ARCHITECTURE PORTFOLIO
Congqi Wang SELECTED WORKS 2015-2020
https://issuu.com/congqiwang06181996/docs/2020_portfolio_to_issue
Congqi Wang Email: congqiwang@alumni.upenn.edu Tel: 267-881-7659
Education 08.2019-12.2020 09.2014-06.2019
06.2020-08.2020
01 [Flowable surface] Future Data Center Design
University of Pennsylvania Philadelphia, US Master of Science in Design-Environmental Building Design Central South University Changsha, China Bachelor of Architecture *GPA:3.82/4.0
Professional Experience 09.2020-Present
[CON TENT]
Carl Massara Architect. LLC -Assistant Architecture Designer -Philadelphia, US
Plan drawing for urban residential apartment project;
Plan and Facade drawing for housing projects in AutoCAD;
Physical Model Fabrication for residential projects;
3D Digital Model built in Rhino and interior render for residential projects.
Robert Cohen Architect. LLC- Architectural Internship
-Westport, US
Energy Performance Simulation for office and residential projects;
Daylight simulation and data visualization for the proposed concept design;
Assist with the development of building simulation computer models of a building product that saves energy at windows. And assist in developing models that could reduce solar radiation at a window using the PTDH concept;
Assistance in cost analysis for the product based on energy savings and calculation of ROI;
Develop the final presentation of the simulation model and a shadow simulation
ͳͳǤʹͲͳͺǦͲʹǤʹͲͳͻ Ǥǡ Internship- Shanghai, China
Plan drawing of high-rise residential buildings;
Render of residential projects.
ͲǤʹͲͳǦͲͺǤʹͲͳ
Internship- Changsha, China
Surveying and Mapping Practice of Ancient Buildings in Historic Village
Design Competition ͲǤʹͲͳ
Rural Activity Center Design
03 [ RESONANCE WITH TRADITIONAL RESIDENCE] Aizhai Town Tourist Service Center
04 [INCOMPLETE WALLS]
A House Designing for an Artist with a Cat and a Dog
05 [PARAFICTIONAL OBJECTS]
Reshape the object in Dutch Still Life Painting
06 [ SMART FACADE IN THE FUTURE CITIES] Dynamic Facade Research Design Studio
video.
02 [FAR BEYOND THE BRIDGE]
Finalist -Project: Rural Living Room
ͳʹǤʹͲͳ Ƭ ȋ Ƭ Ȍ
07 [INDETERMINATE DELINEATIONS] 08 [SPACE DIVIDED BY ARCH STRUCTURE] Coffee Bar in Greater Philadelphia
09 [STATIC TORSION]
-Project: Rural Architecture in UA City
Campus Shared Performance Theatre Design
Ȁ Ȁ Ȁ Ǧ Ȁ Ȁ Ȁ Ȁ Ȁ Ǧ
Suspended Cable-arch Structure
Proficiency
Ȁ
Ȁ Ȁ Ȁ Ȁ Ȁ
LinkedIn: https://www.linkedin.com/in/congqi-wang-1424011a0/
[COMPLEMENTARY WORK] [OTHER WORK]
01 [ FLOWABLE SURFACE]
Climate-adaptive Design for the Data Center of the Future Academic Project: Future Data Center Design Detroit City Climate Research: Group work with Xuezhu Sun, Xuehan Zhang Data Center Design:Individual Work Studio Coordinator: Dorit Aviv Instructors: Zherui Wang, Kit Elsworth, Kian Wee Chen PennDesign Spring 2020 Design Studio Model: Rhino/ Grasshopper Cliamte Data Visualization: GIS/ Grasshopper/CFD Render: Vray for Rhino Our objective is to explore what it means to Design with Climate, to create architecture that harnesses environmental forces towards its own performance as a shelter for human inhabitation on a specific site. The city is a territory of diverse microclimates, each a site for thermodynamic interactions where energy flows are in constant exchange with human-made structures. Through these interactions, the magnitudes of forces such as radiation or convection are enhanced and multiplied or, conversely, subdued dramatically. First, we will use dynamic software tools and physical modeling to map the forces affecting a site. Second, we will intervene on these newly mapped and visualized energy flows through architectural design. This workflow offers a critique of black-box simulations, in which the results are disassociated from the procedure that produced them. Instead, we will explore how the simulation and modeling tools we utilize process the data and how we can intentionally manipulate the calculated acting forces with our tool palette. The data center is an emerging building typology, proliferating in the 21st century to provide cloud computing services to a rapidly growing number of users worldwide. Cloud Computing enables efficient hosting of pervasive applications from consumer, scientific, and business domains. These centers consume large amounts of energy, partially due to the servers’ electric load. However, more significantly, 40 percent of the energy load is spent by the mechanical systems necessary to reject the heat produced by the servers. In order to minimize data centers’ carbon footprint, large Cloud service providers, like Microsoft, Google and Facebook, have initiated research on sustainable design strategy for data centers.
LOCATION OF DETROIT CITY
VISUALIZATION OF BASIC CLIMATE DATA
Temperature To begin with, we need to understand the forces that constitute “climate” find an approach towards it. Victor Olgyay’s paradigm of the four climatic zones is a helpful first step at defining the interaction between architecture and the environment; it allows us to understand that regions across the globe share certain key characteristics, and to learn from a global variety of architectural responses to these characteristics. However, our understanding of climate in urban settings, should also integrate the effects of human-made environments into our understanding of thermal comfort.
Summer in Detroit is midly hot. The temperature range from 10℃ to 28℃ . The peak of the summer experiences sweltering temperatures up to 34℃ .Most days remain sunny with an average of nine hours of sunshine per day. Winter which lasts from December to Feruary is very cold. Temperature remains low from -7℃ to 3℃ .
