01 PILGRI-HOUSE
A Meditative Retreat for Artists GSAPP Advanced Studio_ART HOUSE: COMMUNITY BUILDING_Selected Work in GSAPP ABSTRACT Instructor_Tatiana von Preussen, Catherine Pease, Jessica Reynolds (VPPR) Individual Work Time_2019 Fall Site_Coxsackie, NY, USA
This project proposes a meditative community offering retreats, introspection, and connection for artists from the hectic New York. Located at the edge of a scenic town, it intervened the site elegantly considering the relationship with landscape and existing buildings to unify the artists and the local community. The design began with reinterpretation and deconstruction of an artist's work through design of an operable wall, a shared boundary at a human scale, and then explored its potential for new typologies of living and working at an architectural scale.
BACKGROUND New York City has been home to some of the greatest known western artists and has acted as a bedrock for production and creativity. This was made possible because in the twentieth century artists were able to occupy cheap and spacious studios which more often than not doubled up as their home and a hub to for the artist community to gather. However artists’ success at occupying this city can also be viewed as their downfall – they have created a city that is no longer affordable to their occupation. It is a city where the consumption of art has now overtaken its production, where gentrification is already encroaching on even the outermost suburbs. The Hudson valley has the advantage of remaining in close proximity and easy access via train to New York City. The riverfront of the relatively untouched and historical village of Coxsackie, located on the Hudson river, 8 miles north of the town of Hudson, will become the site for experiments with artists housing.
Hudson River
NEW YORK
Andy Warhol, The Factory 1962
Louise Bourgeois New York Home
Hudson Valley Existing Buildings
Dolan Building Old Opera House
Historic District
Warehouse
SITE Coxsackie
SELECTED ARTIST & ARTWORK
Lucy McKenzie is a multi-media artist whose primary mode is trompe l’oeil (literally, “deceive the eye”). This installation presents a large model of an interior of the Villa Müller by architect Adolf Loos. Treated with illusionistic marbled effect, the walls invite us to consider monumental, closed structures as spaces where the world within is explicitly separated from the world beyond the walls.
OPERABLE WALL MANIFESTO Illusion of surface, texture, materiality and weight Orthogonality using square geometry, cruciform plan and section, 3D pinwheel system Theatrical composition of apertures connecting spaces Game of transparency and opacity
CONCEPT DIAGRAM Domestic Living Axis
Cultral&Art Axis The intervention highlights itself as a giant cross symbol by introducing two axises with one of them elevated responding to flooding.
The main axis functions as cultural communication while the other ensures peaceful domestic living for artists.
CONCEPT COLLAGE
All the units, including two existing buildings, are connected to the axis by variations of operable wall.
PRECEDENT STUDY
La Tourette by Le Corbusier
Convent of La Tourette was built to be a self-contained world for a community of silent monks. To accommodate the unique and specific lifestyle of the monks, the monastery is made of one hundred individual cells, a communal library, a refectory, a rooftop cloister, a church, and classrooms. The study of openings shows the different enclosure of spaces and how they complement each other to generate a silent container.
PLAN OF CULTRAL&ART AXIS 1 Meditation Platform 2 Individual Studio 3 Studio for 2 Painters 4 Studio for 1 Painter &1 Sculptor 5 Workshop 6 Gallary 7 Studio for 2 Sculptors 8 Temporary Studio 9 Church 10 Reading Room
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11 Meadow 12 Sculpture Garden 13 Lavender Hanada 14 Grove
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Pilgri-House is designed for artists who are disillusioned with the celebrity mentality prevalent in the art world, seeking the “spiritual� at this scenic town. It has a programmatic layout with residential units on one side, cultural & art related units on another, a gallery in the center to unite the community. The main axis is elevated and organized by a rectilinear wall starting from The Dolan Building, going across various studios and a series of contemplative spaces, and ending in a meditation platform extruding to the river. In addition, artists can live peacefully on a perpendicular axis on a lower level facing the river without disturbing.
SECTION OF DOMESTIC LIVING AXIS
Refectory
SECTION OF CULTRAL&ART AXIS
Gallary
House For A Couple
Atelier
Painter Studio & Meditation Platform
Visitors can walk on the elevated corridor and have a glimpse of different artists working through different apertures on the marble wall. The experience is like a pilgrimage to embrace the art and purify the soul.
House for A Couple
Painter Studio Type A
Sculptor Studio
Hotel
House for Solitary
Painter Studio Type B
Reading Room
Painter Studio Type C
Workshop
Guided by operable wall experiment, the marble wall developed a series of geometrical forms to define spaces. It has two transparency of materiality that function at different circumstances. The solid one with theatrical composition of apertures is used to either connect the public area and studio space or divide two private living spaces. The transculent one is used to connect two studio spaces or gallary spaces to encourage communication. Besides serving as supporting structure, these walls also generated a variety of intermediary spaces inside including staircases to lead circulation, shared garden and displaying spaces, etc.
