSD
 b b 90º b
a
b xº
≥2b xº

Rather than the increasingly

common top down approach to
architectural form, the design
and modification of a masonry
unit is a way to discover
potential spaces.

An effort was made to embed

intelligence within the unit
itself.

Six parameters were determined

in order to create a module
which could aggregate both as a
screen and solid condition.

Foam positives were cut in the

production of silicon rubber
molds from which rockite bricks
were cast.
17 U R B A N C O R R I D O R
18 Instructor| Mariana Ibanez
19
20 March 22, 2010 - April 26, 2010
21 Second Semester Core, GSD
22
23
24
1:800 1:400 1:400 1:3000
1:800 1:400 1:400
1:800 1:400
1:3000 1:400 1:3000

The void of movement within mass occurs at

many different scales. At the largest urban
scale it is the river that defines void,
while at the scale of the street a small
park defines an urban corridor which moves
through the given site.

This void between buildings carves out a path

which pulls into the Rare Books Library. The
path defines both program and circulation,
creating spaces of light and movement as
well as places of shelter and solitude. In
the heart of the building, the path opens
up the space of a vertical plaza looking
towards the jewel of the library, its rare
book collection.

A catalogue of angles defines relationships

between people and spaces encouraging movement
and public space towards the park, while
creating spaces of stasis at the opposite
end where the rare books are sheltered.
 a,b

a,b,c

Angles of inhabitation:
a,b,c,d

Continuation of Ground Independent of Ground (Flat)

a,b,c,d,e

Building\Barrier,
Non Relationship

a,b,c,d,e

Building/Barrier
Building\Barrier Programmatic Continuous view to
implying outdoor extension of interior
public space 45 30 corridor Private Plaza Above
a,b,c,d,e

Building/Barrier
a,b,c,d,f
Building/Barrier Physical Uninterrupted
from lifted extension of Space of Viewing
ground corridor Plaza Above

a,b,c,d,f

Uninterrupted
Interrupted Space of Viewing
Circulation Extension of Sunken Public Plaza
w/Uninterrupted movement from Private interior from
Space of Viewing corridor Street

a,b,c,d,f

a,b,c,d,f
Angles of inhabitation:

Independent of Ground (Angles)

a,b,c,d,f,g

wall
Continuation of Ground Independent of Ground (Flat)
?
seat overhang
Private space View towards Clerestory Below
Uninterrupted viewing street Street above Visual barrier Building\Barrier,
Space of Viewing from above Clerestory above Non Relationship
a,b,c,d,f,g

stair

No Space of Interior pushed No Viewing Building/Barrier

a,b,c,d,f,g
Viewing towards street Clerestory Private Space Building\Barrier Programmatic Continuous view to
Angle Directs view View towards “Bleachers” below with implying outdoor extension of interior
deeper north above towards north skylight public space 45 30 corridor Private Plaza Above
?

ramp

a,b,c,d,f,g

Building/Barrier
Uninterrupted Road as Stage, Physical
Building/Barrier Uninterrupted
Space of Viewing Building as Building as Aloof extension of
from lifted Space of Viewing
Building as Aloof Auditorium with seating Object corridor
ground Plaza Above
Object introverted view Private below Private

a,b,c,d,f,g

Uninterrupted
Interrupted Space of Viewing
Non-Presence Non-presence Non-Presence Circulation Extension of Sunken Public Plaza
Building Non- View towards View towards Shared View w/Uninterrupted movement from Private interior from
Present North north Private Lower Space of Viewing corridor Street
a,b,c,d,f,g Shared View Private Interior Private Interior Interior
dropoff

cliff

Independent of Ground (Angles)

 1. informal reading space
2. lounge waiting area
3. magazines
4. upper gallery
5. balcony
6. lobby seating
7. lower gallery
8. reference desk

8
 4

12

13 19

23

14
5

7
20 20
6

9 17 17 17
16 16 16
15 15 15
8

2
10 22
3

18
21
11 21

21 23

21 15 19

18 14 13 12

5 4
8

1 2 1 1. mechanical/storage 13. cafe/shop

2. auditorium 14. upper gallery
3. auditorium lobby 15. stacks
4. workshop/conservation 16. computer research station
5. lower gallery 17. carrel
6. gallery display 18. scanners/copiers
7. reference desk 19. multipurpose
8. lobby 20. magazines
9. meeting room 21. reading room
10. administration 22. lounge
11. exterior courtyard 23. informal reading space
12. kitchen
25 C I T Y A N D S E L F
26 Instructor| Jonathan Levi
27
28 September 01, 2010 - December 07, 2010
29 Third Semester Core, GSD
The Boston New Center for Music, Dance
and Drama is a building which both
presents itself towards the city while
opening up to the waterfront.

A grand swooping roof brings the height

of the building down towards the city,
revealing spaces of artistic activity on
the interior.

