Portfolio | Xiangdi "Diz" Wang | Draft Version 2016

Portfolio

Xiangdi “Diz” Wang

5th Year Bachelor of Architecture, California College of the Arts

THE GALLERY “UNDERWATER” - Crissy Field, San Francisco Museum of Bay Area Figurative Art is located next to the Presidio Parklands in San Francisco. This museum design incorporates with the metaphor “underwater” - a serene spatial experience that is quiet and peaceful, with ambient light filtered from the water surface above. As visitors approach and enter different parts of the museum, one would experience different space vibes, like different stages of the movement of immersing into the water. The various spatial qualities are achieved through the control of the natural light entering into the space.

Integrated Bldg Design Instructor: Kristen Smith Ryan Keerns

The gallery spaces in the museum are naturally lit from the roof. The roof of each room is a four-direction light reflecting system. It introduces soft natural light into the space in order to achieve the bright and tranquil atmosphere while protecting the artworks. Also, the ripple form of the roof further complements the metaphor and extends the underwater atmosphere visually.

Partner: Joy Fu CCA Fall 2015

DESIGN INTENT

MAIN GALLERY SPACE

MUSEUM LOOKING FROM THE LANDSCAPE

AXONOMETRIC

LEVEL 1 PLAN 1/ 100” = 1’ - 0”

LONGITUDINAL SECTION 1/ 50” = 1’ - 0”

3/4” INSULATED GLASS WATERPROOFING MEMBRANE ALUMINUM SHEET RIGID INSULATION CORRUGATED METAL DECK PRIMARY BEAM STRUCTURE ALUMINUM SHEET DRY WALL

DRY WALL 3/4” PLYWOOD (2)

PUBLIC PROGRAM | CORRIDOR | COURTYARD

AXONOMETRIC STEELFRAME STRUCTURE

-2”-1” 0

3”

6”

1’

2’

3’

WALL DETAIL 3 Scale 1 /4” = 1’- 0”

18

17 WATERPROOFING MEMBRANE

PRIMARY BEAM

METAL SHEET RIGID INSULATION 3” CORRUGATED METAL DECK

WALL DETAIL 2

CONCRETE PANEL BOLTED ONTO STEEL COLUMN

WALL DETAIL 1

WALL DETAIL 3

ROLLER BLIND

3”

3/4” FLUSHED GLASS

PRE-CAST CONCRETE PANEL

5’

DRAINAGE SYSTEM LIGHT FIXTURE SEMI-RIGID INSULATION VAPOR BARRIER PLYWOOD SHEATHING

-2”-1” 0 0 2” 6”

1’

2’

4’

SECTION Scale 1 /16” - 1’

3”

6”

1’

2’

3’

-2”-1” 0

3”

6”

1’

2’

3’

8’

WALL DETAIL 2

WALL DETAIL 1

Scale 1 /4” = 1’- 0”

Scale 1 /4” = 1’- 0”

HOTEL: ART INCUBATOR - Chelsea, New York City URBAN studio | Culture + Time CCA B.Arch Studio 3 Instructor: Andrew Kudless Fall 2012

CCA Jury Prize Nomination (Best in Class)

This is an innovative hotel sited in New York City’s gallery district. As an “Art Incubator”, its unique hotel program utilizes the correlation between art and general public as producer and consumer -- it allows art creation, exhibition and hotel lodging to happen within one floor. This hotel consists of several stories of loft space. Each story houses a series of rooms sliding on the rail. These sliding rooms subdivide the floor space into different units of art-related space and lodging. The subdivision defines the size of each unit, adjustable to accommodate the needs of artists at various stages -- from art composing to exhibiting. It also creates hotel rooms of different sizes for hotel customers in various classes. This mobile space system allows a variety of spatial arrangements so different events and relationships between art connoisseurs and art will be formed. Different uses, from an artist studio, to exhibition, to a themed hotel room, may take place at the same spot.

In terms of culture, its flexibility respects the ever-changing function and usage in the building space, especially in Chelsea - the post industrial art neighborhood. Hotel: Art Incubator takes a critical stance on preserving art culture in the neighborhood against commercialization and gentrification through creating a bond between art and the visitors staying in the area. By situating the hotel customers in front of the art and art’s life cycle, lodging becomes a unique experience. The sponsorship for art is therefore enhanced.

CHELSEA NEW YORK CITY Chelsea District has a distinctive character due to its culture, history, zoning and urban change over TIME. Chelsea is New York's premier contemporary-art district. It was an edgy, semi-industrial patch before it was colonized by adventurous gallerists in the 1990s. Today, it is the most famous gallery district in the world. It is also a well-known case of post-industrial urban transformation that brings the neighborhood prosperity. The Highline Park that penetrates Chelsea is a classic adapt-reuse design as it turns the abandoned railway bridge into a linear elevated park. Nowadays, the Highline is the most trendy and romantic spot in NYC. It attracts all kinds of visitors to the area.

NEIGHBORHOOD SECTION

LOFT SPACE

The bottom mapping unveils two zones in Chelsea: galleries in the west and the residential buildings in the east. The High-Line traverses the art area (as it was the former railway bridge connecting the industrial buildings with loft space). The area farther to the north is the post industrial site that isbeing planned for the new development.

CHELSEA

4

SCENE -landscape condition WALKWAY

the High Line

PLAZA

>2000

THICKET

< 1930 PARK

1970-1999

“PRESSURE” building HEIGHT

1950-1969 1930-1950

4

> 12F

8F-12F

3 2

5F - 8F

FLEXIBILITY

Gallery

20ft

FACTORY

School LOFT SPACE

20ft

LOFT SPACE

Luxury Apartment

As Phase 3 of the Highline is in progress, soon an enclosed green belt will frame the gallery district. The length of the loop is a perfect jogging and biking route with spectacular views and the opportunities for numerous activities. There is also a great business potential near the site.