Gallary Two seperate circulation for artists and visitors
RESIDENTIAL UNIT PLAN
HOTEL
1. 30mm Concrete protective layer 2. 10mm mortar insulating layer 3. SBS Modified bitumen waterproof memrane 4. 60mm XPS Thermal insulation 5. 20mm DS Mortar levelling layer 6. 2% Concrete slope layer 7. 100mm Reinforced concrete hollow slabs 8. 250mm I beam 9. 30mm Plasterboard
HOUSE FOR A COUPLE 2ND FLOOR
HOUSE FOR A COUPLE 1ST FLOOR
HOUSE FOR SOLITARY 1ST FLOOR
HOUSE FOR SOLITARY 2ND FLOOR
DETAIL SECTION
Austerity and spirituality is realized through different forms of cross walls. House for the solitary has paired units with individual spaces and shared staircases inside the marble wall. Besides that, the wall generates a shared courtyard at the rear of house and a miniature garden at the front. House for the couple has a prayer room for meditation. House for the guests has the wall dividing two bathrooms, where the guests can share a patio.
02 COPULA HALL
A Crosshatch Archipelago For Two Cities GSAPP Advanced Studio_Copula Hall_Selected Work in GSAPP Abstract Critic_Stephen Cassell & Annie Barrett Individual Work (City Model developped by the whole studio) Time_2020 Spring Site_Center of Old Town in China Mieville’s Novel "The City and The City"
Copula Hall, the key architectural protagonist of China Mieville’s novel "The City and The City", is a large, complex, building that houses two interwoven seats of governance and their respective bureaucracies, and serves as both boundary and portal between the two worlds. Design of Copula Hall is a rigorous exploration of how spaces carved out of two different curves can be intersected and aggregated to form an experiential centrality of the citizens’ life and politics, based on translation of the novel's narrative.
COLLECTION OF SEEN AND UNSEEN MOMENTS IN THE NOVEL
When after some seconds I looked back up, unnoticing the old woman stepping heavily away, I looked carefully instead of at her in her foreign street at the facades of the nearby and local GunterStrász, that depressed zone.
In the morning trains ran on a raised line metres from my window. They were not in my city. I did not of course, but I could have stared into the carriages— they were quite that close—and caught the eyes of foreign travellers.
I had minutes to look into the dirty river as we edged toward the western bank, the smoke and the grimy dockyard ships in the reflected light of mirrored buildings on a foreign waterfront—an enviable finance zone. Besel tugs bobbed in the wakes of ignored water taxis.
The scents of Beszel Ul Qomatown are a confusion. The instinct is to unsmell them, to think of them as drift across the boundaries, as disrespectful as rain. But those smells are in Beszel.
Kaing Shé Station is the city’s major terminus, so the square outside it bustled with Ul Qomans in cafés, by street performers, buying DVDs and electronics from stalls. The topolganger square in Beszel was not quite empty, so unseen Beszel citizens were grosstopically there too.
There was a siren I quickly unheard, of a Beszel police car, that passed. I focused instead on the locals moving quickly and without expression to get out of its way: that was the worst kind of protub.
MAPPING NARRATIVE OF THE CITY & THE CITY TRACING MOVEMENT OF THE CHARACTER
ULQOMA MODULE
The design begins with the study of prototypes of two different curves constructing the section representing two cities, and the hybrid of them representing the crosshatch. With human proportions and activities in mind, by directly projecting the curve onto a triangular unit, a set of two-way cuttings and extrusions are created as building blocks for inhabitation, allowing for different levels of enclosure, openness, and recognition.
BEZEL MODULE
CROSSHATCH MODULE
SITE PLAN
Park
Temple of Inevitable Light
Ul Maidin Ave
LAYOUT GENERATION
Site Condition
Weipay Street
Respond to the Road Axis
Apply a Trangular Grid
Total & Crosshatch Zoning
“Pass through Copula Hall and she or he might leave Beszel, and at the end of the hall come back to exactly (corporeally) where they had just been, but in another country, a tourist, a marveling visitor, to a street that shared the latitude-longitude of their own address, a street they had never visited before, whose architecture they had always unseen.” -- Chapter 6, The City and The City
We drove past Copula Hall, its huge entrance like a made, secular cave. The building is much larger than a cathedral, larger than a Roman circus. It’s open at its eastern and western sides. At ground level and for the first vaulted fifty feet or so above it is a semi enclosed thoroughfare, punctuated with pillars, traffic streams separated by walls, stop-started with checkpoints. -- Chapter 6, The City and The City
Ulqoma Pedestrain Ulqoma Vehicle Bezel Pedestrain Bezel Vehicle
CROSSHATCH ZONE GATEWAY
The entire gateway mainly consists of scaled-up modules that can register the vehicles and pedestrians from both cities. At the entry of each road are the largest scale modules to construct a monumental iconic impression on the visitors. The secondary path functions as a doubled-back passage of staying in the original city. So it consists of modules carving from both curves as well as the hybrid ones.
