Thomas Zhou Architecture Portfolio 2020 by Thomas Zhou

PORTFOLIO

THOMAS ZHOU

A R C H IT E CT U R E A collection of design and creative work.

THOMAS ZHOU >

Curriculum Vitae

Architecture Portfolio

CONTENTS Software Used for Projects: REVIT, AutoCAD, Rhino, Grasshopper, SketchUp, Photoshop, InDesign, and VRAY.

01. ON LILITH’S HOUSE IN EDOM VUW 4th year studio Narrative Architecture

PROFILE About: Hello, I am Thomas Zhou, a post-graduate student seeking an employment opportunity within the design and architecture industry. I am seeking employment over the university break, wishing to gain industry experience and craft my skill as an aspiring designer. I have attached my C.V. to showcase my work history and portfolio to display my ability as a designer. If you have any opportunities within the industry, I would enjoy hearing from you. Kind Regards.

Contact Details: +86 13805332090 / +64 212617103

REFERENCES

2020

02. QUARANTINE ARCHITECTURE

Alice Andersen

VUW 4th year studio 2020 Conceptual Architecture

Interior Designer at aha Design Phone: +64 21648207 Email: alice@andersens.co.nz

Benjamin Viale

03. CENTRE FOR CREATIVE AND PRACTICES

Programme Director in AREP China Email: benjamin.viale@gmail.com

VUW 3rd year studio 2019 University Auditorium and Studios

EDUCATION

thomaszhou0103@gmail.com

WORK EXPERIENCE

Master of Architecture [Professional]

2020-2021

GDip in Designed Environments Architecture

Victoria University of Wellington Tutor 03/2021 - 06/2021 Wellington, New Zealand

This position is an upcoming part-time tutoring position for the INTA311 that has been secured under Alice Andersen at Victoria University of Wellington. The position was applied for and accepted in September 2020, with position expecting to run from March 2021 – June 2021.

04. WELLINGTON CENTRAL LIBRARY

Victoria University of Wellington, School of Architecture

VUW 3rd year studio 2019 Narrative Architecture and Public Library

2019

Victoria University of Wellington, School of Architecture Graduated: Bachelor of Architectural Studies, Interior Architecture

2016-2018

Victoria University of Wellington, School of Architecture

05. GIN TAMA

AWARDS / EXHIBITIONS RNDR20

VUW 3rd year studio Parametric Architecture

2020

2019

One project featured at the Victoria Faculty of Architecture and Design Innovation end of year exhibition.

AREP Interdisciplinary Architecture Practice 11/2019 - 03/2020 Architectural Intern, Shanghai, China

Preliminary & Model making - The commerical and high-rise building project of the upper cover depot of the Pingshan district subway line 14 Competition - International Solicitation of the Urban Scheme (Conceptual) for the Start-up Area of Wuhan Changjiang New City Project 1st Place

RNDR19 2019 Two project featured at the Victoria Faculty of Architecture and Design Innovation end of year exhibition. NZIA Architecture Student Membership

2019

SANNZ - Student Architecture Network New Zealand

Publication of Work in VUW Handbook

2017

VUW 3rd year studio 2019 Analogue Drawing and Model-making

2019

VUW's Excellence Award for Excellence in Interior Architecture

06. SWIRLING CLOUDS PAVILION

2018

Thomas Zhou

ARCI 411 Architecture Design Research Professor: Daniel K. Borwn Individual Work

Conceptual Drawings Image 1.3

2020

Conceptual Drawings Image 1.2

Conceptual Drawings Image 1.1

ON LILITH’S HOUSE IN EDOM

This project used architecture to interpret a story from the Book of Isaiah. According to early translations of the Book of Isaiah, the first wife of Adam before Eve was Lilith, who was created from mud. When Lilith turned to sin, God cast her out of Paradise to live in Edom, an apocalyptic city that had been smitten into ruins by God. The primary questions of the project asked are - what would Lilith’s house look like in Edom? What would the architectural context look like? As design research, this project reflects on Joseph Rykwert’s On Adam’s House in Paradise (1971) from the alternative point of view of the dystopian condition. On Adam’s House in Paradise is a seminal book on the origins of architectural dwelling. Structured as a mythological quest for the origins of the first hut, it effectively critiques what Adam’s house would have looked like in the Garden of Paradise. This research stream is a contemporary, design-based counterpoint to Rykwert's analysis of the utopian hut. "On Lilith’s House in Edom" critiques what Lilith’s house––also a first dwelling––would have looked like in the dystopian city of Edom, while Adam and Eve resided in a very different house in the utopian Garden of Paradise. With the research topic asks: what happens to architecture when the image of nature changes, and when the laws of nature change? This project looks at the design of speculative, allegorical architecture, especially as designed for film. It investigates how literature can be interpreted into an architectural film set, such that the architecture allegorically references the story being told.