Humidity
Summer in Detroit is of moderately high humidity with an average of 65%. And winter is very humid with an average humidity of 75%. When monitoring the relative humidity in the data center, it is recommended early warning alerts at 40% and 60% relative humidity. It is important that the relative humidity is directly related to the current temperature, so monitoring temperature and humidity together is critical.
The city is a territory of diverse microclimates, each a site for thermodynamic interactions where energy flows are in constant exchange with human-made structures. Through these interactions, the magnitudes of forces such as radiation or convection are enhanced and multiplied or, conversely, subdued dramatically. A specific urban microclimate is therefore the dynamic reciprocal action between naturally occurring global cycles and their interface with urban canyons and skyscrapers, concrete roads and reflective-glass curtain walls. From the perspective that any design decision will inherently intervene on this energy field, in this studio we will seek to redefine the architectural design procedure in the city. First, we will use dynamic software tools and physical modeling to map the forces affecting a site. Second, we will intervene on these newly mapped and visualized energy flows through architectural design. This workflow offers a critique of black-box simulations, in which the results are disassociated from the procedure that produced them. Instead, we will explore how the simulation and modeling tools we utilize process the data and how we can intentionally manipulate the calculated acting forces with our tool palette. The goal is to break down the black box into its components and therefore be able to intervene on it. What would be a model for the design of the data center of the future? Is it possible to both reduce reliance on mechanical systems and at the same time grow in computing capacity? How can we envision an architecture that provides the needs of the future expansion of the Cloud while managing its environmental impact?
Solar Radiation
The solar radiation in Detroit has large difference between winter and summer. The result is obvious in the annual temperature graph. And the latitude and climate allow for excellent solar production for solar electric panels which work better when they are cold.
Cloud Cover
There is more cloud in winter than in summer, and the increasing cloud cover affected by great lakes helps to moderate the temperature in winter to make it not that cold. Detroit summer has more clear skies than its winter.
In summer the wind mainly blows from the north-east and north. The average wind speed is 9m/s.
In spring the wind becomes a lot more humid. The wind mainly blows from west and northwest. The average wind speed is 7m/s.
CFD is applied to a wide range of research and engineering problems in many fields of study and industries, including aerodynamics and aerospace analysis, weather simulation, natural science and environmental engineering, industrial system design and analysis, biological engineering, fluid flows and heat transfer, and engine and combustion analysis. In this research, we use CFD to simulate the wind condition in downtown Detroit. The direction of the arrows represent the wind direction in downtown Detroit. The length of the arrows represent the wind speed. From the above 3 season result, it can be seen the wind speed will change when the wind pass through the gap between buildings. So we can use the shape or the envelop of the building to channel wind and use the wind pressure for cooling strategies. In the extremely cold Detroit winter, the wind comes from southwest. From the analysis of the wind simulation result, we got a thorough understanding of the climate of our site. Next we will think about how to make full use of the wind for passive cooling of the data center building.
In spring the wind becomes a lot more humid. The wind mainly blows from west and northwest. The average wind speed is 7m/s. The difference of wind speed at different height is not obvious.
In summer the wind mainly blows from the north-east and north. The average wind speed is 9m/s. The wind speed will become higher as the height of the simulation grow.
In winter, the wind mainly blows from southwest. The wind speed is stronger than that in summer, and the average wind speed is 10.3m/s.
Interior Render of Atrium Space
The above diagrams shows the prototype study of the data center massing. The wind speed will change when it blows through the gaps. So the gaps between the louvers can be used for channeling wind. Also the wind pressure will change when it pass throuth the large gap between the two connected parts.
Interior Render of Courtyard Space
The Data Center located along the Detroit river. Wind often blows from the river. The gap of the massing can channel wind.
The truss structure is mainly used in the whole large span data center building.
Interior Render of Office Space
The green ares for recreation surround the site along the Detroit river. By utilizing the green roof of data center, the building site can stay green even when fully developed.
Interior Render of Courtyard Space
The above diagram shows the wind simulation of data center massing in winter seasons.
The site is located directly facing south and west. The daylight of the data center can be adjusted when the direction of the louvers changed.
The above diagram shows the solar radiation simulation result of the data center building. The louvers can reduce the solar radiation in extremely hot seasons.
Underfloor heating and cooling is a form of central heating and cooling which achieves indoor climate control for thermal comfort using conduction, radiation and convection. The terms radiant heating and radiant cooling are commonly used to describe this approach because radiation is responsible for a significant portion of the resulting thermal comfort but this usage is technically correct only when radiation composes more than 50% of the heat exchange between the floor and the rest of the space.
Modern underfloor heating systems use either electrical resistance elements ("electric systems") or fluid flowing in pipes ("hydronic systems") to heat the floor. Either type can be installed as the primary, whole-building heating system or as localized floor heating for thermal comfort. Some systems allow for single rooms to be heated when they are a part of a larger multi-room system, avoiding any wasted heat.
Interior Render of Data Center Server Space
02 [ FAR BEYOND THE BRIDGE] Rural Activity Center Design in South Hunan
Academic Project: Rural Activity Center Designed for Left-behind Groups Individual Work Location: Yongzhou, Hunan, China Tutor: Ming Luo, Weidong Li Date: 07, Apr.2017-09, Aug.2017
This set of painting shows Chinese life in 12 months. These paintings show very clearly the architecture details, normal people’s daily activities. There is no theme of each painting. However wherever you look at the painting, it seems that special spot is the theme of the whole painting. Currently this set of paintings are in the collection of the Taipei National Palace Museum. The painting is done on silk. Although no author is recorded, it is widely believed that they are done by Tang Dai, Ding Guan Peng, and several other people collectively from Qing Dynasty. To describe the life of the people in twelve months is not entirely based on a story. With the use of complex buildings with perspective concept, the picture space is divided into several different areas, and then a number of representative activities that can be carried out during the month are filled in. This way of dealing with activities in blocks, the whole does not seem to have a particularly clear theme, but no matter where the line of sight has interesting delicate design. The design attempts to combine the traditional farming culture of China's Mesopotamia with social issues through this painting. We will provide more humanistic care for left-behind children and the elderly, who are attracting more and more social attention.
