Portfolio Hao Chang

HAO CHANG Master of Architecture Candidate GSAPP, COLUMBIA UNIVERSITY

changhaoarch@gmail.com

Hao CHANG (+1) 646-209-5269 hc3030@columbia.edu 560 Riverside Drive, New York, NY 10027

Education Columbia University, New York 08/2018-05/2021

Master of Architecture (In progress) Studio Critics: Steven Holl & Dimitra Tsachrelia, Christopher Leong & Dominic Leong, Phu Hoang, Eric Bunge, Karla Rothstein, Stephanie Lin Tsinghua University, Beijing

08/2016-07/2018 08/2012-07/2016

Master of Engineering, Urban Planning Master's Graduation Thesis: Research of the Design Strategy of Micro-Public Space in Baotou City Bachelor of Engineering, Urban Planning (GPA: 3.79/4.0)

WORK 06/2019-08/2019

Death LAB, Columbia University, New York Graduate Research Assistant | Research & Design, 2D Diagram & 3D Render, New models of mortuary infrastructure which embrace biologically sensible human disposition alternatives.

06/2018-08/2018

TeamMinus, Beijing Full-time Intern | Architectural Design, The Olympic Village, XXIV Olympic Winter Games Design, drawing of project façade & plan; Program organize of athlete clinic; Digital modeling; Site analysis and modeling

08/2017-11/2017

China Academy of Urban Planning & Design, Beijing Full-time Intern | Urban Comprehensive Planning of Baotou City Statistical data collection and analysis; Planning & policy document study; Site visit & GIS analysis; CAD Planning drawing; Urban fabric study; Public space design

10/2016-10/2017

Freelance Architectural Designer, Wuxi Conceptual design of Henong Design Center, a 20000 sqm commercial project in a historical district of Wuxi; worked in a group of 2; Worked on the master plan and massing; In charge of façade design & digital modeling; Coordinate with local government & involving companies; Design completion cooperate with LJJZ Architects, Shanghai

07/2014-08/2018

Freelance Graphic Designer

HONOR 10/2019

Honorable Mention, DYING Competition, Non Architecture Competitions With GSAPP Death LAB, Team Member, Light After Life Huayu Entrepreneurship Scholarship Co-founder/Design Director, THU Design Finalist Mention, YAC Observatory Houses Competition Team Leader, From Earth to the Stars

06/2018 07/2017

Leadership 10/2016-now

09/2014-09/2017

THU Design (student organization of 40+ members) Co-founder/Design Director, decision making and creative product design 4000+ products designed and sold, 1300 followers on Wechat Tsinghua University Vision Center (a team of 10+ designers) Project Leader, in charge of design and team management

SKILL Software Others

Revit/Photoshop/Illustrator/InDesign/Sketchup/AutoCAD/Rhino/Grasshopper/ArcGIS/3dsMax/After Effects/Premiere Photography/Graphic Design/Website Design/Pencil Sketch/Watercolor

THE WEIGHT OF LIGHT

GSAPP Advanced VI Studio Office+Gallery Design Critic: Steven Holl. Dimitra Tsachrelia Coorprate with Cris Liu Site: Annandale-on-Hudson, New York Apr 2021

Light gains weight when it's trapped in a device where it constantly reflect and refrect. In the project, we focused on the tention between light and weight, and created office space, gallery space and structure system around the tention. The natural landscape the site located also added a layer of richness t h at g i v e s u s o p p ot u n i t y to te st materials with a more natural texture that coresponds with the light.

In the summer of 1859, Hudson River School painter Frederic Edwin Church took a trip aboard a schooner to Newfoundland and Labrador to observe icebergs. In a book about this journey, the author wrote: “an iceberg was one of those imperial creations of nature that awaken powerful emotions, and illumine the imagination.”

We analyzed the environment in which an iceberg stays. A clear open background helps viewers perceive an iceberg’s outline and water leverages its buoyancy to create a tension with the weight of the iceberg and make the iceberg magically float on its surface. These conditions make an iceberg, an iceberg.

