Portfolio|Prototype of a Monument

Kai-hong Anthony Chu HKU BA(AS) 13 GSD M.Arch I 19’ Selected work 2013-2018

Prototype of a Monument

Kai-hong Anthony Chu|Prototype of a Monument Portfolio | Selected work 2010-2018 HKU BA(AS) 13 | GSD M.Arch I 19’

Content

Monument

Doha Tower | GSD Academic 02 The Monument | GSD Academic 08

Narrative

The Ommpa Loompa Club | GSD Academic 12 Parameter Plan | GSD Academic 14 Library on Emerald Necklace | GSD Academic 16 Hidden Room | GSD Academic 17

Compose

□W9 | Odradek Competition 18 The Second Hut | GSD Academic 20 Still Life City | GSD Academic 22

Making

Making Of | GSD Academic 24 Hybrid Formation | GSD Academic 25 GeoStud | GSD Research 26 GeoSurf | GSD Research 27

Tectonic

House me Tender | HKU Academic 28 Abyssal Plain | HKU Academic 29

Build

Thnouh Village School | Project Little Dream Charity 30 Sensory machine | ESKYIU Professional 32 WKCD Pavilion | ESKYIU Professional 32 Ephemera | ESKYIU Professional 33 New Order | HKU Research 33 Luna Palace | Double(O) Model Making 34 Weather Prove | HKU Academic 36

+1 857-999-5806 | chukha@gsd.harvard.edu

All rights reserved.

Published April 2018 by Kai-hong Anthony Chu

Doha Tower

Fitness

2017 GSD Fall Studio Hotel Tower instr. Maryann Thompson

Black Box

Gallery

The challenge of building a tower is match by its weather and cultural identity. With only a brief urban history, Doha skyscrapers take the iconography from a mix of relic collected from India, Iran, Egypt, Syria, etc. This proposal reconciles the need for a climatic strategy and a critical respond to the rapid urbanization of the city.

The use of parametric and computational tools enforce a technocratic, comprehensive project that accommodate our need for the “function” of architecture; Solar capture and structural optimization result in the tapered tower form. On one hand, architecture as a result of logical investigation and decision.

On the other hand, This project use the image of technocratic architecture to reveal the absurdity of International Style. If PostModernism was a respond to the purging from Modernist, this tower embraces and re-appropriates Orientalism as a self-reassuring

Gallery

Swimming

resistance for non-Western cultures. Iconism of the traditional Qatari garment, the Abaya, soars the skyline of tinted glass and golden motifs. The blackness of the fabric is represented by solar panel on the South facade. A play of anthropomorphism is achieved with the solid concrete shell contrasting a skeletal steel frame on the interior. Standing as an “invisible” obelisk, the tower is a speculative narrative to create iconic building in the Qatari skyline.

Elevator Core

Staircase Core

Program

“Comment peut-on être Persan?”

[Ozell, John, trans.

02

Lettres Persanes. 2nd ed. Vol. 1. London: J. Tonson, 1721.]

03

Concrete diaphragm

Topological optimization | elevator core placement

The main structure of the tower is a C-shape concrete shell with hollow life cores. It transfer all vertical load on the perimeter of the floor plan with floor frame hang from the shell structure with cables. Placement of elevator core correspond to the optimization result. A series of pre-cast concrete diaphragm braced the c-shape concrete shell. It also act as a thermal mass; insulated on the south face and open up on the north face for softer light.

Structural system: concrete shell|hung frame

04

Render_Sq.pdf 1 5/12/2016 6:36:30 PM

Gallery

C

M

Render_Sq.pdf 2 5/12/2016 6:36:31 PM

Attrium

C

M

Y

Y

CM

CM

MY

MY

CY

CY

CMY

CMY

K

K

05

fitness centre | reception

fitness centre | exercise rooms

fitness centre | spa

fitness centre | pool

black box | mezzanine

black box | main

gallery | mezzanine

gallery | main

pools | diving pool

pools | lapping pool

Floor frame hang from the concrete shell structure with cables. It also act as a thermal mass; insulated on the south face and open up on the north face for softer light. Placement of elevator core correpsond to the optimization result. A series of pre-cast concrete diaphram braced the c-shape concrete shell.

