Hui Wang_Graduate Portfolio_SCI-Arc

M.ARCHBOUNDLESSIISCI-Arc2020-2022 HUI WANG

Hui Wang M.Arch II Southern California Institute of Architecture © 2020 - 2022 All rights reserved. No part of this book may be reproduced in any form without permission of copyright +1huiwang.arch@gmail.comowner.(213)-241-9503

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 STATEMENT

Born in Shanxi, China, a province with 80% ancient architecture which are built before 14 century and earned her Bachler's degree of architecture from Chongqing University in Chongqing, in which city there are plentiful magical architecture created under the rigorous orographic conditions, from where Hui Wang gained a conspicuous professional literacy, creative way of thinking and debating and ambitiousness to break through the boundary of architectural field as an architectural designer. She practiced her architectural ideas in Beijing, China as a designer of large-scale public buildings, city complex programs and TOD programs in WDCE. She started to think about the relationship and interaction between the city environment and human-being and attempted to set conversation for people to perceive surroundings in more friendly ways. Now she is on her way to break through the boundary between architectural rational action and perceptual visual experience with digital techniques with thoughtful and energetic predecessor and peer artist in SCI-Arc.

丨 STATEMENT 丨

Hui Wang is an architectural adventurist who is currently pursuing her journey at California Institute of Architecture, LA as a March. 2 Student.

TABLECONTENTSOF 丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 66108628409856 2GAX + 2GBX

REALCONFLICT&ABSORPTIONENVIRONMENT 2GAX HT2200 Theories of Contemporary Architecture I 2GBX HT2201 Theories of Contemporary Architecture II ADIDAS SPORTS ARENA 2GAX AS3200 Advanced materials and Tectonics NIGHT & LIGHT WATER 2GAX VS4200 BURST! 2GBX VS4201 CITY SIMULATIONS 丨 CONTENTSOFTABLE 丨 2GBX+2GAX 丨MOSSLIFEQUESTIONING 2GAX DS1200 ClassROOM 2GBX DS1201 HARMONY IN THE WILD

TABLE OF 丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 2061841721121321541643GAXCONTENTS+3GBX

UNDERSTOCK 3GAX HT2729 Other Future HARMONY IN THE WILD 3GAX AS3222 Design Doc GR CLEMATIS 3GAX AS 2766 Eng of Creation CATIA 丨 CONTENTSOFTABLE 丨 3GAX+3GBX 丨 JIGSAW SYNAESTHESIAMASSPERIODICPUZZLETABLEVOCA 3GAX DS4000 Vertical Studio Members Only 3GAX VS 2663 Diagraming Architecture 3GBX DS1200 Vertical Studio Oblique Ground 3GCX DS1420 Graduate Thesis

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 10 1 丨 Site Plan QUESTIONING 2GAX DS1200 ClassROOM9/07/2020

11 丨 ClassROOMDS1200 丨 2GAX 丨

INSTRUCTOR: William Virgil COURSE CODE: DS1200 VIDEO: https://vimeo.com/492510745

Kids always ask questions. That is because they are in the process of understanding the world, they are curious about everything, every normal thing which we are used to pay no attention to. For children, the school is the start place to answer, in order to recognize the Butworld.it is obviously wrong if a school can only answer without asking. We all know that we sapiens achieve the life today, by questioning unimpressive things like falling apple. This project is trying to find a way of blurring the definition of normal things so that kids will always ask what it is and find an answer themselves. On the other hand, the school will also keep asking questions, to challenge the defined world.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 12 丨 Detail Renders

I start my project with a dog sculpture and the normal furniture for classroom to see what they can do to break their stereotype. Parts of the furniture is replaced by deformed creature so children will not restrain themselves into the definition of normal furniture. Desk will not always have straight legs; it can be some monsters lift a piece of glass pane. It will be interesting if the desk is alive.

丨 BURST!VS4200 丨 2GAX 丨

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丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 14

It is interesting that there is much more possibility when deformed classroom shell meet the straight element. And the shell cannot be just defined as wall. Maybe playground, shelves, desk and chairs. Steps or even graffiti wall. Up to them. The classrooms can be used for different public courses according the different features of the space. Taking the one with colorful floor and sculpture-like walls as example, it is fantastic to be an art classroom for its half-occlusion space for two to drawing and centural table for group paintings. It is inescapable that the classroom will be more colorful after been used and the students may want to carve something on the wall. Classroom Cutting Aerial View

For the classroom, every of them have a random shape with irregular windows and doors. Also with the slicing with shapes which have straight lines.

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15 丨 Classroom Interior 丨 ClassROOMDS1200 丨 2GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 16 丨 Classroom Cutting Aerial View

17 丨 ClassROOMDS1200 丨 2GAX 丨 丨 Zooming Out Sequence

19 丨 ClassROOMDS1200 丨 2GAX 丨 丨

Three Classroom Overview

In part of the building, three classrooms are on different elevation so that the space will be more space. The edges of floor and the way they connected to other floors I want them to be different. Children can play with them, inside of the building, do some outdoor exercises. That is my answer to school space and, also my question. That is, what more information can children give to the space.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 20

丨 Red Center Path

For the exterior space of the school. It is extremely interesting to have a yard in the center of the school. And children could yawl across it. Organize activities in it just like the Rome colosseum. And straight elements come across to create connection and separation by slicing and shifting Red center path is the main entrance it is a main line go through the school giving a direction and signal to connect every part of the building and exterior space.

21 丨 ClassROOMDS1200 丨 2GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 22 Atrium Space 丨

23 丨 ClassROOMDS1200 丨 2GAX 丨 丨 Activity yard

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 24 Entrance Square 丨

25 丨 ClassROOMDS1200 丨 2GAX 丨 丨 Bridege

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 28 丨 Billboards Overview NIGHT & LIGHT 2GAX VS420009/07/2020BURST!2

The main topic of the course is creating 3 billboards for public. In my project the buillboards has no necessary to be like a square pad for AD information. The billboards themselves can be the information which not only for seeing but also for public usage. This project using the Chinese traditional shadow puppeta as bassic concept to create three multiple -layer sculptutre. Every sculpture is made by over ten layers of textured part of animals, plants and Nightframes.&

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light is narrating a story about three roadside billboards which suddenly lost power supply at dusk and a worker comes to fix it. During the fixing time it rains cats and dogs but the worker need to keep repairing the billboard light. Finally before the sun raise, the light comes back to work under the rainbow after the rain. And the worker whistles with delight.

This is a story about how efforts will be rewarded, by achievement, by surroundings, and by people themselves.

丨 BURST!VS4200 丨 2GAX 丨 INSTRUCTOR: Rachael McCall COURSE CODE: VS4200 VIDEO: https://vimeo.com/488647134

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 30 Shadow Puppetry shadow puppetry is an ancient from of storytelling and entertainment which uses flat articulated cut-out figures which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailings. Various effects can be achieved by moving both the puppets and the light source. 丨 Prime Model

31 丨 BURST!VS4200 丨 2GAX 丨

In my project, the puppetry-like sculpture has a thickness to gain more 3D effect when lightened. There could be more more incredible reflective effective especially when several layers of sculpture combined together.

In the project there is multiple materials changes in order to strengthen the interacted light effect in order to create a magnificent visual work.

丨 BURST!VS4200 丨 2GAX 丨 丨 Details

33

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 34 丨 Detail Renders

35 丨 BURST!VS4200 丨 2GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 38 丨 Materials Testing Model

39 丨 BURST!VS4200 丨 2GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 40 丨 Glazing Detail Drawing ADIDAS SPORTS 2GAX AS3200 Advanced materials and09/07/2020Tectonics3

41

Yuze

Maxi Spina PARTNER:

COURSE CODE: AS3200 ARENA 丨 TectonicsandMaterialsAdvancedAS3200 丨 2GAX 丨

This project is going to systematacially explore how the adidas sports arena built, from the precast deformed steel construction of columns and beams, to the details of min level conncetion of the facade. Trying to figure out why the building becomes it is now and how architects achieve the design using tectonic skills. Then with the main structure stable, we will explore how to change the facade into the one of University Freiburg Library. It is a huge challenge because the two layers of facade, composed by display frame curtain wall and special sunshadings, into one layer of facad, which still need to meet the demand of shading. To work on this, we need to redisign the precast connecting module and estimate the column size in order to meet the load of the sandwich panel and triple layers of glazing of the library. Randy Jefferson Jianli He, Han

INSTRUCTOR:

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丨 TectonicsandMaterialsAdvancedAS3200 丨 2GAX 丨

The adidas ARENA forms a distinctive landmark on the adidas World of Sports campus in Herzogenaurach. The new office and reception building marks the campus's main entrance, welcoming visitors to the adidas group's World of Sports headquarters and lending it a strong visual Thereidentity.is three design concept of the ARENA: Clear architectural symbol, flexible frame construction and Material efficiency. It is 143m x 118m at a whole size and 67 inclined columns, in which including 10 groups of four columns and 9 groups of three columns. Inside the building there are 9 vertical openings pass as light wells and for vertical transparency. Adidas Sports Arena

