/ Wetland is Muse / Xixi Wetland Museum in Hangzhou, China * 2012 Spring * Solo Work
//Stage 1 Muse and Site
//Stage 2 Building Compositions
//Stage 3 Model
/ “Make something that shows temperature” / GLOWING ROCK
* 2012 Winter * Collaboration with Namjoo Kim
Introduction
Map of Work Material Testing
Concrete
Wax
FabricationTechnique
with Sand
Addition for Concrete
with Rock
Cast from Mold
Rockie
Chinken Wire
Machinable Wax
Mill directly with 3-Axis Machine
Candle Wax
Melt and Cast from Mold
Aluminum Sheet
Cut with Waterjet
Steel Sheet
Cut with Bandsaw
Copper Pipe
Bend with Hand
Temperature. By playing with different kinds of materials, we hope that we can make a toy that surprising people when they touch it. We also hope that this toy can build bridges between matrial and temperature, ďŹ re and activity.
Metal
Soldering Copper Pipe
PrototypeTesting
Testing Set A //Combining Material
Testing Set B //Product Prototype and Fabrication Detail
//Fabrication Process
1 Mold Making
2 Mold Making_Candle
3 Prepare for pouring candle wax
4 candle wax
5 Melt the candle wax
6 Wait for a while
7 Cut the copper pipe
8 Connect all the pipes
9 Prepare for pouring Concrete(or Rockite)
10 Set a position
11 Make a final mold
12 Pour Rockite
//Product story
Rock with Different Temperature
Imagine. One person is coming from cold outside and needs warmness, and the other person has been worked inside and needs slight coldness. They would touch this object together to feel coldness and warmth at the same time, and then they can light the candle inside this object. When the candle is lit up; this rock-like object turns into a bright and warm toy which is touchable and attractive. This is a container of coldness, warmth and light. You need to touch this object to feel what it is. After you touch this object, it will give you what you want.
Glowing Rock
/ Insertion and Connection / BIG FISH Boston Fish Pier Extension Program
* 2013 Fall * Solo Work
//Stage 1 About the program
Fish are fluctuating. Fish can be a way we feel the cycle of nature. We mark the changing of the seasons through this fluctuation. On the other hand, exchange happens in market. It is this exchange that creates the opportunity to “translate” the fish fluctuation into the activities of consuming fish. This project will contain a dynamic marketplace—one that transforms according to the climate, as well as provides the opportunities of information exchange.
The existing condition: long space without identity; The transformation concept: mark the long space by three cantilevers with floating rooms underneath. The new circulation: show the public flow through the different typologies of the markets (floating rooms): fish media markets, fish market with different spices and fish auction house.
//Stage 2 Section - How does the new building work
//Stage 3 Old volume and New volume
/ Green as a Building Layer / YMCA & MBTA Building Complex Design
* 2013 Spring * Solo Work
//Stage 1 Site and Green
PROPOSAL
My proposal to this site was to connect the public park in Boston to the YMTA Building Complex. To weave the greenary into the building space, I created a set of ramps. These ramps provide not only the main circulation, but also the program (gym). In this way, the YMTA Building becomes a combination of vertical parks and indoor programs.
//Stage 2 Ramp
Ramp / Circulation
Ramp / Program
Ramp / Structure
//Stage 3 Space
RAMP/ GYM_ Interior to Interior
RAMP/ GYM_ Exterior to Exterior
RAMP/ GYM_ Exterior to Interior
//Stage 3 Space DRAWING_ Ground Plan
DRAWING_ Upper Level Plan
/ WOVEN WOOD / Performance Oriented Design * 2011 Spring * Collaboration Work * Collaborator: Wenying Zhang
// DISCOVER BY DOING EXPERIMENTS WITHIN DIFFERENT SYSTEMS // KEY WORDS: WOOD, WAEVING, PHYSICAL PROPERTIES, PERFORMANCE
/ WOVEN WOOD / Performance Oriented Design * Collaboration Work * Collaborator: Wenying Zhang / INTRODUCTION
/ METHOD: COMBINE SYSTEM 1
WOVEN WOOD: PERFORMANCE ORIENTED DESIGN Inspired by this understanding of wood as cellulose-fibre-based material, we decide to use weaving system as a way to connect wood-based elements. Also, the orthotropic nature of wood provides the possibility to weave. In a woven system, all the members are held by friction and they support each other. It’s mutually supported and interlocking. We have studied some of the basic logics in the woven system, as well as the wood properties and behaviors to see how wood can be applied into a woven structure. These two systems, can be used strategically to increase structural performance thereby reducing material use and leading to a more intelligent and sustainable fabrication. Also, the combination of these two systems gives us the possibilities to narrow down the numeric parameters of wood study, as well as a good method to provoke questions. The purpose of this study is, by working with weaving, together with the material performance, to investigate a selfbracing woven wood structure.