06

Staf

Rooms 29%

Gu Fitness 11% Dinning 1% Theatre 2%

Art 8%

Conference 2% Front desk 3%

Green 11% Staff 2% Back-of-house 2%

Pub

circulation & mech

Served | Service

Access

Staff access 5%

Rooms 29%

Guest access 52% Fitness 11%

Swimming

Dinning 1% Theatre 2%

N

Art 8% Gallery Conference 2% Front desk 3%

Green 11% Staff 2% Back-of-house 2%

Public access 43%

circulation & mech

Served | Service

Access

CutCutCu

Staff access 5%

Rooms 29%

Rooms

Solar Skin

Guest access 52% Fitness 11%

Theatre

Fitness

Swimming

Dinning 1% Theatre 2%

Gallery

N

Gallery Art 8% Gallery Conference 2% Front desk 3%

Gallery

Green 11% Staff 2% Back-of-house 2%

Conference

Public access 43%

Front desk Dinning circulation & mech Green

Served | Service

Access

CutCutCut

Reshuffle

Glare Louve

Staff access 5%

Fitness

Rooms 29%

Rooms

Atrium 4

Rooms

ht

Lig

Solar Skin Theatre

Fitness

Swimming

Atrium 3

Gallery

Dinning 1% Theatre 2% N

gap

Rooms Guest access 52%

Gallery

Public Elevator

Fitness 11%

Rooms

Art 8% Gallery Conference 2% Front desk 3%

Gallery

Atrium 2

Green 11%

Rooms

Staff 2% Back-of-house 2%

Conference

Public access 43%

Front desk Dinning

Staff Back-of-house

circulation & mech Green

Served | Service

Access

CutCutCut

Atrium 1

Reshuffle Program

Glare Louvere

07

“I stood in Venice, on the Bridge of Sighs; A palace and a prison on each hand.�

Childe Harold’s Pilgrimage

Broken axis of DC

Monument 2017 GSD Fall Studio Monument dedicated to Kalief Browder instr. Emanuel Christ & Christoph Gantenbein

The life of Kalief Browder ended on June 6, 2013.

Torment in the infamous Ricker Island prison had proved to be too much for any 22-year-old to bear and after 2 years of fighting for his justice, he took his own life in his home in Bronx New York.

The case of Kalief Browder is one of many that reveals the problems of the criminal justice system in the States; one that disproportionally undermines the underprivileged and people of color. Kalief is not just an isolated case, and this monument will become a testimony to the legacy of his strive.

Separated by the Anacostia River; On one side stands one of the poorest and most racially divided neighborhood in DC; On the other the Correctional Service Complex and the Central Detention Facility.

Despite of all the love we have for our great cities, they are still recovering from the racial covenant and a bigoted real estate sales practice that keep us divide, which effect remains visible these days.

Black population 08

09

10

225 ft

Located at the threshold of these confrontation, this monument is not just a celebration of the life of a man who stands for his cause, but also a constant reminder of the division that still keep us apart.

This monument takes on the forms of a bridge. A symbol of connection and reconciliation, but also a viewing plane of the drudgery we had overcome. It nests itself among the other statues and memorial in the network of avenues that was first visioned by L’Enfant two centuries ago.

From the opposite side of the river, it stands unreachable and distant. Like this society we are living in, the gaps between different groups has never been larger. This monument is only a pillar of change, and hopefully one day, it will bring the two sides of the River together.

11

The Ommpa Loompa Club and the

2016 GSD Spring Studio Workers’ Club for the Chocolate Factory instr. Grace La

Architecture of Misfortune

This studio project explore the potential of representing a grounded architectural project in the means of children literature and how by such means gives new reading to the architecture itself. In this particular case, reading Charlie as a subtext for the appalling case of labor and civil condition of the current generation. By the seemingly innocent facade of the narratives, the images contrarily convey grave messages of disparity and negligence of the majority.