EAST-WEST VEHICULAR PATH
SOUTH-NORTH VEHICULAR PATH
ULQUMA-BEZEL SIDEWALK
BEZEL-ULQUMA SIDEWALK
Entrance
Ulquma Delivery & Loading
SOUTH-NORTH VEHICULAR PATH
The main east-west path functions as a linear transit from one city to another, with normal scale modules of sidewalk on the side. Near the Ulquma entrance are the modules carved from Ulquma curves and vice versa. There is also vertical circulation at each side connecting the sidewalk in the middle transporting people to the upper levels. The intersection of two vehicular paths is no man’s land that consists of the crosshatched modules. The intention is to create a gradual experiential transition from one city to another and to create an ambiguous confusion of unaware of which city you are in when entering into the crosshatch areas.
Ulquma Entrance
Bezel Entrance
EAST-WEST VEHICULAR PATH
Elevator Core Entrance
BEZEL-ULQUMA SIDEWALK
No Man's Land
Entrance
ULQUMA-BEZEL SIDEWALK
Path A Ulqoma → Bezel
a
Path C Crosshatch
Path D Crosshatch
Path B Bezel → Ulqoma
CROSSHATCH ZONE OVERSIGHT COMMITTEE HALL & OPEN MEMBER OFFICES The oversight committee hall area is floating above the crosshatched gateway and has a mirrored layout, half of arches from Bezel and half from Ulquma. It has separate circulation on each side for two cities and two lobbies for citizens of two cities to access the inside. The upper level has a circular cloister as galleries. In contrast with the lobby level which is open to the public, this storey has two gaps at the connection of two arches, which means you cannot walk around it but to see each other through apertures at the end of the hallway.
OVERSIGHT COMMITTEE HALL
LOBBY
SUPPORTING OFFICES
OFFICES OF DISSENSI
Connectors
Ulquma Staircase
Bezel Staircase
OVERSIGHT COMMITTEE HALL
The oversight committee hall has two lobbies for citizens of two cities to access the inside. Above the committee hall are the crosshatched supporting offices, which are also constructed by the combination of two arches. It has an introverted layout with a deep hexagonal atrium in the middle. The intention is to enable all the people working here to have an overlook at the committee hall. At the top level are the unfinished offices under construction, which city will occupy it still needs to be decided by the president of two cities.
Ulquma Lobby
Bezel Lobby
LOBBY
OFFICES OF DISSENSI
OVERSIGHT COMMITTEE MEMBER OFFICES
CROSSHATCH ZONE SEPERATE PRIVATE OFFICES FOR TWO CITIES & OFFICES FOR THE BREACH The crosshatch offices on the northeast corner consist of three massings, a pair of mirrored private offices for two cities and an office building for the breach(observing power of the two cities). The mirrored ones are laid out in a crosshatch way, one storey of Bezel private offices and one storey of Ulquma private offices. All the cells are aggregated by modules from the corresponding city. The two offices cannot access to each other on each floor, unless they step over these sloping platforms located at the connection point of the two buildings, which represent they breached. The other one is the offices for the breach. The cells are combined by the pieces of two cities. And the corridor is uneven, resembling the weird existence of breach.
OFFICES OF BREACH
SEPERATE PRIVATE OFFICES
BREACH PLATFORMS
SEPERATE STAIRCASES & CONFESSION TOWER
The mirrored buildings have separate circulation in the middle, which are two big spiral staircases connecting different floors like a loop. But both staircases could be accessed by the breach. Surrounded by the staircases are the confession tower where the breach will punish those people who breached by imprisoning them here. The intention is to make this tower exposed to the most public area. Bezel Private Office Cell
Ulquma Private Office Cell
BREACH PLATFORMS
SEPERATE PRIVATE OFFICES
Breach Hallway
Breach Office Cell
OFFICES OF BREACH
SEPERATE STAIRCASES & CONFESSION TOWER
Crosshatch Zone Hall & Office
Crosshatch Zone Office
CROSSHATCH ZONE SEPERATE OPEN OFFICES FOR TWO CITIES Another crosshatch offices on the southwest corner are seperate open offices for two cities. Each floor has a linear crosshatch corridor, connecting the open offices from two cities, with two shared staircases on two sides. Although each open office belongs to only one city, there are still some spaces that have the intervention of another city, where the floor becomes uneven and carved out from another curve.
SEPERATE OPEN OFFICES
CROSSHATCH STAIRCASE
CROSSHATCH HALLWAY
TOTAL HALLWAY
Besides that, In the novel there are some moments that people are suspicious of the existence of the third city Orchni. So there are some secret offices hidden in between the open offices of two cities. From the corridor view, there is an irregular small gap that allows a person to slip in. From the interior view, there is an aperture created by the placement of arches that allows people to take a peep. So It is not easy to access the secret office from the general office space, instead only from the corridor.
