The paradigm of modern architecture is one of contradictions. Mass production competes against craftsmanship. Automation of design through data collection, analysis and output challenges the premise of the physical, sensuousness of architecture. Design as theoretical investigations subvert the phenomenological experience of space. This is a collection of my work, experiences and explorations to find the my values among the paradoxes.
EDUCATION FALL 2009 - UNIVERSITY OF WATERLOO SUMMER 2014
Cambridge, Ontario, Canada Honors Bachelor of Architectural Studies, Co-op Rome, Italy 4A Semester in University of Waterloo Architecture Rome Studio Excellent Academic Standing
EXPERIENCE SPRING 2014 PATKAU ARCHITECTS ARCHITECTURAL INTERN Vancouver, BC, Canada Detailing Grasshopper generated theatre acoustic panels during Construction Documentation and Tender.
Design team member and graphic work as finalist of Martin Luther King Jr Library Competition. Model maker and graphic work for UCSC Competition. SPRING 2013 ALA ARCHITECTS ARCHITECTURAL INTERN Helsinki, Finland Design team member tasked with facade options, sustainability studies and models for West Harbor project.
Model making and prelimary design as finalist for Aalto Campus 2015. Design and presentation material for Kasarmitroi Competition. SUMMER 2013 DIAMOND + SCHMITT ARCHITECTS STUDENT ARCHITECT SUMMER 2012 Design and presentation material for Unversity of Windsor Welcome Centre.
Toronto, ON, Canada
Competition team member for Guelph Athletics, Sick Kids Masterplan and Ottawa Science Centre. Design team member with focus on detailing 75/150/300 seat classrooms and interior atrium during Construction Documentation for 300 000 sq ft Laurier School of Buisness.
PERKINS + WILL ARCHITECTURAL INTERN NYC, New York, US Design member of Seoul Tower team responsible for 3d model and presentation drawings. Physical model for West Chester School. Workshop assistance in integrating 3D Printer.
JCI ARCHITECTS ARCHITECTURAL INTERN Toronto, ON, Canada Develop design and prepare all drawings for Korean Memorial Pavillion. ARIA PARTNERSHIP ARCHITECTURAL INTERN Toronto, ON, Canada Develop design and prepare all drawings for Korean Memorial Pavillion.
KMA ARCHITECTS CONTRACT WORK Toronto, ON, Canada Develop design and prepare all drawings for Greenline Competition.
SKILLS 3D MODEL GRAPHIC CAD FABRICATION LANGUAGE
Revit, Rhino 5 (V-Ray 2, Grasshopper), Sketchup 8 Photoshop, Illustrator, Indesign, Bridge (CS6) Autocad CNC (RhinoCAM), Lasercutting, 3D Printing (MakerBOT), Traditional shop power tools English, Mandarin (Basic)
RECOGNITION Project Review Exhibition for Rome Studio American Society of Architectural Illustrator Award of Excellence Come Up To My Room Exhibit in Toronto for Jiro Ono Chair Project Review Exhibition for 3B Studio Project Review Exhibition for 3A Studio Eco House Student Competition Finalist (w/ Samuel Ganton) Structral Steel Education Foun Finalist (w/ Desiree Geib)
CONTACT 99 Hickorynut Dr, North York, ON, Canada haleyzhou@hotmail.com
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
Museum of the Forum
This project explores the spatial qualities of an A-frame section, jogging in plan to work with the topography and provide either dramatic spaces that open up to the landscape or more intimate spaces carved out for the spa program.
Jiro Ono Chair
deepFORMATIONS
The pitch, materiality and construction of the roofs are carefully considered and often with the roof and wall merging into one element.
Smart Harbor
The roof as an architectural element is often overlooked. However, with indigenous Norwegian architecture the roof is often the most expressive element of their building tectonic.
Patkau Architects
Voss, Norway
ALA Architects A
Andrew Levitt
DSAI
4B Term
JCI Architects
VOSS SPA STUDIO
This exploded axo shows integrated construction of Oak louvers, SIP Panels and Glulam Framing.
INDIGENOUS INSPIRATION Inspired by the way a traditional stave church occupies the rich landscape of western Norway, the building sites as an object in the landscape and uses a louver screen to allow the dramatic scenery, climate and daylighting that occurs in Scandalnavia to engage the interior space.
ENLARGED ELEVATION
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
The building expresses it self through a linear form that is driven by sectional relationships on the interior and the louver screen mediates the interior experience. It bridges over a exisitng ski path that further connects the building to the site.