Charlie and the Chocolate Factory has been one of the most popular children literatures of all time. The book has been republished many times with different style of illustration, and adapted into major movie titles. However by reading other Roald Dahl’s stories, one can see the different tones of narrative for a more sinister storyline. In its supposing simplicity, children book give rise to various readings that may or may not oblige to an honorable intent, or, the author may or may not have inserted such intention at all.

would not be difficult to support.

II Dinning Hall Looking at the empty room, Charlie ask, “Mr Wonka, do you prefer eating alone?”

“Oh do I! Food taste much better this way,” “Beside I don’t like the smell of rat around me.”

Figure 1. Oompa-Loompas, Charlie and the Chocolate Factory, First US Edition 1964, Figure 1. Oompa-Loompas, Charlie and the Chocolate Factory, First US Edition 1964, p72, Illustrations by Joseph Schindelman p72, Illustrations by Joseph Schindelman

Charlie hears the rumbling again.

This time, the sound is also coming from underneath his feet.

Figure 2. Oompa-Loompas, Charlie and theand Chocolate Factory, First BritishandEdition Charlie The Chocolate Factory, Versions Changes Figure 2. Oompa-Loompas, Charlie and theand Chocolate Factory, First BritishandEdition Charlie The Chocolate Factory, Versions Changes 1967, p60, Illustrations by Faith Jaques 1967, p60, Illustrations by Faith Jaques

4 4

Charle And The Chocolate Factory and The Architecture of Misfortune and Re-appropriation ‘But they can’t be real people,’ Charlie said.

Figure Figure 3.

3. Oompa-Loompas, Oompa-Loompas, Charlie Charlie and and the the Chocolate Chocolate Factory, Factory, Revised Revised US US Edition Edition 1973, 1973, p72, p72, Illustrations Illustrations by

by Joseph Joseph Schindelman Schindelman

‘Of course they’re real people,’ Mr Wonka answered.

‘They’re Oompa-Loompas.’

‘Imported direct from Loompaland,’ said Mr Wonka proudly. ‘ mpas!

Then you’ll know all about it,’ said Mr Wonka. ‘And oh, what a terrible country

it is! Nothing but thick jungles infested by the most dangerous beasts in the

to escape from the whangdoodles and the hornswogzglers and the snozzwangers...

Poor little Oompa-Loo

was lucky any other was the cacao bean. But they couldn’t get it. An Oompa-Loompa which all chocolate is made. ...And so, my dear children, as soon as I discovered

Figure 4.

4. Oompa-Loompas, Oompa-Loompas, Charlie Charlie and and the the Chocolate Chocolate Factory, Factory, Revised Revised British British Edition Edition Figure 1973, p60, p60, Illustrations Illustrations by

by Faith Faith Jaques Jaques 1973, Eleanor Cameron Cameron Eleanor In In 1973 1973 the the Oompa-Loompas Oompa-Loompas were were changed changed in in the the book book as as well well as as in in the the film film and and were were re-written re-written and and re-illustrated re-illustrated to to become become creatures creatures with with aa ‘rosy-white’ ‘rosy-white’ skin skin colour colour (p101 (p101 (all (all page page numbers numbers from from the the British British paperback paperback edition)), edition)), with with ‘golden‘goldenbrown’ hair (p 102), and to come from a fictional and largely fantastical land brown’ hair (p 102), and to come from a fictional and largely fantastical land called called ‘Loompaland’ (p 93), a land of which Mrs Salt, a teacher of Geography, can confidently ‘Loompaland’ (p 93), a land of which Mrs Salt, a teacher of Geography, can confidently say say ‘there ‘there is is no no such such place’. place’. The The change change in in the the way way the the Oompa-Loompas Oompa-Loompas were were portrayed portrayed is commonly commonly thought thought to to have have been been initiated initiated by by aa critical critical essay essay written written by

by Eleanor Eleanor is Cameron for for the the October October 1972 1972 edition edition of of Horn Horn Book Book Magazine.

