Guangbin Zhen Michigan undergrad architecture portfolio

guangbin zhen for MARCH program applicaton 2012

projects included in this portfolio:

connecting the celestial and terrestrial

non site specific, winter 2010

creating the blurriness

non site specific, fall 2011

john soane’s ghost

London, UK, fall 2010

redesign of south façade

Ann Arbor, MI, winter 2012

tcaup exhibition pavilion

Ann Arbor, MI, winter 2012

shipping container annex for tcaup

Ann Arbor, MI, winter 2012

time museum

Ann Arbor, MI, fall 2011

“aquatarium”

Chicago, IL, fall 2012

>> connecting the celestial and terrestrial Winter 2010 In this project, we were asked to perceive the ground and the sky as a holistic construction.

The pursuit took place on an assigned ground and required engagement with the point, line, surface/plane, and volume. We were led through the linear and planar in search of fantastic volumes and the political envelope. Another consideration: the possibility of returning to the single language that enables speed, fluidity and efficiency.

The project started from building a ground of a dedicated form that was set up for architectural investigation. After careful survey of the ground, we gave it a tectonic interpretation and designed the foundation. Using linear materials, we referred to conventional technique of basic construction to represent the celestial and terrestrial idea. construction detail of ascension (ink on paper)

step 1: making the ground

step 2: designing the foundation

step 3: constructing the terrestrial walk-through

step 4: connecting the celestial and the terrestrial

va

conceptual sketches

elevation (graphite on paper)

dirt movement study (photography)

>> creating the blurriness Fall 2011 Ambiguity and indeterminacy set forth the movement of modern architecture and this project explored such idea via the creation and translation of “blurred space”. We were first asked to capture “blurriness” in our daily life through photography, and I studied the movement of dirt dissolving in water. The study then inspired the composition analysis through drawing and modeling. The connection of each element in the dirt is driven apart by the interruption of water particles. The pixelation of substances led to the “bone and skin” model full of ambiguity of connection, where planar and linear materials together knit the fabric of “fusion” and “fission”. Also, the materiality reflects the sense of lightness as discerned in the floating in athe water.

translation model transformation from solid to void (graphite on paper)

section analysis of separation (graphite on paper)

>> john soane’s ghost group installation

london, uk

Fall 2010 This project at Bartlett School of Architecture asked the students to take a closer look at one of the original British architects’ ideas and spirit, and test them out through group installation. Each group was randomly allocated to a space outside Pitzhanger Manor in Ealing, London, as well as a room at Sir John Saone’s Museum in Lincoln’s Inn Fields, London.

My group was assigned the southernmost open space right in front of a window, and the “crypt room” inside Saone’s Museum. The installation would be temporarily adjusted to the site outside the Pitzhanger Manor. It should be a creative reaction to the research in Soane’s philosophy and should respond/echo to the space it is placed in.

Soane’s Museum and the “crypt” room

site plan of south wing of Pitzhanger Manor and garden (graphite on paper)

light effect experiment

invention of mechanism

After the visit to the crypt room at Soane’s Museum, we thought that the essence of the space was the transitional play of light the contrast of the dark side-alleys and the bright central vertical space. In addition, the visitors’ feelings bonded to the spooky elemants inside the crypt were also critical. Therefore, we experimented on different materials and with the light, as well as human being’s body movement, mechanism of achieving an “expanding space”, connection to the site. We agreed eventually on making a structure that engaged the visitors in awkward positions, as in the experience of walking around the ornaments and edging toward the central space in the crypt, and that “expanded” itself with the influence of light.

A significant part of my time was spent with four other classmates constructing the framework for the installation. Plywoods were cut out and assembled with bolts. Dowels were inserted on the beams so that panels of the translucent material could be hung around the surface.

finished framwork with mechanism installed inside

design sketches

construction notes

The final product successfully translated John Soane’s spirit in the crypt room onto his other residence, connecting the visitor to the ghost. The movement of a person inside the structure is synthesized with the expansion of space, where other simultaneous mechanisms help the visitor further experience the walkthrough in the cold space in the crypt at a relatively still position, and link to Soane’s life at Pitzhanger. At night, we lit up the candles inside the structure and the innovative material helped achieve the esthetic influence of the light, as well as the idea of “ghost”.

(below)section illustrating the use of the installation (graphite on tracing paper) photo series showing the interaction

(right) shutter: glimpse of the Manor

The body continues to rise and the shoulder pad pushes up the ceiling “cold porcelain”. The user gets a view of the sky and the light shines in, which mimics the play on lightness and darkness Phase 4 inside the crypt at the Museum. This gives out the sense of relief from the dark passages and the user is impressed by the full height.

As the body ascends, one gets a transitional glimpse of the

Phase 3 window of the Pitzhanger Manor and can see through it. This is a visual response to space where Soane has resided in.