JCI Architects
DSAI
Level 0
Level -1
ALA Architects
Level 1
Patkau Architects
Smart Harbor
Jiro Ono Chair
deepFORMATIONS
Museum of the Forum
Voss Spa
North Elevation
WALL SECTION -80x60mm Oak Louver @ 150mm O.C. -40x80mm Vertical Support @ 1500 mm Spacing. -Powerlyn UV Resistant Facade Membrane Adhered. -300mm SIP Panel TYP. 1500 x 2400 mm. -19mm Gypsum Board -180x500mm Glulam Framing with 20mm Steel plate at connection joints.
FLOOR SECTION -9mm Tile -9mm Bedding Mortar. -12mm Skim Coat. -200mm Concrete Slab with Radiant Heating Piping. -Batt Insulation. -18x60mm Fir Louver Drop Ceiling.
DETAIL -Triple Glazed Argon Filled Glazing with Low E Glass.
Win
Spr Fall ‘10
-60x200mm Capped Aluminum Mullion. -Operable Awning Windwo with Drouble Pane argon filled glazing unit. -30mm Hardwood Bench with Steel Clip Framing
‘11 ‘12 ‘13 ‘14
RENDERING Kitchen and Dining Room
JCI Architects
DSAI
ALA Architects
Patkau Architects
Smart Harbor
Jiro Ono Chair
deepFORMATIONS
Museum of the Forum
South Elevation
Voss Spa
HEATING DIAGRAM Radiant Flooring
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
Voss Spa Museum of the Forum NEGATIVE
Jiro Ono Chair
deepFORMATIONS POSITIVE
Smart Harbor
Pressure Zones dependent on program and appropriate movent of contaminated air.
ALA Architects DSAI
Pressure Zones
JCI Architects
VENTILATION DIAGRAM
Patkau Architects
NEUTRAL
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
Voss Spa
The he remianing space is turned into the building footprint and the building sits as a solid rock, embedded into the site and seemingly as timeless as the ruins it faces. Itt confidently wraps around the site and situates itself around the new public spaces that defined the original forum itself. It is a modern interprestaion of the Roman Forum that aims to catalyse the site while being effortlessly integrated.
deepFORMATIONS
Museum of the Forum
The he project aims to connect the higher local neighbourhood while establishing a new entrance into the Roman forum with a series of public spaces that welcomes the pedestrian.
Jiro Ono Chair
The he Mussolini paved road of Via dei Fori Imperiali is filled with memory and history. It is a site filled with fragments and ruins of the greatest empire in human history. The modern rome is a city of contradictions and clashes of history with modernity.
Smar Sm marrt Ha Harb rbor or
Rome, ome, Italy
P tk Pa tkau au Arc rchi hite t ct te ctss
w/ Diana Lopez
ALA AL A Arrch hit itec eccts
Lorenzo Pignatti
DSAII
4A Term
JCI A JC Arrch c ittec ects c
MUSEUM OF THE FORUM
SITE DIAGRAM public space vs built space
SITE PLAN Ground level
DIAGRAM Program and Circulation
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
RENDER Lobby
JCI Architects
ALA Architects
Patkau Architects
Smart Harbor
FLOOR PLAN
FLOOR PLAN
Level -1
Jiro Ono Chair
Level 1
DSAI
FLOOR PLAN
Level 0
deepFORMATIONS
Museum of the Forum
Voss Spa
RENDER Cafe and Auditorium Entrance
RENDER Cafe Entrance
DETAIL
MATERIAL PALATTE In-situ Concrete Copper Mesh Glass
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
Voss Spa Museum of the Forum Exhibit Space
ALA Architects
Theatre
Patkau Architects
Smart Harbor
Nature Exhibit
Human Image Exhibit
DSAI
City Exhibit
Jiro Ono Chair
deepFORMATIONS
Entrance Lobby
JCI Architects
BUILDING SECTIONS
Building Section
Building Elevation
DEEPFORMATIONS STUDIO 3B Term
Marco Verde
w/ Felix Cheong and Zain Karsan The project was an experiment in form finding and architectural design through a systematic analysis of a morphology, to achieve integrated building solutions. The projectbegan with an exploration of a dynamic system, that is the flow of ink after being injected into a tank of water where turbulence within the tank generated desirable formations. The proximity of silhouettes became proportional to the density of areas of the morphology, thus much of the project was preoccupied with creating transitions between differential levels of density. Another opportunity for transitional elements was found in the relationship between mapped silhouettes, and the algorithmic approaches that both generate space and perform structurally. The aim was to arrive at an integrated design solution which was derived through these algorithmic approaches which created transitional zones between densities.This approach was developed and informed by research into Nervi’s integrated ferrocemento building elements and an encouraged consideration towards inherent qualities found in material, where strength and flexibility become increasing areas of interest. The opportunity found in fiberglass molds represented potential to increase the efficiency of the building elements.