Magazine. Cameron’s Cameron’s essay essay Cameron certainly resulted resulted in in an an enormous enormous flood flood of of letters letters to to the the editor, editor, both both in in favour favour of of Dahl, Dahl, certainly and against against him, him, and and was was even even powerful powerful enough enough to to result result in in aa letter letter replying replying to to her her and

5 5

1985, Illustrated by Michael Foreman

that the Oompa-Loompas were crazy about this particular food, I climbed

tribe. my head in through the door of the tree house belonging to the leader of the

world... They had to live in tree houses

The one food that they longed for more than

if he found three or four cacao beans a year....which grows on the cacao tree,

happens to be the thing from

up to their tree-house village and poked

The poor little fellow, looking thin and starved, was

being sick. sitting there trying to eat a bowl full of mashed-up green caterpillars without

come back to my country and live in my factory, you can have all the cacao beans you want! I’ve got mountains of them in silly on them! I’ll even pay your wages my storehouses! You can have cacao beans for every meal! You can gorge yourselves in cacao beans if you wish!” in the I shipped them all over here, every man, woman, and child Oompa-Loompa tribe.

It was easy. I smuggled them over in large packing cases with holes in them

“look here, if you and all your people will “Look here,” I said (speaking not in English, of course, but in Oompa-Loompish),

So

now. They love dancing and music. They are always making up songs. , and they all got here safely. They are wonderful workers. They all speak English wear the same kind of clothes they wore warn you, though, that they are rather mischievous. They like jokes. They still I expect you will hear a good deal of singing today from time to time. I must wear nothing at all. The women use fresh across the river, wear only deerskins. The women wear leaves, and the children yourselves for see can you as men, The that. upon insist They jungle. the in

’

leaves every day ...

showing beautiful white teeth. ‘ His skin was rosy-white, his long hair was golden-brown, ’ The Oompa-Loompa bowed and smiled,

and

the top of his head came just above the height of Mr Wonka’s knee.

2008, Illustrated by Quentin Blake

Version Change Extract from Charle and The Chocolate Factory, 1973, Roal Dahl

12

Children illustration, compare to typical architectural representation, has a great potential for polemic; it is an establish typology strongly associated with virtuous ideals, which effect is strength or deconstructed by incongruous narratives. This kind of architectural representation could be explicit in it story telling.

The architecture of re-appropriation ask not for a solution that will bring an end to misfortune. Instead, with humor and self- deprecating sarcasm, we readjust ourselves to the statue quo. The humor in Charlie open up dialog, in a socially acceptable manner, on the problem and the anxieties of being human.

I The Secret Workers The building is penetrated by a constant rumbling sound, something like footsteps.

“Mr Wonka, Do you hear the sound coming from the walls?” Ask Charlie.

“What sound?” Said Mr. Wonka, “Oh, must the chewing gum I gave you, it sometimes gives people illusion!”

13

Perimeter Plan 2015 GSD Fall Studio Dormitory instr. Andrew Holder

The project started with a given facade elevation from which a plan could be creatively interpreted. The methodology of drawing the plans for the project enables one to explore the free interpretation of stochastic shape and the rationalization of splines, and subsequently develop a set of strategy to subdivide and utilize the space created.

For circle with the same perimeter Perimeter = 2649 Area = 558937

The curves of a Dubuffet’s painting are deliberate and figurative.

Each curve enclosed a definite region on the canvas that could be opened up for interpretation. Without a designated site for this building, the canvas becomes the context in which relationship of figures could be drawn.

P:A = 0.004741

The shapes is redrawn as a string of arc/circle linked together with tangential lines. These forms a new composition of platonic shapes that could correspond to a matrix of Wittkowerian redux of architecture of different ages.

Perimeter = 2649 Area = 81190 P:A = 0.1685

Unrolled Elevation

0

unrolled elevation nrolled Elevation

olli map

0

Firstr Floor

Firstr Floor

Firstr Floor

Firstr Floor

Nolli figuremap ground of public space

14

Firstr Floor

Firstr Floor

Firstr Floor

Firstr Floor

30

30

1/32”:1’

1/32”:1’

Composition

Second Floor Plan

First Floor Plan

Fourth Floor Plan

Fourth Floor Plan

0

10

3/32”:1’

15

Library on Emerald Necklace 2016 GSD Spring Studio Rare Book Library instr. Grace La

Located at the heart of Boston, the Emerald Necklace provide the lush backdrop for the reading rooms of this rare book library. The experience of walking through the library is a narrated path through the landscape.