Located in Bard College, Annandale-on-Hudson, New York, The site is surrounded by historical forest and has a trail leads to Hudson River. The dialog between archtiecture and nature is crucial in this project.

For iceberg itself, We are also intrigued by the dreamy and mysterious character of the iceberg and found that it is light being refl refra trapped in the ice that enables an iceberg to transcend its physical appearance and have a dynamic flow of energy. Weight of light becomes our concept and we want to take this aspect and transform it into a poetic social space.

However, rather than stay far away from the iceberg and treat it as an object, we try to break down the scale by dividing the giant space into more intimate and humane-scale spaces embedded in the program that we are asked to put in our project and design different experiences around the iceberg: out, in, below and around.

We tested the lighting effect by using some thick ice and we are fascinated by how the surface itself looks when light inhabits it but also that light passes through it and projects a dynamic and poetic pattern on the ground that make the space below extremely beautiful.

Our Architecture grows from the tension between the trapped light within the ice and the space it creates. First, we insert the ice into a lifted platform in order to create access to space within the ice, below the ice, and above the ice.

Second, we lower the building underground and align the roof with the ground. There are two advantages of this move: the ice can be more accessible to visitors, both physically and visually; and the space below the ice can be darker so that the light environment of the space can be more concentrated to the trapped light coming out of the ice. The lower floor is more suitable for gallery space, while the upper floor can have direct sunlight due to the gap between the building and the wall, making it suitable for office space.

When we put the architecture underground, the ice above is the only visible element when visitors approach the building through the driveway. It’s more sculpture-like and is hiding within the forest, attracting visitors to come closer.

There are four ices penetrating through the roof, creating walkways within.

So people can access from the south parking lot to the trail to the river in the north. The largest ice in the south is the main entrance where visitors can go inside through stairs and elevator, and two secondary stairs are located in the two gaps, the north one serving the upper floor office and the south one serving the lower floor gallery.

The gaps are designed according to the site condition so that the building can fit within the different sized trees so that all trees are preserved. The gaps are more open to the south so the office floor can have more direct sunlight.

structure diagram Embed some of these weight of light into a building seems a simple gesture but it is extremely challenging for the structure and the materiality. The ice will be divided into two pieces and upper sit on office, lower attached and glued on the other side.

Office floor hanging from the thick roof made with concrete which is supported by some structural walls on the sides of the project to allow a maximum flexibility of the space. This flow of gravity both anchor the building stably on the ground but also enhance this floating feeling and really let people feel the weight of these lighting devices.

Starting from the office floor made by a steel structure, the acrylic will sit on a custom collar beam with a welded top and the lower part will be glued on a steel angle. There will be glass beam inside the space supporting the laminated glass floor.

The roof will be made by a 20” bubble deck plus a 8” insulation and a 7” green roof. The shell will only be held by a steel angle sitting on a expansion joint (emseal)

The perimeter is dedicated to fixed working tables and creates a loop circulation for communication, the four weights of light become a lighting room that can be used for multi function like meeting exhibition or just relax, the central space also becomes a space for gathering, adding richness to the office.

OFFICE LEVEL

The gallery is darker underground so that people can experience the light from the ice. There are two entrances to the gallery, one within the ice and another outdoor one in the south. There are doors on the glass enclosure to provide access to the outdoor space under the wall.

The glass enclosure is designed to be almost invisible so that the textured underground wall become the visual boundary of the space. These walls can also receive sunlight to highlight its rough texture.

GALLERY LEVEL

ACADEMY OF HOT ROCKS

GSAPP Advanced V Studio Mutual Aid Center Design Critic: Christopher Leong, Dominic Leong, Sean Connelly Coorprate with Floencia Yalale Site: Honululu, Hawaii Dec 2020

The Academy for Hot Rocks，derived from the use of hot rocks in the Imu ground oven of Hawaii, which we have made the focus of the project as the center of community program. Located in the north of Wakiki beach, The project is here to rebuild the mountain

to sea connection of Honululu, as well as decolonize Hawaii and recall the indentity of Hawaiian culture with the materialality, form, program, and connection.