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丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 44 丨 Building trunk and structure analysis BIRDS VIEW CHUNK A1 - “BEAMS AND COLUMNS” A1 - “FLOORS” steel beam overhang for brise soleil steel beam overhang for brise soleil inclined composite steel columns main groupstructureofinclined composite steels columns and the base ExternalCurtainsunshadeWall BIRDS VIEW CHUNK inclined composite steel column Main Groupstructureofinclined composite steels columns and the base External sunshade Curtain Wall

45 Details in Building trunk 丨 A1 - “BEAMS AND COLUMNS” A1 - “FLOORS” steel column for 3F 4F 12” × 12“ steel column for 2F 24” × 24“ united steel beam 31.5“ concrete floor slab steel column for 3F 4F 12” × 12“ studdle for concrete floor slab 29.5'' concrete slab 6” concrete slab 6” precast slab united steel beam 31.5“ steel beam 9” × 9“ steel beam for 3F 4F 18.7' steel beam for 3F 4F 18.7'steelsteelrebarrebarplaneplaneholeinbeam R 13'' steal beam for 2F 18.7' steal beam for 2F 18.7' screws 6.7'' screws 6.7'' steel beam overhang for brise soleil steel beam overhang for brise soleil inclined composite steel columns main groupstructureofinclined composite steels columns and the base steel beam in margin for 2F 18.7'' 丨 TectonicsandMaterialsAdvancedAS3200 丨 2GAX 丨 BEAMS AND COLUMNS FLOORS Steel column for 3F 4F 12" × 12" United steel beam 31.5" Steel column for 2F 24" × 24" steel beam 9" × 9" steel beam for 3F 4F 18.7" United steel beam 31.5" hole in beam R 13" Steel beam for 2F 18.7" screws 6.7" Steel beam in margin for 2F 18.7" Concrete floor slab Steel column for 3F 4F 12" × 12" Studdle for concrete floor slab 29.5" concrete slab 6" Steel beam for 3F 4F 18.7" SteelSteelRebarplanebeam for 2F 18.7" screws 6.7" ConcreteSteelRebarplaneslab 6" Precast slab

46 丨 Double layers Facade details steal beam for 2F 18.7” united steel beam 31.5” Precedent Study: Addidas Sports Arena Envelope System: Name of the Envelope System BOTTOM VIEW AXONOMETRC VIEW base plate of the cast-in plate connection plate shim spacerplatesplateconnection plate load-distribution plate shim plates as required deformable washer grouted joint column head plate shear temporarypeg clamp inclined composite steel columns aluminum frame aluminum sun visor frame aluminum alloy panel steel substructure steel columnbeam-columncurtainaluminumaluminiumaluminumaluminuml-shapedconcretebeambeamsteelplateawningplatecanopyframewallstructurestructurebases concrete floor slab concrete slab 6” united steel beam 31.5” steel column for 2F 24”x 24” BOTTOM VIEW AXONOMETRC VIEW Concrete floor slab Concrete slab United steel beam Steel beam for 2F Aluminium canopy Curtain wall structure Column bases steel column for 2F United steel beam Aluminum Beam-columnFramestructure

47 Tectonics & Materials AS3033 Yuze Han_Jianli He_Hui Wang A1 - HORIZONTAL LINK STRUCTURE : FACADE SYSTEM” A2 - BUILDING VERTICAL STRUCTURE COLUMN BASES SYSTEM base plate of the cast-in plate connection plate shim spacerplatesplateconnection plate load-distribution plate shim plates as required deformable washer grouted joint column head plate shear temporarypeg clamp inclined composite steel columns aluminum frame aluminum sun visor frame aluminum alloy panel steel substructure steel columnbeam-columncurtainaluminumaluminiumaluminumaluminuml-shapedconcretebeambeamsteelplateawningplatecanopyframewallstructurestructurebases 丨 TectonicsandMaterialsAdvancedAS3200 丨 2GAX 丨 Details of Main structure Node 丨 HORIZONTAL LINK STRUCTURE: FACADE SYSTEM BUILDING VERTICAL STRUCTURE COLUMN BASES SYSTEM Aluminum frame Base plate of the cast-in plate Aluminum alloy panel Spacer AluminumLoad-distributionGroutedSteelshearL-shapeconnectionsteelplatepegbeamJointplateplateInclinedcompositesteelcolumnsAluminumsunvisorfameConnectionplateConcretebeamColumnheadplateDeformablewasherShimplatesasrequiredSteelsubstructureShimplatesAluminumawningTemporaryclamp

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 48 丨 Glass Trunk concrete slab 6” steel column for 3F 4F 12” × 12“ concrete floor slab united steel beam 31.5“ steel column for 2F 24” × 24“ aluminum alloy plate steel beam ovrehang for brise soleil aluminium panel aluminium canopy DETAIL A - CONNCETING DETAIL B - CONNCETING BIRDS EYE AXONOMETRIC VIEW BIRDS EYE AXONOMETRIC VIEW Concrete slab Concrete slab United steel beam Steel column for 3F 4F Steel column for 2F Aluminum panel Steel beam overhang for brise soleil Aluminum canopy Aluminum alloy plate

49 aluminium panel aluminium panel aluminum alloy plate steel beam ovrehang for brise soleil aluminium panel aluminium canopy structural glazing sealant double glazing unit double glazing unit horizontal main keel_joist steel mullion exterior cover with o set weep slots preset glazing gasket with vulcanized corners aluminium spacer aluminium spacer horizontal main keel_joist steel mullion exterior cover with o set weep slots preset glazing gasket with vulcanized corners glazing setting blocks aluminium gusset plate DETAIL A - CONNCETING ALUMINIUM PANEL WITH WINDOW 1 DETAIL B - CONNCETING ALUMINIUM PANEL WITH WINDOW 2 丨 TectonicsandMaterialsAdvancedAS3200 丨 2GAX 丨 Glass Frame Details 丨 CONNECTING ALUMINIUM PANEL WITH WINDOWS 1 CONNECTING ALUMINIUM PANEL WITH WINDOWS 2 Horizontal main keel joist Aluminum panel Preset glazing gasket with vulcanized corners Preset glazing gasket with vulcanized corners Exterior cover with offset weep slots Exterior cover with offset weep slots Steel Doublemullionglazing Unit Structural glazing sealant Aluminum spacer Horizontal main keel joist Double glazing unit Aluminum spacer Steel Glazingmullionsetting blocks Aluminum gusset plate Aluminum panel

丨

The new, semi-transparent facade creates a strong symbiosis between the building and its surroundings as they meld into one.

The new library of University Freiburg is designed by Heinrich Degelo. His design represents a new, pioneering architectural form that is heavily influenced by the context of town planing.

The facade of the building is composed by triple layers of glazing and sandwich aluminum panels. This special kind of panel is for thermal isoluation as well as vapor proof. And for both inside and outside of the building, it looks clear because the facade need no more additional component to support itself. The facade of every floor is hung on the building structure, supported by upper beams and separated to two lines in each floor.

丨 TectonicsandMaterialsAdvancedAS3200 丨 2GAX 丨

University Freiburg Library

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丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 52 丨 Rebuilt Trunk BOTTOM AXONOMETRIC VIEW Steel horizontal mullions Insulation layer Aluminum suspended Verticalceiling aluminum panel Triple glazing VSG panelHorizontaloutsidealuminum

53 丨 TectonicsandMaterialsAdvancedAS3200 丨 2GAX 丨 Details in Building trunk 丨 CONNECTION DETAIL OF THE UPPER LAYER JOINT DETAIL PermanentlyCarpeting elastic joint on site L-shaped aluminum plate Triple glazing, VSG outside Plastic Unreinforcedclosurescement screed panel steel horizontal mullions Horizontal aluminum panel L-shaped iron connecting plate Steel vertical mullion Steel horizontal mullion L-shaped aluminum plate Triple glazing VSG outside Vertical aluminum panel Horizontal aluminum panel Isolation Sandwich-panelpanelAluminumsuspended ceiling Fixed point facade suspension Sandwich-panel CONNECTION DETAIL OF THE NETHER LAYER JOINT DETAIL

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 54 丨 Glass Trunk BIRDS EYE AXONOMETRIC VIEW Concrete floor slab Aluminum cover panel Horizontal panel Triple glazing VSG vapor-proofSandwichHorizontaloutsidepanelpanelConcrete SteelUnitedvapor-proofSandwichInsulationSteelceilingAluminumUnitedAbsorptionslabinsulationsteelbeamsuspendedcolumnfor3F4Flayerpanelsteelbeamcolumnfor2F