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
The final stage of the project was the development of the analysis into an architectural proposal. The morphology manifested as a congregational space through analysis of the inherent qualities of the overlaid form and the design conditions available within the formation. Through the conflicting ideologies of an unconventional hyper-modern form crossing with the program of a traditional religious institution this project is an attempt into rethinking what it means to design in the current architectural climate.
J I Archittec JC ects ts
DSAI DS SAI AI
A A Ar AL A ch hitec ects t
Patkau Arc rchi hite hi tect cs
S arrt Ha Sm Harb rbor bor o
J ro Ono Ji n Chair i
deepFORMATIONS
Museum of the Forum
Voss Vo ss Spa
The project began with a series of exercises in form finding involving the dispersal of ink droplets through water. Multiple trials were performed and documented in controlled conditions to obtain candidates whose form and dispersal patterns were compatible with the project’s objectives.
16
seconds
24
32
From the candidate pool one formation was then chosen to proceed into digitization. Individual frames of the inks’ motion through the water was captured in 3 orthographic views to allow a conversion from 2d to 3d data.
TIME LAPSE Ink Flow in Water
LINE TRACE Digitalizing Analog Info
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
SITE PLAN Transfomation
Voss Spa Museum o of the Forum deepFORMATIONS
DIAGRAM
F(x)_A_(z3) F(x)_A_(z4)
Patkau Architects
Smart Harbor
Jiro Ono Chair
Ink Flow Compiled
F(x)_A_(z2) F(x)_A_(z1)
F(x)_A_(z5)
F(x)_A_(z6) F(x)_A_(z7)
F(x)_A_(z8)
F(x)_A_(z9)
F(x)_A_(z10) F(x)_A_(z11) F(x)_A_(z12) F(x)_A_(z13) F(x)_A_(z14) F(x)_A_(z15) F(x)_A_(z16) F(x)_A_(z17) F(x)_A_(z18)
F(x)_A_(z19)
F(x)_A_(z20)
F(x)_A_(z40) F(x)_A_(z39) F(x)_A_(z38)
F(x)_A_(z37) F(x)_A_(z36)
F(x)_A_(z35)
F(x)_A_(z21)
F(x)_A_(z34)
F(x)_A_(z33) F(x)_A_(z22) F(x)_A_(z32) F(x)_A_(z23) F(x)_A_(z31)
F(x)_A_(z27) F(x)_A_(z24)
F(x)_A_(z28)
F(x)_A_(z29)
F(x)_A_(z30)
F(x)_A_(z26)
F(x)_A_(z3) F(x)_A_(z4)
ALA Architects
F(x)_A_(z25)
F(x)_A_(z2) F(x)_A_(z1)
F(x)_A_(z5)
F(x)_A_(z6) F(x)_A_(z7)
DSAI
F(x+13)_A_(z11)
F(x+13)_A_(z10)
F(x)_A_(z8)
F(x+13)_A_(z9) F(x+13)_A_(z8) F(x+13)_A_(z7)
F(x)_A_(z9)
F(x3)_A_(z11)
F(x+13)_A_(z6) F(x+13)_A_(z5)
F(x3)_A_(z10)
F(x+13)_A_(z4)
F(x)_A_(z10)
F(x3)_A_(z9)
F(x+13)_A_(z3) F(x+13)_A_(z2) F(x+13)_A_(z1)
F(x3)_A_(z8)
JCI Architects
Once the data had been digitized we were tasked with developing algorithmic options that could be propagated throughout the subject while maintaining its key traits and characteristics. Traits such as density, porosity and form were taken into consideration. Feasibility was also a contributing factor in the development of our algorithm since fabrication techniques were a key area of investigation along with a consideration for a full scale architectural proposal.