However, this potential may be harmful to Chelsea’s character, which will be disussed next.

LOFT SPACE

RESIDENTIAL

Luxury Apartment

Proposed Site

‘ORGAN’ -program

LIVE / WORK

LIVING SPACE

LOFT SPACE

GALLERY INDUSTRIAL(future RESIDENTIAL

the Factory - Andy Warhol

EMPTY LOT on going construction RE-CREATION

Proposed Site

Old Apartment

OFFICE/ COMMERCIAL HOTELS FITNESS

GALLERY

LOFT SPACE

luxury apartment

‘ARTERY’ -green belt the HIGH LINE

old apartment

Hudson River Green Bay

FUTURE DEVELOPMENT

LIVING SPACE

LOFT SPACE

Building type + the changing culture

The buildings confronting the Highline

Chelsea’s typical building space still serves the programs inside after nearly a century of multi-stage urban transformation. The space supports the transformation because the typical loft space can be occupied for different usage and converted according to needs.

Loft space has tall and open-yet-simple spatial qualities.

Within two blocks of the site, between the HL and the surrounding buildings, there is a series of horizontal and vertial relationships. The earlier factory buildings tend to isolate the bridge and include outdoor spaces like balconies at different levels than the HL. The new buildings are more likely to lean towards the HL as today’s HL is appealing. The open spaces of the new buildings are not situated next to or touching the HL due to the stream of crowds it receives everyday. There is no building yet connecting to the HL.

RESIDENTIAL

OFFICE

GALLERY

Typical loft spaces

< 3F

YEAR OF THE BUILDING

2

1”=1/1000’

STANDARD HOTEL

1 New Whitney Museum

1

1

BUILDING HEIGHT

AGE OF THE BUILDING

The buildings are taller and closer to the Highline as they “squeeze” towards the Highline near the site (22nd ST - 25th ST). The Highline’s renovation and the buildings built at vaious periods of time respond to each other and form different sections.

The majority of the buildings were built before WWII. Very few buildings were built recently. Most of them are near the waterfront and the Highline. The majority of them are offices, hotels and high-end apartment buildings. A few of them are near the proposed site.

PROGRAM - GALLERY, RESIDENTIAL + the GREEN BELT

Gallery

WAREHOUSE

3F - 5F

the High-Line

SOCIO-CULTURAL ISSUE in EVOLVING ART DISTRICT The project site is at the intersection of the High-Line and 23rd St-- the street that is famous for the top galleries. As the gallery axis is on the ground floor and the HL axis is elevated, those two axes don’t physically meet. There is an opportunity to introduce two axes into the building, or the building program extends and expands into the axis, thus the hotel becomes a connector between two hot and distinctive spaces.

However, beyond architecture, the social issue such as gentrification occurs in the urban scenario like Chelsea. Those issues are a part of the context and they are ever-changing. At this time, the context can be appealing but tomorrow it could transform to another scene that is undesired. In the other hand, the site is at the crucial node that is in fact a gap between the public and the art realm. Any design strategy or design move--even a small decision, will accidentally and greatly transform the surrounding environment.

TODAY

CHELSEA’S CULTURAL CRISIS EXPENSIVE OFFICE / LIVING

galleries move out to cheaper place

$$$

GALLERY

GALLERY

$$$

$$$

$$$$

GALLERY

GALLERY

GALLERY

GALLERY

$$$ GALLERY

GALLERY

TOMORROW

$$$$

$$$$

$$$ program moves in e.g. boutique

$$$$

$$$$

Gentrification, or more specifically Chelsea’s commercialization caused by the popularity and the rising land value, is gradually squeezing the galleries-- the heart of Chelsea local and remarkable culture-- out to cheaper area outside of Manhattan.

$$$$

$$$$

$$$$

$$$$

$$$$

LUXURIOUS SPACE GALLERY

LUXURIOUS SPACE LUXURIOUS RETAIL

Due to the fame of the gallery district as well as the distinctive modern and arts vibe in the neighbourhood, the land price is high. The recently opened HL Park adds more value and crowds to the neighbourhood, which accelerates the gentrification.

Responding to the potential of designing the hotel as the connector of the HL and the gallery street, this move may pour more tourists, rather than art lovers onto the street, and thus stimulating the transformation of the retail and other business replacing the galleries. The scene of the art environment may be lost.

HISTORY SoHo in NYC also sets a precedent for Chelsea’s future. Chelsea has the same background and the temporal situation as SoHo. In fact, Chelsea’s transformation is following the stage SoHo has been through.

SoHo is successful as it is the most well-known hi-end shopping district in the world. However, in my opinion, NYC does not need the second SoHo. The city and the culture will be more beneficial for maintaining a world class art district.

DESIGN PARTI

INITIAL YESTERDAY TODAY TOMORROW PROGRAM (ANTICIPATED) INDUSTRIAL GALLERY COMMERCIAL

INDUSTRIAL GALLERY INITIAL YESTERDAY PROGRAM

The relationship between connoisseur and art

INCUBATOR

PUBLIC

SOHO

(COMPARISON)

CONNOISSEUR SUITE

FILTER

HOTEL

COMMERCIAL

TODAY TOMORROW (ANTICIPATED)

CHELSEA

$$

$$

ART SPACE

GALLERY

ART INCUBATOR

EXTEND

HL GALLERY

GALLERY

GALLERY

$$

DESIGN STRATEGY of HOTEL PROGRAM In terms of the design, I try to challenge this hotel as how an architecture can do the best for the society. Ideally, the hotel will not only be beneficial from the local culture and the context, but also help resist the decline of the culture, consolidate and eventually bolster it. It celebrates the context by extending the High-Line and the gallery district into the building thus the hotel becomes a connector. As the two axes are connected, though visitors on the HL will need to climb on another floor for the access to the street. Or they have to go through the the hotel’s gallery.