In the traditional Chinese farming civilization, the 24 solar terms are the time axis of agricultural production and the life of farmers. With the change and alternation of solar terms there will be different demands on the spatial form. From this we realize that for agricultural producers, different combinations of space for different time are needed.The problems of "left-behind children" and "left-behind old people" are widespread in developing countries that focus on agricultural production.This design aims to arouse social attention to the issue of "left-behind" through the resonance of the concept of traditional Chinese clan, and at the same time, connect villages with villages through such design, so that left-behind villagers can have more communication and play a role that more than a bridge.
Bridges in traditional water towns not only assume the functions of traffic, but also social and architectural functions.
The canoe is a commonly used tool in the villages of southern Hunan in China.
Waterwheel is an irrigation tool invented by the working people in ancient China. As an important part of China's farming culture, it provides a witness for the study of China's agricultural civilization and history of water conservation.
The stage is a special place for the performance of traditional Chinese operas. The ancient stage in China was basically wooden structure.
SITE: THE TRADITIONAL CHINESE WATER TOWNS IN HUNAN PROVINCE, SOUTH CHINA The xiangjiang river is one of the tributaries of the Yangtze river, the birthplace of the two rivers civilization in China. In southern China, in hunan province, along the xiangjiang river, there are tens of thousands of traditional Chinese water towns. These traditional ancient villages gave birth to China's advanced agricultural civilization. But there are some common problems in the development of these villages. The problems of "left-behind children" and "left-behind old people" are quite common. Young people who have the ability to work go out to work, they have made a great contribution to the development of the city. However, the life and mental state of the elderly and children have been adversely affected by the chronic lack of care and communication. This design aims to arouse social attention to the issue of "left-behind" through the resonance of the concept of traditional Chinese clan, and at the same time, connect villages with villages through such design, so that left-behind villagers can have more communication and play a bridge role.
Heavy snow
Spring begins
Slight cold
Winter solstice
Great cold
Insects awaken
The rains
Clear and bright
Vernal Equinox
Summer begins
Grain rain
Grain in ear
Grain buds
Slight heat
Autumn begins
Great heat
Summer solstice
White dews
Stopping the heat
Cold dews
Autumn equinox
Winter begins Hoar-frost falls
THE RURAL CALENDAR Light snow
Dashiqiao Village CHINESE LUNAR NEW YEAR EXTRACURRICULAR ACTIVITY FAMILY GATHERING BUSY FARMING SEASON The ideal proportion of labor force in the total population
EXTRACURRICULAR EXTRACURRICULAR ACTIVITY ACTIVITY ANCESTOR WORSHIP
The proportion of labor force in the total population
EDUCATION
HAPPY FARM
7km
READING
Xiaoshiqiao Village
BUSY FARMING SEASON EXTRACURRICULAR ACTIVITY
PREPARING FOR THE THE MAEKET-DAY LUNAR CHINESE NEW YEAR IN THIS TOWN
EXTRACURRICULAR ACTIVITY
10km
EDUCATION
Dec
4km
Shanggantang Village
8km
Jan
Feb
Mar
During the tiaditional Chinese lunar New Year
Apr
May
Jun
PARENT-CHILDREN INTERACTION
RURAL LABOR
SUMMER VACATION
LEFT-BEHIND COMMUNITY
Jul
Aug
During the summer vacation for the left-behind children
Sep
Oct
Nov
THE CITY CALENDAR
Dec
During the autum harvest when the laborers go back
Jingtouwan Village
6km Baojing Village
1 Composite space for market
3 Composite space for happy farm
1 Composite space for market
2 Viewing deck
6 Composite space for extracurricular activities
2 Viewing deck
3 Composite space for happy farm
7 Composite space for education
3 Composite space for happy farm
4 Traditional opera stage 5 Composite space for family gathering
8 Composite space for parent-children interaction
DIFFERENT STATES
The combination of arc-shaped unit space will generate flexible space in different forms, which can be provided for left-behind children to communicate or learn during the summer vacation.
The combined form of space will change according to the change of solar terms or seasons in farming civilization, so the shape and function of the plane are different in different time periods on the timeline
The open and semi-open arc-shaped unit space is combined to produce different spatial patterns of virtual reality, which provides the performance and appreciation space for traditional operas.
Boards mortise joints Two-story composite wooden frame
Non-loading bearing wall
Basic Unit For Usual State
Basic Unit For Festival Celebration
Roof veneer
Basic Unit For Busy Farming Season
Wood panel roof sheathing Wooden grating Beam Wooden bearing frame
Composite Unit For Left-behind Children
Composite Unit For The Bazaar
Composite Unit For Parent-child Interaction
Non-loading bearing wall
Spiral stair
Subflooring panel
Vertical timber partition
Composite Unit For Left-behind Elderly
Composite Unit For Traditional Opera Performance
Bamboo sticks for horizontal connection
Composite Unit For Grain Storage
Floating auxiliary air carrier Floating bamboo raft structure
Wooden frame mortise and tenon joint
Composite Unit For Tourists
Composite Unit For The Clan Rally
Composite Unit For Harvest Festival
From the perspective of the village to the building, the material and structure are unified with the original village.
Section During the traditional Chinese festival, the building provide a place of entertainment, social networking and reunion for local left-behind groups and returning rural workers. The clan concept is very strong in rural China. The children at this together with their parents, grandparents, manifests the awe of younger generation to their ancestors and tradition.