The way the Hawaiian food system currently works is far removed from hawaiin culture, a heavily important dependent , and industrialized system where the consumer has little connection to where the food came from. We began our research with a focus on the impacts of colonization on Hawaii’s food history as seen in this timeline from early Polyensian settlers to present day.

Beginning with the fact that Hawai`iimports 90 % of its food is at a cost of $6.8 billion per year. Workers have the lowest average income in the US, yet Hawai`i is the most expensive state in which to live; with food costs at 61% higher than in the rest of the US.

hawaiian Lu'au network The network fo the lu’au (feast) is a perfect example of Hawaiian food network. If we look at the Kalua Pig at the center of the feast in this network, we can see it’s connection to the process, which is the imu, the imu needs the cultivation of basalt rocks, which is dependent on the natural process of the volcano, and the pig eventually ties back to the spirit realm as the god Lono is associated with the pig. The connection is what we are tring to recall with a new imu network.

the food network of wakiki The site is located in the intersection of the Wakiki mountain-sea connection, the University-beach connection and the freeway. it can be a nexus of a renewed mutual aid food network.

the history of foods in hawaii

In order to have a commercial Imu today, the Department of Health and Safety specifies the requirement of a roof. Which provided us with an initial idea, about a building that facilitates this process. . The chimney type also provided an organization of the site, the intent was to be able to feed a large group of people, somewhere around 10,000 at a time, but doing so by dispersing smaller scale buildings which act as nodes connecting the large site together.

nutrient cycle

the imu cycle

In contrast to these distant and removed systems, Within the ahupua’a network is the Imu, an underground earth oven native to Hawaii with its own expansive network of food, material, spirituality, and collective labor. On the right we’ve diagramed The entire process of cooking with an imu, which can take up to 2 days of collective work. This method of cooking, its network of collective labor, and the different ways it becomes adapted by people.

site circulation

ground plan

The Mountain to Sea connection is both crucial to the Ahupua’a and also our site. Re-establishing this connection is key in reclaiming the ahupua’a.

On the north end of the site is the freeway. Our proposal is to make this space underneath the freeway a passaage through the site and out back towards the ala wai canal foot path. The canopy trellis system, which connects the buidlings to each other, but also acts asn an outdoor shading system for people and plants on the site.

n-s section

And the programs of the project are part of a larger nutrient cycle. Food can be transported by truck and loaded to the storage space, or it can be carried by all users of the mutual aid. The larger building unit next to the storage is where foods are gathered and processed before they are allocated and consumed in different imus. plants that grow on site can also be used for the imu process,

program cycle

material cycle

The imu oven centers around slow cooking with hot basalt rocks, which inform the basis of the material language for the architecture, which utilizes different expressions of lava. The main material of the building is made with geopolymer concrete with volcanic ash, a lighter more sustainable material than concrete, and is cast with rock formwork, giving the surface the rock-like texture. The basalt rock can also be melted and transformed into a fiber which creates a fabric, which is a light, transparent and heat insulating material which we are using as the outer envelope of the building.

THE IMU OVEN

BASALT FABRIC SHADED SPACE

MAIN ENTRANCE

BIKE LANE

THE mobile ROOM

GSAPP Advanced IV Studio Parking Deck Design Critic: Phu Hoang Site: Newburg, NY April 2020

The development of autonomous car and electric car can reshape the future of long-distance car ride.

Therefore we should reimage the future of service areas on high way.

In this reststop located on the eletric c o r r i d o r n e a r N e w b u r g , N Y, t h e service area is combined with market therefore connecting local bussiness with reaveller. The project can adapt from near future to the distance future of autonomous vehicle and eletric vehicle.

