EVA YUEHUA WANG Sample of Works
EVA YUEHUA WANG Address: 40 Bunhill Row, London. EC1Y 8LP Tel: +44 07706969577 Email: evawangyh@outlook.com | yuehua.wang@aaschool.ac.uk LinkedIn: https://www.linkedin.com/in/eva-wang-805775a8/ Youtube: https://www.youtube.com/channel/UCF7oD8bz0jeR0sCNK6W3O4g Website: evaaawang.com
PERSONAL STATEMENT A self-motivated architectural designer with interdiscipline background, currently studying at the Diploma School of the Architectural Association (AA). I am passionate in challenging architect’s discipline through media and material exploration. With particular interest in cultural and immersive spaces, I’m very keen on learning and exploring possibilities in architecture, to experiment and create experience beyond conventions.
AUTOCAD
Seeking for an occupation as an RIBA part II architectal assistant. I currently GRASSHOPPER SKETCH UP holding a UK Tier 4 (Gerneral) Student visa and am eligible to work in the UK with a PSW visa (Graduate route). REVIT
RHINO
V-RAY
SKILLS
Photoshop PHOTOSHOP
Rhinoceros AUTOCAD
Grasshopper GRASSHOPPER
Vray / UP SKETCH Enscape
AutoCAD RHINO
REVIT Revit
Blender MODEL MAKING
Illustrator ILLUSTRATOR
Indesign PREMIERE
Unreal Engine 4 Vray V-RAY
Maya INDESIGN Premiere LIGHTROOM Unreal Engine
Modelling Rhinoceros | Grasshopper | AutoCAD | Maya | SketchUp | Marvelous Designer | PHOTOSHOP
Animation | Enscape | Unreal Engine 4 | Blender Visualisation Photoshop | Illustrator | InDesign | Premiere | AfterEffect | Vray ILLUSTRATOR
MODEL MAKING
Other Interests Curation | Ceramics | 3D Scanning PREMIERE
INDESIGN
LIGHTROOM
EDUCATION Architectural Association, UK
RIBA Part II Diploma Master of Architecture
Newcastle University, UK
RIBA Part I - Bachelor of Architecture (HONS) 2:1 - First in design
Syracuse University, USA
2020 - Present 2015 - 2018
2014 - 2015
Bachelor of Civil Engineering (L.C.Smith) GPA 3.8, Minor in painting (VPA)
REFERENCE
WORK EXPERIENCE MAD Architects, Beijing Part I Year Out
Mar, 2020 - Aug, 2020
SODA Architects, Beijing Part I Year Out
Jul, 2018 - Aug, 2019
DFA (Define Studio), Shanghai Summer Internship
July - Sep, 2017
Studio O, Beijing Summer Internship
Jun - Aug, 2015
Alessandro Fisalli project manager / MAD senior archiect / MAD Roma allesandro.fisalli@i-mad.com Yuan Jiang founding partner / SODA y.jiang@soda.archi Effi Meridor founding partner / Studio o effi@studio.cc Anna Czigler tutor / Newcastle University czigler.anna@gmail.com
CURATION AND EXHIBITION Curation Beijing Urban and Architecture Biennale New Digital Design (Forum) Egypt Cultural Week
Curator team Co-curator Cultural Venue | Curator, collaborate with Egyptian Embassy
Attended Beijing Urban and Architecture Biennale | Phoenix Center, Beijing DigitalFUTURES : New Hybridities : Young Chinese Designers | Online Forum <*> Asterisk | Underline Space, Beijing Selected work in NCL Graduation Show | London
LANGUAGES Mandarin Chinese native
| Engligh full professional proficiency
| Italian beginer
Sep, 2021 Aug, 2021 Mar, 2013
Sep - Oct, 2021 Aug, 2021 Apr, 2021 Aug, 2018
PRACTICE PROJECTS
2020 MAD Architects Published Projects Jiaxing Civic Center (Under Construction) Aranya Center (Completed) Unpublished Projects Rotterdam Urban Complex (Competition - Design proposal) Xi’an Cultural Center (Competition - Design proposal) Zhongguancun Tech Forum (Competition - Facade Design and Visualisation)