Hence the hotel also becomes the filter limiting the random crowds flowing onto the gallery street and raise the land value.

Other than having passive design strategy dealing with the challenge, the hotel program is also designed as an “ART INCUBATOR”. This concept bases on the interdependent relationship between art connoisseur’s art consumption and the artist’s creation. The artists demand support, funding and the appreciation from the art consumers-from people who pay the gallery ticket to those who bid the artwork. Artists need the space to make art and show art, too. Meanwhile, the art fans appreciate and consume art. Literally Hotel: Art Incubator establishes this interdependent relationship as a platform, a capital flow cycle, and a physical space. It helps to form a stronger art industry, and maintain the neighbourhood as gallery district against other businesses.

$$ HL visitor

SOCIAL IMPACT

PUBLIC

GALLERY

GALLERY GALLERY GALLERY GALLERY GALLERY GALLERY GALLERY GALLERY GALLERY

THE HOTEL PROGRAM AS INCUBATOR SPACE

MASSING PROGRAM

Main hotel space -“incubator” space PULL the volume to the maximum according to the setback code

-

Public -Restaurant + Gym

- Hotel space - Public - Gallery

Gallery Open space -the adjacent High-Line

CONNECT THE HL

Main hotel space

PULL the volume to the edge of the building site as maximizing the indoor space PULL gallery to the upper level to the HL level

-

PUSH the building volume inwards to create plaza next to the HL

-

Gallery

Public

Open space/ Void -open plaza in the hotel

Gallery -Opening in front of the HL -CONNECT TWO AXES

This is an in complete draft. The shift from the traditional hotel to the hotel plus art incubator is realized through the flexible / indoor mobile space design.

An art incubator is undestood as a space that houses both hotel lodging and art activity. By spatially gathering art fan’s living space and art space together, the interaction of the art fans with the artists, art space, and the art is encouraged. The business model and the capital flow is also established as the income of hotel $$ rooms pays off the money for the artists and the art space to create art.

However, the difficulties to realize such a space would be to decide the dimension of each individual unit.

For different media of art and each specific case, the studio space and the exhibit space requirement varies drastically, from a graffiti artist that only occupies a small part of corridor to compose on the wall, to a sculpturer that needs a classroom size space to place a larger installation piece. The permanent subdivision of the floor space may not cater the need of all the invited artists and activities at one time.

Learning from Chelsea’s typical building space-- the loft space, its flexibility enables the unit to expand and shrink by having and changing the partition either temporal or more permanent. As a result, the space can adapt various programs at various scale from art activity to living. The incubator space design refers to the loft space.

Eventually, the incubator is realized as a flexible space thus the each floor can be subdivided and converted into units of suite or art space in any size according to the need at the time. A system of mobile space is developed. On each floor, there are mobile cabins running on the rails, two of them on each track, moving in one direction. The cabin becomes the private and enclosed room of the unit while the surrounding space framed by partitions becomes the secondary space of that unit. The character of the secondary space tends to be semi-private and more open to the neighbors and visitors. As each cabin ismoved to the spot, the space is then defined. The program, arrangement and the number of units of the entire floor is determined by cabin’s position combination.

Other than moving the cabin to create flexibility, the cabin itself can to merge into another one and become a larger indoor space.

a random unit’s flexible dimension

CABIN’S FLEXIBILITY: OPEN AND MERGE program:

SETBACK (AIR-RIGHT)

$$

S-SIZE

Main hotel space PUSH the volume inwards after certain height above the ground following the High-Line’s air-right code - PULL the volume out for the view above the HL following code of allowing cantilevering over the setback rule with innovative program

LIVING

ART S-SIZE

-

Public

Gallery

Open space/ Void -extend to 3rd floor ONE UNIT

NATURAL LIGHT Main hotel space

PRIVATE e.g. bedroom

FLEXIBILITY ON ONE FLOOR

SEMI PRIVATE e.g. living room

BEDROOM M-SIZE

PAINTING STUDIO M-SIZE

Public

PUSH the exterior wall inward to enable window openings PUSH the upper volume inward for getting natural light to the plaza -

Gallery Open space/ Void

PLAZA

BEDROOM + LIVING ROOM

SCULPTURE STUDIO

L-SIZE

L-SIZE

SUITE

GALLERY

Main hotel space

-

PUSH the hotel program up responding to the plaza space

Public

the push reduces FAR to meet the planning code

Gallery Open space/ Void -CONNECT TWO AXES

ROOMS ON RAIL SYSTEM (PLAN VIEW)

(in progress of editing)

LONGITUDINAL SECTION B-B 1’=1/20”

SOUTHEAST ELEVATION 1’=1/20”

SOUTWEST ELEVATION 1’=1/20”

NORTHEAST ELEVATION 1’=1/20”

SCENARIO - FLEXIBLE SPACE IN SECTION ROOF WITH TRUSSES +128’

How come? come? John John How Lennon Lennon died died so so many years years ago ago many and and this this hotel hotel is is brand new! new! brand

That couple couple That was was here here ;D ;D

Wait, Wait, “Bed-peace” “Bed-peace” didn’t didn’t happened in in happened here here right? right?

Haha..

Haha.. just just kidding. kidding. But But Mrs. Lennon Lennon was was here. here.

Mrs.

AFTER SHOW / THEME SUITES 10F

ARTSHOW + LODGING 9F

Affirmative.

Affirmative. Now Now we we are are going going to to the elevator. elevator. Ready Ready to to receive receive art art the work #4785, #4785, Dia Dia Center?