This journey is designed as a circuitry that define the intermediary spaces. The circuitry is interpret 2D and 3D diagram that codify the organization of interior spaces. A variety of material for model making brings opportunity to misread and re-imagine mechanical elements.

Three rows of book stack slip underneath an existing ridge on site, lines longitudinally along the length of the library, while they push against the creek that flow through the park.

Landscape of the ridge becomes part of the roof. A series of interior open spaces lines the water front. Light is limited by trees surrounding the creek while the roof split into three steps of thin strip to regulate insolation.

16

Concentric Formation

Dome as Hidden Room

Concentric sectional scheme

Concentric Plan Scheme

A

Pantheon

San Carlino

St. Peter’s

St. Paul’s

A

B

A

B

Capitol

Les Invalides

Panthéon Paris

San Gaudenzio

A

B

A

A

Hidden Room

The Hidden Room signifies an ambiguous and open reading of space and partition. The concentric domes create layers of in-between spaces. The thickness of the shell is lined with circulation path, creating an extra layer of complexity. This layering of structure challenges the conventional distinction of inside/outside/in-between as one unconsciously move through different portions of the domes.

2015 GSD Fall Studio instr. Andrew Holder

17

2017Odradek Hong Kong Young Designer Competition Entry by Team Odradek

PROJECT STATEMENT

The □W9 pavilion is conceived as a temporary amphitheatre with static and dynamic elements that blur the lines between architectural The □W9 pavilion is conceived as a temporary amphitheatre with static and objects and human subjects and between artistic performers and dynamic elements that blur the lines between architectural objects and spectators. The pavilion is a flexible civic space that performs as a human subjects and between artistic performers and spectators. The pavilion stage, workshop, or even playground. is a flexible civic space that performs as a stage, workshop, or even playground.

Born into the lush greenery of the nursery garden, □ (square), W (double-u) and 9 (nine) are three rooms nestled side-by-side in Born into greenery of the nursery □ by(square), W (double-u) mounds ofthe softlush landscape and lawn.

Each of thegarden, characters, and 9 (nine) are three rooms nestled side-by-side in mounds of soft landscape virtue of their geometric layout, provides a semi-enclosed room and lawn.

Each of the characters, by virtue of their geometric layout, that is partially unveiled to enable flexibility in circulation and stage provides a semi-enclosed room that is partially unveiled to enable flexibility in configuration for drama, dance and music performances. circulation and stage configuration for drama, dance and music performances.

The three characters are draped with a layer of cloth-like structure.

Drapery, rather than obscuring the rooms, has amplified the bodily The three of characters are draped withand a layer cloth-like structure. Drapery, expression □, W, and 9 through the tension relief of of drapery, rather the rooms, has amplified bodily expression of □, W, as well than as theobscuring ability to suck, sprawl, nestle, suckle andthe snuggle. and 9 through and reliefof of the drapery, as wella as the ability to suck, At the same time,the thetension crests and troughs cloth formed sprawl, suckle and snuggle.

At the stage same time,forthe crests and troughs roofscapenestle, that opens up possibilities of a dynamic setting of the clotharts. formed a roofscape that opens up possibilities of a dynamic performance stage setting for performance arts. Apart from hosting performances, the pavilion to have become a performer when Members appears of Team Odradek include Kai-hong Anthony Chu, Yin it playfully emanates bubbles through orifices periodically throughout the day. The pavilion has Ngai Anselm Cheungitsand Chau Chuen Tim Yeung. come to life.

The □W9 pavilion is more than just an architectural object.