As the worst of the venom left my lips, I thought, ‘If, despite this lie, he strips The mask from my soul with a kiss — I crawl His slave,—soul, body, and all!’" — Browning 1098

‘If Paradise-door prove locked?’ smiled you. I thought, as I nodded, smiling too, ‘Did one, that’s away, arrive—nor late Nor soon should unlock Hell’s gate!’ — Browning 1098

It ceased to lighten and thunder. Up started both in wonder, Looked round and saw that the sky was clear, Then laughed "Confess you believed us, Dear!" "I saw through the joke!" the man replied They re-seated themselves beside. — Browning 1098

Thomas Zhou

Architecture Portfolio Building Perspective Image 1.4

Design Elevation Image 1.6

Site Plan Image 1.5

Design Approach On Lilith's House in Edom

2020

The design concept was originally inspired by poet Robert Browning reenvisioned Lilith in his poem “Adam, Lilith, and Eve”, in the poem, they sit together on either side of Adam. Under the threat of death, Eve admits that she never loved Adam, while Lilith confesses that she always loved him. Thus, the initial design was aimed to be based on dystopian architecture and regard the complex love relationship between Lilith, Adam, and Eve as the essential stories of narratives architecture. In the early stage of the design, the freehand sketching paintings respectively echoed the description of three pairs of figures in the poem of Robert. The experience of Lilith was used as the first-person perspective to explain the process of her transformation from chaos to revival and despair after knowing the truth. In other words, Lilith’s love for Adam was implicit. Though she finally chose to escape to the ruins of the Red Sea to hide the truth and was cast aside by people in the world, she was more like a guardian of “lies” for the whole narrative story. In the middle stage of the design, though the three major volumes have echoed the sequence of Lilith, Eve, and Adam, from the perspective of anthropomorphism architecture, the architecture has connected together three main bodies through corridors. The high tower in the middle represents the figure image of Lilith while the two buildings on each side are safeguarding the well-intentioned “lies” by Lilith. In the late stage of design, narrative architecture engages form and occupation simultaneously. The objective is to show that under the architectural environment with the erosion and deconstruction of industrial blight, the ruins represented by the Red Sea have already become the final form of the old district. However, in a certain sense, it is also the primitive form of the new district. With the passing of time as well as the reforming in form, as a constructed space, the narrative architecture represented by Lilith may be put to different uses from the deconstructed space.

Architecture Portfolio Thomas Zhou

Design Section Image 1.10

Interior Perspective I Image 1.7

Interior Perspective II Image 1.8

Building Perspective Image 1.11

Interior Perspective III Image 1.9

09 08

Thomas Zhou

Architecture Portfolio

Mt Crawford Prison, New Zealand 0

500m

1000m

1500m

2000m

PIPITEA

QUARANTINE ARCHITECTURE

Kau Bay

WELLINGTON

04 Little Karake Bay

Oriental Bay

2020

Mahanga Bay

Baleena Bay

ARCI 412 Architecture Design Captone Project Professor: Victoria Willocks Individual Work

TE ARO

Weka Bay 06

Site

Kio Bay

Scorching Bay

The Covid-19 pandemic has had a huge impact in New Zealand and internationally, with countries closing their borders and instigating lockdowns of the population with social and economic effects. Today hotels have been re-purposed to provide temporary shelter to isolate travelers, however this may not be the best long-term solution. The primary purpose of the project asked to test and explore the physical, ethical, spatial, social, political and temporal aspects of quarantine through the design of a quarantine facility in the Wellington area.

Shark Bay

HATAITAI

This project looks at the speculative design of a quarantine facility. With the research topic asks: Is quarantine about incarceration or retreat? What could be the typology for contemporary quarantine â&#x20AC;&#x201C; prison, hospital, hotel, holiday resort, sanatorium or monastery? Or could it some combination of these typologies? Humans are a social species so how do you maintain physical isolation while remaining socially connected? Could quarantine become part of the tourist experience? How can architecture be used to deal with future pandemics? How can quarantine infrastructure include other programmes or be reconfigured to extend its use beyond the immediate need for quarantine?