2018 - 2019 SODA Architects Published projects Akatoao Restaurant, Beijing (Conceptual Design to Construction Administration - Project Designer) Blufish Cafe, Beijing (Visualisation) Bvlgari “SerpentiForm” Exhibition (Conceptual Design) Design in Progress Healing Resort, Nanjing (Schematic Design - Design proposal; Facade and Landscape Design)
JIAXING CIVIC CENTER (2020) ARCHITECTS: MAD Architects LOCATION: Jiaxing, China TYPE: Cultural STATUS: Under Constuction PHASE INVOLVED: Schematic Design SOFTWARE: Rhino, Maya, Grasshopper, AutoCAD, Enscape Massing Study (Autodesk Maya and Rhino) Facade Design and Details (Grasshopper) Visualisation (Enscape and Photoshop) Architectural Drawing (AutoCAD and photoshop) Architectural Design
ROLE: I have developed a workflow to deliver a complete project package (including architectual drawing, rendered drawings, and animated visualisation) for the client during each amendment in schematic design. In the later stage, I was involved in formal design with Maya and Rhino, as well as designing the Science museum within the Civic center.
ARANYA CLOUD CENTER (2020) ARCHITECTS: MAD Architects LOCATION: Aranya, China TYPE: Cultural STATUS: Under Construction PHASE INVOLVED: Construction Document SOFTWARE: Rhino, Maya, AutoCAD Construction Details (AutoCAD, Rhino) Construction Document and Illustration (Rhino, Photoshop, Indesign) Interior Design (Maya, Rhino, and Enscape) Landscape and Facade Details (Rhino and Grasshopper)
ROLE: I have enter the project at the Construction Document phase. I have assist to deliver construction details and illustration with AutoCAD; and was engaged in every meeting with the consultant. At the mean time, I was involved designing the interior, landscape and facade details with Maya, Rhino, and Grasshopper.
(Photo Credit: Chen Xiyu)
AKATOAO (2018 - 2019) ARCHITECTS: SODA Architects LOCATION: Beijing TYPE: Restaurant and Bar STATUS: Completed
ROLE:
PHASES: Pre-design to Construction Administration (on-site)
As the first project that I have proposed and the last to work on in SODA. I was working on this project from its initial concept until it finished construcion. I was luckily to became the project designer in the later stage to work with the client as well as gaining on-site experience.
Immersive space in night mode, interactive design with Arduino.
Material making with Tyvek
On site work
CONCEPT TO SCHEMATIC DESIGN
Elevation View
Floor Plan, assisted by Hao Initial Concept
Completed project (Photography: Chen Xiyu)
Construction pamphlet designed for on-site communication (drawn by Grasshopper, Autocad, and Illustrator)
LIGHT DESIGN AND CONSTRUCTION ADMINISTRATION
CONSTRUCTION DOCUMENTS
Three modes of lighting dynamic was designed for different occations. LED was programmed with assitant of Andrew Wang, to imitate motion and atmospheres. A colour study was done before every testing and has been documented to demostrate to the light engineer later on site.
aluminium pipe aluminium slab metal bounding programmed LED cable
Each piece has been unfoled into 2-3 pre-fabricated pieces with programmed LED installed.
Technical details and installation manual, assited by Hao
Section A-A (Drawn by AutoCAD; Colored with Photoshop)
translucent Tyvek paper
HEALING HOTEL (2018) ARCHITECTS: SODA Architects LOCATION: Nanjing, China YEAR: 2018 TYPE: Cultural STATUS: Design in progress
The project is located by a highway in Nanjing, China. This proposal highlights on façade design, through color studies and pattern design to create dynamic effects for passing vehicles. I was also engaging in the rooftop landscape proposal in the resort.