CROSSHATCH HALLWAY
Ulquma Open Office
TOTAL HALLWAY
Secret Office
Access To the Secret Office
SEPERATE OPEN OFFICES
CROSSHATCH STAIRCASE
Bezel Open Office
TOTAL ZONE OF ULQOMA This area is occupied by Ulqoma citizens. There is a doublestory parliament hall on the ground level, surrounded by clositers of viewing gallery. The main entry of the lobby faces the plaza, with a big spiral staircase transports people to upper levels. The booking and processing offices are on the side with a seperate logistic entrance and circulation. The cafeteria is situated at the top level, connecting to the center oversight committee hall and open platform above the gateway.
LOBBY
PARLIAMENT HALL & VIEWING GALLERY
CAFETERIA
PROCESSING & BOOKING
LOBBY
PARLIAMENT HALL & VIEWING GALLERY
PROCESSING & BOOKING
CAFETERIA
TOTAL ZONE OF BEZEL Similar to the the total Ulqoma zone, this area is occupied by Bezel citizens. There is a double-story city council on the ground level. The main entry of the lobby faces the plaza, with a big spiral staircase transports people to upper levels. The booking and processing offices are on the side with a seperate logistic entrance and circulation. The cafeteria is situated at the top level, connecting to the center oversight committee hall and open platform above the gateway.
LOBBY
CITY COUNCIL
CAFETERIA
PROCESSING & BOOKING
LOBBY
PROCESSING & BOOKING
CITY COUNCIL
CAFETERIA
Total Ulqoma
Crosshatch Zone Office
Total Bezel
SECTION
Based on a legible formal language, Copula Hall constructs the sequences of varying experiences ranging from small, nested niches for individuals to large, open zones for gathering, where silhouettes emerge and fade depending on the viewer’s perspective. Copula Hall envisions a world where citizens of one city can either have a collective interaction with another city, or, just stay in their own niches and pretend to ignore the other. However wherever they are, they will have a subtle perception of the existence of another city, either through unexpected apertures from one arch looking into another, or direct visual connections under the dome constructed by two cites.
03 PLASTIC NATION
A Market Reframing Modern Relationship to Plastic GSAPP Advanced Studio_Market Values: New Economies for New York_Selected Work in GSAPP ABSTRACT Critic_Tei Carpenter Partner_Joyce Chen Time_2019 Summer Site_Manhattan, NYC, USA *All work presented contains equal contributions from the team members.
The market proposal takes place in a future where New York City no longer accepts plastic products as a result of laws recently enacted to reduce the carbon footprint within the city, such as the banning of plastic bags in the state of New York and the zero waste initiative. In eliminating the production of new plastics, a new circular economy would emerge based on the existing supply, commodifying plastic and eliminating its typical single use purpose in a series of interlocking spaces where the transformation process of plastic is observed and exchanged in various states.
CASE STUDY: INTENTIONAL SOCIETIES NEW HARMONY
The current design of our market typology is based on cumulative research on utopic societies and past/ present market typologies, extracting elements from each case study to generate our own market organization. New Harmony was a community founded in Indiana in 1825 by socialist Robert Owen. The community highly valued knowledge, and created a settlement dedicated towards educating their members through various formal and informal settings.
Political Exchange
Scientific Exchange
Informal Exchange
Religious Exchange
DROP CITY Drop City was a community founded in Colorado in 1965 by artists and was considered to be the first hippie commune. Adapting Buckminister Fuller’s geodesic domes into domestic spaces, the domes were built using scrap materials such as car parts and fabric. Members of Drop City embraced a sustainable, counter culture lifestyle, scavenging for food from garbage cans and parts to fortify their domes from the harsh Colorado desert. The community was virtually isolated from the outside world, allowing its members to fully immerse themselves within their art. Incorporating New Harmony’s utopic educational values, we created our own utopia by initiating the consumers into the market by educating and teaching them about the value of items and how each component can be given a new life. In regards to Drop City, we adopted the community’s practice of sustainability and salvage to generate our own market’s currency and products.
Art Exchange
PRECEDENT STUDY: MARKET VALUES Parisian Arcade GALLERIE VIVIENNE A shopping gallery designed for the upper middle class, the arcades serve as refuge from the weather.
Sao Paulo Market CEAGESP An informal market founded in an abandoned government storage facility, the market sells local fresh produce and flowers.
Harlem Market LA MARQUETA An informal market under the Metro North Railroad that sells local fresh produce.
CONCEPT MANIFESTO
SITE
The market takes place on the Manhattan Bridge Archway in Chinatown. We selected this portion of the site due to its infrastructural connections to the existing roads in New York. Mapping the existing salvage yards in New York City as well as locations surrounding our site that may generate excess plastic waste, we began to trace the potential pathways that plastic waste may be able to be transported into our market, via vehicular transportation as well as other futuristic modes of transport, such as drone delivery.