08 Karake Bay

Evans Bay

MIRAMAR

Green Coverage Ratio

High Density Green Spaces

Shelly Bay

Urban Fabric

Harbour Relationship

Road Relationship

Potential Harbours

Main Road

Frontage Road

Site Analysis Image 2.1

Thomas Zhou

Architecture Portfolio

Site Plan Image 2.2

Thomas Zhou

Architecture Portfolio

Design Section Image 2.3

Design Elevation Image 2.4

Design Approach Quarantine Architecture

2020

This project is closely related to the current site conditions and environment. The primiary design concept is since Mt Crawford Prison is a temporarily unused building. Moreover, it has not made reasonable use of the value of its adjacent site. Hence, the design has turned shadow pandemic architecture into existing buildings under the premise of retaining the heritage architecture of Mt Crawford Prison. Meanwhile, it has replanned for the space and function systems of existing buildings, hence satisfying the need of new quarantine architecture. For architecture itself, as a result of its special functional requirement, architectural languages shift from the clear separation between the exterior and interior to the blurred boundary between buildings and the environment. This is aimed to enable those under quarantine and tourists to be able to explore more possibilities to interact with the natural environment.

Thomas Zhou

Architecture Portfolio

Building Perspective Image 2.8

Atrium Courtyard Perspective Image 2.5

Quarantine Pods Interior Perspective Image 2.6

Corridor from Existing Building to Quarantine Building Perspective Image 2.7

Thomas Zhou

Architecture Portfolio Building Perspective II Image 2.9

"Even when we are in quarantine, we have the urge to be released, to turn the clock back and live our normal life again. COVID-19 will bring our attention to how architecture should be better integrate with the environment. Consequently, architectural languages will shift from the clear separation between the exterior and interior to the blurred boundary between buildings and the environment. For example, now we are so used to open the window and get some fresh air every morning after we get up, this is such a sustained way of living. We should be looking for more ways we can interact with our environment sustainably. The outbreak of COVID-19, to some extent, is a reflection on human attitudes towards the natural environment." - Zhu Pei

Thomas Zhou

Architecture Portfolio

03 Conceptual Drawings Image 3.1

CENTRE FOR CREATIVE AND PRACTICES 2019 ARCI 312 Design Integration Professor: Daniel Brown / Daniele Abreu E Lima Individual Work A Centre for Creative Arts and Practices is a common programme in most international universities. The idea of merging into a single building all the academic creative efforts, bringing together scholars and students who might not ordinarily cross paths, has proven to be an invaluable vehicle to promote interdisciplinary education and to forge new areas of study for the future. With a mission to educate, inspire and entertain, the new Centre should be seen as a new creative hub for Wellington, an epicentre for the cultural life of our capital. Therefore, the project not only considering academic users but the general public and the immediate community who will be the direct benefactor of the complex. This project are tasked with developing a balanced proposal between academic studios, related facilities and the cultural hub with performance facility and cinema, into one coherent architectural outcome. The new complex is to be a utopian vision of arts integration, meeting its spatial requirements and housing an institution that will foster innovation, research, collaboration, creativity, and education in the arts.

Thomas Zhou

Architecture Portfolio

Design Approach Centre for Creative and Practices

2020

The center building principally consists of two collaborating systems: a steel structure combined with a space frame system. At the same time, timber joist and floor diaphragms are used as the reinforced connection between steel frames. The space frame system enabled the construction of a free-form structure and saved significant time throughout the construction process, while the substructure was developed to incorporate a flexible relationship between the rigid grid of the space frame and the free-formed exterior cladding seams. As the auditorium is the main function area throughout the building, the structural design is specifically thought out to compliment the overall concept.

Auditorium Perspective Image 3.3

Building Perspective I Image 3.2

The site of the project is located in the iconic Shelly Bay in Miramar, Wellington, with an all round view of the capital making it an ideal spot for a public space. The original idea of the project was to elevate the terrain, preserve the urban green space, and erect up a new building to fill the gap in the landmark nodes resulted from the along-the-lake planning. Ensuring the Centre works well with Waterfront, rather than a path composed of 90-degree turns, the path was reconceived as a more independent system - one that, through changes in its shape and form to introduce four main pedestrian promenades that offer pedestrians the opportunity to meander along the water and enjoy views of the city, theater, and greater waterfront as they approach the building.