COLOR STUDY ON YUHUA STONE
ROOFTOP LANDSCAPE DESIGN
FACADE PATTERN DESIGN
FACADE DESIGN
a
a
b 45°
c
c a
a
b 90°
c
a=b=2c
c1
b 90°
c
c
a=b=c
c2
c2 a
c
a=b=c
a=b=√2c
c
b 60°
c
c
c
a
b c2
a=b=c1+c2 c1/c2=7/3
c1
b c1
c1=0.45a c2=0.25a a=b
BLUFISH CAFE (2018) ARCHITECTS: SODA Architects LOCATION: Beijing, China YEAR: 2018 TYPE: Cafe, Experimental Space STATUS: Completed
ACADEMIC PROJECTS
RIBA PART II
Architectural Association 2021 - 2022 Diploma 6 - Visibility - Maria Fedorchinko 2020 - 2021 Diploma 2 - The Civic Program - Lara Lesmes and Fredrik Helberg
RIBA PART I
Newcastle University 2015-2018
NEW PROMETHEUS (ON GOING PROJECT) SCHOOL: Architectural Association Tutor: Maria Fedorchenko YEAR: Fifth Year, Diploma Unit 6 TYPE: Cultural, Data Infrastructure
The project focus on the intergration of the virtual environment and its material infrastructure, the physical visibility of the data or our living conditions with the cloud. The project will be engage in both the physical and virtual, technical and fictional realms, where the data expose itself through a series of act of physical exposion and surreal expression. The Technical Study Thesis will be focusing on manifest the physical infrastructure of the web 3.0, or the future data infrastructure throughout the flow of data from input to the output (data center, data exchange point, data transmission) The design will focus of serveral critical point: (1) the visibility, accessibility, and storage of data infrastructure, a subverse of being survilled by data to survillling data, as a speculative digital infrastructure, deployed in both urban and non-urban environment (2) The environmental and entropic aspect of data : energy consumption, reuse, spatial planning, and geopolitical conditions (3) Architecture of automation, AI, machine in data infrastructure, its physical visibility, connectivity and their surreal cloud in the vitual realm. (4) The dichotomy of data technology, aesthetic, poetic and its implicit threats
WEAVING TOGETHERNESS (2021) SCHOOL: Architectural Association Tutor: Lara Lesmes and Fredrik Helberg YEAR: Fourth Year, Diploma Unit 2 TYPE: Virtual, World Building
Project Review The project aims to address discourse on material exploration in virtual space. What is a safe space in the metaverse? What constructs a safe space in the virtual world and what makes it a safe gathering? The core focus is on virtual materiality and how it could mediate to draw relationships between spaces and the identity performance of its inhabitants. Metaphor is a tool to construct the symbolic and psychological togetherness of the virtual space. Through the form of weaving, collectively create a safe fabric in the speculative future for the minority group in Beijing, where the ultimate building material is the togetherness of its user. Being seen, being visible.
Film
Virtual Fabric as a material embodiment of users in the immersive internet.
Emphasising the making of fabric as a metaphor of togetherness reflected on materiality, that constructs symbolic protection from the trusted group.
Each thread refers to each user in the space, being weaved with embedded patterns and motifs from the community's narrative and individual's personified garment.
THEATRE BLUR (2017) SCHOOL: Newcastle University Tutor: Anna Czigler and Amy Butt YEAR: Third Year TYPE: Cultural
THE DERELIT THEATRE The falling of Heygate estate
LCC students & local community protesting against gentrification
artists work against gentrification
Urban regeneration always comes along with destruction, demolition and physical changes to the local context. Elephant and Castle is currently on the second verge of regeneration. Consisted of people from different cultural backgrounds, the area is known for its super-diversity community and its multi-cultural shops. The regeneration plan by the Southwark council was aiming to stimulate cultural and economic growth. Controversially, The wide range of demolishment and generic reconstruction is gradually becoming a social homogeneous process. Along with the change of built environment, intangible social identities and memories attached to those physical fragments were also diminished. As James Corner stated, “making mapping, not a tracing” in The Agency of Mapping, contextual research often focuses on the physical and material context of the site and then finally presented in phys-
ical form by the architects. Intangible contexts are always hard to be captured, measured and expressed apart from the material side. These often lead to a generic and stiff institutional limitation in cultural architecture. The primer part of this project aimed at how material reflects social diversities and vise versa. In the individual project, theatre blur, I tried to preserve and archive the social character of Elephant and Castle embedded with material experiments, translate spatial information on physical material by immersive technology. This project explores the potential of archiving intangible social information with an architectural approach and form sharing and diverse identities. Instead of seeing the regeneration of a demolishing process, I see it as a utopian potential to diminish the boundary in the segregated community and continue social interaction.