MECHANISMS
Once the plastic salvage is accepted, it is then assigned a barcode based on the grade of the material, and then scanned and transported into one of three processing spaces; closed loop, open loop, and chemical loop. Quality control is insured by restricting the types of plastic permissible within the market. Individuals may bring in only certain grades of plastics that are capable of being used in open loop recycling, as these items are primarily intended for the consumers of our market by continuously recycling and reusing the same plastics.
NEST DIAGRAM
AXOMETRIC PLAN
The market uses the existing roads and pedestrian pathways to allow both people and vehicles to enter the market through separate entrances dependent upon their needs. Vehicles may enter via a ramp and unload their plastic salvage into the bottom processing spaces, and people may enter via the primary elevator cores if they are carrying material, or through the main pedestrian entrances if they are simply seeking to browse the market selection.
VIEW OF BOTTOM ENTRY
Spaces possess different levels of openness in order to reflect the hierarchy within the system. The market spaces are the most open and transparent while the maker spaces are partially visible, and the processing spaces are the least visible. Conveyor belts are used throughout the market in order to transport goods and allow consumers to observe the dynamic nature of plastic and its various potential forms.
VIEW OF MAKER SPACE
The maker spaces allow customers with knowledge in fabrication to create and customize their own plastic products with the raw materials produced within the processing spaces. They serve to generate consumer interest within plastic products as well as the potential future of plastic through engaging workshops, in which customers may participate in learning about synthesizing new forms of sustainable and degradable plastic.
AXOMETRIC SECTION In creating a flexible armature, the structure reflects the nature of plastic itself, a pliable structure capable of change and expansion in response to the needs of individuals and site. The mat typology reflects the anonymous collective of New York City, where the functions come to enrich the fabric and the individual gains new freedoms of action through a new and shuffled order based on interconnection, close-knit patterns of association, and possibilities for growth, diminution and change. The transformation process of plastic becomes used to inform the structures of the processing spaces.
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04 BETWEEN NATURE AND ELDERS Modern Translation of Vernacular Dwelling
Undergraduate Design Studio_2016 National Green Buildings Design Contest, First Prize of Senior Group Instructor_Jizhong Shao Partner_Shengdan Kong Time_2016 Fall Site_Quanzhou, Fujian Province, China *All work presented contains equal contributions from the team members.
The design translates the prototype of vernacular dwelling, shou-jin-liao into a home for elders. The aim is to transform typical spaces of shou-jin-liao into functional spaces for inhabitation and to generate a variety of artium spaces for communication. Besides that, it echos with the special context of Quanzhou by applying with local material--red brick, to evoke elders' belongingness. Considering the local scorching heat, the brick wall is reinnovated and appiled in a modern way to facilitate natural ventilation.
BACKGROUND ‘Shou-jin-liao’ is one of the most characteristic vernacular dwelling in Quanzhou. In Quanzhou dialect, ‘shoujin’ refers to towel while here it refers in particular to elongated towel. The meaning of ‘liao’is cabin. Just as its name implies, shou-jin-liao refers to bungalow with narrow breadth and length along the street. Organized by multiple courtyard, it extends in depth and breadth with the maximum length of 40~50m. Although this kind of civilian residence is usually at a disvantage of land occupation and orientions, its simple form and outline has profound significance as prototype of design.
Fujian, China
Quanzhou
Dehua Village
Eco-Park
Community of Elders (Waiting for Construction)
SITE PLAN 1:1500
Secondary Entrance Main Entrance
l High
ia rovinc 203 P
Main Entrance
Property Line
way
Site Entrance
SITUATION ANALYSE
In rural areas of Quanzhou, there exist many ancient dwelling houses. People who have been living there for generations have special affection and nostalgia for these spaces.
A home for the elders with vernacular feature is a possible solution.
As China is stepping into an aging society, elders in rural areas have been in a dilemma of lacking care. Their children struggled in big cities, leaving the elders living lonely.
GENERATING PROCESS
1 Volume Extrusion
2 Function Differentiation
3 Block Insertion
4 Connections
5 Roof Profile
6 Atrium Variation
VERNACULAR LANGUAGE OF SHOUJINLIAO The typical Shoujinliao unit has 3 yards with rooms and courtyards seperated by one another. The layout enhances the permeability of space while also ensures the privacy of residents. Therefore, by extracting basic space elements and reconstructing, this prototype can be greatly applied into the project, where elders can feel sense of home and happiness of life.