55 丨 TectonicsandMaterialsAdvancedAS3200 丨 2GAX 丨 Glass Frame Details 丨 CONNECTING JOINT OF GLASS - VERTICAL DETAIL CONNECTING JOINT OF GLASS - HORIZONTAL DETAIL Perforated steel sheet Black fleece Absorption insulation Galvanized sheet steel capor-proof panel Anodized outside panel Steel Aluminummullioncover panel Structural glazing sealant Aluminum cover panel Triple glazing, VSG Glazing setting blocks Horizontal GlazingTripleAbsorptionpanelinsulationglazing,VSGsettingblocks Aluminum pressure profile structural glazing sealant Aluminum cover panel Steel AbsorptionHorizontalmullionspanelinsulation

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 56 CONFLICT-ABSORPTION 2GAX HT2200 Theories of Contemporary Architecture11/03/2020I4

57 丨 IArchitectureContemporaryofTheoriesHT2200 丨 2GAX 丨 DOSSIER ThisIntroductionproject is talking about the persistent practice of Crimson Architects who are trying to help planned city to be active again after the trend of great construction in Europe, as well as city dilemma in other parts of the world. This essay trys to find a absorption way of recovering the national culture differences through observing and analysing those effort of city rejuvenation 1CatalogCrimson Architectural Historians ●Argues 2 Works: Welcome to my back yard. ●Happy Hoogvliet 3 Works: New Town ●Sa●Introductionbaudia:Re-planning collective spaces to rediscover our roots. ●The double life of an Indian New Town 4 Works: A city of comings and goings. ●Essay: Refuge and Dilemma CONFLICT-ABSORPTION INSTRUCTOR: Erik Ghenoiu, John Cooper COURSE CODE: HT2200

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 58

WhenPrefacefixed city environment meet the migration After the World War II, most of the world is urgent for flourishing. They struggled to find a way of economic recovery, which is no doubt the most important thing after several years’ destruction. But along with the economic recovery activities, much of the necessary things are ignored. The city cannot meet any demand distinction of different people group, cannot give a reason of build big central park. It focuses on just one thing, which is there should be modern park city and that is all. I can understand that the badly needed city as a sample of flourishing to give confidence to the whole country, but it will face to more and mor difficulties and then, we need to take much decade to fix them.

Crimson Architectural Historians

When many people focus on designing totally new towns, Crimson Architectural Historians started to think about how to resolve the problems left over by history and attempt to make the existing towns flourishing again. It is valuable because there would be no more resources for building a new town one day and we will all live in an old town with appliance which are not so suitable to our lives.

A group of Crimson Architectural Historians are focus on researching on post-war cities worldwide, which dealt with how urban planning has been used as a political tool in the Cold War as well as in the current planning and building of New Towns. They work in a special way that they view history not as a closed event in the past, but as something that can imbue the city with meaning across time, and their projects try to set this latent historical potential to work in the present. City development and changings is a continuous process. Demographic composition will change with time flying, as well as lifestyles and domestic appliances. But these are all change from a past situation. So, if we create a town just from zero, that would not be a healthy town. And that is why always, there is dilemma of the post-war new built towns have to face to.

59 丨 IArchitectureContemporaryofTheoriesHT2200 丨 2GAX 丨 Chapter I

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 60 Chapter II After War Towns Dilemma

Theparts.New Town in India called Rourkela faced to the same problem. It was also built for labors for an important steel plant, not only important in economic significance, but also for political purpose. For the next decade, Rourkela walked on the same way as Hoogvliet: people move out because of lack of necessary space, immigrants move in. difference is Rourkela steel plant control part of the high-quality residential district just for their senior engineer. And labors and immigrants gather at the lower part. It’s amazing that the official residence zone is too silent for living. But the mess developed by people who cannot live a respectable life is fabulously active. More important, the two group of people are hostile to each other. New Town projects in western and eastern world are all failure. The way they create a city is to cut people from their lives and histories. City space serves people. What is abandoned by residents is what should not be there. Here I should say, if people need space, they will find one, even it is not so proper. So, if buildings are largely abandoned, they are just very hard to remold to meet the demand. That cannot to be explained as a small design negligence.

The town called Hoogvliet, which is the most important town in Crimson’s book WiMBY, face to complex dilemma when they did long term research there. It is a total new city with the qualities of modernism and efficiency, simultaneously manifesting an idealistic social model. It was a village, which was soon chosen as a residence town for labors needed by the expanding port. So it concerns only for labors who are times of the aborigines to live in. as a worker, you may just have time for dinner and sleep after work. In that way a small apartment within one bedroom and one dining room is enough. Designer who make this decision without think of people nature but think labors just numbers. They want room for babies, studying and family parties. The result is that houses with two or three rooms are abandoned immediately just after several years in this district. Things coms worse at the following decade and finally they build a better new town just near Hoogvliet for residence who can afford bigger house. The cheap small old house in Hoogvliet are left for immigrants. At the time, the city was separated to two confrontation

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 62

The town Sabaudia in Italy and the Dutch refugee’s problem mentioned in Crimson latest research Essay are talking about the same question about bias and separation. People live in a town for decades always want to interrogate new comings. Are you rich, educated, respectable, good-mannered? If yes, then come, but 100 feet far from me when you talk to me. If no, please go back to where you come. But the truth is, the original residents are new comings decades ago.

63 丨 IArchitectureContemporaryofTheoriesHT2200 丨 2GAX 丨 Chapter III Today's New Town In 1960s, immigrants come to a new place for work to feed their family. Work, in another word, new settled factories and plants is their purpose. Only work in big plants can they earn enough money. But for now, people migrant for many reasons. Like Crimson said in their resent book INTI new towns and arrival cities, migrants consist of various groups of people with very different needs and challenges. Some are more welcome than others: while cities compete for groups such as international students or expats connected to multinational companies, refugees and migrant workers are regarded as more problematic groups and meet with less enthusiasm. And that is what I called the root of bias and separation.

People always lives different lives, and much of them have different religion. They can come one time for fresh experience. Then after they go back to their own lives. The respectable ladies’ spare time is whole day long and workwomen can only show up after their whole day work at night. And how and what can they talk about as a common topic?

Crimson Architectural Historians always works in a warm way. They want to give a good beginning, and then hand the problem to time. And then, pray for it. I am not sure that’s efficient and sufficient.

The way Crimson works is to settle a party for two group of people who can hardly have any communication in daily life to talk something about themselves. They want this party could be beginning of absorption of the two group. or they choose to create a certain place for certain activities such as donation to welcome the two groups come at same time, so they can have the opportunity to talk.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 64 Chapter AbsorptionIV

We also meet this problem in China when more and more people come to big cities. The difference is that there are too many people in China, so that people cannot be separated clearly. The legal counsel for multinational corporation could have a joint rent neighbor of four restaurant waiters. People will earn an ideal salary if they pay their labor. And people may not understand your work as a big counsel, they just judge you with your salary. So that most people will gain respect from others no matter what your job is and whether you are skillful in some field. You pain, you gain, you good, that’s all. No matter where you come from and What religion you believe in. that is simple but important because it is the foundation of having a talk equally.

I can understand that in most part of the world, things like religion is antiforeign. So, the best way for absorption is to separate them apart. At least they wont fight against each other. But at least people should be educated that people are equal, that they deserve the same social status.

is a big and basic problem

65 丨 IArchitectureContemporaryofTheoriesHT2200 丨 2GAX 丨 Bibliography “Crimson Architectural Historians on Spatial Agency.” Spatial Agency: Crimson Architectural Historians. Accessed December 5, 2005.Hoogvlietdocs/newtownsonthecoldwarfrontier-part3.thetheInstitute,crimson.architectural.historians.https://www.spatialagency.net/database/2020.InternationalNewTown.“NewTownsonColdWarFrontier-Part3,CritiquefromtheInside-OutontheDiagramsofNew.”Issuu,March2020.https://issuu.com/internationalnewtowninstitute/Provoost,Michelle.“HappyHoogvliet.”Happy-CRIMSONhistoriansandurbanists,https://www.crimsonweb.org/spip.php?article51.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 66 丨 moss-like facade texture MOSSLIFE 2GBX DS1201 HARMONY IN THE 01/11/2021WILD5

丨 WILDTHEINHARMONYDS1201 丨 2GBX 丨 INSTRUCTOR: Damjan Jovanovic COURSE CODE: DS1201 VIDEO: https://vimeo.com/539912240

67 Moss, the most unimpressive plant in nature, always shows as extending groups on moisty rocks and tree trunks. Moss is also the most sociable plant in nature. They grow to meet the boundary of other groups, communicates, fights and then overlaps commensally.