03 [MEMORY RESTORE]
Design of Aizhai Tourist Service Center Undergraduate Graduation Design: Jishou Aizhai Town Tourist Service and Reception Center Design Individual Work Location: Jishou, Hunan, China Tutor: Mingjing Xie Date: 03, Mar.2019-06, Jun.2019
Aizhai town is located in the west of Jishou city, Hunan province. Aizhai is also a minority community town. The town is surrounded by the southern Hunan folk customs garden, China's first overpass of the Chinese highway wonders also locates here. Aizhai is the central tourism gold line of western Hunan town. The social and cultural environment and living customs in southern Hunan are basically the same, and the residential buildings also adopt the shape and system of the Tianjing style residential buildings suitable for the local characteristics. However, due to the complicated topography of hunan, mountains, hills, basins, rivers and other landforms, nanling is the source and watershed of the xiangjiang river system and the pearl river system, and there are great differences in various natural conditions. Therefore, the local dwellings in southern hunan also showed various forms. We found many irreplaceable elements in numerous residential buildings. The spatial value and architectural meaning of these elements have not changed substantially, and they have their own architectural rules, which are reflected in the plane, which is the type of houses in the early period of traditional farming society. Other complex and diverse buildings are based on this form through different combinations of the form of evolution or transformation. In the design of aizhai tourist service center, homestay and folk museum also use such spatial language. The traditional village texture is endowed with modern significance. In this way, it tries to create a multi-functional tourist service center that integrates homestay, catering, entertainment, homestay culture display, etc.
Diagram of People's Activity in the Site
SECTION 1
SECTION 2
Extracted Spatial Patterns
Extracted Plan Orders
Extracted Spatial Language in Aizhai Traditional Residence
Form of Basic Unit
Three to One Souvenir Store
Two to One Souvenir Store
Four to One Souvenis Store
Extracted Spacial Orders with Shed Roof
Three to One Guesthouse
Two to One Guesthouse
Guesthouse with Atrium
Three to One Experience Room
Section of the Museum
SECTION 3
Viewed from the outside of the site to the entire visitor service center, the homestay monomer, as well as the souvenir shops and commercial pedestrian street, presents an open layout. This strategy create maximum commercial value for the visitor centre. The folk culture museum and the interpretation hall of folk performances are the climax of the whole site layout. This place presents a sales, exhibition and service center integrating commercial pedestrian street, homestay museum, homestay and other functions.
04 [ INCOMPLETE WALLS]
A House Designing for an Artist with a Cat and a Dog Academic work: Residential House Design Individual Work
Tutor: Ming Luo, Weidong Li Date: 03, Oct.2018-06, Dec.2018
The starting point of the design comes from the "incomplete wall". The original inspiration came from House N by sou fujimoto. In the design of House N, the nested skin creates a transitional area between the outside and the interior. The house itself consists of three progressive shells nested within each other. The outermost shell covers the entire house, forming a covered semi-interior garden. The second shell encloses the limited space within the covered outdoor space. The third shell produces a smaller internal space. Residents build their lives in the hierarchy of this realm. One might say that the ideal building is an outdoor space that feels like an indoor space and an indoor space that feels like an outdoor space. In nested structures, the inside is always the outside, and vice versa. Similarly, in the design of "incomplete wall", the natural space that penetrates the natural sunlight through the forest and the interior living space create a more hierarchical order relationship. Add more flavor to life for man and his pets.
This is an artist's place of work and life, but also a place to invite the host and friends to gather together. In the residential environment, the studio and house are intended to remain open. All walls are ‘incomplete’. To ensure privacy, open and private Spaces are created by adjusting the "incomplete" state of the walls. Through the change of the height of the missing part of the wall and the adjustment of the parallel or staggered relationship of the wall, the vision can be blocked or opened. In this way, the controling method of the wall has directionally blurred the boundary of the site and formed a symbiotic relationship with the surrounding environment. People who come here can interact, meditate, and even bask in the sun.
The Complete Wall
An Incomplete Wall Cut Off in the Lower Half
An Incomplete Wall Cut Off in the Upper Half
An Incomplete Wall Cut Off in the Middle
A single row of incomplete walls
Double parallel rows of incomplete walls
Incomplete walls of different heights generate relatively open or private spaces through parallel or interlaced morphological relationships.
Section of Multiple Rows of Walls
F1 PLAN
F2 PLAN
Perspective of Studio
Walls with different degrees of 'incomplete' form muti-level spatial forms through multiple parallel or staggered organization.