Exhibition Space Perspective Image 3.4 Building Perspective II Image 3.5

Thomas Zhou

Architecture Portfolio

Building Section Image 3.6

LARGE AUDITORIUM

REHEARSAL ROOMS

STUDY ROOM

SMALL AUDITORIUM ART EXHIBITION AREA LECTURE THEATRE

CAFE / RESTAURANT LIBRARY

CENTRE FOR CREATIVE ARTS AND PRACTICES BUILDING SECTION

Thomas Zhou

Architecture Portfolio

Building Perspective II Image 3.7

Thomas Zhou

Architecture Portfolio

Conceptual Drawings Image 4.1

WELLINGTON CENTRAL LIBRARY 2019 ARCI 312 Design Integration Professor: Daniel Brown / Daniele Abreu E Lima Individual Work This projects brief involved the redesign of the Wellington Central Library along the western edge of Wellington’s Civic Square. The programmatic requirements of the brief were very specific and it was crucial that the architectural planning elements were concise, logical and provide an important opportunity for the design of an internationally recognised Landmark Architecture building for New Zealand’s capital city of Wellington. The library has a design concept which originates from the ‘open book’ idea, with the forms based on the narrative story. One major point of the story being that when the two suns interlock in the sky, the book shall open therefore the library contains two standard form curves which represent this idea and figuration. Narrative Story: “A book was found buried deep in an old chateau in France, many people tried to unlock the book but it was forcibly closed. A large gold lock wrapped around the outside, enclosing its secrets. A script on the back reads that it will only be opened when the two suns align at exactly 10.00, creating a shadow that overlaps...” by ‘Lost Books of Epicurus’.

Thomas Zhou

Architecture Portfolio

Site Plan Image 4.2

Design Approach Wellington Central Library

2019

The library has a design concept which originates from the ‘open book’ idea, with secondary forms based on the narrative story. One major point of the story is that when the two suns interlock in the sky, the book shall open therefore the library contains two standard form curves which represent this idea and figuration. The intersection angle shape showcases the idea of the open book, with it being at a 45-degree angle representing 11.00 on a standard clock. The elevation of the design itself is following the plan which shows the same concept but in different directions. The site of the project is located in the centre of Wellington City neighbouring Victoria Street and Civic Square, with an all-round view of the capital making it an ideal spot for a public space. Ensuring the new library works well with Civic Square, four main pedestrian promenades are introduced with two main entrances which are designed to provide improved pedestrian flow and frame new amenities and recreational opportunities. Moreover, rather than a path composed of 90-degree turns, the new building has a shape that flows which creates a welcoming environment for people and ensures it does not break the urban context at the same time. The library is made up of a total of three floors, with the third floor being designated to dining and food, the first two being the main purposes of a library. The total height of the building is 16m. The principles of functional distribution are ‘dynamic zone below, while a quiet zone above’ vertically, as well as ‘open on the north and close on the south’. For the design of the function areas, the building has developed starting from two main spaces. The left segment is largely used for the book collection, whereas the space on the right hand is focused on activities for the wider public, for example, a study hall and a hangout place. The functional distribution of each layer takes full account of the openness and efficiency of modern libraries and the adoption of new technologies and new management methods. The layout of the library is compact and organized, and the traffic organization is convenient and smooth. The curves of the library, extracted from the narrative story - sun, generates a form that elegantly energizes users and refreshes the user experience for the interior space as well. The interior of the library contains combinations of architectural design elements with “book” elements, enriching its connotation and extending architectural design language to indoor spaces throughout. Sunlight is taken in account and influences great reading spaces, providing light and warmth making it a functioning place for the public. According to the characteristics of each reading area, good spatial segmentation can effectively avoid adverse factors in reading. Open shelf and reading along the window ensure personal privacy, avoiding crossing paths with others. The leisure reading area enriches the reading experience by setting different spaces for group discussions and personal study sessions. The different combinations of furniture reflect the crossinteraction of modern academic and social activities, in order to meet a variety of different parties of different work and learning needs.

Site Analysis Image 4.3

New Pedestrian Connection

Create Transition Areas

Secondary Form on Site

The façade mainly contains two elements: glass curtain wall; light stripe concrete walls and glass curtain wall. A continuous surface made of concrete strips folds from the roof in the building and wraps along the floor plates to provide both shades for the inside space. Overall, the new library will provide Wellingtonians with much-needed facilities for study and research, along with a general area for the wider public to enjoy. The building will be a great attribution to the skyline of the capital and become an icon to Wellington City.