F(x)_A_(z11)
F(x3)_A_(z7) F(x3)_A_(z6)
F(x)_A_(z12)
F(x3)_A_(z5) F(x3)_A_(z4)
F(x)_A_(z13)
F(x3)_A_(z3) F(x3)_A_(z2)
F(x)_A_(z14)
F(x3)_A_(z1)
F(x)_A_(z15) F(x)_A_(z16) F(y+13)_A_(z11) F(y+13)_A_(z10)
F(x)_A_(z17)
F(y+13)_A_(z9) F(y+13)_A_(z1)
F(y3)_A_(z1)
F(y+13)_A_(z2)
F(y+13)_A_(z3) F(y+13)_A_(z4) F(y+13)_A_(z5)
F(y+13)_A_(z8) F(y+13)_A_(z7) F(y+13)_A_(z6)
F(x)_A_(z18) F(y3)_A_(z11)
F(y3)_A_(z2)
F(y3)_A_(z3)
F(y3)_A_(z4)
F(y3)_A_(z10) F(y3)_A_(z9) F(y3)_A_(z5) F(y3)_A_(z6) F(y3)_A_(z7) F(y3)_A_(z8)
F(x)_A_(z19)
F(x)_A_(z20)
F(x)_A_(z40) F(x)_A_(z39) F(x+13)_A_(z11)
F(x)_A_(z38)
F(x+13)_A_(z10)
F(x)_A_(z37) F(x+13)_A_(z7) F(x+13)_A_(z6) F(x+13)_A_(z5)
F(x)_A_(z36)
F(x3)_A_(z11)
F(x3)_A_(z10)
F(x)_A_(z35) F(x+13)_A_(z2) F(x+13)_A_(z1)
F(x)_A_(z21)
F(x3)_A_(z7)
F(x)_A_(z34)
F(x3)_A_(z6) F(x3)_A_(z5) F((x+1)y3)_A_(z8_4M) F(xy3)_A_(z8_4M)
F(x)_A_(z33)
F(x3)_A_(z2) F((x+1)y3)_A_(z8_2M)
F(x3)_A_(z1) F((x+1)y3)_A_(z4_4M)
F(xy3)_A_(z8_2M)
F(x)_A_(z22)
F(xy3)_A_(z3_4M)
F(xy3)_A_(z3_2M)
F(x)_A_(z32)
F((x+1)y3)_A_(z4_2M) F(y+13)_A_(z11) F(y+13)_A_(z10)
F(y+13)_A_(z1)
ALGORITHM Patterning Traced Lines
F(y3)_A_(z1)
F(y+13)_A_(z2)
F(y+13)_A_(z5)
F(x)_A_(z23) F(x)_A_(z31)
F(y+13)_A_(z7) F(y+13)_A_(z6)
F(y3)_A_(z11) F(y3)_A_(z2)
F(x)_A_(z27)
F(y3)_A_(z10) F(y3)_A_(z5) F(y3)_A_(z6) F(y3)_A_(z7)
F(x)_A_(z24)
F(x)_A_(z26) F(x)_A_(z25)
F(x)_A_(z28)
F(x)_A_(z29)
F(x)_A_(z30)
CNC MOULD mould for fiberglass
FIBERGLASS sheet and heat form plexi
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
ASSEMBLY with tab system
Voss Spa Museum of the Forum deepFORMATIONS Jiro Ono Chair Smart Harbor Patkau Architects JCI Architects
A 1:1 digital model was developed for the section of our morphology we intended to fabricate. Due to the curvature of individual pieces, a mould out of high density foam was made with the aid of a CNC router. Fiberglass sheets were then draped over the moulds with a mixture of resin and hardener. When the mixture was dry the pieces were then CNC’d out of the moulding, and each individual part was tagged and assembled using miniature nuts and bolts. A glazing system was also devloped to enclose large openings and they also required a mold but in this case heat-form clear acrylic provided the appropriate transparency.
ALA Architects
Since our algorithm produced a ribbed structural system we decided to use fiberglass as our primary building material. This produced structural elements that had a high degree of flexibility for manipulation while maintaining a required level of rigidity as a whole. It reflected the traits and characteristics we were looking for in our initial design.
DSAI
Based on the algorithm that was developed in the initial design phase, one fragment of the formation was then selected to be translated into a physical model. A variety of prototypes were created in this stage in order to ascertain the most appropriate fabrication technique and material palette.
DETAIL fiberglass cutting / detail
reet
St. Mary Street
The purpose of the final design phase was to produce an architectural proposal for our formation. The building must be placed into a site with opportunities for integration through the natural propagation of the initial algorithm onto the surrounding context. This integration must also be in cohesion with a specific program to be housed in the building.
DIAGRAM Pattern Formation We chose to propose a religious congregation center as our program, situated in an undeveloped lot adjacent to an existing church in downtown Toronto. This seemed appropriate due to the porous natural of our facade system which allowed for an abundance of light to enter the building, as well as the large free spanning space central to the formation, perfect as a congregation area.