THE MEDIUM AND THE MATERIAL
TYPE
D
B
A
Curvature Mould
Shade/ shadow
Layer
DIGITAL AND SOCIAL MATERIAL ARCHIVED MATERIAL
60%
40%
30%
18%
15%
20%
35%
65-70%
60%
40%
30%
18%
Transparency/
Visual clarity Projeccon clarity
+ TRANSPARENCY
1
2
3
4
5
6
7
8
9
10
experiment analysis on the performance of distortion and translucency based on different level of curvature from the prototype material
+ SOCIAL PROJECTION
PROJECTION
+STREET SCENERY
each piece of material fragment collected from the shop front rendered a cultural collage with social projection on. Projection on traslucent distored material became a intangible cultural material.
Exploring the visual connection by studying into transparent and translucent materials. I deployed projection into this experiment because its permeable characteristic provide a possibility to see a material as a medium that connects spaces. Immersive projection was used as another layer of information as our primer research.
ELEVATION
SHOW ON When the show on in the theatre, visitors can get a glimpse of filtered view into the theatre. The projection and light inside the theatre emphasis the audiences figure and was seen as an obscured scenery. The view through curved translucent (different range)theatre skin changes according to visitors motion, as they walk up along the spiral staircase. The view gets clearer when they go to the upper level, which resembles the “gallery” in traditional theatre.
SPACE OF FICTIONS
PROJECTION The projection on building facade will start at the night play time (19:30) at night. The view was reversed when the inside was illuminated and shared by pedestrians. LIGHT IT UP Polycarbonate LED lit up the under bridge arches and connected the Walworth community to the main street to stimulate more activities and event in the public walkways around the theatre.
SECTION A-A
INTEGRATED TECHNOLOGY
1 . Va c u u m fo r m e d w e a t h e r re s i s t methacrylate sheet, 6 mm 1 4 5 6 7
3
2
2. 1 mm aluminium panel 100/50/2 mm steel channel 3. sealing layer 50 mm thermal insulation 75 mm corrugated metal deck plate IPE 400 mm I beam
8
4. stiffening rib: 6 mm steel plate, welded, galvanised, coated 5. mounting plate: 9 mm steel flat 6. 150/75/9 mm steel channel 7. 148/100/6.. steel I beam
2
8. 8mm calcium-silicate board, suspended,
4
water-resistant coating, 9. 60/7 mm chapel glass with thermal insulation translucent thermal insulation 60 mm spun glass in cavity 60/7 mm channel glass with solar coating, tempered, not safety glass,
5
3
U-value: 1/1 W/m^2 K,
10 13 14 11 12
9
10. steel post and rail, 100 mm secondary column, painted white, with fire treatment 11.primary column: 280 mm I beam, painted white, with fire treatment 12. LED floor luminaire 13. metal-encapsulated accessible floor, 50mm wool acoustic insulation in
6
7
1. Section A-A: theathre facade as a obscura device that distort daily conventions into a scenery 2-3 View from east street market at day 4-5 View from east street market at night 6. structural model 7. projection study on the facade 8. integrated technology
between 140mm slim deck floor, 14. 70mm thermal insulation 2 x 15mm plaster board 15. 900 mm deep concrete footing, 10,000 concrete pile 16. 200mm concrete slab 15
17
16
1
17. concrete retaining wall, 400mm
THE THEATRE WRAP
INTEGRATED TECHNOLOGY
18
19
20
22 21
18. 8mm IPN I beam 19. steel cable suspension 20. 100.50 mm steel RHS between2 x 200/100 mm steel angles 21. polycarbonate profile steel section, painted white 22. 4 mm methacrylate profile, ETFE pillow, between 2 layers of transparent (80%) pipe acoustic insulation 4mm methacrylate profile
DWELLING PLUS (2016) SCHOOL: Newcastle University YEAR: Second Year TYPE: Residential
DWELLING PROTOTYPE DWELLING UNIT
MOVEMENT AND CIRCULATION
8 dwelling prototypes that I designed from the result of the circulation and movement study. All spaces qualifies the 3 spatial qualities mentioned before.