Aligns with Street Grid

Thomas Zhou

Architecture Portfolio

A101

Entry

Building Elevation Image 4.4

Ground Floor Plan 1: 1000

Staff Entry

6 Up

11 4

Entry Up

Entry

1. Small Collection

2. Small Meeting Room

3. Luggage Storage

4. Information Kiosks

5. IT Room Up

6. Computer Room 7. Equipment Room

Entry

8. Storage 9. Private Offices 10. Fire Control Room 11. Main Collection

Down

5 6

Building Section Image 4.5

Second & Third Floor Plan 1: 1000

1 A101

Down

1. Main Collection 2. Private Office

3. Large Meeting Room Down

Down

4. Lecture Theatre 5. Classroom 1 6. Classroom 2 7. Study Hall 8. Resturant / Cafe 9. Book Shop

Thomas Zhou

Architecture Portfolio

Building Perspective Image 4.6

Thomas Zhou

Architecture Portfolio

Conceptual Drawings Image 5.1

GINTAMA 2019 ARCI 311 Architecture Design Professor: Derek Kawiti Individual Work The first stage of the project was instructed to choose a natural bio-type and study its natural process and use it as a set of abstracted parametres for creating forms which need to find a tectonic figure or operative mode that best aligns to or describes their animal system. Mutants/Hybrids & Monstrosities, stage 2 were undertook a similar process of interaction, evolution and transformation between two conditions; the developed Bio-type and a selected site context. The aim is to explore an open ended design exchange/negotiation between the internal logic of the initial biotype and a particular understanding of site. The site was seen as a â&#x20AC;&#x2DC;liveâ&#x20AC;&#x2122; field of continually unfolding dynamics and design potential, offering up a new set of criteria or parameters that create novel and interdependent interactions with the Bio-type. Population (site + system) adaptation, stage 3 were introduced architectural conventions of client or population, scale and programme in combination with extreme environmental interventions. We need to design a hyper-responsive architecture that is able to maintain and preserve its inhabitants in the face of ecological collapse, disease pandemic, anthropomorphic mutation, extra-terrestrial alien contact and conflict, war/invasion and so on. Architectural responses may consist of strategies that mimic natural organic and animal responses to interference and attack from external forces. In some cases we may choose to explore these environmental and biological perturbations not only in a formal tectonic way but as beneficial, potentially symbiotic effects such as energy generation, foodsustenance, etc.

Thomas Zhou

Architecture Portfolio

Model Perspective 1 Image 5.4

Stage 1 Simulation Experiments Image 5.2

Model Perspective II Image 5.5

Design Approach Gintama

2019 Stage 2 Dynamic Interaction Image 5.3

Structural Integration

Dynamic Interaction (Stage 2) - This stage is the second of three, I digitalized the form of project one through Rhino, Grasshopper and Maya and chose a site which went through a similar process of my bio-type process. This led to a hybrid of the two forms and created some development and interesting process. Adaptive Resilience (Stage 3) - Adaptive Resilience (Stage 3) - After creating different forms without choosing a typology, my site was given pressure and disaster, the given disaster was an alien invasion. This resulted in my chosen typology to be an alien defence base. From here I used the forms of the previous projects and adapted it to the site and the disaster by designing according to defence, security and program.

Form Exploration

Extraction Exploration

Habitation Exploration

Defensive Exploration

Swarm Structure

Pod Habitats

Strucutural Integration

Final Form

Model Perspective III Image 5.6

Biotype (Stage 1) - The housefly defining feature is its vision which is so fast for visual course control. In each photoreceptor cell, tens of thousands of these are packed together to form a large grid structure, which acts as a light guide to absorb the incident light. Their eyes respond to the charges of light intensity which are expanding or shrink - enabling the fly to react swiftly to the approach of an object. In order to best grasp an understanding of the physical intricacies of fly eyes, expanding foam was used and deformed to create a base form. Different types of mesh materials were added to the expanding foam while it was increasing in size to create different textures and patterns until it became dry. Using a coloured mesh helps to show the density and depth in some areas of the model which suggests a flies eye also has depth and an element of change. These models provide a successful experiment in which represents the form of fly eyes.

