GRADATION OF CRITERIONS
HAIHUI ZHU
ZOOM IN
2018 - 2023 SELECTED WORKS
ZOOM OUT
"I recall that when I was a child, I could look at the sun with wide eyes and notice the smallest things. When I saw a tiny thing, I would observe its texture carefully, so I could often feel the pleasure beyond the thing itself." —— Six Records of a Floating Life (1808), Shen Fu
EMAIL: HZ2920@COLUMBIA.EDU TEL: +1 3159925813
The environment has encompassed a variety of criterions, and humans have applied them to develop spatial forms that fit the scale of the body all the time. Any expression of the spatial scale represents a different situation of empiricism. Therefore, the gradation of criterions will largely influence the understanding of spacial production in the social & natural contexts and lead to different types of constructed spatial frameworks.
ADDRESS: 788 COLUMBUS AVENUE, NY 10025 SYRACUSE UNIVERSITY BECHELOR OF ARCHITECTURE COLUMBIA GSAPP MASTER OF ARCHITECTURE
PORTFOLIO
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GRADATION OF CRITERIONS
HAIHUI ZHU
01 COPIED IN BEIJING
L OCA L IT Y
09 EMU GATHERING ORGANIZATION
IN T E GRA T ION
18 FOLATING NOMADS
E N COU N T E R
30 KENSINGTON FRIDGE
37 UNBOXING EDGES
40 REIMAGINE FUN-PALACE
41 DYNAMIC ACCOMMODATION
42 INTO KILNINGS
CONTENT
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I S L A N D S S T A D I U M
E X T E N S IV E CIRCU L A T ION
M OD A L IT Y 35 ITERATIVE SHAPESHIFTERS
COMPLEX
U RBA N IT Y
IN T E RA CT ION 23 THE BUFFER ZONE
XL
URBANISM
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NEIGHBOR P O R T A L
PRE S CRIPT ION
BOU N D A RY
COM PL E M E N T A RY T OPOGRA PH Y
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INTERIOR INSTALLATION
M A T E RIA L IRY
OPE RA T ION
XS
INTERACTION E X CH A N GE
GRADATION OF CRITERIONS
FURNITURE
RELATIONSHIP
COPIED IN BEIJING XL PROJECT
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COPIED IN BEIJING
SPRING 2021 / BEIJING VISITING CRITIC, DRAWING ARCHITECTURE STUDIO INSTRUCTOR / HAN LI, YAN HU SITE / BEIJING, CHINA COOPERATORS / XINQI MENG (LARGER GROUPWORK FOR THE BASE MAP) DRAWING PRIZE SHORTLIST, WORLD ARCHITECTURE FESTIVAL 2021 / 1 DRWAING CHALLENGE, SPECIAL MENTION
LOCALITY
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INTEGRATION
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URBANITY
CRITERION OF URBANISM
BUILDING LANDMARK
LOCALITY Shanzhai (the Chinese word for copycatting) is a complicated concept. On one hand, it is often mentioned together with plagiarism, replica, vulgarity, and cheapness. On the other hand, it is also related to learning, borrowing, reference, and analogy. Shanzhai architecture is found everywhere in China. The contempt, laughter, and abuse from architects couldn't stop the masses’ love for those knock-offs. Venturi once said “There is nothing wrong with being influenced, or even with copying. Imitating is how children learn. You have to acknowledge sources.” We look into Shanzhai from a positive angle. It is a straightforward, specific, and high-efficient design strategy. It is a cut to study the most important contents of architecture such as history, form, and ambiance. At the same time, it is the engine for creating topics, generating traffic, and gaining attention. We shall put down the burden of "originality" while there was no real original architecture in the world, understand the ready-made in Duchamp's way, and make shanghai in a serious and positive way.
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BEIJING HOTEL
LIVING CONDITION =
NANPING VILLAGE
INTEGRATED DESIGN
The Copied from Beijing was therefore created, we copy from Beijing and learn from Beijing. People in Beijing learn through Shanzhai in the process of civic construction, while we learn from Beijing's Shanzhai constructions. The map was divided into 3 parts that reflect both the Beijing character and the “learning from” process, and together they eventually becomes a collage of the city that also redefined the capital city of China visually.
XL PROJECT
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COPIED IN BEIJING
LOCALITY
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INTEGRATION
A. PIRELLI BUILDING
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URBANITY
01
LIVING ENVIORNMENT
BUILDING LANDMARK
Beijing Hotel, the first five-star hotel since the founding of republican China, was formerly a tavern opened by two Frenchmen on Chang'an Street in 1900. The Beijing Hotel is located in the absolute center of Beijing, adjacent to the Forbidden City, the former imperial palace, a five-minute stroll to Tiananmen Square, the Great Hall of the People, the National Grand Theatre and other historical and cultural attractions, and close to the bustling Wangfujing shopping street.
BEIJING HOTEL LOCATION
Its history and location make it more than a mere spectator of its surroundings; it is a part of the recent history of this capital city.
Nanping Urban Village is close to the main city of Beijing and is now one of the popular places to rent for people who work in the city because it is cheap. These "small castles" in Nanping Village are actually extremely ordinary, even low-cost and temporary, but they may reflect the moment we live in and the process of urban development better than the monumental buildings of the same period. On the one hand, the urban village is not completely part of the city, nor is it a complete village, but rather a way to emerge between the city and the countryside; on the other hand, because it has a more limited standard of daily life, but solves the problem of settling for most of the workers, people simultaneously embrace and fear of its existence.
INTERIOR
SURROUND
As the foreign population entered, it created a large demand for rental housing. When the interior space of the original building was allocated out, a whole bunch of little living boxes were then attached to the original building. That's when a fundamental change was created, the circulation system had to be flipped to the outside of the wall. The forms seem to be placed randomly, but they are all driven by the actual demand, from the selection of materials to the construction are all especially reasonable.
