Project Catalog
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This project is 2018 my fall semester advances studio, the instructor is Thom Faulders. It is intended to promote the transformation of the old logistics warehouse district into a new art and fashion community. According to predictable development rules, there will be large-scale architectural updates and iterations. In particular, the rise of the creative industry will lead to a significant demand for office and living space. How to engage the new high-rise buildings with the original factory buildings or the original block features is our design goal. The original Wynwood district has a unique intersection condition, and the shop after the fillet makes the doors of the four shops on the corner point to the intersection center, which creates an interesting dialogue. In the space organization, my understanding of this project is more inclined to literally stock the original program and maintain the neighborhood relationship on the initial horizontally model. And add another simple geometry, spheres, to connect vertical items, increasing the diversity of the conversation. Another significant reason why Wynwood has been developed into an art block is a large amount of graffiti art in the area. How to maintain the sustainable development of the original street culture is also a problem we need to face. Breaking down a building into multiple independent towers is my solution. Providing more surface area for the building, although I offer translucent glass, it is also a new opportunity to guide a change in street culture.
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We were asked to make a large number of models, making three 12“x12“ models per week for 3 weeks and learning them. From the basic pattern cubs to the stereoscopic skin to the atmosphere of the space. I think this is a good process of understanding the project. Particularly suitable for this visual effect dominant design. Information can be extracted efficiently and applied to the final design solution. In the model of High-rise Village, I tried to emphasize the effect of increasing the surface area and the filleted corner on the site, which also led to the later spherical involvement. I also realized some interesting details in this study. The intersection of the flat surface and the rounded corners, this circular-shaped connection gives every tower a uniform character. And an atmosphere of urban canyons is formed in the vertical space. At the same time, the gap between the towers produces an exciting pattern that seems to be a puzzle. In the third week of the spatial organization model, I learned how Thomas Heatherwick Studio was doing in MOCCA project. I am trying to get a complex spatial form through a simple geometric connection. The shape of my tower is complex. Which means the result of two geometry intersection is more interesting. By the production of this model, I realized the misplacement between outdoor and indoor spaces. The original space inside the tower was unexpectedly converted into an outdoor space through the connection of the sphere. This also led to the result that I hope to blur this spatial relationship through transparent/translucent materials such as glass to emphasize an interconnected spatial atmosphere.
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I really like the lighting conditions that create religious feelings in projects. The reflection and refraction of light is the root cause of people’s ability to see objects, which means that lighting is a fundamental condition for people to perceive space. In this way, light can reflect the environment of space but can also reshape space. Right lighting conditions will enhance the user’s experience with space. The use of a white metal mesh creates a separate but unsplit link between the atrium and the offices. Ideally, this metal mesh should produce a one-way light transmission, depending on which side of the light is stronger. During the day, visitors in the atrium cannot see the scenes in the office. The metal mesh reflects the skylight, and after multiple reflections, the atrium is bright. At night, the free staffs in the office block the artificial lighting and form a moving graffiti on the metal mesh.
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This project is the Integrated Building Design Studio for the spring semester of 2018, directed by Ryan Keerns and Thomas Ryan. UC Irvine is planning to build a museum complex that will be used to store thousands of pieces of California’s local Impressionist art that have just been donated. On the other hand, it provides community public services, especially art education. In response to the different lighting conditions requirement of art and public education, I hope to create two completely different lighting ambiances in this building. A study from the lighting experience of the Museum d’Orsay, Paris, for the art of painting, especially the impressionist paintings characterized by unique colors, I think that we should try to create a dark atmosphere, which is in sharp contrast with the brilliant colors. On the other hand, the artificial light source is extraordinarily controllable and artificially can reduce the bleaching or burning of the oil painting by the ultraviolet light. Moreover, it is possible to control the color temperature accurately and illuminance to restore the artist’s scene when painting. As a comprehensive art education building, I think that there should also be an exclusive garden so that students can intuitively experience the color impact of impressionism from the wild.
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Most of UC Irvine’s original buildings were modernist boxes built 60 years ago. I think if I make a wavy art gallery at the site next to the highway, it should be able to create a new image for UC Irvine.
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This project is my Studio 3, directed by Antje Steinmuller. The overall goal is to create a co-housing community for seniors in the San Francisco Mission area. I chose to target older immigrants from Asia. According to the survey, I believe that the group’s demand for co-houing is mainly concentrated in the transitional, temporary living community of three months to one year. For most elderly people in Asia, the first problem that may be faced is that an English language environment may cause them to communicate and cause psychological problems. I offer a private bedroom but a shared living room and kitchen mode to force them to communicate with each other. Three bedrooms three-dimensional arrangement also guides them to the original basic residential model in San Francisco - the first-floor garage, where people live on the second floor and above. The design of the outdoor space I set up multi-story flyovers, forming a level of public, semi-public and private space. On the one hand, these living units are connected, and on the other hand, the community residents have independent private outdoor areas but also welcome the people outside the community to enter there. It provides the possibility of people communicating, but they are protected with a natural barrier.
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This is my first studio class in the United States. I have learned a lot about materials and production in this studio. This totem I am very concerned about the design method of unity and diversity. At the same time try to pursue the accuracy of design and implementation. There are many regrets in this project. I have worked as a craftsman for three years. In the process of this course, my design was too conservative to include the construction process entirely in design. This caused me to lose a lot of crazy and interesting forms. The final choice was to subdivide a large tower into four small towers and look for similarities in material and production possibilities.
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I am a craftsman and have been involved in furniture design and production for two years. I think this is an advantage for me. The primary expertise is the production of modern real wood furniture. In the previous study, I learned a lot about the traditional Chinese rosewood furniture production process. And further studied a lot of other means, such as ceramic production and leather goods production. I think the background of the craftsman has a big advantage. Because assembly is a kind of logic, it’s not just connecting two things like glue. This can help my design reliable. Because architects not only need to design a crazy building shape but also need to confirm that the design can be implemented. Otherwise, those designs will stay on paper forever.
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Arts student is another label for me. I have been taken painting training for 3 years. In the entrance exam of Beijing Forestry University, 2010, I took eighth place from 20,000 people and entered Beijing Forestry University. I think good painting skills and artistic perception are the necessary skills of designers. Although I have not consecutive practiced painting for six years, I believe that I still have a specific hand-painting ability to express my or the customer’s primary design appeal. Thereby helping our design process.
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