Anticipating the blossoming of the West Kowloon Cultural District, □W9 pavilion, as a temporary structure, is a harbinger to propel the ambitious Cultural District into maturation. With the breadth of artistic and cultural activities it enables, the pavilion sets out to cross-pollinate across different fields of arts and cultural production and appreciation, and ultimately elevates the unique arts and culture of the city into the international cultural scene.

Plaster finish on chicken wire mesh

Handrail

Staircase

AUDIENCE Plywood waffle support

Room Lighting Curtain track Room W

Steel column

Room 9

18

E

NC

DIE

AU

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Still Life 2017 GSD Spring Studio instr. Max Kuo

The arrangement of objects in a still life painting is a deliberate construction of relationships as objects lean and press against each other, forming meaningful juxtapositions. This urban proposal takes the operation of “constructed casualness� to organise various public and public programe with types and forms, which could create potential for a much more dynamic and rich urban context.

The conventional commercial tower is juxtapose with blobs of public space, resulting in a novel intersection of the two forms and content.

This is a group project completed with Han Jin and Yewona Chun.

20

Tower Commercial

Low-rise & Courtyard Residential

Oddities & Tracks Public hub

Access Parking

T P

P

P

21

The Second Hut 2016 GSD Electives Bavarian Rococo: A Retrospective Manifesto instr. Andrew Holder

The inquiry into the nature of anthropomorphic architecture begins with an assessment of caryatids. In their quality of being put to the task of carrying a slab comprehensively - i.e. from head to toes, without a dangling idle limb - the caryatids are in effect nothing but columns at the image of human form. In that sense, whatever anthropomorphic character they pretend to is a metaphor of human appearance rather than one of human physiology. Caryatids present the human body in a state rather than an apparatus of tendencies.a If the Maison Dom-Ino reveals the distinct functions of slab and column, the Second Hut casts the anthropomorphic column against the object of the slab. Counter to the typical sequence of assembly, the slabs of the Second Hut precede the columns in their placement, as the found objects. The anthropomorphic columns, charged with intention, populate the slabs and seek to move them apart vertically. The stair, in turn, uses the upper slab to pull itself up, and tilts both affected slabs as a consequence. The intention of the column is directed toward pre-existing entities that differ from itself in their nature. This ultimately gives one a collapsed chronology of architectural construction, in which the effort of man does not serve to place effective architectural parts, but rather, embodies both the effort of construction and firmitas. This is a group project completed Bijan Thornycroft and Samantha Vasseur.

22

Strain and stress on skin

Structural stress line

Maya constraints

Lifting action 23

Finished product

Vaccum bagging

Making Of 2014 Self-initiated Research Carbon Fibre Fabrication

Composite materials lies in the forth front of material science. Materials like fibreglass and carbon fibre are becoming more common in building materials. The production of high quality composite parts is a complex and highly calibrated process. This designed objects is part of a research into fabrication processes such as foam core formwork, vaccum bagging and polishing technique. Made from 2K tween-weave carbon fibre fabric and room-tempurature cured, this monocoque lamp prototype is completed in-house in a personal workshop.

24

Hybrid Formation

2016 GSD Electives Interdisciplinary Design instr. Volkan Alkanoglu

This prototype draws inspiration from the rich curves and spline of automotive design. While expressive, the body panel of a super car also follows the stright requirement for aerodynamic and structural regidity. Similar to the fabrication of an airplane, the techniques of the aviation and automobile industry is applied to the fabrication of these prototypes. Manufactured out of extremely lightweight, aluminum panels, the installations will consist of unique and custom CNC cut components. These individual components assemble like a large 3-dimensional puzzle, forming an elegant, soft and dynamic volume. This is a group project completed with Timo Tsui.

25

GeoStud 2017 GSD Research(Ongoing) Curve Stud supr. Cameron Wu

An ongoing research in partner with Autodesk BUILD Space to create curving studs with flat materials and existing stud folding machine. The Howick stud folding machine can quickly fold and bend metal ‘C’ stud on the same plane. By pre-cutting a folding pattern onto the strip metal before passing it into the machine, more complicated manurer such as twisting and varying curvature can be achieved.