LOCATION
XL PROJECT
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COPIED IN BEIJING
LOCALITY
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INTEGRATION
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URBANITY
EXPOSED PIPELINE
PEDESTRIAN SANDRIES
EXTERNAL CIRCULATION
FACADE STYLES
02
INTEGRATED DESIGN
In the process to create Shanzhai architecture, we will use images and maquettes as the main instrument for study. But if only taking them as the tools for design, we would seriously devalue their potential. We shall re-understand the mission of architectural drawing and maquette at present. They shall be a hybrid, both a process and a result, both a tool and an artwork. The role of instructors is more like the curators, while the students are like artists in residence. For us, we learn from the Robert Pirelli Building by Marcel Breuer and combine it to the function of Beijing Hotel and style of Nanping Urban Village.
ARMSTRONG PIRELLI BUILDING (1988) by Marcel Breuer, New Haven, NY.
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STYLE TRANSFER
URBAN VILLAGE
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LIVING QUARTER
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ANDONG MARKET
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BEIJING CHARACTER
ORIGINAL FACADE
BEIJING HOTEL FUNCTION + NANPING VILLAGE STYLE + PIRELLI BUILDING FORM. The design part was an integration of Beijing character and a representative resident of the functional objectives. Tools like Ostagram are utilized as a visualizing assistance to see the potential output. The Ostagram is a style transfer tool, and we used it to transfer the Beijing style onto the front façade of the Pirelli Building.
THE RIPPLE BUILDING
XL PROJECT
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COPIED IN BEIJING
LOCALITY
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INTEGRATION
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URBANITY
03
INTEGRATION HOTEL ROOMS Utilizing the features of the Village city to provide views for the hotel.
TYPICAL FACADE Utilizing the features of the Village city to provide views for the hotel. Connect the adjacent complex to creating a display area.
VERTICAL CONNECTION Utilize as part of the main circulation and the structure component.
GREEN ROOF TERRACE Maintaining the decomposition features of the image and provides a garden as the transition to guest room.
LOBBY & CAFE For entrance and mezzanine, the formation follows the deconstructive features of the image
THE RIPPLE BUILDING
XL PROJECT
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COPIED IN BEIJING
LOCALITY
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INTEGRATION
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URBANITY
04
When it becomes a part of the collective landscape, it also acts as one of the components of the city collage which is a kind of re-creation derived from the Shanzhai cottage.
"THE RIPPLE"
"FOLDING FAN"
"ILLEGAL CONSTRUCTION"
"CORRUGATED STEEL"
In addition to being directly inspired by the civic constructions of Nanping Urban Village, the form of the Ripple Building also incorporates a lot of direct metaphors of symbolic architecture, which are also quite vivid and representative of civic architecture in China. Its metaphor is not only limited to the contemporary culture but is another interpretation of local acculturation, which enriches its locality. Other than being exhibited at the 798 Art Park venue in Beijing, the map was also printed and posted at the studio's working space in Beijing. The two different approaches of practice integrate the map of Copied From Beijing into everyday life from different perspectives and scales.
XL PROJECT
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COPIED IN BEIJING
LOCALITY
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INTEGRATION
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URBANITY
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URBANITY EXHIBITION "THE METHODOLOGY OF THE NEW GENERATION", WIND H MUSEUM, BEIJING. PRIZES DRAWING PRIZE, WORLD ARCHITECTURE FESTIVAL 2021 ONE DRAWING CHALLENGE, ARCHITIZER, SPECIAL MENTION
The exhibition is another kind of practice. It is integrated into urban life from different perspectives in different dimensions and contexts. The exhibition could be more complex and diverse than actual architectural practice and expresses the creative intention in a more conceptual form than architectural practice. It is an event and activity that broadens the field of knowledge production in the architectural discipline and is another possibility to intervene in the social public sphere.
XL PROJECT
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COPIED IN BEIJING
LOCALITY
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INTEGRATION
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URBANITY
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COPIED IN MACAU
COPIED IN CHICAGO
2021 TO 2022 / WORKS FOR DRAWING ARCHITECTURE STUDIO PRINTED AND EXHIBITED AT CENTRO CULTURAL DE MACAU SITE / MACAU, CHINA
2021 TO 2022 / WORKS FOR DRAWING ARCHITECTURE STUDIO EXHIBITED IN 2021 CHICAGO BIENNALE SITE / CHICAGO, UNITED STATES
COWORKERS / JUNYE Z, ZHEXU Y, XINYU T, NUO L, XINQI M, YUXUAN W, XIAOXUAN X
COWORKERS / JUNYE Z, ZHEXU Y, XINYU T, NUO L, XINQI M, YUXUAN W, XIAOXUAN X
Learning From Macau! Macau is known as the Las Vegas of Asia, a thriving gaming and entertainment capital. This analogy naturally reminded the architects of the thesis "Learning from Las Vegas". Looking at Macau from a similar perspective, the casino architecture may be no less striking than what the authors of this book experienced in the "decorative sheds" and "ducks" of Las Vegas. The drawing is a visual fantasy about the city's unique culture. Historical and contemporary, exaggerated and peaceful, real and fictional architecture are mixed and collaged in a world of play to present a Macau that seems familiar and fresh. In Learning from Las Vegas, the authors advocate an unbiased and open-minded approach to what already exists, an attitude that has influenced more than a generation of architects. Learning from Macau is our response to this initiative in the form of an architectural drawing to express our respect and appreciation for Macau's unique urban culture.