Center? work

+116

I like like his his work. work. Can Can you you I contact contact this this architect? architect? I I want him him to to put put an an want installation in in my my new new installation restaurant restaurant Yes, boss. boss.

Yes,

+104’

I want want to to do do something something different different this this time... time... I I I should should go go check check out out those those young young people‛s people‛s work work at the other galleried down the street now. at the other galleried down the street now.

Shhh...y Shhh...y some some artists artists are working working next next door door are

My boyfriend boyfriend does does art art on on computor computor My My girlfriend girlfriend likes likes sunshine sunshine My

COMPOSING ART 8F

+92’ OMG..AWW.. I I AM AM OMG..AWW..

YOUR YOUR BIG BIG FAN! FAN!

Welcome to the hotel in Chelsea ya..(music)

MEETING ARTISTS 7F

+80’ Let’s Let’s go go check check those out out at at those Chavuitton SoHo! SoHo! Chavuitton

wow wow That That is is gorgeous! gorgeous!

BIG EVENT 6F

Yeah..the Editor Editor Yeah..the doesn‛t like like the the doesn‛t stuff from stuff from this this season.. season..

+68’ Thank Thank you you for for finding finding this this room! room!

We are are right right above above We e spot spot we we first first met met e on the the High-Line High-Line <3! <3! on I love you Honey I love you Honey

FLEXIBILITY 5F

cc

ITS ITS NOT NOT GONNA GONNA BE BE ON ON MY VOGUE’S VOGUE’S COVER! COVER! MY

Not so so long... long... Until Until our our Not team finish finish the the 425 425 team Park competition Park competition

Haha.. Interesting Interesting Haha.. story. story. How How long long will will you guys you guys stay stay here? here?

+56’

I got got a a lecture lecture I tomorrow at at tomorrow GSAPP... I I will will GSAPP... head back head back to to San Francisco San Francisco tomorrow. tomorrow.

And And to to come come and check check and out this this out hotel? Haha Haha hotel?

Well this this floor floor is is Well COMPLETELY COMPLETELY DIFFERENT THAN THAN DIFFERENT HALF HALF YEAR YEAR AGO AGO !!

Ps3-SEC-COMIC.ai

Chavuitton SoHo!

wow That is gorgeous!

SCENARIO - PUBLIC PROGRAM IN SECTION BIG EVENT 6F

+68’ Thank you for finding this room!

We are right above e spot we first met on the High-Line <3!

I love you Honey

FLEXIBILITY 5F

Not so long... Until our team finish the 425 Park competition

I got a lecture tomorrow at GSAPP... I will head back to San Francisco tomorrow.

And to come and check out this hotel? Haha

Well this floor is COMPLETELY DIFFERENT THAN HALF YEAR AGO !

Haha.. Interesting story. How long will you guys stay here?

+56’

This fusion music is fantastic

FOOD+DRINK 4F

cc

stuff from this season..

I love them They just graduated from Juliard School...

How young!

+40’ IT IS RELAXING TO HAVE A MEDITATION AFTER CHECKING OUT CHELSEA..

FEELS GOOD

PLAZA, GYM +24’ Roger that.

We are ready to receive it.

Just be careful and good luck!

FACILITY 2F

+12’

GALLERY, FACILITY 1F

+0’

SECTION C- C (LOOKING SOUTH) 1’=1/8”

B C

10F

C

A

A

B WC

10F

9F

SITE PLAN

1’=160”

HOTEL LEVEL 1’=1/40”

8F

SITE SECTION A-A

9F

7F

8F

gym

6F cafe

gallery

5F

HIGH-LINE LEVEL

7F

1’=1/40”

4F gallery

6F

3F

2F

+ 1F

STREET LEVEL

WALL SECTION -SLIDING MODULE

5F

The Mission District in San Francisco is a vibrant neighborhood with diverse demographics including original Hispanic residents, hip youngsters, artists and Silicon Valley IT workforces.

02 - HOUSING Studio | Demographic + Collectivity

MeSSION Terrace - the Mission, San Francisco

CCA B.Arch Studio 4 Instructors: Mona El Khafif, Craig Scott Spring 2013 CCA Jury Prize Nomination (Best in Class)

This housing design, MeSSION Terrace, reacts to the Mission’s demographics and the culture of various races. It aims to provide desired dwellings for various types of household. Meanwhile, the design concept celebrates and brings the Mission’s diverse community into the apartment complex. Other than the ground public space, a double layer bridge structure weaves in between every two apartment blocks and connects each unit with linear elevated garden and “flex space” units.

A collective thought has been applied to the design strategy that porosity, individual terrace and public space are equally maximized for every apartment unit. This is realized through a series of shifting movement. Each unit owns an individual sun deck or yard and gains access to both ground and elevated gardens. Potentially “flex space” can join the residential units and expand the space like an addition. They alone serve as live/work studio with independent access to the public. The loft units that share the side wall are lit by lantern skylight--the sunken window on the ceilings. The lanterns situate underneath the stairs of the upper apartments. The dead space underneath the stairs are utilized to provide natural light for the lower units.

Eventually MeSSION Terrace defines an unprecedented yet constructible block-bridge-block housing typology.

This typology opens the possibility of utilizing the space above the open space. It provides extra open area and indoor space. In the other hand, it bonds the residents altogether and help form the community, which is the opposite of the isolated neighbor relationship that exists in residential housings. Eventually, MeSSION Terrace elaborates a complex housing system and hence aims to house a diverse yet vibrant urban lifestyle.