Moss is colorful, especially in damp air under the scattered light. Color changes, like uncertain life, like express its emotion. Moss is polymorphic but unimpressive, we cannot realize the shape differences unless we are close to them enough. A rock-like building is ready for moss’s growth simulation. Sharp rock becomes downy when covered by moss. Shadowed holes for multiple layers of moss accumulation. The sunny side of the rock has thinner moss, for sunlight to go through the shell to light the interior up. after the night comes, the rock light it up from interiors and the warm light emits through holes of the shell, light the moss, makes it more energetic.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 68 TheDIAGRAMSmainauditorium on the ground floor has two direction part of seats towards the main stage. inbetween them there is the transparent curtain walls and entrance for public to enjoy the performance. it is a round stage at the center of the auditorium for every direction’s convenience of enjoying the performance. We want the rehearsal room to be open to several classrooms. They are combined as a flexible space. They can be separated when having classes independently and assemble together to rehearsal to try their new music ideas. Anyone comes to this floor can have a seat freely or join them. combination 26678 ft auditorium 23070 ft lobby + cafe 5500 ft music library 9300 ft administration pr 15115 ft Circulation Greenary

69 FUNCTIONSCombinationofclassrooms and rehearsal rooms. Auditorium and other public functions. 丨 WILDTHEINHARMONYDS1201 丨 2GBX 丨 丨 mainAreaauditorium12500ft Area 2800 ft Area 2800 ft Area 2400 ft Area 3600 ft Area 1200 ft Area 3600 ft Area 1400 ft Area 5600 ft Area 7500 ft Area 5600 ft 丨 combination: 6 classrooms + 1 rehearsal room 丨 combination: 6 classrooms + 1 rehearsal room 丨 2nd auditorium 丨 combination: 8 classrooms + 1 rehearsal room 丨 3rd auditorium 丨 combination: 8 classrooms + 1 rehearsal room 丨 administration + pr + foundraising 丨 combination: 12 classrooms + 2 rehearsal room 丨 music library + media rooms 丨 combination: 12 classrooms + 2 rehearsal room

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 70 ThePUBLICwhole interior is a huge communicable space with a high atrium with scenic lifts. Open spaces are always on the side of the atrium such as The music library, the exhibition, the rehearsal space and some rest corners. We can lean on the armrest of 3rd floor and listen student bands performance at 4th floor, or try to enjoy the performance at the bottom – the main stage.

71 Section 丨 丨 WILDTHEINHARMONYDS1201 丨 2GBX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 74

丨 Moss,TEXTUREthemost

Moss texture unimpressive plant in nature, always shows as extending groups on moisty rocks and tree trunks. Moss is also the most sociable plant in nature. They grow to meet the boundary of other groups, communicates, fights and then overlaps commensally.

Moss is colorful, especially in damp air under the scattered light. Color changes, like uncertain life, like express its emotion. Moss is polymorphic but unimpressive, we cannot realize the shape differences unless we are close to them enough.

75 丨 Texture generation 丨 WILDTHEINHARMONYDS1201 丨 2GBX 丨

丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 78 Interior space 丨 RestPublic 丨 RoomRehearsal 丨 Exhibition 丨

79 丨 3rd floor plan 丨 WILDTHEINHARMONYDS1201 丨 2GBX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 82 Music Library 丨

83 丨 Main Auditorium 丨 WILDTHEINHARMONYDS1201 丨 2GBX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 86 丨 Main Scene WATER 2GBX VS4201 CITY SIMULATIONS01/11/20216

丨 SIMULATIONSCITYVS4201 丨 2GBX 丨 INSTRUCTOR: Damjan Jovanovic COURSE CODE: VS4201 VIDEO: https://vimeo.com/536486919

story about how people make up a lies trap in order to eat other people during the doomsdays. Within the water resources shortage becomes more and more serious, people have to collect water from other creatures and reduce the amount of people. Unfortunately, 80% of human body is water. Killing people and collecting water without being punished by laws is to set up a dream trap. It is a hopeful and beautiful story, but is also a tomb of believers.

87 ThisBACKGROUNDisafantasy

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 88 This is where the story starts.The City N-12. City N-12 is built on the last 100 acre of soil on the planet.1

89 丨 SIMULATIONSCITYVS4201 丨 2GBX 丨 City N-12 is built on the last 100 acre of soil on the planet. The buildings has mechanical roots to absorb invaluable water from the soil. Water is the only thing human can count on at doomsday.2

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 90

The city is a huge machine to accumulate water and transform it into energy. Then it uploads the energy to the N-12 Core, the heart of the city.

3

91 丨 SIMULATIONSCITYVS4201 丨 2GBX 丨 Everything dies, when losing water. People don't know how to save the dry land. They create metallic lake surface and ghost aquatic plant.4

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 92 The last thing people can count on is to get access to the Holly City, where there are real rivers, seas, plants and people with happiness.5

93 丨 SIMULATIONSCITYVS4201 丨 2GBX 丨 Water is divine and the way is tough. Anyone who collect enough water could be saved to Holy City.6

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 94

7

They are too excited to realize the city is so weird with half ruins and half carnival. The lantern, as the tale said, is located at the center.

The lantern shows people the scene of the Holy City as a reward of collecting water. And people get in the hole under the lantern with no hesitate.

8

95 丨 SIMULATIONSCITYVS4201 丨 2GBX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 96 People will be killed then, by the mechanical root of the lantern. Because 60% of the human body is water.9

97 丨 SIMULATIONSCITYVS4201 丨 2GBX 丨 The hole closes and the lantern keeps dim as usual. A piece of elaborate lie, which is people's hope, people's tomb0

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 98 丨 Dossier Frame GUARDIANS OR GARDENERS 2GBX HT2201 THEORIES OF CONTEMPORARY ARCHITECTURE01/11/2021II7 CONVERSATION : REAL ENVIRONMENT

99 Abstract: We are in dilemma of environmental changing progress. Every step goes forward to human developing with the natural environmental degradation. We realize that the nature is different and we, human-beings, who see themselves as the master of the world, start to call the wildness Thisback.conversation is about how we can response to the environmental problems and what is the consciousness behind different artworks. Further, to discuss if the consciousness as Sapiens is the proper way to recognize the world, the nature, the pollution situation, and the future. Panelist: Jason Mark, Jianli He, Marah Nagelhout, Amanda Boetzkes, Elysia H. French 丨 IIArchitectureContemporaryofTheoriesHT2200 丨 2GBX 丨 INSTRUCTOR: John MarcelynCooperGow COURSE CODE: HT2201 GARDENERS

Conversation 1 Half Artificial Environment Host: our nature has changed a lot with the exponentially flourishing of human-being activities. Since the second we started to breathe, the component of the air around us is different from the second before. To be strict, that kind of environment is the artificial one. It becomes more and more obvious with the speedy development of human society and the ways and intensity of transforming the natural environment. The problem is the definition of the changing. We have lots of words to describe the changing: artificiality, pollution, destroy, desertization, global warming, species extinction and better life for human. People abandon to emphasis better life in exchange of environmental price these days because we started to doubt that whether the modern life with pollution is better than before. How do you describe the environment or nature for now?

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 100

Host: the nature is the strangeness, which is a far dream land from our lives. we love it and eager for it. We hope we can live in that kind of environment, not only because the nature represents health and cleanness, but also because we need the chance to escape from the human society which makes us exhausted.

Host: so, you are describing a totally nature world without traces of human activities except hikers like you?

Jason Mark: that kind of nature is more like the totally different life experience. Like I mentioned in Wilderness in Anthropocene, “if we do indeed now live on a garden-planet in which civilization his eclipsed nonhuman nature, then the separateness of the wild – its sheer strangeness – is a virtue.”

Jason Mark: I can tell a little story. We decided to use the long weekend for a backcountry getaway, figuring that the chance to spot a bald eagle soaring over an alpine lake would be just as patriotic as watching fireworks on the beach. Nothing more than a scant two nights and three days in the emigrant Wilderness of Sierra Nevada, a quick woodsy holiday. It is like to escape to another planet, a fucking beautiful other planet.

101 丨 IArchitectureContemporaryofTheoriesHT2200 丨 2GAX 丨

Jason Mark: We are tired of artificial nature, right? The lawn in front of my door and the manicured pine trees. They show us our desire of living with nature, although we have only several square feet of land for them. When I am surrounded by the wilderness of Sierra Nevada, I am in hectares of forest, which may be protected by fire department and anti-poaching organization.

Host: the definition of nature is about the size instead of trace of human activities.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 102 Drawing from Geostories 丨

103 丨

Conversation 2 Artwork response Host: we have invited several most representative artists here to share their artworks which reflect their nature and the key concept and the position in nature when they are creating. First it comes to the most architectural work Geostories, created by Rania Ghosn and El Hadi Jazairy. Rania Ghosn: our start point is the worry about the climate changing which is not recognize in most scenes of everyday lives. It is hard to explain the relationship between waste and the melting Arctic Ice in scientific ways such as data analysis.

To resolve this we defined the environments as both the physical and technological environment, containing natural and cultural environments. Then we translate it into architectural drawings to reflect and criticize the truth of our environment.