Before touching the ground, it rises

again, forming a restaurant pavilion to
welcome the city inside whether a patron
of the arts or just another community
member.
Ground Floor
1/16” = 1’
Sophia Chang

Second Floor
1/16” = 1’
Sophia Chang

Third Floor
1/16” = 1’
Sophia Chang

Sophia Chang
 40

50 Underground Water Cistern

Perforated steel roofing
facilitates the collection
of water on the large
Filtration System
sloped roof surface for
reuse within the building.
allows roof to vent, cooling the
building in the summer and
turning the outer skin into a
shading device for the roof.
The form of the roof, kneeling towards
the city allows water to be gathered

recycled for graywater uses around the

membrane
Oversupply of water can be used for
irrigation and even contribute to the
irrigation of the park next door.

The collection of water helps to compen-

sate for the large amount of hard surface
area where there used to be park to
absorb the rain.

Sophia Chang

The grand stair on the south end

of the building leads up to two
performance spaces.

The promenade allows a space

of viewing between the city and
building inhabitants.
Within the spaces of performance, boundaries between performer and
spectator are blurred:

A twist in the geometry of the theatre allows the space of the audience to
break through the proscenium and join the performer. In the concert hall, the
smooth movement of stage spiraling up into seating links the two together.

Outdoors, a sunken plaza brings people closer to the water while also creating
tiered seating and giving street and park elevated views.

minor trusses supporting

mullions

large cable truss tied into

steel truss and floor slab

mid-sized cable truss

minor trusses supporting
mullions

Sophia Chang
30 I N N O V A T I N G G E O M E T R I E S
31 Instructor| Cameron Wu + Preston Scott Cohen
Projective Representation in Architecture, GSD
December 11 - December 15, 2009
 DISCRETIZATION OF A SURFACE::
DISCRETIZATION OF A SURFACE::
DISCRETIZATION OF A SURFACE::

OF
OF AA SURFACE::
SURFACE::
OF A SURFACE::
DISCRETIZATION OF A SURFACE::
F A SURFACE:: TRIANGLES STACKED AND ROTATED CONTROL POINT CURVE REPEAT ON THREE SIDES EDGESRF REMOVE ONE FACE AND LOFT EDGES MIRROR OVER ORIGINAL FORM BOOLEAN COPY VERTICAL BOOLEAN DELETE UPPER SURFACES LOFT OPEN EDGES

TRIANGLES STACKED AND ROTATED CONTROL POINT CURVE REPEAT ON THREE SIDES EDGESRF REMOVE ONE FACE AND LOFT EDGES MIRROR OVER ORIGINAL FORM BOOLEAN COPY VERTICAL BOOLEAN DELETE UPPER SURFACES LOFT OPEN EDGES

triangles stacked
TRIANGLES STACKED and rotated
AND ROTATED control point
CONTROL POINT curve
CURVE repeat
REPEAT ONon three
THREE SIDES sides edgesrf
EDGESRF remove one
REMOVE ONE face
FACE andEDGES
AND LOFT loft mirror
MIRROR OVER ORIGINAL FORM boolean
BOOLEAN copy vertical
COPY VERTICAL boolean
BOOLEAN delete upper
DELETE UPPER surfaces
SURFACES loft open
LOFT OPEN edges
EDGES

DISCRETIZATION METHOD ONE

VE DISCRETIZATION METHOD
REPEAT ON THREE SIDES ONE
EDGESRF REMOVE ONE FACE AND LOFT EDGES
[DRAW DIAGONALS
MIRROR OVER ORIGINAL FORM BOOLEAN COPY VERTICAL BOOLEAN DELETE UPPER SURFACES LOFT OPEN EDGES

VE REPEAT ON THREE SIDES EDGESRF REMOVE ONE FACE AND LOFT EDGES MIRROR OVER ORIGINAL FORM BOOLEAN COPY VERTICAL BOOLEAN DELETE UPPER SURFACES LOFT OPEN EDGES
[DRAW DIAGONALS [EXTRUDE CURVES IN DIRECTION OF
E REPEAT ON THREE SIDES EDGESRF REMOVE ONE FACE AND LOFT EDGES
NEIGHBORINGMIRROR OVER ORIGINAL FORM
NORMALS BOOLEAN COPY VERTICAL BOOLEAN DELETE UPPER SURFACES LOFT OPEN EDGES
[EXTRUDE CURVES IN DIRECTION OF
TRIANGLES STACKED AND ROTATED CONTROL POINT CURVE REPEAT ON THREE SIDES EDGESRF REMOVE ONE FACE AND LOFT EDGES MIRROR OVER ORIGINAL FORM BOOLEAN COPY VERTICAL BOOLEAN DELETE UPPER SURFACES LOFT OPEN EDGES
NEIGHBORING NORMALS
DISCRETIZATION METHOD ONE
REPEAT ON THREE SIDES
[ROTATE3D PLANES IN TOWARDS CENTER
EDGESRF REMOVE ONE FACE AND LOFT EDGES
[ROTATE3D PLANES IN TOWARDS CENTER
SIXTY DEGREES
MIRROR OVER ORIGINAL FORM BOOLEAN COPY VERTICAL BOOLEAN DELETE UPPER SURFACES LOFT OPEN EDGES