Still Life In The Windy City is a long scroll that DAS was invited to create for the 4th Chicago Architecture Biennale. Referring to the public space in Beijing, DAS presents an imaginary life in a Chicago community in this long scroll, exploring the role of objects in creating activity space and stimulating community vitality, as a response to the issue of how to use public space and stimulate community vitality raised by the Biennale. The traditional still life painting depicts objects placed on a table. As a response to the Biennale's theme of how to reactivate public space, Still Life in the Windy City extends the definition of objects to the scale of the city. Objects may play a more powerful role in urban public space than architecture. They are independent of their surroundings, are not bound by a fixed location, are often easier to make, transform, move or be sustainable, and can bring more resources together.
XL PROJECT
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COPIED IN BEIJING
LOCALITY
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INTEGRATION
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URBANITY
07
COPIED IN SYRACUSE ARCH 2023 / PROJECT FOR CELEBRATING SYRACUSE ARCH 150 ANNIVERSARY EXHIBITED IN BIRD LIBRARY, SYRACUSE UNIVERSITY SITE / SLOCUM HALL, SYRACUSE, UNITED STATES COWORKERS / XINQI MENG The project was conceived to commemorate the 150th anniversary of Syracuse University's School of Architecture. Reflecting on the school's rich history, we revisited Slocum Hall, the architecture department's building. Our aim was to distill architectural elements that embody the spirit of the college, as well as capture the essence of daily student life and activities within the school's environment.
The installation will be placed in the school library's lobby, our exhibition stand is based on a quick-disassembly scaffolding structure, drawing inspiration from the traditional stage construction methods of Southern China. This design allows for diverse content display from different viewing angles. Beyond using simplified lines to replicate distinctive elements of the college, we've integrated the current branding system of Syracuse University School of Architecture. These colorful, simple patterns more effectively represent the contemporary identity of Syracuse Architecture School.
XL PROJECT
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COPIED IN BEIJING
LOCALITY
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INTEGRATION
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URBANITY
08
EMU GATHERING ORGANIZATION XL PROJECT
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EMU GATHERING ORG
FALL 2021 / SHANGHAI VISITING CRITIC INSTRUCTOR / ZIYUE LIU FROM SANAA ARCHITECT SITE / NANJING, CHINA COLLABORATOR / XINQI MENG PROJECT EXHIBITED IN BI-CITY BIENNALE, SHENZHEN, CHINA, 2022
ENCOUNTER
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INTERACTION
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EXTENSIVE
CRITERION OF COMPLEX
ENCOUNTER As the intersection of the Hongshan Zoo, Nanjing Train Station and commercial center, we designed a complex for the site that combines sightseeing, accommodation and commerce. Thus, the design can serve not only as an extension of the zoo, but also as a middle ground between the zoo and the city, providing an exhibition hall to explore the animals' habitat and related functions that enable both humans and animals to gain particular experience.
VIEWS AROUND THE SITE
CHANGE OF VIEWS
The site is a part of a zoo area attached to the main campus of Hongshan Zoo. In traditional zoos, people and animals are divided by artificial alternations that form an unequal relationship between watching and being watched. This change of view is also reflected in the characteristics of the site, where the relationship between human-mountain-animal, and the relationship between nature and artificiality should be relatively equal but constantly changing according to the site condition.
XL PROJECT
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EMU GATHERING ORG
ENCOUNTER
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HUMAN to MOUNTAIN
INTERACTION
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EXTENSIVE
HUMAN to ANIMAL
ANIMAL to MOUNTAIN
ANIMAL to HUMAN
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DECENTRALIZE FUNCTIONS
INTERACTION In the late 1930s, Australian residents complained about the lack of food and fresh water due to the overwhelming number of emus in the area. As a result, the Australian Army started the Great Emu War. A total of two machine guns and 10,000 rounds of ammunition were fired toward the emus, but the emus were able to dodge the bullets at a speed of 70km and eventually defeated the Australian army.
MAIN FUNCTIONS
DECENTRALIZE
RELATE
CIRCULATE
TRADITIONAL
ADULT EMU
FUNCTION OVERLAP
MOVE FREELY
SPATIAL ORGANIZATIONS
STUDY MODELS
THE GREAT EMU WAR (1930)
LIBERATE CIRCULATIONS
If humans can't defeat emu in this way, why not try to cohabitate with them?
XL PROJECT
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EMU GATHERING ORG
ENCOUNTER
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ADULT EMU
SENILE EMU
EMU & VISITOR
AREA FOR JUVENILE EMU
AREA FOR ADULT EMU
AREA FOR SENILE EMU
AREA FOR EMU & VISITOR
EMU OCCUPANCY
JUVENILE EMU
AREA DIVISION
In terms of spatial form, the traditional way of combining circulation and function to produce a collection of form was not adopted, instead related functions are placed adjacent to each other through bubbles and allow people to come and go freely under the premise of ensuring functional relevance through decentralization. All functions are carried out around the stadium where people and emu race. Emus are also raised in different bubbleshaped areas in different lifetimes from the young to the adult to the old and have their own unique connection with people in each bubble.
INTERACTION
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EXTENSIVE
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FUNCTION TYPOLOGY: The functional requirements are not the only consideration for the location, shape, and size of Bubbles, but their arrangement also refers to the contours and extent of the original site which makes the existence of bubbles become a progression and continuation of the original site.
STADIUM and VISITOR CENTER
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EMU GATHERING ORG
EDUCATION CENTER
EMU HOTEL
ENCOUNTER
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INTERACTION
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EXTENSIVE
ADMINISTRATIVE OFFICE
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ORIGINAL CONTOURS
DIVIDED BY TOPOLOGY
FUNCTION SUBDIVISIONS
XL PROJECT
Microtopography is a response to nature, the medium through which nature and manmade are connected. Microtopography not only enhances the spatial experience of a specific function to the viewer but also divides the dimensions of space through undulations and connects different positions. In microtopography, space is opened up while the function is distinguished by topography.