Unconsciously, the user places the shoulders underneath the shoulder pad and he naturally tries to stand up while he is Phase 2 funneled into the vertical dim space, where the “cold porcelain” walls are reminiscent of the sarcophagus in the crypt. The spooky feeling comes toward the user.

Visitors to the installation have to bend down and crouch to enter. The initial feeling of confinement and the awkward position are distilled from the edgy sense of the narrow side-alleys Phase 1 around the crypt at the Museum, where one is forced around the arches and ornaments. However, this sensation is immediately followed by physical release, as in the experience of approaching the bright central vertical space in the crypt.

>> redesign of south façade

existing condition

Geometry

diagonal pattern

+

ann arbor, mi

Winter 2012 Postmodernism initiated the transition from emphasis on meaning to experience. In redesigning the south façade of the Art and Architecture Building at University of Michigan, I was looking at the possibility of enhancing the viewer’s visual sense via “supergraphic”.

The moiré pattern consists of two similar patterns and can be used to apply to building surface. To make the graphic spatial, an outer steel slats with the orthogonal pattern would be constructed in front of the concrete wall with the other pattern, so that the two patterns can be overlapped when seen in front. The gap between also enables a dynamic reading from different angles.

The requirement for the project is that, the existing loading docks and entrances should be retained.

= resulting wavy pattern

orthogonal pattern

moiré pattern formula

steel slat

glass panels with pattern:

operable glass panel near openings

concrete wall with pattern:

1.5-foot air gap

detail model section illustrating double faรงade

overall south elevation and detail

exterior view

views from different angles showing different patterns interior view

>> tcaup exhibition pavilion

ann arbor, mi

Winter 2012 To accommodate the growing needs for faculty research space and exhibition area, expansion along the Bonisteel Avenue is planned for Taubman College, and the project asked to design a pavilion according to program requirements.

The proposed design is formed by multiple twisted quadrilateral geometries, with pannels covering the steel framework. Large openings are provided and the entrace is adjacent to loading dock, school entrance and street.

south view of the pavilion across the pond

concept models Taubman College

site location

north facing opening

south facing opening west facing entrance

program requirements: - open single floor space - about 19,000 sq ft - bathrooms - faculty working area - exhibition area

The form of the pavilion features undulated surfaces.

acess from street

bathrooms faculty office

view 2

view 1

exhibition area

acess from school

lake view from interior

material transport

ground plan and site relation

aerial view

skeleton model

The twisted envelope is reflected in the interior.

interior view 1

interior view 2

The sections show that retaining walls would be constructed so that the area near the low roof would be occupiable.

>> shipping container annex for tcaup ann arbor, mi Winter 2012 This project asked for a mini-school (an annex) for Taubman College on a site next to the school. The proposed design should contain all or most of the programs that are already functioning at the college.

We were required to use exactly 26 shipping containers of specific dimensions to create an interesting massing that fits the programs while reflects sophisticated spatial strategies.

approaching the Annex from North

massing by levels

Based on the dimension, to create more space within the container, I decide to attach two of them together. The doubling generates a sense of compactness yet various composition between levels.

Taubman College

site location

40 ft

program requirements: - studio space - seminar area - small library and reading room - temporary faculty apartment - cafĂŠ - some outdoor area

8.6 ft

8 ft

axonometric view with color scheme

Art & Architecture Building

A

information desk view 1

section A

C

B

bathrooms

A. toward east wing study area B. toward cafĂŠ and patio C. toward west wing relaxation area

N

ground floor plan and site relation Art & Architecture Building

second floor plan, circulation and lighting condition

patio

relaxation lounge

section A

studio

cafĂŠ patio

N

view 2

The plans show that the circulation within space is convoluted. One engages with the space through spiral ascending. The central void divides the annex into two wings and creates visual response between on the third floor. Visitors on that level can see the other side across the central void but cannot reach the other side. Additionally, natural light is used as an exploration of circulation. Openings at the end of the containers guide the visitors toward staircases to the next level.

section A

library

seminar area

open to below reading/computer room

studio

N third floor plan, circulation and lighting condition

program distribution:

1. café 2. relaxation lounge 3. reading/computer room 4. library 5. studio 6. seminar area 7. faculty apartments

west wing relaxation area

Programs within the annex are divided into two wings separated by the void space in the middle, where the café is located. Studios, semniar area, and other study related spaces are grouped on the east side, while other leisure related spaces are on the west side. The more private top floor is dedicated to faculty apartments.

central void café

east wing study area

7

3

4

2

section A ( east - west)

1

5

6

5

interior view 2 at the cafĂŠ (model photography and collage)

model

exterior view 1 (model photography on site)

>> time museum ann arbor, mi

Fall 2011 This building project explores how “situation� bounds architecture. Three major galleries devoted to different time themes will be packaged on a 25ft wide site. The time-lapse gallery shows stop-motion films, and the slowmotion gallery shows slow frame films. An additional blank gallery will be used for temporary exhibitions. The final design is oriented around a central void space, with the three galleries arranged on a linear sequence. Various double height areas are designed for special spatial requirements.

program requirements: - Slow-motion theater 1500-2200 sq.ft.