IArchitectureContemporaryofTheoriesHT2200

Host: In your work it is the most crucial idea

丨 2GAX 丨

Host: we will invite another artist, Warren Cariou, who is a petroleum-photographer, focus on help us think through our relationship to the increasingly evident and alarming effects of climate change and our understanding of their complex causes, Manifestations and future implications.

that you, as architects, want to show what we did to hurt our environment and cause negative influence in an architectural way to call on the awareness of environment protection. The ways are very creative and detailed in many scales of consciousness from stuff in daily life to the global concerns. What most impresses me is the abstract way of representation which is not so obvious in first glance. I need to stare at the drawing and try to find more details to think repeatedly in order to completely understand the whole story. This mode of encouraging thinking is really a good learning experience.

Host: we and our environment are in a complex and ambivalent relation. By showing this kind of dilemma with the material both from our nature and human industry, the nature and the human are connected. The nature gives us the resources for human to change the nature. That is hard to realize this situation, but your works shows it accurately.

the petroleum-photography first. Petrography is a kind of art of creating photographic images through the action of sunlight upon bitumen, by using invisible materials from petrol to take visible photos. I think it has huge potential for visual culture to serve as an accessible mode of communication by acting as a political expedient that implicates viewers in a manner that my promote new forms of environmental, social, and political understandings.

Warren Carious: please allow me to introduce

Host: it is fantastic to see that the petrographs use bitumen itself as a medium of representation, creating a particular perspective on the world: extractive industry viewed through a film of oil, which is arguably widely perceived as a dirty contaminant but also as a necessary resource on which we have come to rely in order to maintain our contemporary demands.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 104

Warren Carious: exactly. And it is this personal, disconnected and contradictory relationship I want to address.

Host: showing the reality of our nature objectively is not the only way to record what really happening around us. Here I want to introduce Kelly Jazvac, geologist Patricia Corcoran, and oceanographer Charles Moore and their famous work Plastisphere, who are working on a specific style of representing the live nature, Plastisphere.

Host: also, the petrography reminds me of a series of photography from NASA which shows the geographic change in fifty years. One of them shows the northwestern Glacier in Alaska retreating an estimated 10 kilometers out of view. The similarity of NASA photo and petrography is to show the reality of our environment straightforward, despite the material differences.

105 丨

Patricia Corcoran: let me introduce the Plastisphere first. There is a kind of stone called “plastiglomerate”, which is “an indurated, multicomposite material made hard by agglutination of rock and molten plastic. The plastic comes from the broken-down plastic wastes in world’s oceans and beaches. The microplastics particles are less than 5 mm in diameter so that they can attach on anything in the nature.

丨 2GAX 丨

Charles Moore: The plastiglomerate is hard to be separated from clear rock in our nature. We can see that out beach is becoming more and more colorful because of the colorful glass fragment, plastic wastes and nature element with “beautiful” coats on.

IArchitectureContemporaryofTheoriesHT2200is a combination of rock in general sense and the microplastic particle. At a higher level, the plastisphere is a combination of our wilderness and the consequences of industrial development. The most successful point is that it is obvious and intuitive visually.

Host: I love the point of creating objects from the plastiglomerate, not only to be artworks in exhibition titled environment protection but also to building materials or life materials. This view is on the foundation of admitting the current situation of out nature and try to shows the objective truth and live our lives, further, help people to think about the what the right way of living in harmony with current “nature” is.

Meredith Miller: So, you find the potential of this kind of materials for creating new subjectivities precisely. Its physical, material specificity is a fantastic element of presenting climate anxiety and urgence. Host: it is really a deliberate thought with obvious visual presentation. The plastisphere

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 106

Jason Mark: I agree with the responsibility part. The consciousness of protecting the nature comes from the responsibility, so we need it. But take human as the center is dangerous, too. We must distinguish responsibility and arrogance, in another word, over-responsibility. The arrogance of anthropocentrism sometimes could be the secondary damage to the nature. Taking species protection as an example. We are trying to intervene the species migration, especially ones that travel through human transportation. In this intervention we see the human factor as the biggest trigger of unexpected migration. So, it is easy to come to the result that if there is no human, the species will never leave their home. We must prevent it in order to keep it as it supposed to be. Sometimes the truth tells that the species will migrate, although it is a very long way

Anthropogen Host: we can start our conversation of rethink our Sapiens’ position in nature. In many artworks, no matter how far they go in skills and consciousness, their position is on Sapiens side. Which means in subconscious, human and nature are separated and emphasis is placed on the sanctity and immaculate qualities of nature. Because that pure nature is isolated from human activities influence, it has no dilemma concerning development and pollution. The ultimate dream is going back to the dream land.

Meredith Miller: we human beings have the responsibility indeed, for polluted nature and the result of the great industrial revolution. That is why we are human beings. We do have consciousness about what we have, and we can distinguish between right and wrong. We stand with anthropogeny because we are in it. The question is we human beings are the only group who can

Conversation Consciousness:3

deal with the pollution. That is the duty.

Jason Mark: exactly. Some right things we are doing now could be wrong after several decades. Many people doubt about the national nature park, a certain, clean nature, maintained by hundreds of people. The other thing which I know needs to be protected like this is dinosaur fossil. It is so expensive and hard that we always doubt the necessity.

107 丨 IArchitectureContemporaryofTheoriesHT2200 丨 2GAX 丨 for them.

Host: I start to understand the arrogance is the inequality of the nature and human. It is too easy for us to make decision for the nature. But the nature cannot even say a word. Do we have enough abilities to decide where our earth should go?

Host: Jason mentioned the arrogance. I think arrogance is hard to be separated from responsibility. In another word, we can not always stop the midpoint of these two consciousness points. I understand arrogance as doing too much to save the world. Although we take it very careful to make decisions about what to do to save our nature, mistakes still happen.

Conversation Consciousness:4

丨 Plastisphere

Wildness Host: the other position for human is not gardeners, but guardians. The first sentence I want to introduce is from Howard Zahniser. It says “We must always remember that the essential quality of wilderness is its wildness. We always take it for granted that the nature is stable if we are still living on trees and in caves. But nature is always making its own choices. Some species need to disappear, and some area need to be colder. Some soil needs to be replaced by oceans and Sapiens need to survive. Once we are at the point, we will disappear, either.

109 丨 IArchitectureContemporaryofTheoriesHT2200 丨 2GAX 丨

Jianli He: That remains me of the popular character in many science fictions called the will of the planet. The Will is like a independent person who can communicate with real human. That makes things clear that we can ask him if he want the octopus to migrate across the Pacific Ocean.

Jason Mark: the new epoch requires a rethinking of our assumptions about the human-nature relationship. wildness seen as the subject is an understanding of the bi-directional mediations that shape both human and non-human realities. All the causalities do not converge at the human subject. In another word, environment would change in a predefined procedure. The definition of nature, or wildness is the stat wherein evolutionary processes, and the landscape is never truly existed outside of human delusion.

Host: we talk about the nature, the wildness. First, we need to accept the truth of the current nature and realize that the nature is not synonymous with pristine or virgin. Rather, it is the state wherein evolutionary processes – free from human purpose, utility, or design – are allowed to shape a landscape’s future. After that, we talk about the position of human and the power human have to change the nature. It is crucial that we human beings have the ability to think, so we have the sense of responsibility to protect the world. It is the motivation of doing right thing. At the same time, we need to keep ourselves small.

Most things happen on the earth will not follow our desire. We give too much cultural definition to our nature and the nature we discuss is actually like the lawn in front of our houses, which can be controlled by ourselves. But the truth is the nature is an objective, ultimate, and unifying reality. It is far from our lives. As for me, I am just a small spot in the nature, I cannot even decide the fate of one tree. But I will start to learn how the wilderness changes in such a long period. I am an observer and guardian, who offers helps if the wilderness needs me.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 110

IEpilogue:amaspot

Boetzkes, Amanda. "Plastic, Oil Culture, and the Ethics of Waste." RCC Perspectives, no. 1 (2016): 51-58. Accessed April 14, 2021. http://www.jstor. French,org/stable/26241344.ElysiaH. "Transformations of Oil: Visibility, Scale, and Climate in Warren Cariou's Petrography." RACAR: Revue D'art Canadienne / Canadian Art Review 42, no. 1 (2017): 64-72. Accessed April 14, 2021. Mark, Jason, and Roger Kaye. "WILDERNESS IN THE ANTHROPOCENE." Earth Island Journal 29, no. 3 (2014): 27-29. Accessed April 14, 2021.