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EMU GATHERING ORG
ENCOUNTER
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INTERACTION
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EXTENSIVE
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XL PROJECT
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EMU GATHERING ORG
ENCOUNTER
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INTERACTION
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EXTENSIVE
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EXTENSIVE The goal is to make this foothill complex a part of the landscape as an extension of Hongshan Mountain and to make the building's presence invisible. The building is integrated into the rolling landscape of lawns, trees, and hills, winding over hills and slopes, and forming pondlike spaces along the way. The walkways, courtyards, and glass-wrapped volumes that form beneath the roof are remarkably transparent and invite people to engage with the expansive natural surroundings.
Work exhibited in 2022 Shenzhen Biennale “Urban Cosmologies”. The display of works is an extension of the idea of microtopography and decentralization of circulation. SITE MODEL 1/400
XL PROJECT
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EMU GATHERING ORG
ENCOUNTER
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INTERACTION
PLAN MODEL 1/100
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EXTENSIVE
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VISITOR CENTER 1/100
STADIUM INTERIOR (MODEL PERSPECTIVE 1/40)
EMU HOTEL (MODEL PERSPECTIVE 1/40)
From outdoors to indoors, the ever-extending curves connect Hongshan Mountain and Nanjing city, the mountains and the architectural spaces, the man-made and the natural form. It is a progressive experience for both humans and emus.
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EMU GATHERING ORG
ENCOUNTER
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INTERACTION
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EXTENSIVE
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TRADITIONAL RELATIONSHIPS OF HUMAN & EMU IN ZOOS:
ISOLATED
TYPICAL RELATIONSHIPS OF HUMAN & EMU IN EMU GATHERING ORGANIZATION:
RACING
BRANDING FOR EMU GATHERING ORG. SPRING 2022 / ARC 500 INSTRUCTOR / IAN WANG SITE / NANJING, CHINA
NURSING
COLLABORATOR / XINQI MENG
LOGOS + WAYFINGDING SIGNS
INTERACTING
As a complex with a zoo feature, the branding for the emu gathering organization takes the public legibility of logos into account, while incorporating elements of curves in architectural design, logos and way findings signs are also expressed in a curved way, this free curve feature is also more flexible and easier to be depicted by the public than inerratic graphic element. In the architectural design, the emu is arranged in different areas of the complex with age as the dividing standard, which should be reflected in the logo design as well. In the emu logo, the number of hemlines represents the age of the emu, and the higher the number of hemlines in the logo, the older the emu is.
XL PROJECT
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EMU GATHERING ORG
ENCOUNTER
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INTERACTION
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EXTENSIVE
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It is very common for people to feed animals with their own food while animals may not be able to digest the food that people freely feed them even. In this case, normalizing feeding activity for the public is far easier to achieve than discouraging it. Therefore, the Emu "Emergency" pack can not only regulate emu feeding by containing appropriate food but the food container and logo hat can also be used as a souvenir of the tour after people have finished feeding process. Other related products, including color posters for each main areas, and guiding map atlas with ticket set, are also inaccessible part of the entire branding system.
EMU "EMERGENCY" PACK SET
POSTERS FOR MAIN FUNCTIONS
GUIDING MAP ATLAS & TICKET SET
COVER PAGE OF OVERALL MAPPING
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EMU GATHERING ORG
ENCOUNTER
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INTERACTION
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EXTENSIVE
INSIDE PAGE ATTACHED WITH TICKET + STICKERS
REAR PAGE WITH EMU ZOO LOGO
STADIUM TICKET DETAILS
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FLOATING NOMADS L PROJECT
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FLOATING NOMADS
FALL 2023 / INDUSTRY OF WASTES INSTRUCTOR / RUTH MANDAL & BOBBY JOHNSON SITE / RED HOOK GRAIN TERMINAL, BROOKLYN, NEW YORK INDIVIDUAL WORK (GROUP RESEARCH INCLUDED) TOPIC PROPOSED BY BK RED HOOK TERMINAL COMMITTEE
CIRCULATION / MODALITY / PRESCRIPTION
CRITERION OF ISLANDS
RED HOOK GRAIN TERMINAL
How long does it take for plastic bags to decompose in the ocean? Plastic bags traveling in the ocean tear away due to constant motion and UV light. It takes them 20 years to decompose and settle. Plastic bottles can take up to 450 years, while fishing lines take around 600 years.
Composition of Floating Sea Waste: Plastics Percentage: 60-80%. Includes items like plastic bottles, packaging, fishing gear, and microplastics.
INFILLED LAND AROUND RED HOOK SINCE 1776
SHORELINE CHANGES DUE TO WATER LEVEL RAISE IN 60 YEARS
FLEXIBILIRY IN PLACEMENT ?
CIRCULATION The project aims to use recycled ocean waste as a particle of new construction to create a flexible floating community system above water. And the scheme is planed to get started from now to future, when the sea level will rise and cover a part of our living land. In the stage of research, we found out that industrial wastes like producing concrete or plastic is kind of a big deal, yet a lot of material have already been produced. I decided to figure out how can I reapply those debris is production and bring them to a more relevantly close loop. And to address the issue of rising water levels, I examined the site's historical infill land and its future submersion areas. This led to the concept of a flexible system capable of transitioning between aquatic environments. Such a system could navigate coastlines, assist in local ecological restoration, and potentially foster unique floating communities.