Perspective of Bedroom
Section
05 [ PARAFICTIONAL OBJECTS] Academic Project: Reshape the object in Dutch Still Life Painting Group Work with Suwan Park Instructor: Kutan Ayata PennDesign Arch 750-Spring 2020
Architecture is a post-medium effort. Drawings, Renderings, Models, Prototypes, Computations, Simulations, Photographs, Texts, and Buildings are all put forward by architects as a speculative proposal for the reality of the future. These mediums involve levels of expertise in techniques that are necessary for their practice. They involve conceptual dimensions that structure their disciplinary arguments. And most importantly, they each have aesthetic conditions that open up their cultural potential for effecting political change. 17th-century Dutch still-life paintings are particularly intriguing. In fact, the compositions— depicting so-called “everyday objects,” such as jars, containers, musical instruments, fruits, and even lobsters, typically displayed on tables— are the basis of Parafictional Objects. “In these paintings, there are all kinds of other stuff you would not suspect their reality of coexisting at the same time,” Kutan says. “But if you just think about it, of course, this is a purely fictional construct of these things existing together. It’s kind of an act of abstraction, which is depicted as a plausible reality.” We imagine fictional histories by choosing an object from one of the Dutch paintings, extracting it, 3D modeling it, reconfiguring it, rendering it back into the painting, and fabricating it. “They in some way need to bridge this fictional history for the object; how this object ended up here,” “But, then, I think, as people sit, they will discover the oddities, a strangeness in them, to evoke some kind of curiosity to start a conversation,” Kutan says. “If that conversation is not very stable about how that object can be pinned down to a specific time period and genre, then I think it becomes a productive inquiry about how reality around us can be understood in an alternative manner, in this case, through a single object. On a larger scale, this is, indeed, an aesthetic argument for architecture as the background of our everyday reality.” In this large banquet piece, Pieter Claesz, the most important still-life painter in Haarlem during the 1620s, envisioned a sumptuous feast consisting of the most extravagant foods available in the Netherlands in the early seventeenth century. Dominating the tabletop is a large peacock pie decorated with the fowl’s own head and neck as well as wings and tail feathers, a showpiece only served on special occasions. This spectacular presentation, which is given added visual prominence by the pink carnation in the peacock’s beak, is complemented by an array of foods, including a roasted pheasant, olives, lemons, breads, shiny red-and-yellow apples, velvety peaches, nuts, and candies. Claesz presented these delicacies, many of which would have been imported from foreign lands, on beautifully rendered pewter platters or in Wan-Li bowls. A small mound of precious salt in a gilded saltcellar provides spice to the meal. Finally, a berkemeier filled with white wine that had been poured from a long-spouted pewter pitcher adds to the banquet’s festive character.
(12)
US006767791B2
United States Patent
(10)
Spicyrack et al.
(12)
SPICE RACK AS A CEILING FIXTURE: SIX SPICE CONTAINERS HELD FOR CEILING CHANDELIERS
(75)
Inventors: Congqi Wang, Pennsylvania (US); Su Wan Park, Pennsylvania (US);
(74)
Assignee: The Furniture Society, NY (US)
(*)
Notice:
Subject to any disclaimer, the term of this patent is extended or adjusted under 35 U.S.C, 154(b) by 0 days.
(21)
Appl. No: 20,198,577
(22)
Filed:
(51) (52) (52)
Int. CL: U.S. CL Field of Search
April 17, 2020
(56)
FULL 1/34 123,90.13, 90.15 123,90.13, 90.15
References Cited U.S. PATENT DOCUMENTS 4,002,022 A 5,002,212 A 5,502,016 A
FIG . 1
(45)
Patent No.: US 6763,791 B2 Date of Patent: April. 20, 2020 FOREIGN PATENT DOCUMENTS
EP
0801212 A1.
10/1997
Primary Examiner —Thomas Denion Assistant Examiner—Zelalem Eshete
(22)
ABSTRACT
Multiple storage containers of various spices will investigate the physical and gustatory transformations of ingredients that occur through dining. A total of six containers will store distinctive colored spices which will add flavor and aesthetics to the atmosphere of the dining experience. Each different spice will transform the tastes and textures of foods in revolutionary ways. The six containers can be linked to the central piece and the whole piece will be held from the ceiling with chains that can be kept as the decorative ceiling fixture adding another experience to the food art.
2/1960 Quinn et al. 3/1982 Stones et al. 12/1995 Linder et al.
14 Claims,2 Drawing Sheets FIG. 2
The term “banquet piece” (“een banquetje”) associated with such paintings refers to the wide array of food stuffs and elegant presentation of the meal depicted on a laid table. Claesz has here depicted a gastronomical feast that celebrates the prosperity and global reach of the Dutch Republic, but he has not portrayed a specific meal or even a combination of foods that would have been found at one time on a Dutch table. With great artistic sensitivity, Claesz chose which items to include in his banquet scene, and carefully arranged them across the tabletop. He placed most of the smaller pictorial elements on a carefully ironed white linen tablecloth and counterbalanced them at the right with the imposing peacock pie and the large Wan-Li bowl, filled with apples and peaches. The colors and textures of the foods help guide the viewer’s progress through the composition, with bright yellows and reds situated primarily in the foreground, and more muted tonalities in the background. The experience is somewhat akin to standing before a buffet, where the meal’s sensory appeal is enhanced by careful presentation of the foods and drinks, each distinct from the other, whether it be a peacock pie, cooked pheasant, fresh apples and peaches, cut lemon, or candies.
The aristocratic character of the Gallery’s painting is particularly evident because of the peacock pie and the cooked pheasant. In the Netherlands game birds only could be hunted by the landed gentry, and, hence such delicacies would only appear on the table of someone who owned, or leased, sufficient land for this activity. Although it seems unlikely that such elaborate game pies were frequently made for banquets, a surprisingly diverse array of them are depicted in seventeenth-century Dutch and Flemish still-life paintings, including swan pies, turkey pies, and pigeon pies. Occasionally, such pies appear on the tables of merry company scenes, where elegant revelers enjoy the finer things of life. Within its decorated crust, a game pie contained a stew made of richly seasoned meat taken from a deboned bird. After cooking the pie, the chef would mount the bird’s wings, tail, and head and neck onto the crust, with the neck held upright by a wooden or wire frame. It seems unlikely, however, that a peacock pie such as this one would have actually been eaten at a banquet. Most likely, it would have remained on the table as a decorative element, surrounded by the other foods, including the centrally positioned roasted pheasant, a much tastier game bird than the peacock. The large scale of this imposing banquet piece, which Claesz painted in 1627, indicates that it was a commissioned piece, presumably intended for a dining room in a stately home in Haarlem. That same year Claesz painted another, almost identically-sized, banquet scene that is compositionally similar but displays an array of different objects and foods, including a turkey pie instead of a peacock pie. One can only imagine that the success of one of these paintings inspired the creation of the second, which was presumably commissioned by a different patron. Whatever the circumstances for painting two such similar works, it seems probable that Claesz transferred the design, at least at the broadest compositional level, from one panel to the other. An examination of the edges of the Gallery’s panel reveals a number of cuts and notches, particularly along the vertical edges, hinting at a possible transfer system. Three pairs of notches actually line up horizontally. Microscopic examinations reveal that cracks appear in the paint surrounding the notches, indicating that the latter were made after the paint had dried, and hence after the painting had been completed. A few notches, at comparable heights, are found along the right edge of the Rijksmuseum panel, a finding that supports the hypothesis that Claesz used a transfer system (perhaps nothing more than strings crossing the panels at regular intervals) when he created the second version.