An algorithm is created that takes the rectified curve of the geometry and fit the stud with a high vitality to the original geometry. The algorithm works on both ruled and free-form surfaces and will always produce a fold/cut pattern as a straight flat strip, making it extremely efficient on material use compare to other method of generating complex 3D structure.

26

straight folding pattern for complex 3D structure

1. Layer starts

2. Coils back

3. Complete reciprocal

4. Complete infill

5. Outer perimeter

Toolpath from Slic3r: Sporadic hot end movement and non-print moves lead to oozing and inconsistent texture.

Custom toolpath: Smooth finishing and sharp corner with shorter print time.

GeoSurf 2017 GSD Research(Ongoing) Large scale 3D printing supr. Cameron Wu

The surfboard provide a simple geometry for large scale production 3D printing. Conventional slicer tool path creates non-printing travels and sporadic moves. This algorithm creates a snaking path that coils back on itself. This eliminates all non-print move and generally improve print quality, reliability and speed.

A custom C# grasshopper component convert polyline into Gcode.. Speed and print width is modify in the grasshopper script to provide variating parameter.

Varying print speed

Additional functionality is added for large scale print. Speed could be reduced as z height increases. “Turning Threshold� parameter control print speed at sharp corner and significantly improving corners sharpness when printing with large diameter nozzle.

27

House Me Tender 2012 HKU Fall Studio instr. Olivier Ottevaere

Site is one of the starting point; a site contain within an urban fabric would inform the architecture through its context, the physical state of the site will also pose a fundamental limitation/suggestion and lead onto possibilities of forms.

The brief ask for a residential prototype on a hypothetical site with a slope. The slope surface is a quarter-circular curve surface with an radius of 27m.

The project start with a president study of the Basento Viaduct, a minimal structure bridge located in Italy.

A 3D morphing lattice is proposed as the structure to contact the site. An integrated fabric formwork is proposed for the production of the structure and a series of study was made as a prove of concept.

This project was completed in cooperation with

28

Abyssal Plain 2013 HKU Spring Studio instr. Olivier Ottevaere

Chongqing is also know as “the city of mountain�. Like many cities that are built on a hill, native architecture adopted different strategy on sloped site. The landscape brings about intensity: the intensity of the sharp relief, of the perception of access, of the meandering of path. My visit to the city is marked by the disorienting network of road; going into a building and it would spit you out from an unrecognizable vantage.

This proposal attacks the site by intensifying the conflict of the topography. The convention of a horizontal navigation plane is tilted, turned into a vertical landscape, where the notion of residential tower is reinterpreted by it intimacy with the landscape, where public and private program are brought back togather on the abyssal plain.

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Thnouh Vilage School

+580

300

+270

2012 Project Little Dream Charitable Construction

+370

+340

CANOPY 4.8m HEIGHT 7.7m

300

CANOPY 4.4m HEIGHT 10.0m

Project Little Dream(PLD) is a student-initiated registered charity, started by 15 college students that share the same dream; to promote education in the rural Cambodia. Since its establishment in 2009, 4 schools were completed and they are current providing education for over 500 students in the underprivileged part of the country.

CANOPY 4.4m HEIGHT 8.0m DISMOUNTED

300

CANOPY 1.8m HEIGHT 2.8m

+290

200

+50

100

+390

+190

0

-100

I joined PLD in the winter of 2011 as a volunteer in the construction of Khna Rong village school. I subsequently committed myself to the organization as a staff member, involving in the design, planning, coordination and the construction of the Thun Mun, Kh’na Rong and currently, Thnouh Village School. Every year during winter break, the team fly to Cambodia to supervise the construction of the design of the schools. Together we also bring 60 volunteers from around the world who would assist in the construction.

CANOPY 4.0m HEIGHT 14.0m

CANOPY 2.7m HEIGHT 5.6m

-110

CANOPY 3.2m HEIGHT 5.6m

+620

+390

CANOPY 4.0m HEIGHT 13.0m

-200

400

CANOPY 3.5m HEIGHT 13.0m

CANOPY 4.4m HEIGHT 6.6m

+40

CANOPY 2.9m HEIGHT 12.0m

We design, build and run school in rural Cambodia. Together with our local partners, we provide education on language proficiency and personal hygiene. We also provide sanitary facilities and supporting amenties to integrate the school into the village.

