ACUPUNCTURE [ ARCHITECTURE ]

PREFACEThe following booklet is meant to re�ect the complete design process of

the project. Unlike a timeline, the research booklet is not organized chrono-logically but rather according to thought process – more of an intercon-nected web of nodes that developed non-linearly over time. Each node

represents a major idea or critical opportunity for exploration. The major ideas, or nodes, of the design process are then explained through words and graphics. Some ideas were more integral to the design process and, thus, are larger just as some nodes stand alone to represent an idea that

was discovered but did not ultimately lead to any sort of implementation in the design proposal. The booklet must be realized at the macro level in

order to understand and grasp the development of the design – it is a visual mapping of the design process.

PODIUM 6FL

HOTEL 36FL

APT. 36FL

BACKGROUNDAs the site is located in the Central Business District of Ho Chi Minh City, there is a great opportunity for success. With support of the city govern-

ment infrastructure in this area of the city is a high priority, supporting premium site access. The average income of Ho Chi Minh City residents is

increasing, and this trend is expected to continue into the future. The premium site access, along with the location makes this a prime location

for a top tier multi-use hotel apartment. The large concentration of tourist attractions in the surrounding area, and he increasing tourist arrivals,

implies there will be continued demand for top-tier hotels. The limited quantity of luxury residential in the central business district and immaturity

of some of the early luxury developments, ensures the success of a modern, high-quality residential project.

week_01Exploration of form in a sculptural sense. What does the material allow you to do? What is interesting about each model and how can it be translated into a concept?

Development of formal exercise. Begin to construct based loosely on tower & podium requirements (shape). Specify a concept and explore it multiple ways.

Exploration of conceptual models. How can the manipulation of the models allow the discovery of qualities that were not initially noticed? How can these new-found qualities of each model inform a new design?

Development and exploration of a clear concept - the idea of pressure points based on program creating the form and informing the facade.

important.

Exploration of possible materiality and

interior. How can the skin begin to relate to the site? Can this idea of pressure relate to the context?

PRESSURE

TEXTURE TECTONIC

FORM

week_01 week_02 week_03 week_04 week_05

HOW DOES THIS BECOME A BUILDING? FIGURE IT OUT LATER I GUESS.

?WHAT DOES EACH MODEL TEACH ME ABOUT THE CONCEPT? WHAT DO I LEARN ABOUT THE MATERIAL IN EACH MODEL?

?

IDEA EVIDENCE QUESTION?

PROJECT TIMELINEThe above graph is meant to present, quantify, and visualize the design

modeling, photo-manipulation, conceptual development, digital representation and iteration, and technical drawing - the design process

and development of the project as a whole becomes clear.

an understanding of entry, circulation, general layout of program, and also begins to show the relation of the interior to the facade.

Midreview allowed the project to be presented as a whole. The explanation of the concept and how the design embodies this idea of pressure through technical drawings, diagrams, and renderings. Structural qualities were presented although the structure wasnt completely resolved.

Move into digital modeling allowed an opportunity to

check dimensions of spaces, a

re-exmination of form and spatial

composition and relation.

STRUCTURE

EXPERIENTIAL

MATERIAL

week_06 week_07 week_08 week_09 week_10

WAIT, HOW IS THIS FACADE SUPPORTED? HOW IS THE WHOLE BUILDING SUPPORTED? CAN IT RELATE TO THE CONCEPT?

?

WHAT IS THE FACADE MADE OF SPECIFICALLY AND DOES THAT MATERIAL HAVE TO DO WITH SOME PERFORMATIVE ASPECT OF THE DESIGN?

?

The modeling of a chunk of the building was an opportunity to explore details and understand the structural systems. It also allowed for an exploration of the facade

Midreview physical model sought to express the formal nature of the design and the relationship between facade and core.

DOES THE STRUCTURE MAKE SENSE? DOES IT WORK LOGICALLY? DOES IT HAVE AESTHETIC EFFECTS/QUALITIES?

?