GROUP RESEARCH WITH JIN WOO, XINQI MENG
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FLOATING NOMADS
CIRCULATION / MODALITY / PRESCRIPTION
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The construction material will be produced on site, and I use the front part of the grain terminal because it is close enough to the water for receiving the recycled water waste. This part of the terminal will turned into a production line of the concrete shell with plastic meshes and fabric. The shell can be extremely light in thickness which can be done within 4 to 6 inch due to its structure. Those small shell structure will be produced as separated unit inside this area and will be assembled and reassembled freely. The terminal focused mainly on turning ocean plastic to soft mesh as structure bones and pouring recycled cement as fresh, for creating the structure as the media for the floating system.
MANUFACTURE LAYERING OF FOAM CONCRETE SHELL
To enhance the shell structure's production efficiency, I adopted a methodology inspired by ETH focusing on the environmental benefits of production. This approach improves recycling of concrete waste, reduces concrete usage due to lighter thickness, and incorporates recycled plastic waste into the structure system.
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FLOATING NOMADS
CIRCULATION / MODALITY / PRESCRIPTION
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MODALITY basically, as the plastic are collected and reconstructed as meshes as shell structure. The sized of the shell is controlled in certain length and ark, and several types of typical shell structure can be produced by combining different typical edge beams.
Each shell structure can be a separate unit for different function, and I created 5 typical functions related to material production, ocean, and entertainment. Each unit have openings so that it can be more accessible when combine with other units. And I started to imagine the scale of the assembled complex from small to large, eventually those complex’s can be flexible units to be sent to different space as needed.
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FLOATING NOMADS
CIRCULATION / MODALITY / PRESCRIPTION
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FLOATING ROOF GARDEN
One typical combination here, where the manufacture, entertainment and farming facilities are all surrounded by the atrium at the center. You can see how different functions work differently in different conditions, as well as the relationship between the programs due to the way each unit touch. There are three typical functions of sight seeing, manufacturing, and water farming.
UNDERWATER ECO FIXING
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FLOATING NOMADS
CIRCULATION / MODALITY / PRESCRIPTION
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PRESCRIPTION imagining of how the island unit will change according to the raise of water from time to time. In current status, the structure are mostly attached to the shore for easier access.
As the water-level becomes higher and higher, there will be less limitation for the island. Those islands will gradually merge from unstable and separate forms to form a larger island that is sizable enough to establish connected floating community.
L PROJECT
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FLOATING NOMADS
CIRCULATION / MODALITY / PRESCRIPTION
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THE BUFFER ZONE L PROJECT
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THE BUFFER ZONE
SPRING 2022 / ARC 409 INSTRUCTOR / EMILY PELLICANO SITE / BINGHAMTON, NEW YORK COLLABORATOR / JUNYE ZHONG Finalist, K+K DESIGN COMPETITION 2022 / SILVER AWARD, SUSTAINABLE COMPETITION OF ASIAN DESIGN AWARD 2022
BOUNDARY
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COMPLEMENTARY
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TOPOGRAPHY
CRITERION OF STADIUM
BOUNDARY The growing trend towards urbanization has left several non-integral constructions, which barely establish connections with their surroundings or traditional urban. We need to re-examine the positioning and responsibility of architecture as a city cell. The effective connection between the building and the region makes the building no longer an isolated island of function, and thus actively reconstructs an urban space with relevance.
Binghamton city (1806), south-central New York, U.S, lies at the confluence of the Chenango and Susquehanna rivers. According to history, Binghamton has undergone two major transformations in urban development from an agricultural-driven city to an industrial-driven city. Today, Binghamton has become a city dominated by service and education industries. The project will thus incorporate the concept of ‘interplay’ to develop a comprehensive design for a basketball training facility on the site.
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THE BUFFER ZONE
BOUNDARY
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COMPLEMENTARY
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TOPOGRAPHY
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Moving creatures, such as birds, are usually the natural elements that are unwelcomed to design considerations in many architectural practice, because their consciousness would provide uncontrollable consequences to typical human-centric designs. However, we decided to have birds as an initial element of our considerations, rather than trying to isolate our architectural design from the birds on site. This conceptually inspired our vision for the architectural form and spatial arrangement of the elite basketball training facility as a middle ground for humans and birds. It was also an opportunity to embrace non-human nature in the design of sports facilities, which will help us to reconceive and break the boundaries of conventional sports facility design.
SIGHTS OF BIRDS ANGLES
VIEWS
TYPE 1
SPECIES
ARDEIDAE
STARLING
SCOLOPAX RUSTICOLA
ANATIDAE
The binocular overlap field of view is 20-30 degrees, the blind area is 40-100 degrees, these birds mostly take a visual approach to foraging. Typical of species like the starling, which has binocular and blind areas of intermediate sizes. Given the lateral placement of the eyes, these species are able to have larger binocular fields than owls. Species with this type of visual field can see the tip of their beaks, which allows them to manipulate food items (imagine a starling trying to eat a squirming worm).
TYPE 2
COLUMBA
STRIGIFORMES
NESTING/RESTING UNIT
Binocular overlapping field of view greater than 50 degrees, blind area greater than 160 degrees. Typical of species like the owl, which has large binocular and blind areas due to the frontal placement of the eyes. This type of visual field is the one with the highest similarity to that of humans in terms of the size of the blind area. These species generally grab food items with their feet by using their binocular field while approaching the prey.
HUMAN
BLIND AREA
LATERAL AREA (ONE PER EYE FOR DETECTION OF PREDATOR)
BINOCULAR AREA FOR FOOD HANDLING
TYPE 3
The binocular overlap field of view and the blind area is less than 10 degrees, mostly seen in birds that use the sense of touch to take food. Typical of species like the mallard, which has small binocular and blind areas, and large lateral areas due to the largely peripheral placement of the eyes. In some species, the large size of the blind areas would allow the animals to see almost around its whole head (large visual field). These species generally do not manipulate food items with their beaks (e.g., they are filter feeders); so they do not require a large binocular area.
The human eye grows in front of the head and has the clearest field of view in front of it, with a maximum horizontal field of view of about 240 degrees.