SITE PLAN Site Area
DETAIL Exterior Spaces The algorithm was also projected onto the site to produce interesting fixtures such as lights, steps, and bike racks used to define and enhance the existing green-scape. A series of study were made to study its impact and integration to the urban conditions of the site.
Win
Spr Fall ‘10
AXONOMETRIC Site Area
‘11 ‘12 ‘13 ‘14
SECTION Longitude and Latitude
JCI Architects
DSAI
Patkau Architects
Smart Harbor
Jiro Ono Chair
Interior Experience
RENDER
Night Time Aerial
RENDER
deepFORMATIONS
RENDER
ALA Architects
Exterior Public Space
Museum of the Forum
Voss Spa
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
Voss Spa Museum of the Forum deepFORMATIONS Smart Harbor
Jiro Ono Chair
The chair is made of three pieces and through a common connection system of 45 degree tooths, can be reconfigured to many different shapes and uses.
P tkau Architects Pa
Inspired by 89 year old Japanese sushi chef Jiro Ono’s relentless drive to seek perfect in his craft. We designed a chair that reflects his highly developed 19 sushi menue that is integrated while at the same contrasts and compliments it self.
A AA AL Arrch c ittec e ts
w/ Lauren Tom
DSSAI DSAI A
Structural Design
JCII Arrch JC chit iteccts
JIRO ONO CHAIR
Jiro has an obsession, it keeps him up at night and makes him get up every morning to work at the age of 89. He is obsessed with making sushi. Ono is described as a shokunin - a person who embodies the artisan spirit of relentless pursuit of perfection through his craft. His perfection is expressed in a 19-sushi menu, he does not serve any other type of food and an apprentice for Jiro would work for ten years before attempting to make an egg sushi. There is a blend of the traditional and The modern in the Japanese aesthetic. Jiro’s ushi are a result of thousands of attempts and the fine balance between detail and simplicity. He changes the proportions of his meals to suit each customer in order to maintain the pace of their meal. Every step of the experience is carefully choreographed. Perfection is demanded, from the rice dealer to the body temperature the sushi rice must be served at. All these must fit like pieces of a puzzle or it would not pass Jiros’
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
JCI Architects
DSAI
ALA Architects
Patkau Architects
Smart Harbor
Jiro Ono Chair
deepFORMATIONS
Museum of the Forum
Voss Spa
SMART HARBOR Competition Elective
w/ Diana Lopez
Pesaro, Italy Harbors have long been constructed as the economic backbone of a city. However with the recent times of environmental and economic instability, the relationshipbetween the water and city is an on-going evolution. Therefore, it is the perfect time to re-establish the harbor as the heart and future of Pesaro. The new harbor will attract visitors with Pesaro’s rich history in theatre, opera, cinema and the crafts, while allowing locals to gain access to wellness and educational facilities. Spaces will be used to provide entertainment to Pesaro’s citizens, as well as an attraction for tourism. Most importantly it will create a model for a more sustainable local economy that will become the new symbol for Pesaro and port cities around the world.
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
JCI A JC Arrch chittecctss
D AI DS
AL LA Architects
Patkau Architects
Smart Harbor
Jiro Ono Chair
deepFORMATIONS
Museum of the Forum
Voss Spa
Establishment of a pedestrian-friendly circulation route around the site and connects to the existing bicipolitana project. The loop provides acess to all programmed areas of the project and key outdoor spaces, it acts as a roof for the Wellness Centre, a key in promoting the physical health of thecitizens of Pesaro.
AXONOMETRIC Circulation Scheme
Outdoor Performance areas allow for planned and sponataneous events, from the annual Pesaro International Film Festival of New Cinema to a weekend local farmers market. Buildings facades and screens used as project surfaces for an immersive experience during live events.
AXONOMETRIC Site Aerial
SECTION Site Connections
Win
Spr Fall ‘10 ‘11 ‘12 ‘13 ‘14
Key programmed spaces include two theatres for tradtional performances able to accomodate varying venues, as well as a blackbox theatre flexible for experimental performance. Educational facilities gives great access to sunlight and views along with spaces that promote the continuing developement of the local economy
JCI Architects
DSAI
1000 & 2000 Seat Theatre
AXONOMETRIC
Learning Centre
Patkau Architects
AXONOMETRIC
ALA Architects
Smart Harbor
Jiro Ono Chair
deepFORMATIONS
Public Performance Space
AXONOMETRIC
Museum of the Forum
Voss Spa