_B0

Focus on this idea of pressure - types of pressure, application of pressure, and the resulting conditions of pressure. How can this action be controlled? Does it want to

be controlled? Are there varying degrees to which it can be applied? What are the di�erences of those degrees?

PRESSURE

_B1

_B2

The exploration of material quality along with this notion of pressure suggests that putting pressure on di�erent types of material creates varying formal results - whether that material be wood, foam, or plastic. Which material is most intrigu-ing in its being pressured and what about its qualities make it interesting?

TEXTURE

_B3

_B4The action of creating pressure can be understood both literally

(action) as well as �guratively (formally). A formal study of pressure where pressure points became subtracted areas soon

evolved into a study of pixel-form solid/void relationships. Wood naturally lent itself to the latter idea being both linear (after

being cut) and rigid.

LINEAR PRESSURE

_B5

LINEAR PRESSURE

_B6

Formal exploration allowed for a rationalization of the facade. If this concept of pressure was to be further justi�ed it needed to be based on more concrete conditions besides

composition or aesthetic. Formal development was based mostly on program but also incorporated ideas of entry,

contextual relevance, and circulation.

FORMAL DEVELOPMENT

_B7

I

_B8

II

_B9

III

_B10

IV

_B11

V

Final physical modeling sought to express the form of the design and the relation of the skin to the inner-core. Site connection and programmatic elements were also shown in the model.

MODEL

_C0

_C1

Operability of the facade not only allowed for the regulation of heat gain and passive ventilation but it also allowed for the users to have a more

dynamic experience in certain spaces. In that sense, the design no longer simply becames a

representation of pressure having been applied, but the facade is literally pressured into opening.

With the latter idea came an exploration of technology and kinetic facades.

FUNCTIONALITY

_C2

SURFACEPRESSURE

_C3

SURFACEPRESSURE

_C4

COMPRESSIVE PRESSURE

_C5

Heating and applying pressure to plastic was a major discovery in the

design process as it linked the concept to formal operations.

Through mutliple iterations came more control of the plastic and

allowed for more intention in how, where, and why the pressure is

applied.

PLASTICITY

_C6

_C7

The structure of the design should not simply be out of neccesity and function but rather should relate to the formal qualities, the systems, and the concept if possible. The structural logic, in this case, was based on the facade and the rule that pressure points must be maintained as open - relatively strucrture free spaces. It was that logic that then began to inform the structure as a whole, from major steel framing to the skin-subframe system.

SPACE PLANNING

A

B

C

_C8

A

B

C

_C9

The structure of the design should not simply be out of neccesity and function but rather should relate to the formal qualities, the systems, and the concept if possible. The structural logic, in this case, was based on the facade and the rule that pressure

points must be maintained as open - relatively strucrture free spaces. It was that logic that then began to inform the structure as a whole, from major steel framing to

the skin-subframe system.

STRUCTURE

_C10

_C10 _C11

_C0

_C1

The materiality of the facade was designed in a way that considered both compositional

and aesthetic “e�ects” as well was functional-ity and relation to interior space. The facade

design is meant to express the pressure points in a subtle yet meaningful way while

maintaining all the practical needs of an apartment or hotel room - views, ventilation,

natural daylight, etc. In the exploration of possible materials

RESEARCH

Signal Box, Herzog & de Meuron 1994 / One Ocean Thematic Pavilion, SOMA 2012 / Phare Tower, Morphosis Architects 2009

_C2

_C3

The materiality of the facade was designed in a way that considered both compositional and aesthetic “e�ects” as well was functionality and relation to interior space. The facade design is meant to express the pressure points in a subtle yet meaningful way while maintaining all the practical needs of an apartment or hotel room - views, ventilation, natural daylight, etc. In the exploration of possible materials, the reading of the building during the day versus during the night became an important idea. The facade being a re�ective, protective skin during the day - that blocks harsh sunlight while allowing ventilation into the spaces - and being a porous, light frame at night - that reveals the structural systems as well as the primary envelope beyond the skin - was eventually established. Elegance and intrigue along with performance and practicality.