111 丨 IArchitectureContemporaryofTheoriesHT2200 丨 2GAX 丨 Ghosn,BibliographyRania, and El Hadi Jazairy. Geostories: Another Architecture for the Environment. New York: Actar Publishers, 2019. Graham, James. Climates: Architecture and the Planetary Imaginary. New York, NY: Columbia Books on Architecture and the City, 2016. Marah Nagelhout. "Nature and the “Industry That Scorched It”: Adorno and Anthropocene Aesthetics." Symplokē 24, no. 1-2 (2016): 12135. Accessed April 14, 2021. doi:10.5250/ symploke.24.1-2.0121.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 112 8 丨 Unfolding JIGSAW PUZZLE 3GAX DS4000 Vertical Studio Members9/13/2021Only

The name of the club is Jigsaw puzzle. It is a kind of game, but in our club, it means food rescue, share and safe. Jigsaw Puzzle club is a creative cuisine sharing club. Here all available cooking materials are abut to be recycled. The cooking club rescues food from waste and use it in creative manner. Main activities here are shared dishes among members. As a result, members share their passion of cooking sills while avoiding food waste, and meeting like-minded people in the process.

Creating one’s dinner by assembling dishes from other cooks is like to play a puzzle on your dinner table. We want to attract people to pay more attention to the food wasting problems and see the foods potentials here. Elena Manferdini CODE: DS4000

INSTRUCTOR:

COURSE

113 丨 OnlyMembers4000DS 丨 3GAX 丨

Food Waste and Rescue

Californians throw away nearly 6 million tons of food scraps or food waste each year. when a large number of ingredients, no matter unprocessed fresh ones or finished dishes, are going directly into the garbage bin due to the lack of consumption.

Create Jigsaw Puzzle club is a creative The cooking club rescues creative manner. Main courses members. As a result, members skills while avoiding food waste people in the process.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 114

Theevents.table is a mechanical assemble with many dishes. One table can serve 3 or 4 people to have dinner together. People can exchange their dishes using moveable part of the table without directly contacting with other.

115 丨 OnlyMembers4000DS 丨 3GAX 丨 and Share creative cuisine sharing club. food from waste and use it in courses are shared dishes among members share their passion of cooking waste and meeting like-minded

Keep Safe in Covid-19 period

Our club has upgraded the indoor arrangement and equipment to help keep safe distance when we having membership

Jigsaw Puzzle club is a creative cuisine sharing club. Here all available cooking materials are about to be recycled. The cooking club rescues food from waste and use it in creative manner. Main activities here are shared dishes among members. As a result, members share their passion of cooking sills while avoiding food waste, and meeting like-minded people in the process.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 118

Creating one’s dinner by assembling dishes from other cooks is like to play a puzzle on your dinner table. We want to attract people to pay more attention to the food wasting problems and see the foods potentials here.

Besides, our club has upgraded the interior arrangement and equipment to help members reduce direct contact with others and maintain a safe distance during the dinner time.

The table is a mechanical assemble with many dishes. One table can serve 3 or 4 people to have dinner together. People can exchange their dishes using moveable part of the table without directly contacting with other. The passing by movement is replaced by machine turning. It would be more interesting to experience a new way of sharing. In details views the table has some decoration part which is still and only transfer arms are movable so the table could be seen as an artwork too.

Table Settings

119 丨 OnlyMembers4000DS 丨 3GAX 丨 Table Plan B 丨 Table Plan A 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 120 丨 Diagram

The entire building, from the first floor to the top, is arranged according to the character of gradual privacy. At the bottom of the building the space is open to the city, and the top of the building is only for club members.

On the second floor, there are cooking classrooms and exchange activities for secondary members with relatively loose membership rules. Senior members here are invited to share their theories and inspirations about cooking. At the same time, more people are wiling to learn about the club from the internet due to the spread of covid-10, so we have set up several online live stream rooms, which is open to our members to increase the publicity of the club.

Perspective 丨

121 丨 OnlyMembers4000DS 丨 3GAX 丨

There are 6 separate stages for table groups and each table can serve limited number of guests. The stages can do simple movement to combine for a bigger group or move to the balcony to enjoy the city scenes. The roof is for members only, as an additional space of entertainment.

The banquet hall, together with its entrance for members are completely separated from the public activity facing the city. After entering the building , members register and then go up to the 3rd floor directly to join our theme dinner party.

In the public part of the first floor, a small club brand exhibition hall and banquet hall are setup. The exhibition hall will display some design dishes works. Part of the façade are open to the city, with the rotating machinery and public seat so that the building can attract more people to our club.

Third floor is the main dining hall for members.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 122 丨 1F Floor Plan

123 丨 OnlyMembers4000DS 丨 3GAX 丨 1F Interior B 丨 1F Interior A 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 124 丨 3F Floor Plan

125 丨 OnlyMembers4000DS 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 126 丨 2F Floor Plan

127 丨 OnlyMembers4000DS 丨 3GAX 丨 Roof Floor Plan 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 128 丨 Unfolding Elevation

129 丨 OnlyMembers4000DS 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 132 丨 picture name CLEMATIS 3GAX AS 2766 Eng of Creation9/17/2021CATIA9

Clematis is a group project in which 2 Power Copies arecreated, each representing an abstraction of the vine plants and the flower. The vine plants climb across the skin of buildings, walls, fencings to integrate natural beauty, shading and cooler spaces in our architecture

Theenvironments.twopowercopies are instantiated on a 5m x 5m grid and generate sshapes that are intertwined together to create a cohesive composition. A series of external parameters like distance can influence certain characteristics of the shapes. Form and color can be controled using the parameters.

133

丨 CATIACreationofEng2766AS 丨 3GAX 丨 INSTRUCTOR: Kerenza Harris COURSE CODE: AS 2766

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 134

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 136

137 丨 CATIACreationofEng2766AS 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 138

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丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 140

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丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 144

145 丨 CATIACreationofEng2766AS 丨 3GAX 丨 IMAGINE AND SHAPE

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 146

147 丨 CATIACreationofEng2766AS 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 148

149 丨 CATIACreationofEng2766AS 丨 3GAX 丨 BUILDING SHAPING AND FACADE

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 150

151 丨 CATIACreationofEng2766AS 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 154 丨 picture name HARMONY IN THE 10

155 4321WORKS:HuaibenYixinDheerPatrickSiddharthKeranJorgeSophiePARTNER:AkourydeOvandoDuanHosamathMcQuillenTalrejaXiaoYangStructureAnimationBowlStructureBowlcladdinganddetailsBowlAnimation 丨 GRDocDesignAS3222 丨 3GAX 丨 INSTRUCTOR: Herwig Baumgartner Zach JameyMatthewBurnsMelnykLyzun COURSE CODE:AS3222THE WILD 3GAX AS3222 Design Doc 9/15/2021GR

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 156

157 丨 GRDocDesignAS3222 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 158

159 丨 GRDocDesignAS3222 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 160

161 丨 GRDocDesignAS3222 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 162

163 丨 GRDocDesignAS3222 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 164 丨 UNDERSTOCK 3GAX HT2729 Other9/17/2021Future11

165 丨 FutureOtherHT2729 丨 3GAX 丨 INSTRUCTOR: Mimi Zeiger PARTNER: Qiaochu Yang Keran ShilongDuanZhu COURSE CODE:HT 2729

In dealing with surviving problems in doomsday, people’s attitude, and the important rules are based on an assumption about the amount of earth's resources. The scarcity of the earth's resources determines how strict the scale and rules of human utopia, whether the utopia can be moved, whether outsiders are welcome to share the limited resources, whether the rules are too strict, whether there is the ability to maintain scientific research on top of survival, and so on.

When there are a lot of resources, humans can organize production and life efficiently and carry out refined management to deal with resource Atshortages.thesame time, they can be more tolerant of other groups who are facing resource shortages.

When we talk about the future, we are used to imagine how we human beings deal with the apocalypse caused by population explosion, resources shortage, environmental collapse, or collision of celestial bodies. And how we can survive under these kinds of situations. We are used to assuming future states in a very pessimistic manner, imagining possible problems and what we as architects can do in this situation.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 166 INTRODUCTION

167 丨 FutureOtherHT2729 丨 3GAX 丨

With the further reduction of resources, the situation becomes more severe. Within a certain range, it is only possible to satisfy one group’s own needs by closing itself, and the restrained area unable to carry more people, which is embodied as an independent utopia, which is far away and self-sufficient. When resources are nearing scarcity, human utopias may be nomadic, looking for the last resources. At the end, if all resources are exhausted, as gulf futurism said, the end of human civilization is the desert.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 168 So, in our exhibition, we try to use a decreasing tendency line called Earth Resources to connect different future ideas and strategies to find the current position of mankind. Through the display and analysis of different kind of future under different resource conditions, we can find out the inner connection between different futures and how people’s minds changes with the increasing pressure of surviving. In this liner exhibition we guide people to think about how we settle a temporary assumption and try to resolve it in certain situation. And in the end of our exhibition, we want our visitors to think about that even we try our best to survive, are we still going to be part of the desert at the end.