THE MISSION San Francisco

DISTANCE CIRCLES

DURATION OF ROUTES

URBAN ZONING SECTORS

PROGRAMS WITHIN

REAL DISTANCE ON THE ROADS

DIRECTIONS OF THE PROGRAMS

BA

BA

FINANCIAL DISTRICT

BA

BA

BA

BA

SHOPPING

Federal Building - Gov. Office 15 min 40 min 17 min)

BA

BA

WORK DOWNTOWN

MIX USE

Adobe (HQ) 9 min 33 min

DESIGN DISTRICT

RESIDENTIAL TRANSIT ORIENTED

WORK-

BA

:)

:)

LIFE MISSION

COMMERIALTRANSIT-

GREENGROCERY-

P

1 mi

1.3mi

A

BA

HIGHWAY-

MISSION

0.5mi

Creativity Explored, - Art, Community 9 min 26 min

BA

BA

GG

R

FITNESSGARAGEZIPCAR-

Mission Cliffs0.4mi : -) Bouldering : ) 2 min 8 min

:)

:)

P

R P

GG

R

BA

Organic Food 1.1mi 10 min 25 min

Shuttle - Silicon Valley 3 min 10 min

0.5mi

+ A BA

RESIDENTIAL

WORK INDUSTRIAL

INDUSTRIAL

60 MIN 20 MIN

Mission Cliffs

on Valencia

to Doleres Park

Valencia Cyclery

21

15 min 40 min

N 0

0.25

NORTH - BOUND

22nd St

Foreign Cinema -$$$Food

Valencia St

Bike Kitchen (bicycle)

the Mission -Bar

HOSPITAL

Secret Studio -Gallery

Mission Eatery Philz -$$Food Coffee

DAILY NEED

Market

Mission Skateboard School

0.25mi

Church

"29!.4

(!22)3/.

&/,3/-

23

Harrison St 23rd St

Valencia Cyclery 0.8 mi 15Min 6 Min

Mission Cliffs (rock climbing) 0.4 Mi 8 Min 2 Min

22

3 6!.%33 !6%

Private Shuttle -Work

R P

Bike Kitchen

HIP

Aquarius Records

AA

10 min 25 min

WORK SILICON VALLEY

STREET UNFOLD

Laszlo -$$Bar

GG

R

3 min 10 min

30 MIN 10 MIN

LIVING CIRCLE - THE FIRST RING

A A

R P

BART

BART

A

P

1.5mi 2 mi

1.7mi

Folsom St

24th St

Mission St

Facebook Shuttle Stop 0.4 mi 8 Min

A Gallery 0.5 mi 10 Min

4 Min

24th St

Philz Cafe 0.2 mi 4 Min

Secret Studio (Gallery) 400 ft 1 Min

Google Shuttle Stop 0.4 mi 8 Min

Mission Eatery 0.2 mi 4 Min 1 Min

Mission Bar 0.5 mi 10 Min 4 Min

Foreign Cinema 0.7 mi 14 Min

TEENAGER

EAST - BOUND (Shortcut) 23rd St

SOUTHEAST - BOUND Treat St

24th St

(23rd St) Casa Lucas Market 0.2 mi 5 Min

La Palma (grocery) 0.3 mi 6 Min

Potrero Ave

Soccer field

0.5mi

Laszlo ($$bar) 0.7 mi 14 Min 5 Min

NORTHWEST - BOUND

Community Center

24th St

10 MIN 3 MIN

Aquarius Record 0.8 mi 16 Min 6 Min

SOUTH - BOUND

Mission Skateboard 0.1 mi 2 Min

the Mission Districtâ&#x20AC;&#x2122;s DEMOGRAPHICS Hipster/ bike rider Techie Senior New immgrant Teenager

St. Peters Church 0.5 mi 11 Min

Good Samaritan Community Center 0.5 mi 11 Min Garfield Square 0.4 mi 8 Min

St. Peters School 0.5 mi 11 Min

Potrero Ave

SF General Hospital 0.6 mi 12 Min

Residential Commercial Transit Districts

:)

ENTERTAIN/SPORTS

Urban Mixed Use

G

GROCERY

Downtown Office

BA

BART

Residential Industrial Open Space

Alabama St.

25th St

HIGHWAY

Commercial

R P

CAR RENTAL PARKING HIGHWAY

CONCEPT AND PARTI

PROPOSED UNIT TYPE

PRECEDENT STUDY

Hipster/bike rider Techie

INITIAL DESIGN PARTI

COMPACT STUDIO LUX STUDIO

DEFINE UNIT TYPES

Senior New immigrant Teenager

STUDIED GROUP

SINGLE-FAMILY DUPLEX-FAMILY

PROPOSED UNIT TYPES

STACK SIMILAR UNIT TYPES

SKIN SYSTEM A VIRTUAL CONNECTIVITY

UNIT TYPES

in section

CRITICISM AGAINST THE PRECEDENT STUDIO S

STUDIO L

DUPLEX

SENIOR

SINGLE-FAMILY

The use of the vertical stacking strategy tends to spatially segregate the diverse demographic groups into different communities on each level

BIND DIFFERENT UNITS

STACKING

GENERATE DIVERSE COMMUNITY STACK DIFFERENT UNIT TYPE

PROGRAM ARRANGEMENT - IN PLAN ROOF

3rd LEVEL

2nd LEVEL

GROUND LEVEL

CORNER STORE MUJI URBAN OUTFITTER or APPLE STORE

QUIET

LIVELY

E

C

F

D

MUSIC SCHOOL “CCMusic”

QUIET

$$

VIEW GREEN A

B

ADMIN

BIKE WORKSHOP

LIVELY

APARTMENT BLOCKS

BRIDGE/ BONDING

FLEX UNIT (UNDER THE BRIDGE)

PLUS PROGRAMS (PUBLIC)