HABIT OF BIRD IN RELATION TO RIVERSIDE CONDITION
UNIT PROTOTYPE
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THE BUFFER ZONE
BOUNDARY
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COMPLEMENTARY
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TOPOGRAPHY
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STRUCTURE SYSTEMS
HVAC SYSTEMS
FORMATION LOGIC
Morphological formation: the bird-friendly soft architectural shape is modified according to the wide vision and relatively random flight path of birds through function blocks. As the functions of the building are divided into 3 main parts including the living/working area for humans, the sports fields for humans, and the area for birds, detailed functions are all physically and functionally connected to the main functions respectively. Sectionally, the more open the functions are placed closer to the ground which is more accessible for everyone circulationally.
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THE BUFFER ZONE
BOUNDARY
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COMPLEMENTARY
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TOPOGRAPHY
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COMPLEMENTARY
SITE PLAN
The landscape, shaped as an extension of the built form, is the buffer zone between the surrounding site and the interior functions, and between the human settlement and the natural environment by the river. The soft form in the middle of the building is intended to be a semienveloping system to provide a more coherent experience for the birds flying through the area according to the wide range vision of the bird.
BASEMENT LEVEL
L PROJECT
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THE BUFFER ZONE
BOUNDARY
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COMPLEMENTARY
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TOPOGRAPHY
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Throughout the ground control, the range of human activity is not limited to one single plane but is interspersed above and below ground to activate the ground condition. Sectionally, the pool in the middle works incrementally as a supporting facility for bird-living facade in between bird and human, but also echoes the river next to it.
Detail 1 Detail 2
L PROJECT
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THE BUFFER ZONE
BOUNDARY
WALL SECTION A
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COMPLEMENTARY
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TOPOGRAPHY
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TOPOGRAPHY
WALL SECTION B
A set of sectional models are made to reinforce the idea of special arrangement in relation to ground condition, reflecting four kinds of identical aspect of sectional function arrangement in relation to the ground. The sequential sectional models also show the circulation and experiences of humans entering the space. They enter the space through the atrium near the cafe, then go through the trophy hall connected with the bird facade to reach the sports field, and finally the exit at the frontier of the sports field to reach the bird watching space for further interaction with nature.
DORMITORY
DORMITORY CONFERENCE ROOM
OFFICES CAFE
LOBBY
STUDY ROOM
SECTIONAL MODEL 1
BIRD FACADE
TROPHYHALL
SECTIONAL MODEL 2
THERAPY GYM LOCKER ROOM
BASKETBALL FIELD
SECTIONAL MODEL 3
RUNNING TRACK ENTRANCE
GYM SPORT FIELD & SPECTATOR AREA
LOCKER ROOM
SECTIONAL MODEL 4
L PROJECT
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THE BUFFER ZONE
BOUNDARY
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COMPLEMENTARY
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TOPOGRAPHY
28
Although the paths of humans and birds are divergent, the design itself serves as a buffer zone experiencially, allowing humans and birds to intersect in the circulation towards the end to bridge the gap between humans and nature narratively and experientially.
L PROJECT
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THE BUFFER ZONE
BOUNDARY
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COMPLEMENTARY
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TOPOGRAPHY
29
Human activities facilitate the gathering of food, and the parting of food, in turn, influences human interactions and gatherings as catalyst, often referred to as "Fate" or "Destiny."
FRIDGE OF KENSINGTON M PROJECT
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FRIDGE OD KENSINGTON
SUMMER 2023 / HABITABILITY OF URBAN SOIL INSTRUCTOR / FUMINORI NOUSAKU & MIO TSUNEYAMA SITE / BROOKLYN, NEW YORK INDIVIDUAL WORK (GROUP RESEARCH INCLUDED) REPRESENTATIVE OF GSAPP END OF YEAR SHOW SUMMER 2023
MATERIALITY / OPERATION / EXCHANGE
CRITERION OF NEIGHBORHOOD
MATERIALITY In Kensington, a typical Brooklyn neighborhood with diverse housing types, our project emphasizes researching local materials for construction. This approach aligns with the area's architectural style and promotes the use of sustainable, locally-sourced materials in the design process.
The dominant building material in Kensington is wood, executed either as clapboard or weatherboard. 35 percent of the historic structures in Kensington are clad in wood and retain much of their original wood trim. Additionally, 11% of the structures are clad with wood shingles. 22% percent have been cladded in aluminum or asphalt siding. Sixteen brick structures are in Kensington, or 11% percent of the historic resources are brick. Eight stucco buildings are in the district, comprising 5% of the residential building fabric. We also re-collected some eco-friendly materials related to local architectural materials, which brought many inspirations to the materiality in our later design.
M PROJECT
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FRIDGE OD KENSINGTON
It fosters a culture of learning, innovation, and social interaction, providing a platform for people to come together and express their passions and interests. Through this shared experience, we hope to capture the true essence of the Fun Palace and promote a deeper understanding of the symbiotic relationship between humans and machines. As Cedric Price once said, "Technology is the answer, but what was the question?" The Fun Palace serves as an answer to that question, providing a vision for the future of public
MATERIALITY / OPERATION / EXCHANGE
30
OPERATION In the racially diverse Kensington community, a proposed food processing and exchange center near a relief center, school, and residential areas aims to unite diverse groups. Residents will grow and exchange crops, fostering social integration, particularly for lowincome individuals. This system is designed to strengthen community bonds through shared food activities.