Room
UNIT GENERATION
Corridor
Courtyard
LAYOUT GENERATION
Distribute units of 3 types
ATRIUM TYPOLOGY
Create sense of rhythm
Add corridors
Refine artium
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22 11
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F1 PLAN 1:400
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F2 PLAN 1:400
1. Main Lobby 2. Check-in Room 3. Reception Room 4. Observation Ward 5. Infirmary 6. Canteen
7. Gym 8.Game Room 9.Hair Salon 10.Shop 11.Multi-functional Hall 12.Public Bathroom
13.Kitchen 14.Staff Restaurant 15.Medical Instrument Room 16. Rehabilitation Ward
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Roof Edge
F3 PLAN 1:400 16. Rehabilitation Ward 17. Rehabilitation Ward 18. Rehabilitation Ward 19. Sunshine Resturant
20. Nursing Unit 21. Nursing Station 22. Laundry 23. Rubbish Room
Main Entrance Atrium on F1
Artium on F2
Artium on F3
CIRCULATION
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Main Circulation Logistic Circulation
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MATERIAL ＆ CONSTRUCTION 1. Abat Vent Flexible Solar Film
3. Hollowed Brick Wall
5. Brick Wall Inserted with Glass Brick
2. Double Brick Wall
4. Sunshade Louvers
6. Wind Buffer
SECTION PERSPECTIVE
05 ANIMAL APOCALYPSE Monument of Extinct Animals Undergraduate Volunteer Work Instructor_Zhiwen Zhang Individual Work Time_2018 Fall Site_Shanxi, Dexing, China
Diverse animals across the globe are slipping away and dying as Earth enters its sixth mass extinction, which is due to frequent and inappropriate human activities. One of the most obvious type of scar on earth is pit mine, causing serious terrestrial devastation and habitat loss. The design took advantage of this topography to speculate a museum for extinct animal specimen. With the generation of six spatial sequence, it aims to interpret human's evil and ring an alarm bell.
SITE
EXTINCTION SEQUENCE OF ANIMALS
2000CE
2007CE
2009CE
2012CE
2014CE
Now
EMOTION SEQUENCE OF HUMAN ＆ ANIMALS
TYPOLOGY
From Typical Scene to Space
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SITE PLAN
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Idyll—Paradise Slaughter—Abattoir Shutter—Island Lost—Cemetry Trial—Court Rebirth—Tower
NARRATIVE 1 IDYLL—PARADISE Animals once lived in freedom without human's interruption.
2 SLAUGHTER—ABATTOIR Unfortunately, with the discovery and colonization of the New World, greedy colonists began to hunt wild animals for profit and many people followed the trend.
3 SHUTTER—ISLAND At the same time, a large number of habitats have been infringed due to urbanization. Animals either lost their home or died of shooting.
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4 LOST—CEMETERY
6 REBERTH—TOWER
5 TRIAL—COURT Human are doomed to be punished for their crime sooner and later. The confession and atonement might be too late.
Consequently, numerous species became extinct and people felt anxious and desperate. Some scientists strive to explore potential solution to the problem, such as Clone Technology, but no effective strategy has yet been found.
After the sixth extiction, only a devastated world would be left and new organism will come to birth.
6 4 5
ROOM 1 IDYLL—PARADISE
The entrance of the memorial sequence begins in groves that are situated outside the boundary of pit mine. Walking on a winding gravel path, visitors are surrounded with some peaceable extinct animals. This scene recorded what these animals used to be in the past. The destination of the path is a well, where they could explore downward to access to the next sequence.
ROOM 2 SLAUGHTER—ABATTOIR
The second sequence is a closed tube with perpendicular racks. The extinct animals exhibits are pierced through those tenuous racks. When visitors walk in the middle passage, they will empathize with the pain that the animals once experienced. This scene recorded the moment humans killed animals for the sake of themselves.
ROOM 3 SHUTTER—ISLAND The third sequence is a triangular prism with column matrix. At each crossroad, there is a column extruded from the ceiling and an extinct bird exhibit hanging from the bottom of the column. When visitors enter the space, they will feel the oppression caused by so many "spears" pointing to them. This scene recorded the miserable fate of numerous birds that died of shooting and the loss of habitation that were infringed by urbanization.
ROOM 4 LOST—CEMETERY The fourth sequence is a rectangular cemetery with an ascending floor. The extinct animals' booths are distributed with a square opening above to illuminate and the layout gets densified from the entrance to the culminating point. Visitors would easily get lost, because as they walk along the slope, they would gradually be surrounded by more animals and experience narrower paths. This scene recorded the consequence of human's ignorance of natural rules as well as human's confusion and desperation of vain attempts to save the lost life.
ROOM 5 TRIAL—COURT
The fifth sequence is a hemispheroid with spiral stairs under the dome. When visitors stand at the middle stage, they would be scared by the extinct dinosaur exhibits hanging from the wall, who are staring at them aggressively and grimly. This scene recorded the moment humans confessed their sins — they are not creators, so they are supposed to respect nature and organism.
ROOM 6 REBERTH—TOWER
The ending sequence is a rectangular pyramid with spiral ramps. Visitors would get into an ocean of fossils, which described the origin of life in remote antiquity. After walking underground for a long time, visitors are brought to light again. However, the mirror on the ceiling only reflects the deserted land around, informing them what the real world is like.