SPATIAL RELATIONSHIP - IN SECTION BLOCK C

UPPER UNIT

BRIDGE GARDEN FLEX UNIT GROUND GARDEN

BLOCK D TERRACE

BRIDGE GARDEN FLEX UNIT GROUND GARDEN

LOFT UNIT

LOFT UNIT

BLOCK E

BRIDGE GARDEN FLEX UNIT GROUND GARDEN

BLOCK F

ELEVATION AND SECTION Facade system: a double layer mullion system that twists and creates openings in order to manpulate each unit’s privacy in front of the busy streets

Facade pattern reflects the flex spaces behind It results in an effect of their shadows projected in front

UNIT TYPE

LIVE/WORK/ ADDITION

YOUNG ADULT

ACCESS FROM THE BRIDGE

FLEX/BONUS SPACE 2F

LUX 2-3F

WEST ELEVATION 1’ = 1/40”

ACCESS FROM GROUND

LOFT 1F, 1.5F

SECTION A-A 1’ = 1/40”

STUDIO 4F

SECTION B-B 1’ = 1/40”

FAMILY Small

SINGLE FAMILY 3F

SINGLE FAMILY 2F

FAMILY Large

DUPLEX FAMILY 2-3F

DUPLEX FAMILY 1F, 1.5F, 2F

SECTION C-C 1’ = 1/40”

ELEVATION - MATERIAL, RHYTHM + LAYER

SECTION - APARTMENT UNITS

SECTION - FLEX SPACE + PLAZA

GROUND LEVEL 1’ =1/80”

2ND LEVEL 1’ =1/80”

3RD LEVEL 1’ =1/80”

4TH LEVEL 1’ =1/80”

INTERIOR - FLEX SPACE

SECTION SERIES 1’ =1/80”

AERIAL VIEW FROM NORTH - HANGING GARDEN

OPEN SPACE - GROUND FLOOR GARDEN

3RD FLOOR 1’ =1/16”

DETAIL-3RD LEVEL PLAN 1’=1/40”

03 - SITE Studio | Space + Form Conservancy Center at Lands End - Sutro Bath, San Francisco

CCA B.Arch Studio 2 Instructors: T. Jason Anderson, Jessica Lisagor Spring 2012 CCA Jury Prize Nomination (Best in Class)

This hillside building design is based on a series of accessible spatial strategies.

In this very first architecture studio, my goal was to figure out and gain a level of understanding of form and space --the physical essence of Architecture --through hillside building design assignment.

The proposed building, which serves as the conservancy center of Golden Gate National Park, sited facing the Pacific Ocean at the west end of San Francisco. The project site, as was previously Sutro’s botanical garden, declines from city’s periphery all the way down to the ruins of Sutro Bath in front of the sea. Flora and fauna takes over the land after the collapse of Sutro family’s business over time and now the area is a famous vista point for San Franciscans.

In my design, accessibility is the core concept. As the slope of the site has the gradient that is greater than handicapped-accessible ramp, to resolve the difficulty of establishing universal accessible space becomes the drive of the design. The stitching form becomes the solution that it stretches the slope length and retards the slope. In the plan, the building form can be seen as two “Z” shapes overlay and intersect with each other on the site. The shorter “Z” (with steeper slope) transforms to the interior space; and the longer “Z” (with slighter slope) becomes exterior circulation.

The exterior pathway cuts the interior space and divides it into separated spaces. The programs are placed into each subdivided space according to the demand for public to access.

The Conservancy Center is equipped with an indoor elevator from upper to middle level to achieve universal accessibility . The outdoor space is, however, fully universal accessible and provides the road to the water front on the bottom of the slope 24/7 hand hence replace of the existing hilly dirt path. In terms of respecting the nature, the whole building bridges above the site to to certain extend preserve the existing natural condition. The building and the outdoor path also provide the opportunity for the visitors to take a closer look at the exotic plant species. Potentially, visitors can also get off the building and get on the land, too. The Conservancy Center acts as a threshold, or a

E S IT THE F O SLO PE

AMP

ACCESSIBLE R

PRECEDENT HILLSIDE BUILDING STRATEGY

DESIGN STRATEGY

BUILDING TYPOLOGY AS BRIDGING, STITCHING, CANTILEVERING.

CIRCULATION BRIDGE HOUSE Stanley Saitowitz | Natoma Architects

ROMAN QUARRY REDESIGN

BOH VISITOR CENTER

AllesWirdGut Architektur

ZLG Design

MASSING

MAIN CIRCULATION 2NDARY CIRCULATION

PLAN

EXTERIOR PATH

INTERIOR PATH

SECTION

BOOKS PERSPECTIVE

R ES EA

TORE /

C AFE

RCH /EXHIBIT SPACE LIBRA RY

STUDY MODEL

ATRIUM

LIBRARY

The critical study models from a series of 12. They help a exploring and explaining the relationship of the building and the land.

CUTTING

STRUCTURE CUTTING

BOOKSTORE RESEARCH

ATRIUM

CAFE

EXHIBIT SPACE

LIBRARY

Section aa- through the lower space

Plan - lower level

Upper floor “back side”

Section bb- through the mid space

Section cc- through the upper space

Plan - mid level

Plan - upper level

Mid floor “front side” with the outdoor path slicing through

Roof plan

INNER LAYER

FACADE STRATEGY Double layer facade

REFERRENCE (spatial quality) Kunsthaus Bregenz Austria Designed by Peter Zumthor

OUTER LAYER: Structural support -HEAVY INNER LAYER: Diffused light filter -LIGHT

OUTER LAYER

Napa County

BAY AREA WATERSHED - ECOLOGY RESEARCH

Sonoma studio MUMI - METABOLIC URBANISM Mare Island County

BAY AREA WATERSHED SYSTEM

Solano County

McC loud

Sacramento River Watershed

Sacramento River Watershed the r

Sacrame

nto

Sacramento River

Fea

Napa River

Suisun Marsh

40%

ba

Yu

an

ric me

A

San Juaquin River Watershed

Grizzly Bay Mare Island San Pablo Bay

Marin County

the Delta

San Francisco Bay Watershed

Tulare Lake Basin Watershed

the Delta

nes sum Co elumne Mok as er Calav s stau Stani umne Tuol ced Mer r Crk Bea no Fres Joaquin San Kings