500+610

CANOPY 3.1m HEIGHT 6.2m

+610

CANOPY 2.0m HEIGHT 12.0m

600

CANOPY ??m HEIGHT ??m

700

CANOPY ??m HEIGHT ??m

0

CANOPY 1.4m HEIGHT 2.9m

-110 -200

0

-100

0

+360

DISMOUNTED

0

CANOPY 3.7m HEIGHT ??m

+530

+730

+870

100 200

300

400

500

600

700

800

CANOPY 8.0m HEIGHT ??m

-50 CANOPY 2.0m HEIGHT ??m

C B

A CANOPY 2.8m HEIGHT ??m CANOPY ??m HEIGHT 11.0m

CANOPY ??m HEIGHT 11.0m

CANOPY ??m HEIGHT ??m

CANOPY 4.7m HEIGHT 8.0m C L C L C L

100

100 0 +160 -100 -240 -200

Earth cast platform CANOPY 2.8m HEIGHT ??m CANOPY 6.5m HEIGHT ??m

C CANOPY 2.0m HEIGHT ??m

Sanitary facilities 30

Models and construction drawings for local builder 31

Sensory

Machine 2015 ESKYIU Madison Group

Sensory Machine is a desire for a nature driven, highly intelligent domestic environment where pure clean air, cooling elements, digital systems integrate with natural systems.

The artwork is handmade and digitally created using tools to optimize the use of materials and made in-house by ESKYIU. This project was commissioned by Madison Group, where international designers are invited to create bespoke models that capture their vision of the future of home living.

WKCD Pavilion 2014 ESKYIU West Kowloon Cultural District Pavilion Competition

An international competition was held to create the Art Pavilion, prologue to the M+ Museum by Herzog & de Meuron in West Kowloon Cultural District. The proposal was a collaboration between ESKYIU and LEAD. A simple flexible gallery space is encased in a transformable skin. The proposal was awarded commendation entry in the competition.

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New Order 2015 HKU Research supvr. Olivier Ottevaere

Housing is much more than just an accommodation machine. The research looks into housing by the attributes of concrete fabrication. The series of column represents a new prototype, casted in different materials and different method, the formwork lead to new spatial possibility. Each of the six 1.2m tall columns represent a fabrication typology.

Ephemera 2015 ESKYIU Swire Property Group lounge

This Art Installation and lounge is designed by ESKYIU, commissioned by Swire Properties for Art Basel Hong Kong 2015.

It takes the formal gesture of the arcade as a starting point, with the structurally interlaced archways providing a place for the public to gather. Designed as a set of spatial relationships, fixed perspectival views are precisely aligned to create the underlying geometry for

the vibrant and transitory space. The interplay of the movement and activity of the spectator is further enhanced by an interactive component that exists in a constant state of fluctuation. Acting as an abstracted contemporary arcade, Ephemera provides multiple ways of inhabiting the space, oscillating between clarity and complexity as the spectator moves in, around, and through the piece.

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Luna Palace 2013 Double(O) Model making for Pavilion Design

The pavilion is designed for traditional Mid-Autumn Festival in Hong Kong. The tilting of the columns align with the position of the moon at the day of the festival. The pavilion will be built in traditional bamboo. The 1:50 model is fully handcrafted, with brass tubes of various thickness silver soldered together, to express the light weight bamboo frame structure of the original design.

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Weather Prove 2010 HKU Fall Studio instr. Chad McKee

The project start with an exercise on body mapping. The right upper portion of the body was mapped using an triangulation system, and the motion of the arm at the conducting action is recorded onto drawing. A wire frame is wielded to represent the movement bounded within the volume of the movement. The final piece is exhibited at the Detour 2014, HK.

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Kai-hong Anthony, Chu +1 857-999-5806 | chukha@gsd.harvard.edu

Published April 2018 by Kai-hong Anthony, Chu All rights reserved.

Interior of a Monument

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