06 INTERLOCKED DUALITY Revolution of Traditional Library Undergraduate Design Studio Thesis Instructor_Weiyu Zhang Individual Work Time_2018 Spring Site_Chuzhou, Anhui Province, China
Public Library has been functioning as the center of citizen's communication and places of knowledge updation. With the improvement of citizen's living quality, more diversified demands sprung up. This design proposes an interlocked block to intergrate a series of shared spaces and inserts the block into the original structure. Visitors could either read quietly in formal reading areas or walk along the ramp to experience the informal interactive spaces.
GENERATING PROCESS
Formal Space Informal Space
TYPOLOGY
A C D E
B F G
H
A. Multimedia Center
B. Meeting Room
C. Innovation Studio
E. Lecture Hall
D. Cafe
F. Gallary
G. Collection Room
H. Core Tube
AXONOMETRIC PLAN
3
7
4
6 14.400 9
1
8
5
2
14 15
12
10
27.600 24.000
6 5 9 13 11
1. Information Center 2. Collection Room 3. Cafe 4. Meeting Room 5. Exhibition Ramp 6. Core Tube 7. Research Room 8. Reading Area
9. Office 10. Innovation Studio 11. Lecture Hall 12. Multimedia Center 13. Gallary 14. Digital Learning Area 15. VIP Reading
A-A SECTION
B-B SECTION
07 METROPOLIS HEALER Utopia Colony of Urban Interface Undergraduate Volunteer Work Instructor_Zhiwen Zhang Individual Work Time_2018 Fall Site_Manhattan, NYC, USA
While many youngsters are attracted by the magic of metropolis, they are also struggling against the fast-paced life. Nowadays an increasing number of young people could not put up with the tremendous stress and suffer from various mental diseases. Due to the high cost of land, I hope to utilize the surface of skyscraper, which is the most common building in metropolis, to create another realm for those pathetic people. These healing spaces will transform the icy urban surface into dynamic stages where depressed life could bloom again.
TYPOLOGY
Anxiety Garden-S
Anxiety Garden-M
Depression Music Box-S
Depression Music Box-M
Psychological Trauma Kitchen-S
Psychological Trauma Kitchen-M
Anxiety Garden-L
Depression Music Box-L
Psychological Trauma Kitchenc-L
Stress Out Gym-S
Stress Out Gym-M
Internet Addiction Game Room-S
Claustrophobia Diving-S
Internet Addiction Game Room-M
Claustrophobia Diving-M
Claustrophobia Diving-L
Stress Out Gym-L
Internet Addiction Game Room-L
Claustrophobia Diving-XL
ANXIETY GARDEN
DEPRESSION CONCERT
PSYCHOLOGICAL TARUMA KITCHEN
STRESS-OUT GYM
INTERNET ADDICTION FAIRYLAND
CLAUSTROPHOBIA DIVING POOL
08 GENERATIVE DESIGN
Voronoi-based Lattice Structure for Simple Floor GSAPP Tech & Visual Elective Instructor_Danil Nagy Partner: Maini Ke, Tianyu Wang, Qingkai Luo, Yixuan Cheng Time_2020 Spring
This is a generative design that can be applied to structural layout of a typical floor in architecture. By using the Voronoi diagram, the model is looking at the relationship between the column locations and the performance of the whole structure. A globally controllable and locally uniform graded lattice structure is designed. Compared to the traditional grid lattice of beam arrangement, the Voronoi pattern is more organic and it allows the columns to have maximum flexibility in terms of the locations. It is a structural system that has been used in many built shell structure projects but it is still seldomly used in traditional floor beam layout. The complicated aspect of this problem is generating the beam location using the Voronoi diagram. Since one step of Voronoi division fails to provide beam layout that is strong enough, we design two steps of Voronoi calculation to create a more efficient beam layout. Our hope is that using the generative tool we could find out the ideal column locations for a floor plane with determined loads.
Input: location of the column
Ouput: minimum displacement of floor & column
Voronoi diagram is a partition of a plane into regions close to each of given seeds. The column locations become the perfect seeds that determine the division of the plane. The main strategy is to use Delaunay triangulationas and find out the circumcentre of the triangles by making a perpendicular bisector of each side of the triangles. Then, connect all these circumcenters and utilize rest of the bisector lines. We divided the whole floor plane using this method as if one column is only taking care of the region that has closest distance to it. And the loads on that region are transferred down to that column. The grasshopper part is divided into two parts. The first is creating the beams by using the Voronoi pattern. The second is analyzing the performance of the whole structure by using the Karamba plug-in in grasshopper.