06 [ SMART FACADE IN THE FUTURE CITIES] Academic Project
Group Work with Junjie Lu, Vidya Instructor: Billie Faircloth PennDesign Studio Fall 2020
Throughout the architecture history, we have been concerning the facade treatment for a much pleasant visual impact to the public. But what pushes its own boundary now, is how do we make the facade more than just a static vertical architectural element. What if a facade functions more than just an envelope of a building? What if a facade responds to climate, technology, sunlight, or even natural element such as wind? What if a facade can constantly react to the surrounding and forms a pattern of movement by itself? What if, a “dynamic facade” proposal that could respond to the environment and minimize the energy consumption? The façade is a part of the urban fabric that builds up the city. It is a crucial component, especially considering public or commercial buildings or even offices on important avenues and streets. The visual impact of any structure for a layman is mostly associated with the structures greatness, its aesthetics, its uniqueness, and how captivating it is apart from the amount invested in it by the companies. To top it up, people are becoming increasingly aware of their surrounding environment and prefer ideas and designs that are sustainable and environment friendly. With the use of material and technology in a given set of boundaries and conditions, the contemporary architecture surfaces are classified into “dynamic” and “static”. The building envelope acts like a skin, an intermediate between the interior and the exterior. This skin has evolved over time, with the help of the engineered solutions; the purpose of dynamic facades is to assist in the progress of Sustainable and Responsive architecture. The dynamic facades act as filters between the indoors and the outdoors, facilitating the users providing appropriate shade, sunlight, ventilation and a visual union with the world in motion outside. It is not a new idea, but it is only recently that architects have started utilizing this technology in their structures and designs. The love and fascination with technology and experimentation has become a prevalent and extensive part in the architectural discourse in these times. This has resulted in endless possibilities in the designs and usage of dynamic and kinetic architecture. The environment is the key factor that impacts the design of the façades; the amount of layering and the material choice, all is dependent on these external forces.
Phase 1 of Smart Facade
Phase 2 of Smart Facade
Phase 3 of Smart Facade
Phase1 of Biomimetic Prototype
View and Air Filter State
View and Breeze State
Engineered Bamboo Recycled Aluminium
Phase2 of Biomimetic Prototype
Phase3 of Biomimetic Prototype
Section of Living Lab
Pre and Post Simulation of Solar Radiation
Radiation Analysis Philadelphia Jun.21st
Radiation Analysis Philadelphia Jun.21st
Radiation Analysis Philadelphia Jan.1st 6:00-Dec.31st 18:00
Radiation Analysis Philadelphia Jan.1st 6:00-Dec.31st 18:00
The current trends with regarding facades are a phenomenon which deserves this separate chapter. For this reason, today we will discuss different dynamic facades as follows.We could say that in the last few years, an additional function has been added to the well-known aesthetic, waterproof and insulating (thermal and acoustic) facades’ functions, that is the minimization of energy consumption. This is not exactly a new function, but rather an extension of the previous. Either through passive shading and ventilation, or through complex dynamic systems, the need to control a building’s interior environment in order to reduce our reliance on air conditioning, heating systems or artificial lightning, has led to the development of the buildings’ exteriors, made possible by technology.
Pre and Post Simulation of Visual Comfort
Glaring Effect Simulation
07 [ INDETERMINATE DELINEATIONS] Academic Project
Group Work with Tianshuo Wang Instructor: Maya Alam PennDesign Arch 749-Fall 2020
“Imagine you are falling. But there is no ground.” Hito Steyerl, In Free Fall: A Thought Experiment on Vertical Perspective. Architecture has always been closely entangled with modes of vision. Devices ranging from Dürer’s perspective machine to the photographic eye have strongly shaped the way we think and design the built environment of our cities. A strange loop is in place here: our world-views provide the development of specific modes of representation, of engagement with the world, and in turn they begin to have an impact in that same world, becoming an active element in the way we understand it. Put more simply, it is the technologies through which we see and experience the built environment that define the way we construct it. In her essay “In Free-Fall” Hito Steyerl describes our current state of ubiquitous visual stimuli as a state of groundlessness for subjects as well as objects and while this is destabilizing at best, it can also be seen as an opportunity to question centralized optics like the renaissance’s singlepoint linear perspective. While we accepted this mode of vision as an objective representation of space, it was the product of a Western worldview placing the individual at the center of its ideological construct. Today, we are faced with the challenge of developing alternative strategies to deal with the complex entanglment of images, politics and representation alike. This course asks students to look closely at the world we are constructing via new media in order to not simply accept but to find ways to become an active contributor as well as resister. In this class we will focus on visual and physical points as anchors to tie modes of vision with modes of construction. Points play an important role in the history of visuality: if during Impressionism and Pointillism they were devised to delineate the contrast and alignments between what we see and how we see it in an attempt to investigate the mechanics of vision, it was during the post war period that Max Wertheimer’s work at the Berlin School of Gestalt Psychology leveraged them as graphic elements to understand part to whole relationships central to Bauhaus’ design pedagogy. They also played a central role during the seventies and eighties when the first generative artists started to use them as the smallest units to visualize design interactions between human and machine. Today, imaging technologies are once again placing points as central elements in the construction of our contemporary visual language, transforming evergrowing datasets of partial images in three dimensional machine-readable survey models: it is with points and aggregated clouds that we are constructing the figure of our cities. As such, they become a necessary site of design investigation to move beyond monolithic views of the world. This class leverages the biproduct of scanning technologies - point clouds and image making - to explore inclusive modes of delineations: a visual sensibility to engage with the multi-faceted nature of the built environment.