- Time-lapse theater 1500-2200 sq.ft - Blank gallery 1500-2200 sq.ft.

- Private Screening room - Storage and archive room - Office space for 5 people - conference room for 20 persons - Two means of egress from each level - elevator providing access to each floor - ground floor retail space

site analysis

as

w ht aw

en av

church st

e

s university ave

s forest ave

site

retail

university campus

residential

parking structure

visiting sequence

street entrance 1. time-lapse gallery

2. blank gallery

3. slow-motion gallery

4. descend via elevator

program directory: A. slow-motion gallery B. blank gallery C. time-lapse gallery C1. entrance of time-lapse gallery C2. exit of time-lapse gallery D. bathrooms

development of models

A

A

E. F. G. H. I.

private screening room archive room elevators ground foor lobby basement service area

A

bathrooms

A

bathrooms

retail area private screening room

time-lapse gallery

open to below

B

B

blank gallery

open to below

open to below

B

B

N first floor plan

second floor plan

third floor plan

fourth floor plan

section A (north - south)

G A

B

D

D

C1

C2 D

D

D

D

E

F mutual visual response of time

G

A

B

C

slow-motion gallery interior

moment of slow-time glass separation

H moment of distraction

look-back onto first floor

I section B (east - west)

video screen video screen

moment of slow-time

The plan diagram of the slow-motion gallery shows the interaction between the visitors and the videos. The experience alternates between a moment of engaging with the video, and a moment of distraction across the glass panel, able to see through the other side of the gallery.

blank gallery interior, with the view of urban environment

model (west side) model (street front)

>> “aquatarium”

chicago, il

Fall 2012 This semester-long building project took site on the famous Navy Pier in Chicago that stretches onto Lake Michigan. The entire semester started with the theme “water” and culminated with a redesign of the pier as a combination of aquarium and planetarium. We were asked to make a conceptual construct at the beginning and thereby, question the relationship between water and architecture, and the institution of aquarium and planetarium architecture. My project was built upon the concept of paradoxical scale and rational design versus irrational experience.

view from north side of pier

program requirements: - aquarium - planetarium - theater - research/work area - hotel

phase 1: The first stage of the project involves the creation of a conceptual construct. Using layering acryllics and translucent images, my construct offers a different reading of the transparent quality of water. A paradox of scale, depth and light exists between the layers. The images become blurry and abstract. A viewpoint inside the construct is provided through a small hole on the “horizon”. Using saran wrap and tilting the wrapped panel fixed inside the construct, one can see a fake “sea” with the horizon. The inside image appears more vast and endless than the outside image.

different views of the conceptual construct

the “sea” inside the construct

the views inside the hole

phase 2: For the next stage, we were asked to use images taken from the construct to make a photo collage. The same concept was preserved in my version, with the fake “sea� now seen reflected in the binoculars. The outside images become the context for the entire photo.

photo collage using photographs taken from the conceptual construct

diagramming the Chicago grid

2.

The central shape branches outward, and these shapes are interconnected.

1.

A geometric system is generated by the fractals.

3.

The solid-void relationship is reversed.

The spaces trapped between the shapes become water.

arial perspective of the entire project

phase 3: The overall design of the pier is oriented around the concept developed from the first and second stage of the project. The organization of the tanks and planetarium exhibition is inspired by a rational system: the fractal. However, the experience inside the building can be misleading. One has the illusion that he is surrounded by the fish tanks, yet the reality is the tanks are trapped in between the spaces.

2.

The central shape branches outward, and these shapes are interconnected.

3.

The solid-void relationship is reversed.

The spaces trapped between the shapes become water.

3.

The solid-void relationship is reversed.

The spaces trapped between the shapes become water.

4.

On top of the pier, the spaces appear to be voids on the ground.

4.

On top of landscape the pier, the also spaces appearsuch paradoxical conThe outdoor reflects to be voids on the ground. ception and perception of spaces. The voids on the pier appears to be gardens accessible from the -1 level.

5.

The buildings are extruded from the shapes underneath the pier.

N plan level 1 (pier top)

N plan level -1

N plan level -2

program directory walk-through community education center

tank aquarium mechanical

planetarium exhibition planetarium research area

outdoor garden

aquarium research area

planetarium archive library

section A (east - west)

section B (north - south)

program directory walk-through community education center outdoor garden office bathroom

tank aquarium mechanical planetarium exhibition planetarium research area theater

view toward the east (the horizon)

view toward the west (the city)

view from north side of pier

1/36” = 1’ sectional model