STAGE 1
WOOD AS MATERIAL
STAGE 2
STAGE 3
PLYWOOD STRIP MEMBER
CUTTING AND EXTENDING PLYWOOD STRIP
2
WEAVING AS WAY TO FOEMULATE LOCAL STRUCTURE
WOVEN NET
SHADOW CAST
3
EXTERNAL FORCE TO GENERATE SPACE
FRAME
DETAIL OF FRAME JOINTS AND THE METHOD TO ADD EXTERNAL FORCE
/ CONTENT // Study and Specify the Knowledge Wood: Cellulose-fibre-based Material and Orthotropic Nature Weave: General Knowledge Combine and Specify the Study of Wood
// System Review and Update // Stage 1 GENERAL UNDERSTANDING AND TRY-OUT-EXPERIMENTS Introduction EXPERIMENT-1-1 EXPERIMENT-1-2 Conclusion EXPERIMENT-2-1 * EXPERIMENT-2-2 * EXPERIMENT-3 * // Stage2 SPECIFIC EXPERIMENTS AND ANALYSIS Introduction EXPERIMENT-4-1 EXPERIMENT-4-2-1 EXPERIMENT-4-2-2 EXPERIMENT-4-3
// Stage3 FABRICATION, CONSTRUCTION AND SCENARIO SCENARIO FABRICATION CONSTRUCTION
*This set of experiments is not showing here.
/ METHOD: COMBINE SYSTEM // System Update
// Stage 1 GENERAL UNDERSTANDING AND TRY-OUT-EXPERIMENTS | INTRODUCTION
// Stage 1 GENERAL UNDERSTANDING AND TRY-OUT-EXPERIMENTS | EXPERIMENT-1-2
// Stage 1 GENERAL UNDERSTANDING AND TRY-OUT-EXPERIMENTS | EXPERIMENT-1-1
// Stage 1 GENERAL UNDERSTANDING AND TRY-OUT-EXPERIMENTS | EXPERIMENT-1-2
// Stage 1 GENERAL UNDERSTANDING AND TRY-OUT-EXPERIMENTS | ANALYSIS OF EXP. 1-2
[2]
[3] [1]
References: [1],[2],[3] are from :Grosser, Dietger. Die Holzer Mitteleuropas, ein mikrophotographischer Lehratlas.(Google Translate, Trans.).
/ METHOD: COMBINE SYSTEM // System Update
// Stage2 SPECIFIC EXPERIMENTS AND ANALYSIS | ATLAS OF EXPERIMENTS
// Stage2 SPECIFIC EXPERIMENTS AND ANALYSIS | EXPERIMENT-4-2-1
// Stage2 SPECIFIC EXPERIMENTS AND ANALYSIS | EXPERIMENT-4-2-2(2)
4-2-1 Discription In this experiment, we used 3-ply birch rectangle strips with the geometry of 50mm wide, 1220mm long and 4mm thick, to weave a 1220x1220mm size woven net, with a 150mm distance between each strip. As for the frame, it has a 1220x1220mm square shape, but with only the adjacent edges being the controlling edges. Initially, the angle between these two controlling edges was 90 degrees. Then we divided it into 3 different angles randomly, which are 52, 61, and 73 degrees. As we were push one of the edge, the whole form will change. It will stand up. When the angle decreased to 52, 61, 73 degrees, we documented the change of the form and the movements of the strips.