SITE SURROUNDINGS
COMMUNITYVEGETABLE CULTIVATION
OIL PAINTINGS
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CONSECUTIVE FABRICS
MATERIALITY / OPERATION / EXCHANGE
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The perspective shows how food processing methods are adapted to specific environments. Air-drying is designed for the second floor's shaded areas, optimizing for quick drying and minimal sunlight, suitable for low-sugar vegetables. Fermentation spaces are located in the semi-basement, requiring dry, sunless conditions with stable temperatures, and are easily accessible from the main staircase. The two main factors related to vegetable cultivation are time and location. The planting and harvesting times of different plants indirectly determine how people process and store them. Location, influenced primarily by sunlight and soil conditions, varies since different crops require different soil depths. Therefore, vegetable cultivation in the community can be systematically planned in various areas based on their growth conditions.
OIL PAINTINGS
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CONSECUTIVE FABRICS
MATERIALITY / OPERATION / EXCHANGE
32
EXCHANGE Narrowing down to the "Kensington Fridge" food center, it's not just a venue for exchanging vegetables. It also encompasses several traditional food preserving programs, including drying, baking, cooking, fermenting, and smoking. Additionally, the system considers food waste management, where composting at one end of the facility contributes to the center's energy supply.
Among all the traditional food preservation methods, drying is the oldest and most widely used. Most preservable vegetables can have their flavor enhanced and shelf life extended through drying. Therefore, the drying system is centrally located at the site. It features adjustable stands and mesh fabrics, allowing vegetables to be hung or spread out in the sun. The drying angles can be manually adjusted based on the type of vegetable and the sun's position.
OIL PAINTINGS
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CONSECUTIVE FABRICS
MATERIALITY / OPERATION / EXCHANGE
33
Human activities facilitate the gathering of food, and the parting of food, in turn, influences human interactions and gatherings as catalyst, often referred to as "Fate" or "Destiny."
In the "Kensington Fridge" food center, traditional preservation methods like drying, air-drying, cooking, fermenting, and smoking are not isolated processes. They share similarities in processing conditions, facilities, and spatial requirements. This means that their designated spaces within the center are closely interconnected, allowing for an integrated approach to food preservation.
OIL PAINTINGS
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CONSECUTIVE FABRICS
MATERIALITY / OPERATION / EXCHANGE
34
The set of installations design was inspired by the traditional origami art which originated in Asia. One of the most striking aspects of origami art is its simplycity of the creative process. One begins by folding a 3D form from a piece of 2D paper. To show the result of a folding form, the origami artist would usually unfold the paper to visualize the crease of the folding process. The crease, as an indication of form, would also involve a change of dimensions.W
FOLDING CRANES
ARCHETYPE 3
ARCHETYPE 2
FALL 2018 / FURNITURE FABRICATION INSTRUCTOR / TIMOTHY STENSON SITE / ANYWHERE INDIVIDUAL WORK GOLD AWARD, MOVABLE BUILDING COMPETITION OF ASIAN DESIGN AWARD 2022
ARCHETYPE 1
ITERATIVE SHAPESHIFTERS
The three installation prototypes maintain the same size of "paper"(4' by 4'8" plywood pieces) when unfolded, but formulate different scales when folded, interacting with the scale of various human activities. The scale of each installation's service activities unite to form a set of progressive usage system in contexts.
XS PROJECT
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ITERATIVE SHAPESHIFTERS
MODALITY
35
for reading / hiding
for writing / eating
for resting / playing
If "folding" transforms a plane into a 3D space, the projection translates the set of installations into a new planar element on another level. The projection of shades changes with the orientation of the 3D spacial modality, and records part of the planar elements on the ground as shadows at the same time.
The flexibility in use is another important concern. Each piece of installation was featured to interact with the scale of various human activities, including resting/playing, writing/eating, reading/hiding. Dues to its simplicity in operation, the pieces of equipment can be applied in manifold conditions like lecture hall, library, dining hall, study room, etc.
XS PROJECT
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ITERATIVE SHAPESHIFTERS
MODALITY
36
UNBOXING EDGES SPRING 2019 / ARC 207 INSTRUCTOR / ANNE MUNLY SITE / SYRACUSE, NEW YORK INDIVIDUAL WORK PARTICIPATED IN CAFE AND DISPLAY SYSTEM COMPETITION WITHIN EVERSON MUSEUM, 2019
THE EVERSON MUSEUM
Designed in 1968 by I.M. Pei, the Everson Museum was convinced by Pei as an open structure with access to its interior from all of its exposed sides, while the boundaries of museum functions are formally separated but functionally syncretic and continuous. In the scale of a community, the autonomy of edges can be extended in a larger sense since the site works as a parlor of downtown Syracuse. The museum area and the downtown community can therefore be affiliate in a greater mean through the new boundaries.
S PROJECT
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UNBOXING EDGES
NEW FUNCTIONS
1.BOX OFFICE In the museum, there was no specified spcae for ticket obtaining, a box-office is needed to consummate the experience
2.OUTDOOR CAFE The museum is surrouned by government agencies, civic center, and offices, thus outdoor cafe can facilitate daily lives of the community.
3.EXHIBITION EXTENSION Hidden in this square of greenery is an unobtrusive exit from the exhibition space. The theme of the indoor exhibition can be extended to the outside.
4.OPEN-CINEMA PLATFORM The Everson Museum of Art has the campaign to project video works using the building's façade, but the facilities have not yet been matched on the plaza.
5.WATERSIDE TERRANCE The existing pond and fountain in the museum plaza could be transformed into a more interactive public facility that works as leisure places for community.
6.BUS STATION Although there was a bus stop around the square originally, its presence was not integrated with the museum square formally.
BOUNDARY
37
The inspiration was started based on a "what if". The previous projects was aligned according to the scale of human body through the folding strategy, and what if the same strategy is applied to a larger scale, for example, the scale of a set of public activities.