From Colonial Painting to Parallax Painting
Penducular Parallax Painting
Perspective of Parallax Painting
Perspective of Parallax Painting
08 [SPACE DIVIDED BY ARCH STRUCTURE] Coffee Bar in Greater Philadelphia
Competition: Coffeen Bar Design for Social Place Individual Work Location: Philadelphia, Pennsylvania, United States Tutor: Mingjing Xie, Ying Song Date: 07, May.2018-09, Aug.2018
In the Philadelphia area, there are many historical and cultural buildings with arch rings as the basic structural system. Meanwhile, residents enjoy their coffee on their commutes, during business meetings, and while reading and meditating. Arch is an ancient structural system bearing memorial significance. The arch itself is a part of the spatial order of the building. Under such conditions, the design attempts to use arch as the basic formal language to create a social place for the citizens of Philadelphia to relax, business, meditate and even bathe in the sun. Coffee is a culture. The word "coffee" comes from the Greek Kaweh, meaning "strength and passion." Everyday coffee is made from coffee beans with different cooking utensils. Coffee beans refer to the nuts inside the fruit of coffee plants, which are roasted with appropriate roasting methods. Coffee is becoming more and more popular around the world. The resulting "coffee culture" fills every moment of life. Whether at home, in the office, or in various social occasions, people are enjoying coffee, which is increasingly associated with fashion and modern life. In this "instant" era, coffee brings us, not only flavor, we want, is a feeling, we will be crazy immersed in that feeling. Maybe it's just a small door on a street corner, maybe the coffee is not that good to drink, but, we are infatuated with the air, light, sound there, forget the time to immerse in there, in a group of people like themselves, maybe continue a person, but we all know. Men, women, cheerful, melancholy, a group, sitting alone, smoking, drinking strong coffee, or no coffee at all. We find each other by feeling, by staring at the corner of the room or the coffee cup, even if you look out the window, but not necessarily looking at something... I look at you, I know, I'm not like you, I know, I'm not like everybody, the realists come to the cafe, but they don't belong here, and they don't stay until they close and put their chairs on the table. The word "now" never entered the cafe, and all the fanciers found it.
ARCH IN DIFFERENT SCALE DIVIDING SPACES
SPACE LANGUAGE
Perspective of Memorial Space
Perspective of Semi-outdoor Social Space
Perspective of Party Space
Perspective of Baking & Catering Area
1ST FLOOR PLAN
Perspective of Parent-Child Space under the Largest Arch
2ND FLOOR PLAN
Perspective of Reading & Negotiation Area
4TH FLOOR PLAN
Section 1
09 [STATIC TORSION]
Campus Shared Performance Theatre Design Academic work: Campus Theatre Design Individual Work
Tutor: Yu Wang, Weidong Li Date: 03, Mar.2018-06, Jun.2018
The opera house itself can be regarded as an instrument. In the design of the campus cultural interpretation center, the studio USES the horseshoe (u-shaped) space of the classical opera house to effectively meet the acoustic requirements. A variety of reverberation times can satisfy different performance styles from classical to romantic. At the same time, the new design makes every corner of the space enjoy the best view. The u-shaped plane creates an intimate relationship between the artist, the orchestra and the audience. The main hall can seat 1000 people at a time. At the same time, the building adopts a twisting strategy to create a subtle and flexible campus Shared space. The design attempts to meet the requirements of the building's form and spatial order while taking into account the building's structural system. The steel frame structure is combined with the large span roof.
This is a Shared public building integrating display and performance functions on campus. A simple twist in the building’s volume creates a semi-outdoor open space on the ground floor that can be Shared by students and nearby residents. The warped geometry of the building volume merges the vertical and horizontal in a single motion, forming a staircase inside. The height difference generated inside the building meets the requirements of the performance hall. The "tubular column" adopted in the structural system not only meets the needs of long-span spatial structure, but also increases the sharing and interest of space.
Large Span Structural System
Source of Architectural Form
Tubular Columns *This image is referenced from UNStudio
Interactive Space
Bearing System
Main Entrance
Staging Area
Below the Side Stage
Understage Space
Staging Area
Semi-outdoor Shared Activity Area
Outdoor Performance Area
Below the Main Stage
Below the Rear Stage
Below the Side Stage Entrance Hall
Entrance Plane
Subsidiary Rooms
Stage
Secondary Entrance
Conference Room
Side Stage Subsidiary Rooms
Main Stage
Back Stage
Side Stage
Subsidiary Rooms
Exhibition Hall
Plane at the Height of 14 Meters
Section
[COMPLEMENTARY WORK] Suspended Cable-arch Structure Team Work：Structural Selection Design 2016.06—2016.07/with He Jianing Leading Roll in Structure Design, Model Making
Suspended cable-arch structure is a load-bearing structure formed by flexible tension cable and its edge members. Rope material can be made of wire bundles, wire ropes, chains and other wire with good tensile properties. The arch at the centre lifts a net of cables extending outward, which consists of transverse load-bearing cables and longitudinal stabilisers. And the central arch is connected to the ground, so the load on the roof is partly carried by the central arch, and the other part is transmitted to the eaves on both sides by the cable network. The load is carried by the columns on both sides and dispersed to the ground. The advantage of suspended cable-arch structure is that it makes good use of the properties of metal materials. As the arch material used as the frame is metal, it can well withstand the transverse tensile force, so as to avoid the risk of being easily folded by shear force.