// Stage2 SPECIFIC EXPERIMENTS AND ANALYSIS | EXPERIMENT-4-3
// Stage2 SPECIFIC EXPERIMENTS AND ANALYSIS | EXPERIMENT-4-2-2(1)
4-2-2 Discription
4-3 Discription
The parametrization inputs for this experiment can been seen from the table on the right. In this experiment, we used the same setup as last one(experiment 4-2-1), but we changed the geometry of the strip member, which is 25mm wide, 1220 long and 4mm thick. As for the woven net and the frame, we keep them the same as last one.
This is a tryout of combining two woven nets by overlapping the edges. The upper one is the woven net from the experiment 4-2-1, which has 25mm wide strips and 150mm openings. The lower one is from experiment 4-22, which has 50mm wide strips and 150mm openings. The edges were overlapped and fixed by nails, which means both of the nets are sharing the same edges. Then we pushed one of the overlapped edge till the angle gets to 52, 61, 73 degrees.
// Stage2 SPECIFIC EXPERIMENTS AND ANALYSIS | ANALYSIS OF EXPERIMENT-4-2-1 (1)
We overlapped those three illustrations we shown before, trying to compare the change of the surface of those three different positions, and the movements of the selected points when the angle gets smaller and smaller. The general movements of the selected points are generated by the external forces(from the frame) and the internal forces(resistance of woven net and the friction between each strip). When the angle became smaller, the resistance of the whole system would be bigger, and the highest corner of the woven net got higher.
// Stage2 SPECIFIC EXPERIMENTS AND ANALYSIS | ANALYSIS OF EXPERIMENT-4-2-1(2)
Local Movements of the contact areas (between strips) We selected the triangular area to look into the contact areas of every two strips. The illustration below is the visualization of the local movements of the contact areas. As we pushed the edge y, we found that all the strips will slightly move. When the angle between edge x and edge y decreased to 73 degrees, we got position 1. The movements can be seen from comparing position 0 and position 1.
We selected the triangular area to look into the contact areas of every two strips. The illustration below is the visualization of the local movements of the contact areas. As we pushed the edge y , we found that all the strips will slightly move. When the angle between edge x and edge y decreased to 61 degrees, we got position 2. The movements can be seen from comparing position 0 and position 2.
We selected the triangular area to look into the contact areas of every two strips. The illustration below is the visualization of the local movements of the contact areas. As we pushed the edge y, we found that all the strips will slightly move. When the angle between edge x and edge y decreased to 52 degrees, we got position 3. The movements can be seen from comparing position 0 and position 3.
General movements of the selected points The points we selected can be seen from the image above. The edge points are the upper right corners of the contact areas between the frame edges and the strips, the others are the upper right corners of the contact areas between strip and strip. As we pushed the edge y , there will be movements of these points. The illustrations below are the visualizations of the movements on the xy plane and the xz plane.
/ METHOD: COMBINE SYSTEM
// System Update
// Stage3 FABRICATION, CONSTRUCTION AND SCENARIO
/ LEAF / Sculpture * 2009 Spring * Solo Work
// DISCOVER BY TRYING TO IMITATE // KEY WORDS: WAX, LEAF, CURVING
/ LEAF / Sculpture // Introduction
“JUST WANT THEM TO BE ALIKE SOMEHOW� I really like the leaf when it gets to dry and curve. In this work, the only task for me is to find a way to deal with a kind of material and use it to mimic leaf. I decide to use translucent material to make my sculpture. However, to find proper material is quite difficult, because I must take many things into consideration: the hardness, the color, the easiness to adhere, etc. After several experiments, I decide to put the plastic fabric into melted wax. Several minutes later, it becomes just what I want.