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丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 170

171 丨 FutureOtherHT2729 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 172 丨 PERIODIC TABLE 3GAX VS 2663 Diagraming Architecture9/17/202112

173 丨 ArchitectureDiagraming2663VS 丨 3GAX 丨 INSTRUCTOR: Andrew Zago PARTNER: Qiaochu Yang COURSE CODE: VS 2663

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 174

175 丨 ArchitectureDiagraming2663VS 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 176 CONCEPTUAL ARCHITECTURE

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丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 178 PERIODIC TABLE OF ELEMENTS

179 丨 ArchitectureDiagraming2663VS 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 180

181 丨 ArchitectureDiagraming2663VS 丨 3GAX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 184 丨 picture name MASS VOCA 3GBX DS1200 OBLIQUE 1/17/2022GROUND14

Spina PARTNER: Linjun Huang COURSE CODE: DS 1200

185 丨 GROUNDOBLIQUEDS1200 丨 3GBX 丨

INSTRUCTOR:

MASSMOCA is a historical museum campus surrounded by beautiful greenery-yallery hills, located in north Adams, Massachusetts. When we see through the panorama of the MassMoca, we find it is a historical campus surrounded by beautiful greenery-yallery hills. But when we talk about a museum, it appears to be a building in our mind. So how to redefine the group building, not only one museum, is the main topic in our Firstly,suchproject.huge a campus has a low utilization rate. We found that the events are mainly raised in March, April and September, with little activity during the rest of the year. We also researched the commercial activities in the town, such as the amount of the restaurants and accommodations. We found that it is not enough to handle such a large number of visitors. In basedconclusion:onpeople's passion for this place and the Demand needed here exceeds the current supply. So we can transform this place into a village, which would be fully used to contain more functions and activities. Marcelo

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Remained Old Buildings 丨 Remained Grids 丨 New Grids 丨 Additional Buildings 丨 Courtyard System 丨

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189 丨 GROUNDOBLIQUEDS1200 丨 3GBX 丨

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191 丨 GROUNDOBLIQUEDS1200 丨 3GBX 丨

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丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 196 丨 Courtyard systems - Event 丨 Courtyard systems - Entrance

197 丨 Courtyard systems - Lecture 丨 Courtyard systems - Resort 丨 GROUNDOBLIQUEDS1200 丨 3GBX 丨

198

199 Selected Building Trunk 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 200 Section A1 丨

201 丨 Section A2 丨 GROUNDOBLIQUEDS1200 丨 3GBX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 202 丨 South Elevation 丨 Southwest Elevation

203 丨 Detail 丨 Detail 丨 GROUNDOBLIQUEDS1200 丨 3GBX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 204 丨 Interior 丨 North Elevation

205 丨 Interior 丨 GROUNDOBLIQUEDS1200 丨 3GBX 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 206 丨 DS1420 GRADUATE04/03/2022THESIS SYNAESTHESIA15

207 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨 INSTRUCTOR: Rachael McCall COURSE CODE: DS1420

209 TABLE OF CONTENT 1. STATEMENT P 04 2. PROVOCATION P 08 3. POSITION P 24 4. PROJECT P 32 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

STATEMENT

Syneasthesia is a production, from a sense-impression of one kind of and associated mental image of a sense-impression of another kinds. Literately, it is the use of metaphors in which terms relating to one kind of sense-impression are used to describe sense-impressions of other kinds; the production of syneasthetic effect in writing or an instance of this.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 210 1 What is Synaesthesia?

SYNAESTHESIA is a term from the ancient greek syn, "together" and aisthesis, "sensation", first used by German physician Georg Tobias Ludwig Sachs in 1812.

Space in the Margins, BY kendal Anz

2 Literature. synesthesia is the use of metaphors in which terms relating to one kind of sense-im pression are used to describe sense-impressions of other kinds; the production of synæsthetic effect in writing or an instance of this.

c. synesthesia is a Production, from a sense-impression of one kind, of an associated mental image of a sense-impression of another kind

Definition From Dictionary 1 phychology

b. The transfer of the meaning of a word from one kind of sensory experience to another.

a. A sensation in one part of the body produced by a stimulus applied to anoth er part.b.Agreement of the feelings or emotions of different individuals, as a stage in the development of sympathy.

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3 linguistics

a. The expression of more than one kind of sense-impression in the same word.

丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

2Why talk about synaesthesia?

Architecture is an assembled visualization of technics, functions and form creations rather than specific kind of sense-impression. The relationship between syneasthesia, which is a method of describing art, and architecture is about translating. Both architecture and syneasthesia involve acts of translation and transformation.

Architecture is a means of formatting to visualize life experience. This involves aspects, such as the appropriate sizes of different spaces, the most efficient room arrangements with the correct procedures of using, and material characteristics.

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The architectural creations are based on designers’ subjective consciousness and understandings of the objective situations. That is why architecture is a kind of Thecreation.central topic of art is also creating. Syneasthesia is creating a bridge between different sense-impressions. When talking about the word “depressed”, it is easy to think about a cold color like blue ore a cloudy sky or a music piece like “gloomy Sunday”. These all describe (or are transformations of ) the emotion “depressed”. As a result, architecture can be designed through a translation from specific piece of music and color effect, using syneasthetic mode of description.

3New Definition of Synaesthesia: Homogeneous and homotopic transformations -music and space translation

The new definition is about to talk about how to translate one art form to another. We have known that both architecture and music composition have different levels of organizations and basic elements. The homogeneous and homotopic transformations to match the basic elements as a vocabulary for translation. And

-Music and color translation

213 then match the second level of elements, such as small groups of basic elements like chords and melodies. Finally, the music composition can be translated into a piece of architectural project.

4 Project.

building is the creation of an environment for practicing and rehearsing musical works. Rehearsals include not only a quiet, separate space for solo practice, but also a space for multiple people to practice such as group dances, orchestras, and operas. In many cases, the Conservatory's rehearsals are open to instructors and a small community audience for timely feedback and guidance. Due to the limitations of the building's size, the simultaneous arrangement of individual spaces, small group spaces, and larger auditoriums in a rehearsal building requires a more flexible Thearrangement.projectis translated from the chosen music piece 14 CANONS, created by J.S.Bach. 14 CANONS bases on the first 8 important notes in Bach’s Goldberg Variations, BWV 988 and extend it into 14 different variations.

The project is a rehearsal building, which is located in Sichuan Conservatory of Music, RehearsalChina.

丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

Music and color translation based on the layered light creation. Within the research for James Welling’s work Choreograph, the optical filters can be digitally used to create a assemble of colors and contents, which matches the music part layers. The material chosen for its ability to return light back to where it came, as well as the sequence of light moving creating a layered space, people would become part of the space with their shadows like what Omar Gomez did in his work Entreluz.

1) The core and primary structure of the entire project comes from the eight-note basic phrase of the Canon and its five variations (#1, #2, #3, #4, #13). The basic phrase permeates the entire piece, is represented in all 14 fragments, and is the basis for the composition of the 14 canons. In architecture, this ubiquitous and fundamental element is often the core of the building and the foundation of the 2)structure.Inother six of the fragments (#5, #6, #9, #10, #11, #13), an additional melody is added to the basic phrase and can be combined with the basic phrase to form a harmonious new melody. The melodies of each fragment are distinctive and different from each other. In the architecture, the most characteristic and character-defining part is the design of the space. In rehearsal architecture, the element that can reflect the different scales and characteristics of the space is the setting of different rehearsal spaces.

The project contains three parts including the characters of the 14 CANONS.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 214

3) In the three fragments (#7, #8, #12) related to rate change, the performance of basic phrases at different speeds and chord combinations are concentrated. The basic definition of rate variation is the playing of the same notes at different durations. Therefore, when the same melody is combined at different rates, it creates an increase in density of the same melody in a linear one. In architecture, linear melodies can be graphically analogous to paths, then rate combination fragments can be analogous to expanded spaces dependent on roads, which by definition compound the description of merit open public spaces.

215 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 216 TRANSLATIONSPACE COLOR MUSIC PROVOCATION

It is hard to convince people to imagine the sound of a color, or a shape of echo. In syneasthesia it is critical to have a commen sense about specific situation. But the common sense is different in crowds. Like color red, in some culture it is means glory and in another culture it means terror. In my project, the first thing is to set up a series of rules for translation. Under the rules, spaces, musics and colors can be translated to each other. Then the composition of the rebuilt space can express the same story as the music composition, as well as the color composition such as paintings.

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217 how to prove syneasthesia is existing and create syneasthesia?