[OTHER WORK]01
Academic Project: Research Seminar Arch724 – Immersive Kinematics Group Work with Junjie Lu Instructor: Simon Kim PennDesign Fall 2020
The subject matter of new media is to be examined and placed in a disciplinary trajectory of building design and construction technology that adapts to material and digital discoveries that place anti-racism at its center. We will also build prototypes with the new media, and establish a disciplinary knowledge for ourselves. As Mark Dery wrote: “Can a community whose past has been deliberately rubbed out, and whose energies have subsequently been consumed by the search for legible traces of its history, imagine possible futures?” We will develop new metrics and markers in which to enact these new identities, citizenship, and futures.
[OTHER WORK]02 THE RITTENHOUSE CONDOMINIUM Professional Project at Carl Massara Architect. LLC OCT2020 210 WEST RITTENHOUSE SQURE, UNIT2005-2006 PHILADELPHIA, PA 19103 Group Work with Jingyi Sun for contribution in the fabrication of physical model
[OTHER WORK]03 Team Work:Youth Single Apartment Design with He Jianing Date: 14.Sep, 2017-10.Dec, 2017 Tutor: Yu Wang, Mingqiao Zhao
Data Visualization of Covid-19 Cases
[OTHER WORK]04
[OTHER WORK]05
Physical Wind Simulation
Covid-19 Test Station Design
Group work with Xuezhu Sun, Xuehan Zhang Spring 2020
Group work with Madonna Nisha Miranda, Shiqi Liu Summer 2020 Penndesign Surface Summer School /Competition
[OTHER WORK]06 REVIT SKILL WORK SAMPLE-VILLA SAVOYE C
D
E -
Top 9
Roof level 6
Floor Level 3
Ground level 0
Underground
Section
-3
E
E
D
D
Top 9
Roof level 6
Floor Level 3
-
Ground level 0
-
193 / 1000
B
193 / 1000
A
Underground -3
C
East Elevation
C
UP DN
Top 9
B
B
A
A
Roof level 6
Floor Level 3
Ground level 0
Underground -3
1
South Elevation
2
3
1st Floor Plan
4
5
1
2
3
2nd Floor Plan
4
5
[OTHER WORK]07 DOUBLE-STACK SYSTEM FOR SURVIVING IN A FUTURE OF WEATHER EXTREMITY Group work with Junjie Lu, Vidya Unnikrishnan, Navaz Bilimoria Fall 2020 Penndesign Arch754 - Performance Design Workshop Instructor: Jihun Kim Air Flow and Temperature or Radiant Temperature Simulation in Rhino CFD
Summer
Fall
Winter
Energy Flow Diagram of Combined Strategy with Trombe Chimney and Underground System Energy Flow Diagram with Chimney Effect in Summer
Energy Flow Diagram with Chimney Effect in Winter
Velocity
Temperature
Velocity
Temperature
Definition of Stack Effect Stack ventilation (also known as stack effect or chimney effect) creates airflow using the natural force that emerges from changes in air pressure, temperature, and density levels between corresponding internal and external environments. Chimney Effect is a useful design strategy in buildings that have greater depth, where cross ventilation may not be sufficient to penetrate to spaces in the center of the building. Stack ventilation is also feasibly for low-rise buildings that have a vertical volume where pressure differences can occur. Natural stack ventilation supplies and removes air from indoor spaces without the assistance of mechanical systems thus saving on a lot of cost induced by HVAC.
Summer Simulation Result
Future System Iteration1: Stack Ventilation+Geothermal system for Multi-Level Structure
Combined Strategy with Underground Circulation System and Trombe Chimney
Winter Simulation Result
Future Sysyem Iteration2: Double Stack Ventilation System
Winter Hypothesis
Summer Hypothesis
SIMULATION RESULT Stack Ventilation& Weather Extremity Extreme Hot
Temperature
Extreme Cold
Iteration1: Stack Ventilation+Geothermal system for MultiLevel Structure
Temperature
Iteration2: Double Stack Ventilation System
Temperature Summer Velocity
Velocity
Velocity
Velocity
Winter Velocity
Radiant Temperature
Radiant Temperature
Radiant Temperature
Conclusion The combination of Geothermal and stack effect works for indoor temperature control. The ventilation overall is shown to be high, with barely any air re-circulating. This condition would help in curbing the virus spread, however, we may need to improve air exchange rate to 100% to be really effective in this aspect. For winter, while ventilation seems to be efficient, we need additional heating sources for winter months. Future studies: we could like to explore how we can better control velocity and temperature for extreme weather conditions such as hurricanes, extreme winters, and of course, rising temperatures due to global warming.
Winter Velocity with Fan
Dark Grey Tile Purlin Brace Square Beams Connecting Purlins Auxiliary Rafter
Ridge Tie Beam
Roof Beam Short Column
Column
Auxiliary Rafter
Dark Grey Tile Square Beams Connecting Purlins
Purlin Brace
Roof Beam
Short Column
Column Section of Wooden Frame of Traditional Chinese Residence Cantilever Beam
[OTHER WORK] 07 Surveying and Mapping of Ancient Buildings in Shanggantang Historic Village Team Work
2017.06—2017.07/with He Jianing, Jiang Zekun Leading Roll in Mapping, Detail Drawings
[OTHER WORK]08
HAND PAINTED WATERCOLOR COPY
PORTFOLIO OF CONGQI WANG University of Pennsylvania Master of Science in Design-Environmental Building Design Selected Works 2015-2020