San Juaquin River Watershed

Kern Tulare Lake Basin Watershed

FRESHWATER SUPPLY - THROUGH AQUEDUCT BAY AREA

Carquinez Strait

Central Bay North

San Joaquin River Contra Costa County

The broad blue-green water body in the center of it all—San Francisco Bay—provides Bay Area residents with their inimitable sense of place and iconic geography. Underneath the water and at its surface, in its wetlands and watersheds, the Bay is also habitat for hundreds of species of fish and wildlife, including several endangered species and the multitudes of birds that reside here or migrate along the Pacific Flyway of North America. It is San Francisco Bay that defines a world-renowned tourist destination and supports a thriving state and local economy, enabling our region to be a global center of water-borne commerce and providing an enviable quality of life for over 7.5 million residents.

San Francisco Bay Watershed

NATURAL WATER SOURCE - BAY AREA WATERSHED

TWO ESTUARIES FLANKING MARE ISLAND Napa River

£ ¤101 Central Bay Golden Gate

San Francisco San Mateo County

ZOOM IN THE NORTH BAY

0.25 MI

BAY AREA WATER SYSTEM From a glance on the geographic Alameda map, one can easily tell where and which river County or creek the water is from, where the water is going to (into the bays), and from where the water flows into the ocean.

2 RIVER SYSTEMS WIDTH OF THE OUTFALL Napa River

Carquinez Strait Sacramento River + San Joaquin River

OUTFALL WIDTH

0.6 MI OUTFALL

DISCHARGE

Napa River

210 cu ft/s

210 cu ft/s

210 cu ft/s

Carquinez Strait

35110 cu ft/s

Sacramento river 30000 cu ft/s

+

35110 cu ft/s

DISCHARGE VOLUME

San Joaquin river

5110 cu ft/s

MARE ISLAND

BAY AREA WATERSHED

AT GOLDEN GATE

500 YEARS FLOOD PLAIN

MARE ISLAND NAPA RIVER ESTUARY

SAN FRANCISCO

In simplest terms, a watershed is an area of land that drains all of its water: rivers and streams, rainfall and snowmelt, and urban runoff, to one specific point. It extends from a point of high elevation, such as a ridgeline, down to a low point where the water flows into a creek, river, bay, ocean, or other waterbody.

SAN FRANCISCO BAY ESTUARY

NAPA RIVER ESTUARY

100 YEARS FLOOD PLAIN

SAN FRANCISCO BAY ESTUARY

Keyword:

PACIFIC OCEAN SAN FRANCISCO 100 YEARS FLOOD PLAIN SAN FRANCISCO BAY ESTUARY

FLOOD MAP

Salinity - How Salty Is The Water Discharge - Amount Of The Water Flow

SAN FRANCISCO BAY ESTUARY

ZOOM IN FLOOD PLAIN

ESTUARY TIDAL FLUCTUATION OF A TYPICAL DAY

An estuary is a partly enclosed coastal body of brackish water with one or more rivers or streams flowing into it, and with a free connection to the open sea.

Estuaries form a transition zone between river environments and maritime environments and are subject to both marine influences, such as tides, waves, and the influx of saline water; and riverine influences, such as flows of fresh water and sediment. The inflows of both sea water and fresh water provide high levels of nutrients in both the water column and sediment, making estuaries among the most productive natural habitats in the world.

Ebb

Flood

0:00 h

Ebb

12:00 h

Flood

24:00 h

TWICE A DAY Everyday, the water flows into the San Francisco Bay and out into the Pacific Ocean twice.

Approximately 30 percent of the total water in the bay flows in and out.

There are two estuary systems: the main San Francisco Bay and the subordinate Napa River Estuary.

sea

ebb

flood

Bathymetry

DEFINITION OF AN ESTUARY Bathymetry Napa River Estuary

normal river outflow

San Francisco Bay Estuary

estuary

CURRENT FLUCTUATION CONDITION OF VARIOUS CURRENT DIRECTION EBB

BEFORE PEAK CONDITION

EBB

PEAK CONDITION

EBB

AFTER PEAK CONDITION

(+4hrs after Max. flood)

-0hr Max. ebb

-2hrs before Max. ebb TIDE: EBB

+2hrs after Max. ebb TIDE: EBB

TIDE: EBB

Ebb

Flood

Ebb

Ebb

Flood

Flood

Ebb

Ebb

Flood

Flood

Ebb

Flood

24:00

0:00 h

12:00 h

24:00 h

-1hr before Max. ebb

0:00 h

12:00 h

24:00 h

FLOOD

0:00 h

Flood

Ebb

12:00 h

Ebb

Flood

24:00 h

-1hr before Max. flood

12:00 h

24:00 h

0:00 h

+3hrs after Max. ebb

FLOOD

-0hr Max. flood TIDE: FLOOD

TIDE: FLOOD

0:00 h

FLOOD

-2hrs before Max. flood

Ebb

+1hr after Max. ebb

+2hrs after Max. flood TIDE: FLOOD

Flood

Ebb

12:00 h

Flood

24:00 h

Ebb

+1hr after Max. flood

0:00 h

Flood

Ebb

12:00 h

Flood

24:00 h

+3hrs after Max. flood

The waterflow direction of Napa River and the Bay is not persistant. It changes direction several times a day. There are 6 typical conditions of the waterflow direction.