Thomas Zhou

Architecture Portfolio

Building Perspective Image 5.7

Thomas Zhou

Architecture Portfolio

SWIRLING CLOUDS PAVILION 2019 SARC 261 Communication Professor: Simon Twose Individual Work This project introduces and develops the representation of design concepts of projects, with a focus on drawing and modelling by means of analogue and digital media. Stage 1 is focused on both orthographic drawings and non-orthographic drawings which are shown through a series of hand sketches. These sketches are based off the visits to the sites. The first project is concentrated on the visual outcomes of designs and how we portray these through drawings. Stage 2 started from analyzing the chosen Site - Mt. Crawford and exploration of the parameters elements from drawings, which were used to suspend interactions within. Drawing elements are taken, along with parameters extracted from the site to create a dynamic pavilion architecture that responded to site conditions. Three different elements - layering, weaving and extrusion systems are taken from drawing one aim to simply find the potential to respond site conditions. At the same time, different weight of lines, dark / light tones spaces can develop further by using grasshopper by adding various direction forces to create some interesting shapes. Furthermore, one of the important parameters the site has created is a perspective view which is split by three different surface layers representing the relationship of the site and the environment. The next step was to re-composed and re-interpreted the site by changing forces which were analyzed from the site. At the same time, the outcome revealed intricate shapes effected by different constant forces. Three levels (low, medium and high) of density surface reaction are chosen to test free movement of particles of different rates and direction through the site. By analyzing the site and drawing elements, I used grasshopper electrical plug-in tool to test the moment of particles by changing its numbers, positions and density to simulate the basic shape state aim to reset similar drawing elements by the perspective views. The use of parametric design processes allowed for a number of iterations to be produced in the digital realm, these versions were worked upon and altered to produce the final design. During the process of final physical model, stage 3 aimed to simulate the pavilion by physical model to explain the shape, form, texture and scale on the site. Since the pavilion model is produced by parametric ways, this ensures the organic shape/form of the physical model. As well as the site model, they are made similar to the digital model. I used 3D Printing to simplify the model with ABS filament. I then split the model by two parts and printed individually and used super glue to piece them together. Overall, I think it is a good way to use 3D printing to produce the model with an irregular shape along with the solid texture.

Thomas Zhou

Architecture Portfolio

WEAVING

EXTRUSION

Parameters Extracted from the Site Image 6.2

I = 5 / A=2 B=3

I = 3 / A=1 B=2

I = 5 / A=2 B=3 C=1

I = 4 / A=1 B=2 C=1

I = 7 / A=1 B=3 C=3

I = 7 / A=1 B=2 C=1

I = 9 / A=2 B=3 C=3

Design Approach Swirling Clouds Pavilion

2019

Three different elements - Layering, weaving and extrusion system are taken from drawing one aim to simply find the potential to respond site conditions. Different weight of lines, dark / light tones spaces can develop further by using grasshopper by adding various direction forces to create some interesting shapes.

Iterations in the Digital Realm Image 6.4

Augmentation of Site - The outcome revealed ntricate shapes effected by different constant forces. Three levels - (low, medium and high) of density surface reaction are chosen to test free movement of particles of different rates and direaction through the site. Grasshopper Form Finding - By analysing the site and drawing elements, I used grasshopper electrical plug-in tool to test the moment of particles by changing its numbers, positions and density to simulate the basic shape state aim to reset similar drawing elements by the perspective views. Interaction - The use of parametric design processes allowed for a number of iterations to be produced in the digital realm, these versions were worked upon and altered to produce the final design. As the results, Interaction one were responded the drawing elements.

Grasshopper Form Finding Image 6.3

A Series of Hand Sketches Image 6.1

LAYERING

I = 2 / A=1 B=1

Thomas Zhou

Architecture Portfolio 3D Printing Physical Model Image 6.5

For the final conceptual pavilion, the surface of the work is segmented and flattened by the grid block algorithm of grasshopper software by the concept of swirling clouds. The rise and fall of the form is influenced by the typology paths through the space. The hollow-bodied structure harnesses flowing trajectories in diagonalized stripes of intense curvature which shear out from an articulated base and provide a space for people. The pavilion produced different spatial and visual experiences in different situations as daylight and evening lighting. The varied and complex spatial layers make sunlight, wind, and water were brought into space, making it free from a sense of oppression while presenting an image of swirling clouds. During the process of final physical model, stage 3 aimed to simulate the pavilion by the physical model to explain the shape, form, texture and scale on the site. Since the pavilion model is produced by parametric ways, this ensures the organic shape/form of the physical model. I used 3D Printing to simplify the model with ABS filament. I then split the model by two parts and printed individually and used super glue to piece them together.

P O RT F O L I O A collection of design and creative work.

Thomas Zhou 2020