MATERIALITY

_C4

_C5

_C6

_C7

Exploration of the design in section allowed the development of more interesting interior spaces which would not only

provide a unique blending of apartment residents and hotel users but also introduc-

es an idea of interior pressure. This idea of interior pressure eventually led to a

re-examination of form as the concept became more complex - now having both interior and exterior, surface and pinpoint

pressures.

EXPERIENTIAL_C8

_C9

SKY RESTAURANT/LOUNGE+ ATRIUM SPACE

OUTDOOR POOL AREA+ VIEWING BALCONIES

RETAIL SPACE CONNECTION TOINTERIOR WALKWAY THRU SITE

DOUBLE HEIGHT HOTEL LOBYY SPACE

INTERIOR ATRIUM SPACE WHERE HOTEL & APTS MEET

SKIN PULLED BACK TO REVEAL FLOOR SLABS AND STRUCTURE

ROOFTOP CLUB/BAR1

2

3

4

1

2

3

4

5

6

7

5

6

7

_C10

_C11

GLASS CURTAINWALLLow-e textured glass curtainwallsecondary skin system

GLASS CURTAINWALLLow-e textured glass curtainwallsecondary skin system_gradient

GLASS CURTAINWALLLow-e textured glass curtainwallsecondary skin system_hexagonal

GLASS CURTAINWALLLow-e textured glass curtainwallsecondary skin system_square

OPAQUE PANELSPerforated opaque aluminum panel system

OPAQUE PANELSPerforated opaque aluminum panel system_pressure �ow

OPAQUE PANELSPerforated opaque aluminum panel system_gradient

OPAQUE PANELSPerforated opaque aluminum panel system_pressure points

Operability of the facade not only allowed for the regulation of heat gain and passive ventilation but it also allowed for the users to have a more

dynamic experience in certain spaces. In that sense, the design no longer simply becames a

representation of pressure having been applied, but the facade is literally pressured into opening.

With the latter idea came an exploration of technology and kinetic facades.

FUNCTIONALITY

SURFACEPRESSURE Final physical modeling sought to express the form of the design and the relation of the skin to the

inner-core. Site connection and programmatic elements were also shown in the model.

MODEL

Focus on this idea of pressure - types of pressure, application of pressure, and the resulting conditions of pressure. How can this action be controlled? Does it want to

be controlled? Are there varying degrees to which it can be applied? What are the di�erences of those degrees?

PRESSURE

The exploration of material quality along with this notion of pressure suggests that putting pressure on di�erent types of material creates varying formal results - whether that material be wood, foam, or plastic. Which material is most intriguing in its being pressured and what about its qualities make it interesting?

TEXTURE

COMPRESSIVE

Heating and applying pressure to plastic was a major discovery in the

design process as it linked the concept to formal operations.

Through mutliple iterations came more control of the plastic and

allowed for more intention in how, where, and why the pressure is

applied.

PLASTICITY

PRESSURE

The structure of the design should not simply be out of neccesity and function but rather should relate to the formal qualities, the systems, and the concept if possible. The structural logic, in this case, was based on the facade and the rule that pressure

points must be maintained as open - relatively strucrture free spaces. It was that logic that then began to inform the structure as a whole, from major steel framing to

the skin-subframe system.

STRUCTURE

The structure of the design should not simply be out of neccesity and function but rather should relate to the formal qualities, the systems, and the concept if possible. The structural logic, in this case, was based on the facade and the rule that pressure points must be maintained as open - relatively strucrture free spaces. It was that logic that then began to inform the structure as a whole, from major steel framing to the skin-subframe system.

SPACE PLANNING

The action of creating pressure can be understood both literally (action) as well as �guratively (formally). A formal study of

pressure where pressure points became subtracted areas soon evolved into a study of pixel-form solid/void relationships. Wood

naturally lent itself to the latter idea being both linear (after being cut) and rigid.

LINEAR PRESSURE

Formal exploration allowed for a rationalization of the facade. If this concept of pressure was to be further justi�ed it needed to be based on more concrete conditions besides

composition or aesthetic. Formal development was based mostly on program but also incorporated ideas of entry,

contextual relevance, and circulation.

FORMAL DEVELOPMENT