Visible surfaces work to constitute and characterize spaces, organizing and structuring perception and performance through their design. This studio addresses contemporary interests and debates that surround the question of surface and its relation to atmosphere, perception and immersion.

In this Interdisciplinary Studio, we will engage works of architecture and interior design as well as installation art and industrial design. Students will work to develop digital/ computational and material models towards the design of full-scale prototypes for dynamic, interactive surfaces.

LIZE SOHO - Beijing, China Zaha Hadid Architects DD Phase 2014

ATRIUM

LIFT LOBBY

FLOOR PLAN LAYOUT

TYPICAL OFFICE LAYOUT

REFLECTED CEILING PLAN

TYPICAL OFFICE LAYOUT

TYPICAL OFFICE LAYOUT

RESPONSIBILITY: - Rhino modeling | Grasshopper | Rendering - Plan | RCP | Diagram drawings - GA documen | DD Booklet

SECTION

LAVATORY

FLOOR PLANS

DOGPATCH APARTMENT - Dogpatch, San Francisco Iwamotoscott Architecture RFP | Concept Design Summer 2015

LEVEL 7- PLAN 1/ 40” = 1’ - 0”

LEVEL 4 - PLAN 1/40” = 1’ - 0”

LEVEL 2 - PLAN 1/ 40” = 1’ - 0”

LONGGANG INCUBATOR TOWER

CHINESE UNIVERSITY OF HONG KONG - Longgang Shenzhen, China URBANUS Architecture & Design International Competition, 2nd Place Summer 2012

CONTRIBUTION: Led diagram drawings Assisted with visualization Collaborated on design documents -

- Longgang Shenzhen, China CONTRIBUTION: - Collaborated and assisted on structural design - Developed plan and section drawings - Developed physical and digital drawings

URBANUS Architecture & Design Design Development Phase Summer 2012

The Chinese University of Hong Kong is the leading institution in Hong Kong and Asia. Responding to “University of Humanities, Innovation and Urbanity”, we designed the school as an interface between community, education and industry. The nature is introduced into the campus, and library becomes the core of the whole system that it binds the dorm and academic space together.

Longgang is transforming from an export-oriented industry to residential and commercial uses recently. Our project locates in an existing old industrial area. By integrating the business cycle into the space, we are proposing the office building as an incubator.

This project, collaborated with architecture firm Mecanoo and NODE, has received runner-up in the competition amongst hundreds of international practices including Arata Isozaki, UNStudio, Morphosis and the winner Rocco Design Architects.

The ring is established in between various buildings above ground and connects the adjacent buildings and prospective future office building development. In the current scheme, the three-dimensional facade panel system is adopted to the tower. Variations of the module forms a pattern on the overall exterior elevation as to reflect program’s level of privacy.

VISUALIZATION - SAN FRANCISCO FEDERAL BUILDING (Architect: Morphosis) Instructor: Michelle Chang

I am interested in how Morphosis uses tilted lines and surface to contruct a form and space for San Francisco Federal Building. In the hall, although most edges are parallel to each other, as from perspective view-- the view of human eyes, the edges extends and seemingly converge at a point in front. This movement creates a trianglar frame that surrounds the central lighting boxs and the main hall space

WITH A GREAT ACKNOWLEDGMENT TO:

[Diz] Xiangdi Wang 510.520.9992 XWANG2@CCA.EDU —

EDUCATION

California College of the Arts Bachelors of Architecture | 2010. 9 - 2013. 12 (Anticipated graduation: 2015. 5)

STUDIO INSTRUCTORS: PROCESS Studio

Mark Donohue, Ajay Manthripragada SITE Studio T. Jason Anderson, Jessica Lisagor URBAN Studio Andrew Kudless HOUSING Studio Mona El Khafif, Craig Scott

—

URBAN METABOLISM Mare Island Studio David Fletcher, Neeraj Bhatia

PROFESSIONAL PRACTICE

AND ALSO OTHER INSTRUCTORS:

URBANUS

—

German Aparicio | Advanced Geometry Javier Arbona| Urban Design and Landscape Arch Theory Brenday Beazley | Structures Michelle Chang | Visual, Digital + Material - Rendering Irene Cheng Lian Eoyang | Visual, Digital + Material 2 David Gissen (Interim Director of Architecture) | History of Architecture 1, 2 William Littmann | History of Architecture 1, 2 Ben Rice | Visual, Digital + Material - Parametric Andrew Sparks | Material and Methods Cathrine Veikos | Adv. Interdisciplinary Studio

SOFTWARE

—

AutoCAD Rhinoceros Grasshopper Arduino (Limited) Sketchup 3DsMAX ArcGIS

HONOR

Shenzhen China | Summer Internship | 2012.6 - 2012.7 Projects: Chinese University HK Shenzhen Campus (Competition), Longgang Incubator Tower (DD phase) Contactl | office@urbanus.com.cn

CCA JURY PRIZE NOMINATION

Adv. Interdisciplinary Studio | Discoperture | Group work

2013 FALL

EnergyPlus Autodesk Ecotect Analysis DiVA

CCA JURY PRIZE NOMINATION

ADOBE Suite Digital Drawing

CCA JURY PRIZE NOMINATION

MS Office Suite

STUDIO 4 | MeSSION TERRACE

2013 SPRING

STUDIO 3 | Hotel: Art Incubator

2012 FALL

(Word, Excel, Powerpoint)

CCA JURY PRIZE NOMINATION —

LANGUAGES English Cantonese Mandarin

STUDIO 2 | Conservancy Center at Lands End

2012 SPRING

WORK EXAMPLE OF CCA

for NAAB ACCREDITATION MATERIAL & METHODS: Tectonic Studies of Meadowbrook House; Group work

2011 FALL

CCA Scholarship

Creative Achievement Award

2010 - 2014