VORONOI GENERATION
(a). seed points in defined plane
(b). Delaunay Triangulation originated from seed points
(c). perpendicular bisector of each side of the triangles
(d). intersection pionts of the bisectors become seeds for voronoi divisions and the bisectors divide the plane
(e). Voronoi diagram shows a partition of a plane into regions close to each of given seeds
STRUCTURE MODEL GENERATION
(a). five column locations as seed points in floor plane
(b). first round of Voronoi division by the seed points
(c). circles from seed points with sizes determined by distances to closest points on division curves
(d). tween curves between circles and division curves
(e). divide all the curves and use the division points as second round of seed points
(f). second round of Voronoi division to generate beam curves
OPTIMIZATION OF OUTPUT MODELS
The inputs being optimized are the column locations. The fixed part is the size of the floor surface, the load given to the structure and the whole process of creating the beam layout from the column locations using Voronoi calculation. The two random numbers that change in the Discover optimization process are the x and y coordinates for the columns. Since all the seed points are on the same plane, the z coordinate is fixed to zero. By varying the xy coordinates of the columns, random column locations could be created and the resulting beam layout could also be generated. The single output from the design model is the beam displacement of the whole structure. Using Karamba, we could easily get the displacement value. It also has a visual representation showing where the biggest displacement is in the whole structure. The goal is to have the minimum displacement as possible. We also define a constraint as the biggest allowable displacement.
Plots displaying higher performance of displacement in columns and floor plane over generations
OVERLAY OF ITERATION
09 RE-THINKING BIM
Renovation of Lever House Facade GSAPP Tech & Visual Elective Instructor_Jared B. Friedman Partner_Xueqi Hu Time_2020 Spring As Lever House is undergoing a change in ownership, the original curtain wall is not responding well to the intense sunlight. Therefore, a new dynamic facade is proposed to create a more comfortable indoor environment. It consists of a series of hexagonal adaptive component unit that each functions as a reversed umbrella, made out of GORE-TEX membrane.The openness of each unit is determined by the sunlight density during different days of a year. The flexibility and sustainability of this responsive facade will revitalize the Lever House and beautify the urban interface.
0°
15°
30°
45°
60°
90°
SUNLIGHT HOURS ANALYSIS & RESPONSIVE FACADE
May
June
August
September
4200
4200
4200
4200
10 MATERIAL THINGS
MAKING AS AN ACT OF DESIGN GSAPP Visual & Tech Elective Instructor_Josh Jordan Individual Work Time_2020 Spring
FROZEN
ACT 1_MIXED PRIMITIVE
TENDERNESS ACT 2_JOINT
BLOOMING SCREEN
New York , circa 2020 on loan from the Joshua Jordan Foundation for Silly Antiquities ACT 3_ARTIFACT This artifact was once misinterpreted as a stylish dress. However, further investigation shown that it was designed as a screen for individual to keep 6 feet Social Distancing in the period Covid-19 pandemic. It consists of two different pleats made of translucent fabric. The upper pleat wraps around up to your head to protect your face. The lower pleat can fold and unfold itself in a twisted and rotational way. In the public area, if a person want to keep people away from himself, just spin, it will bloom like a flower.
11 TRANSSCALARITIES: LINCOLN CENTER The Reconfiguration of Culture, Space and Community GSAPP Theory Workshop_The Contentious-New-York Project Instructor_Andres Jaque Ovejero, Robin Honggare Partner_Hajir Al-Khusaibi, Linxiaoyi Wan, Di Mo Time_2019 Summer
As one of New York City’s leading cultural institutions and performance centers, various agents of power are inextricably involved in the conception of the Lincoln Center for the Performing Arts. An Urban Renewal Project is hatched by Robert Moses-an influential figure largely responsible for reshaping New York City’s fabric-and the Slum Clearance Committee who are looking to eradicate the slums that make up the San Juan Hill neighbourhood. This is met with a series of concurrent coincidences that leave leading New York cultural institutions, the Metropolitan Opera and the New York Philharmonic out of a home, thus cementing the decision to incorporate a Performing Arts Complex within Moses’ Urban Renewal scheme.
08 LINES NOT SPLINES Reconstructing Drawing of Vectors GSAPP Visual Studies Workshop Instructor_Christoph a. Kumpusch Individual Work Time_2019 Fall
12 THEORY OF CITY FORM
Vertical Manhattan: An Utopia Prototypical City GSAPP Theory Workshop Instructor_Vishaan Chakrabarti, Skylar Bisom-Rapp Partner_Scott Guo, Leah Zulkoski, Shiyin Zeng, Yechi Zhang, Alvi Rahman Khan Time_2019 Fall
13 TECHNIQUES OF THE ULTRAREAL No Man's Land
GSAPP Visual Studies Workshop Instructor_Joseph Brennan, Phillip Crupi Partner_Feibai An, Xueqi Hu, Joyce Chen Time_2019 Fall
14 XUANSHAN ROOF ANCIENT BUILDING DESIGN Wooden Structure Practice
Undergraduate Design Workshop_History of Chinese Architecture Instructor_Can Sun Partner_Shengdan Kong, Yuefei Zhou Time_2015 Fall
15 LINGGU POGODA SURVEY
Ancient Chinese Building Survey Practice Undergraduate Design Workshop_Ancient Building Conservation and Survey Instructor_Guohua Li, Zheng Sun Team Member(Plan)_Shengdan Kong, Tingru Wu, Yining Song Time_2015 Fall Site_Linggu Park, Nanjing, China