In this project, I examined the difference of movement and circulation from the first person perspective. I have recorded my own movement and circulation in 3 days. In the architectural space, although my movement was 3 dimentional, my circulation was restricted by the design of the room. However, as I examined my activities in urban enviroment, my circulation became more 3 dimentional. Vertical activities happend along with mt movement. How does our living space form our movement and how can we make the decide to move in all dimentions with a free of body express?
circulation (isometric)
dwelling
the buiilding
urban environment
barking centre
barking square
circulation (section)
movement
1. Map of circulation and movement in the neighbourhood. I have sumed 4 types of spaces and analysised how different vertical change in movement and circulation imply those spatial characters.
circulation
As the result showed, barries are negative factor that diminish both vertical and horizontal movements. The place has more vertical movement and circulation when it qualify all three characters
living room
bedroom
balcony
movement
circulation
urban architecture
1 thresholds, doors, entrances... begining point to interior
2
3
4
5
6
movement
window, glazing, transparency... semi-exterior or a connection to exterior balcony, terrace, patio, platform... exterior that allows multiple activities barriers, fences, unaccesible area
circulation
urban square
public square
urban venue
public landscape
leith trinity house
garden
mini threater
winter garden
play room
activitiy room
playground
CONCRETE POETRY (2016) SCHOOL: Newcastle University YEAR: Second Year TYPE: Institution
In this project, I focused on material exploration. Concrete is considered as a liquid material that continues the natueal topography in my design, to celebrate the fluidity and duability of concrete.
1m
conceptual model on how fluid concrete will replace the existing wodden structure in the water works
replacing the old structure with the continuous flow of concrete
pipes
Berwick light house
workshop
(flow to
gallary
the sea)
drawing room
interior water
exterior testing
pipes
square
(underground
celebrating potential
the
failure test
material
water )
THE NEW
TECTONIC
1. roof sealing layer PU resin 25 mm mortar 40 mm insulation 400mm reinforced concrete slab RAIN
2. gutter, width: 150 mm 3. water repellent coating 4. water dip 5. double glazing curtain wall: 6mm float, 6mm cavity, 6mm float 6. 300 mm reinforced concrete shear wall 7. reinfoeced concrete collumns, width: 200 mm
FOOR WATER
DRAINGAGE
SEA WATER
pipes (flow to the sea)
Berwick light house
drainage
exterior
1st: library
1st: meeting room
1st: research office
physics
water pool
G: computer lab
G: chemistry lab
G: studio
engineering lab
and
mechanical
pipes (underground water )
DRAINAGE
INTERIOR POOLSERVICES
UNDERGROUND WATER
fluid concrete continues and forms the cycle of natural topography
FILM
The idea of projection was controversy. Why not involve actual activities and movements of people from real life - let the group members walk around the box, rather than using projections? However, there is a reason for projecting a 2D video on the tracing paper rather than using 3D vision. To me, the projection itself is not an object. It’s basically a projection of lights which not touchable. It could be shown only when it meets a real surface or an object. In physics, it’s called a ‘medium’. The video doesn’t have its own dimension or depth. But when we project the video on something, all it suggests is the shape of the space (which is its ‘medium’). The identity of the internal space is an abstract space, which doesn’t have its form or boundary. Even the box that we created, is an interpretation of a virtual space. Involving real people will cause an understanding of an actual existing 3D spaces. Because we are creating an illusion and an exclusive space, the 2D interpretation on screen is ideal.
OTHER WORKS
CERAMICS
DIGITAL
GAME
RESEARCH