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 218 TRANSLATION : MUSIC - SPACE Iannis Xenakis - polytypes Cosmogonies in Sound and PROVOCATIONArchitecture

219

The Polytope de Montréal (1967) was a media installation in the French Pavil ion made for the opening of the Ottawa Art Gallery after the Expo 67 which included a sculpture, a light show and a musical composition. The light sculp ture consisted of, “a geometric array of steel cables stretching up through the multi-tiered atrium of the building, with 1,200 flashbulbs attached to the ca bles”. Once each hour, for eight minutes, the audience is able to see some vol umes made of lights in movement in the centre of the pavilion. The flash lights change every 25th of a second, but the eye perceives them as continuous

丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 220

221 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

James Welling documented philip johnson’s iconic glass house, built in 1949 in new canaan, connecticut. ‘glass house’ consists of photographs taken over a span of three years using a digital camera a numerous coloured filters placed between the camera and the subject. welling discusses his technique further ,‘ I’ve been using the word “filter” as a noun but it’s also a verb. a filter lets some wavelengths of light through and certain kinds of information to seep in. in addition to plastic, colored filters, I introduced clear glass, clear plastic, fogged plastic, pieces of glass that were slightly uneven and tinted, and finally a diffraction filter that breaks light into the spectrum.’ the large scale inkjet prints continue welling’s interest in colour phenomena and the inner workings of how the eyes and brain work to perceive images.

TRANSLATION :

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PROVOCATIONHouse

COLOR - SPACE James Welling - Glass

223 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

PROVOCATIONChoreograph

To create Choreograph, Welling photographed dancers performing in New York, Philadelphia, Boston, and Los Angeles, ultimately combining these images with landscapes and architecture. In a multichannel hack, Welling attains “pathological color”—the purposeful misuse of imaging technologies as a way to short-circuit conventions of photographic representation. Welling notes: “To my surprise, the buildings and landscapes that I used often seem to function like theatrical stages for the dancers. By choosing to use ‘choreograph,’ drawing with dance, as a noun, I am noting its similarity to ‘photograph,’ drawing with light.”

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Every work in the series begins with three black-and-white photographs, each digitally entered into one of three color channels—red, green, or blue—in Photoshop and combined into a single image. Welling makes adjustments until the picture resolves to its final form, which he secures by making an inkjet print. The result is a dense visual field infused with the science of color perception, the psychosomatic experience of physical space, and the history of photographic representation. - SPACE James Welling -

TRANSLATION : COLOR

225 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

A haunting, large format installation, _SPECTRA by Fiama Diaz and Miguel Vega, uses eleven Ketra luminaires to provide light in various color temperatures (2000K-5000K).

A collection of nylon threads is pulled taut across the space with Diaz and Vega using varying intensities of light to create a sense of motion and movement across the piece. Viewers are free to interpret the representation as anything dynamic and in constant motion—a ghost, a UFO, a bundle of hope, a brushstroke, or a memory.

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TRANSLATION COLOR - SPACE Lineal Lights in Juan Soriano PROVOCATIONMuseum

:

Controlled by Lutron, the Ketra light sources gave the artists total flexibility to place light with precision, layer color temperatures and intensities, and to create multiple focal points and sensations. The installation can be seen throughout the space and was designed to be appreciated from various angles.

227

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In JARDIN RiZOMATICO, Shamin Cecilia Ramos explores light as a root force that interconnects both the material and immaterial. The artist constructed an enclosed room within the exhibit—essentially a white box with a textured floor, featuring six Ketra ceiling lights and a white bench for visitors to sit. The lights are programmed to deliver highly saturated light that paints the walls and floor of the constructed space in a rainbow of colors. A mirrored surface within the space allows viewers to observe the changes in how they look and feel as the colors shift.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 228

In a return to the theme of natural phenomena, PHOTOTROPISME by Anahy Cabrera depicts the slow morphological patterns that form in reaction to the sun’s energy. A visual exercise in texture and color, light fills in each frame, creating a “painted” brushstroke that feels real enough to be touched in one moment—and then vanishes in the next. This installation features two types of lighting expertly interwoven to create the artist’s stunning sequences: Ketra light sources provide the bold, saturated colors that define the ambience, while three other fixtures, one per canvas, cast white light in various intensities.

229 Artist Omar Gomez turns light on its head by focusing on the absence of light, shadow, in his installation Entreluz. His canvas, a gray retro-reflective fabric, was chosen for its ability to return light back to where it came. The exhibit’s light source— which included a combination of Ketra lamps—delivers a specific sequence of light either moving along the white color temperature spectrum or comprised of saturated pinks, greens, blues, purples, and reds depending upon whether the immediate space is empty or occupied. When visitors step in the actual installation, they stand between the canvas and the light source, becoming part of the work themselves. Taking a flash photo creates a stunning result: visitors appear only as their silhouette, the interplay of the flash and the retro-reflective canvas combining to create shadow. 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

230 Steve Reich's 1967 Piece Piano https://www.youtube.com/embed/Jqoieg0VqagPhase TRANSLATION : MUSIC - COLOR Music PROVOCATIONVIsualization

231 Claude Debussy: The Snow is https://www.youtube.com/embed/OdbovGjt-nADancing 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

8:27 - 9:20 is based on resonance in an oscillating system, an actual physical aphenomenonspectacular example of it in real life is when seismic waves in an earthquake hit buildings at their resonant frequen cy, and cause buildings to literally shake themselves apart.

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 232 Homogeneous and homotopic IannistransformationsXenakis-Pithopraktaforthosegenuinelycurious,Xenakiswasverymuchamathman.Hetriedtomakemusicwhichwasrepresentationalofforcesinnature.E.G.chaoticfunctionssuchasthemathwhichtriestoexplainBrownianmotion.Takethosefunctions,zoomin,zoomout(makingdifferentdensitiesbutconsistentinform)thenmaketheformofthepiececonsistentwiththemicrostructureswithin.

POSITION

233 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

Tchaikovsky did not devote his most serious compositional efforts to these pieces; they were composed to order, and they were a way of supplementing his income. He saw the writing of music to a commission as just as valid as writing music from his own inner inspiration; however, for the former he needed a definite plot or text, a time limit, and the promise of payment at the end. Most of the pieces were in simple ABA form, but each contains a minor melodic masterpiece.

MusicPOSITIONCompose Analysis

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 234 The SeasonsMusic[Tchaikovsky]compose

235 color pattern (space) 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

236 6 June: Barcarolle ( G minor ) PART 1 &3 (main) TYPE 1 TYPE 2 TYPE 3 PART MusicPOSITIONCompose Analysis

237 PART 2 PART 4 (ending)

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 238 PART 1 &3 (main) TYPE 1 TYPE 2 TYPE 36 June: Barcarolle ( G minor ) POSITIONMusicCompose Analysis

239 TIMBRE 1 Main Theme TIMBRE 2 CHORD A CHOR B 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 240 1-6 Polyphony Canon https://www.youtube.com/embed/B7BFgCXCqGU(2018)1. 2. 5.3. 6.4. TranslationPROJECTUnit Reference

241 Translation Project Concept 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 244 Music Analysis Basic Sentence 14 canons is abstracted from the first subsection of the Goldberg Variations (J.S.Bach BWV PROJECT988)

245 14 CANONS manucript 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 246 PROJECT

247 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 250 Pieces PROJECTClasification CORE PIECE 1, 2, 3, 4, 13 ADD-IN UNIT NEW+MIRROR+CORE 6, 8, 11 (NEW+MIRROR) X MIRROR 5, 10 NEW X DOUBLE NOTES WITH 1/16 REST 9 MULTIPLE (SPEED DIFFER) 7, 1X - 4X (ORIGIN) 8, 1X - 2X (CHANGE) 12, 4X-2X-4X-2X -------1X 14, 8X---4X---2X---1X

251 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 252 PART 1 PROJECTCORE

253 VIDEO https://vimeo.com/720840174

PART 2 ADD-IN UNITS PROJECT

VIDEO https://vimeo.com/736067584

is located in Sichuan Conservatory of Music. The campus is in the center of the downtown, where the landrange for a new building is limited. At the southern side of the site is the Chengdu City Music Hall, which is a new built performance building faced to the city. At the western side of the site is the main campus of the conservatory, including the student apartment and classroom building. For a conservatory, it is necessary to have a symbolic rehearsal building, especially when it is settled at the center of a city. The rehearsal building should meet the requirements of various professional rehearsal venues, including space, light and sound requirements. The building need to partially open to the public for performance and shows responses to the city environment. Beside, the building should connect the whole campus using one certain architectural languages.

PROJECT

丨 2020-2022 丨 WangHui 丨 SCI-Arc 丨 256 TheSitesite

Sichuan Conservatory of Music, China

257 Project Diagram rehearsal building in Conservatory 63, 300ft² - Lobby 2000 ft² - Cafe 2000 ft² - Museum 4000 ft² - Music Library 6000 ft² - Auditorium1xMainAuditorium 12500 ft² 1 x 2nd Auditorium 2400 ft² 2 x 3rd Auditorium 1200 ft² - Media Room 6 x Media Room 600 ft² - Rehearsal Room 12 x Instrument Rehearsal Room 400 ft² 6 x Group Rehearsal Room 800 ft² - Classroom20xClassroom 400ft² - Administration & PR 10000 ft² 丨 THESISGRADUATE 丨 SYNAESTHESIA 丨

Thank you! Hui Wang M.Archi II Southern California Institute of Architecture +1hui_wang@sciarc.edu(213)-241-9503