EVERSON ELEMENTS
Elements for the public like wall, entry, desk, chair, and stair systems can all be achieved through folding differently. Different public activities can be implemented by combining different scales of elements. Installations are scattered around the museum according to the general flow of public events so that each facility can be accessed easily through the activity demand. Formally, the modality of the instalations is based on the extension of the existing boundaries of the museum, and the design is inspired by architectural forms of the museum combining the design language of "folding" to accommodate the various scales of activities in distinct functions that correspond with distinct folding process.
GEOMETRY
MAIN STAIR
FACADE
OFFICE
MODULES OF ACTIVITIES
FUNCTION UNITS = EVERSON ELEMENT x MODULE OF ACTIVITIES
S PROJECT
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UNBOXING EDGES
BOUNDARY
38
The set of facilities were not only aligned to the scale of human activities but also aligned to the building of Everson Museum formally through plan and section like a set of small gifts that are taken out and placed around by unboxing the Everson museum as a large present box.
CONSTRUCTS UNFOLDED
SITE PLAN WITH FRONT ELEVATION
S PROJECT
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UNBOXING EDGES
BOUNDARY
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THE AI-POWERED FUN PALACE SPRING 2023 / THESIS RESEARCH INSTRUCTOR / MARK LINDER & EMILY PELLICANO COLLABORATOR / XINQI MENG
The integration of artificial intelligence in architecture offers innovative engagement and understanding of unbuilt projects, enhancing audience interaction and emotional connection. AI-generated videos and images can create a dynamic memorial space, providing new perspectives on historical events or buildings. The project, using Cedric Price's Fun Palace as a case study, explores AI's role in shaping spatial design and shared experiences, aiming to augment traditional memorials with AI-enhanced media, fostering a collective experience through architecture and technology. We aim to experiment with flexible design frameworks and AI tools, imagining new ways of transforming existing an unbuilt but meaningful architectural project to create a shared emotional linkage between visitors and the space.
M PROJECT
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REIMAGINE FUN-PALACE
OPERATION
40
DYNAMIC ACCOMMODATION SPRING 2023 / SPATIAL UIUX INSTRUCTOR / VIOLET WHITNEY COLLABORATOR / NUO LYU, ZHEXU YANG
As an interface that gathers and displays information from different apps and activities, Dynamic Island on iPhone can be useful in virtual environments. However the size of the iphone screen indicates that it actually has edges with defined boundary, which limitized the way of interaction between people and information. Then we started to imagine. What if the island become boundary-less, what if its boundary can be extended 3 dimensionally around our daily life instead of just staying on the small screen? Langer boundary means larger surface to interact with, and we think the strategies might bring more kinds of interaction for future lifestyle.
XS PROJECT
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DYNAMIC ACCOMMODATION
We began by exploring where interactions could occur in everyday life and realized that ordinary elements like doors, walls, and refrigerators could all serve as potential mediums for these interactions. More significantly, these mediums can be seamlessly integrated into common household settings, making them accessible to everyone. To embody our vision of a universal future lifestyle, it's crucial to reduce the barriers to contextualization. Ultimately, we developed three interactive features: a wake-up clock system on the wall, a closet assistant offering clothing suggestions based on the weather, and a health calculator that tracks your daily calorie intake.
INTERACTION
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INTO KILNINGS
CONSECUTIVE FABRICS
SUMMER 2021 / WORK FOR ATELIER CNS PROJECT LEADER / ZI'AN LUO SITE / GUANGZHOU, CHINA
SPRING 2022 / ARCHITECTURAL PAINTING INSTRUCTOR / RICHARD ROSA SITE / NEW YORK, NEW YORK
WORKED AS PROJECT DESIGNER
INDIVIDUAL WORK Re-defined the urban edges and metropolitan peculiarity in different scale of New York City through the identical and consecutve fabricks from Queens Public Library, Guggenheim Museum, Whitney Museum, and Central Park.
CONSTRUCTION SITE
INTERIOR
The set of interior design was made for a Chinese style ceramic merchant as a commerence exhibition space for his collections. The major space is segmented by the arch structure, while the form is designed to recall the ceremic-making through the baking processes take place in kilnings. The different sizes of arch structures have also distinguished different exhibition functions.
THE CERAMIC KILINGS PLAN & CIRCULATIONS
OFFICE
ENTRANCE
EXTERIOR
RECEPTION
EXHIBITION
UNROLLING EXPERIENCES
RECEPTION SPACES
S PROJECT
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INTO KILNINGS
ENTRANCE
EXHIBITION HALL
LOCALITY
42
COPIED IN BEIJING
L O C A L I TY
I NT E G R A TI O N
EMU GATHERING ORG
U R B A N I TY FOLATING NOMADS
EN C O U N TE R
THE BUFFER ZONE
I N TE R A C TI O N
KENSINGTON FRIDGE
E X TE N S I VE C I R C U L A TI O N
ITERATIVE SHAPESHIFTERS M O DA L I TY UNBOXING EDGES P RES C R I P TI O N
BOUNDARY
C O M P L E M E N TA R Y
REIMAGINE FUN-PALACE
DYNAMIC ACCOMMODATION
TOPOGRAPHY
INTO KILNINGS
MA TE R I A L I R Y Expending my exploration of scale to a big picture of the interconnectivity and fluidity of architectural criteria can shift these criteria as collective from intermediate steps into a gentle slope by adding more ambiguous, undiscovered frames as connections between those set-up norms. In my future studies, I plan to apply this methodology to a broader range of societal issues, exploring the multi-dimensional logic and systems within the context of urbanism. This approach aims to delve into the complexities and interconnections of urban spaces and their social and environmental impacts, providing a comprehensive understanding of how these elements interact and influence each other in the urban landscape.
OP E R A TI O N
EXCHANGE
THE END
GRADATION OF CRITERIONS
HAIHUI ZHU