/ DISCONTINUED CONTINUITY / Villa Design * 2008 Fall * Solo Work
// DISCOVER BY MODELING FROM 2D // KEY WORDS: 2D “PANEL”, MATERIAL, CONTINUE, DISCONTINUE
/ DISCONTINUED CONTINUITY / Villa Design // Introduction
//Stage1 Geometrical Transition: Response to the Context
//Stage2 How to “Continue”: Models with Different Material
"Only nature is truly continuous. The builders of buildings must contend with construction in parts. ..... Man is finite and so are his products." ----Reiser+Umemoto
This villa sited among the houses that were build almost 60 years ago. And this area is in the center of Beijing. When I started to think about the relationship between the new and the old, I decided to “insert” my villa as a transition between the two houses. The “transition” here can be considered geometrically.
I started from working with physical models of different material. They were all from 2D(flat) to 3D. It is interesting because I started to discover the relationship between the way I manipulate the material and the spatial performance it came out.
//Stage3 Discontinued Continuity: If the Material is Hard
From this step, I started to “make model” with computer. Since I decided to use hard panels to develop the “soft transition”, I have to make many tryouts to obtain the geometry.
When the panels were available, the space in-between were also under my consideration.
//Stage4 Discontinued Continuity: Triangle Panels
I did a lot of triangle-panel-models to explore the spatial form. On the other hand, this process is reversible. When I put all the triangle panels together onto a piece of paper, the rhythm of the space came out in another “language�.
//Stage5 Discontinued Continuity: Model
//Stage5 Discontinued Continuity: Drawings
Section A-A
Section B-B
Section C-C
/ CLOTHES THAT CAN PROTECT / Emergency Capsule * 2009 Spring * Collaborate Work * Collaborators: Liu Tingting, Niu Zhiyu, Shi Bingjie, Xie Weilong
// DISCOVER THE SECOND SKIN OF HUMAN ---- CLOTHES // KEY WORDS: EMERGENCY, CLOTHES, PROTECTION
/ CLOTHES THAT CAN PROTECT / Emergency Capsule // Introduction
This project aims to create a portable inhabitable space. It starts with the most intimate layer, clothes, that contains a human body. It reads clothes as the protective buffer between human body and exposed environment. Extensive spatial possibilities emerge from the manipulation of the clothes. The hidden space becomes visible and inhabitable by operating a complex zip system. The double layered structure even opens more opportunities, from compressed condensed condition to released loose condition. The combination of units can construct a larger whole as a community.
/ How far can clothes go for protecting human being? ---the clothes with structure / The extending personal clothes
// Comment Clothes are the most intimate layer sheltering human body, the structure of which is both protective and flexible. The design of “Emergency Capsule� responds to the different levels of consciousness during the crisis by shifting the scale from body, to shelter, to container.
/ How far can clothes go for protecting human being? ---the shelter can move / The extending shelter for several people
/ How far can clothes go for protecting human being? ---a capsule block / The extending blocks
// Models in process
The double layered structure with bind belt inside can provide a space for people. As clothes, it can also buffer the crash to human body.
/ THE SHAPE OF SUNSHINE / Residential Design * 2010 Fall * Solo Work
// DISCOVER WHAT ELSE CAN BE DONE OTHER THAN THE CODE FOR SUNLIGHT // KEY WORDS: CHINESE RESIDENTIAL CODE, SUNLIGHT
/ THE SHAPE OF SUNSHINE / Residential Design //Stage1 Response to the Context
The site is among a large residential area. In the process of urban renewral, I choose to extend the context into my site. On the other hand, this kind of urban context has something related to the Chinese Residential Code for the sunlight. The restriction of the sunlight has been represented into the distance between the residential buildings. Moreover, the houses that face the south are always considered to be the best orientation. Thus, the sunlight actually has “made� our urban context.
//Stage2 Get Started From the Basic Block of Daily Life
Daily Life Block
Combine
//Stage3 Insert the In-between Garden: Natural Infiltration
Building Scale Block
Original Building Block
Separated Building Block
// Stage4 The Shape of Sunshine The Green Infiltration
// Stage4 The Shape of Sunshine: The Process of Formulating the In-between "Garden"
// Stage5 The Shape of Sunshine Drawings
First Floor Plan