SIXTY DEGREES [TRIM PLANES OFF AT INTERSECTION

[DRAW DIAGONALS LINES WITH OTHER PLANES
[TRIM PLANES OFF AT INTERSECTION
LINES WITH OTHER PLANES
DISCRETIZATION
[EXTRUDE CURVES IN DIRECTION OF METHOD ONE
NEIGHBORING NORMALS [DRAW DIAGONALS
This project moves away from pre-defined methods of panelization. New ways
[ROTATE3D PLANES IN TOWARDS CENTER
[EXTRUDE CURVES IN DIRECTION OF
NEIGHBORING NORMALS are invented to define space. In this case, the form is the intersection
SIXTY DEGREES
[ROTATE3D PLANES IN TOWARDS CENTER
SIXTY DEGREES
of multiple undevelopable complex surfaces. One sits inside the other,
[TRIM PLANES OFF AT INTERSECTION
LINES WITH OTHER PLANES [TRIM PLANES OFF AT INTERSECTION suggesting the collapse or tearing apart of the outer surface.
LINES WITH OTHER PLANES

The form was explored as a possible enclosure for an outdoor pavillion. The
method of panelization leaves gaps which allow for the dappling of light.

DISCRETIZATION METHOD TWO

DISCRETIZATION METHOD TWO [USE SECANT METHOD TO FIND PLANE
WITH ONE STRAY CORNER
[USE SECANT METHOD TO FIND PLANE
WITH ONE STRAY CORNER [CORNER OF NEIGHBORING PLANES MEET
AT MIDPOINT OF THE NORMAL LINE AT
[CORNER OF NEIGHBORING PLANES MEET THE STRAY CORNER
AT MIDPOINT OF THE NORMAL LINE AT
THE STRAY CORNER

DISCRETIZATION METHOD TWO

[USE SECANT METHOD TO FIND PLANE
WITH ONE STRAY CORNER

[CORNER OF NEIGHBORING PLANES MEET

AT MIDPOINT OF THE NORMAL LINE AT
THE STRAY CORNER

DISCRETIZATION METHOD TWO

[USE SECANT METHOD TO FIND PLANE
WITH ONE STRAY CORNER

[CORNER OF NEIGHBORING PLANES MEET

AT MIDPOINT OF THE NORMAL LINE AT
THE STRAY CORNER
32 P A R A M E T R I C P A T T E R N I N G
33 Instructor| Andrew Witt (Gehry Technology)
October 11, 2010 - October 18, 2010
Digital Media I, GSD
 Digital Project was explored
as a means to deviate away from
regularized panelization.

Two knots wrapped in relation

to each other define a space.

The intersection of two sets

of reflect curves creates
an irregular matrix which
acts as a base for the
distribution of various
geometrical modules.

The relation between reflect

curve and inherent surface
properties is a means to
implement geometry where
it is structurally most
necessary.

line in z direction

[Initial Knot] [Defining Movement and Postiion of Reflect Line] [Resulting Reflect Curves]
‘point A’ traces the boundary of the knot surface. Its
movement is based on the ratio of the boundary’s length

A line normal to the knot surface is attached at ‘point A’

line normal
line normal

plane
plane through
through lines lines

The ratio for ‘point B’ is ‘1-ratio from point A’. This causes
it to move in the opposite direction from point A.

rotation axis normal to plane

The two points meet when the ratio is at 0, 0.5, or 1

10° 100° 180° 190°

10 degrees 100 degrees 180 degrees 190 degrees 310 degrees

34 I N H A B I T A B L E S T R U C T U R E
35 Instructor| Michael Meredith + Mark Mulligan
October 1 - October 13, 2009
Materials and Construction, GSD

Group project, 10 students

Role: Project Manager
Conventions of structure
are challenged in an
8 foot tall structure
where columns and beams
become tension members
holding the form of an
inhabitable air space

Columns exterior to
the air space occupy
space interior to it
and can be entered from
below, playing with
the boundary between
exterior and interior.
36 F L E X I B L E F O R M W O R K
37 Instructor| Leire Asensio-Villoria
November 12 - December 16, 2010
Refabricating Tectonic Prototypes, GSD

Group project, 4 students

Role: Digital Representation, Parametric
Definition, Construction
 Flexible fabric formworks create soft and tactile forms which capitalize on the
initial fluid character of concrete and other cast materials. The flexibility
of the fabric allows formwork to be minimal and reusable for a variety of
configurations.

In one of the many studies carried out over the course of a semester, we looked
for potential uses of flexible formworks in the casting of columns.

PROCESS
1/8” steel plate(s) SCALING UP
slots for rotation
1/4” steel plate top plate
riser stops

1/2” threaded rod

4’-6” 4’-6” 4’-6”

steel tube 1’-6”

holes for support string c d

1/4” steel bottom plate

30 degrees 60 degrees 90 degrees 120 degrees 150 degrees 165 degrees
SCALING UP
CONSTRUCTION
a

original tessellation finding intersections circle packing around points (capitals)

1’-6” rotate: 130 deg. rotate: 110 deg.

PROCESS
SCALING UP SCALING UP

CONSTRUCTION

original tessellation finding intersections circle packing around points (capitals) curve attractor to define column height