There are three major trends in the future of mobility: Autonomus vehicle, Eletric vehicle and Shared vehicle. When drivers are freed from driving in automous vehiclem the Due to the change in autonomus driving, space within the vehicle can be redesigned a rest stop can be designed as a market as a room to support different activities where long-distance travelers can interact such as sleeping, working, eating, and with locals. A parking-marking courtyard entertainment. would form where the cars can directly face Furthermore, eletric vehicle have shorter the market, and multiple courtyards are travel distance and longer travel time. The connected with road on the north side, living change in driving experience can reshape the south side open as pedestrian path to let how people trravel. Autonomous vehicle sunlight and the forest view in. can be more enjoyable, and faster then traditional car. We may predict there would be more intercity travel by automous vehicle in the incoming future.

NEWBURG & SERVICE AREA NETWORK IN NORTHWEST AMERICA Typical eletric vehicle has a travel range between 100 and 200 miles. Newburg can be easily accessed within 5 hours of major cities in Northwest America. Plattekill travel plaza, a current service area located at the intersect of i-87 highway and the eletric corridor, is the slected site of the future service area.

HIGHWAY & ELETRIC CORRIDOR AROUND NEWBURG

D u e to t h e c h a n ge i n a u to n o m u s driving, a rest stop can be designed as a market where long-distance travelers can interact with locals. A parkingmarking courtyard would form where the cars can directly face the market, and multiple courtyards are connected with road on the north side, living the south side open as pedestrian path to let sunlight and the forest view in.

Near future

Long section: adopatation from near future to the distant future

transition

distant future

People can easily move between different courtyards though the path.

Autonomous car can be parked into a pre-cast module where the car is a replaceable room for a larger room where they can have a rest, and the module can insert into the parking deck to replace traditional car park. The units would form a community where people can meet, communicate, and enjoy good food and good life of Newburg.

distant future market courtyard

ROOM/ NOT-ROOM

GSAPP Core III Studio Coorprate with Yuan Li Critic: Eric Bunge Site: Bronx, NY Dec 2019

Room refers to the idea of space, the division of space, and how the space is occipied and used.

In our housing project, we intend to create a more direct and intimate relationship between units and collective spaces by making all connecting space into rooms.

The whole configuration is organized by five courtyards that house five different collective spaces, gallery, senior garden, theater, shared offices and playground. A variety of unit layouts correspond with and attach to each courtyard, through various interfaces encourage dynamic social interactions among residents.

In a typical housing design, all rooms with funtions are connected with circulation space with no specific funtions, or not-rooms, such as corridors and elevators. Public programs are brunches grows on the not-rooms.

In our housing project, we are connecting circulation space and public progeams, and all housing units are directly connected with the public program. Therefore eliminating unsued space and increase the accessibility of public programs.

concept diagram

SITE PLAN

The location of five courtyards with different programs are related with the site; main entrance are located on Courtlandt Av.

PUBLIC PROGRAM SYSTEM ground floor plan

THEATER

Balcony in bedrooms act as a observation deck

office

Office and meeting space within the central artium that open to all residents

playground

Dining room that have direct visual connection with playing space

gallery

Art studios that opens to central courtyard act as working or exhibition space

garden

Shared living room for senior housing that open to central garden, providing sunlight and view

TYPICAL LEVEL PLAN

SOUTHWEST PERSPECTIVE

THE GENERATOR

GSAPP Core II Studio Library Design Individual work Critic: Karla Rothstein Site: Sara Roosevelt Park, NY Apr 2019

A public library generate fields of light activated with life. Emerging from a study of reflection and solar access, reflective voids perforate a floating occupied platform designed to illuminate the space underneath, creating dramatic light effects and optimizing winter sunlight. Diverse vegetation will grow based on the light received, creating a living record of the shifting light field. The space inside the platform is divided though curved walls shaping space for both library and cemetery. The walls are activated as bookshelves and columbaria, shaping urban public spaces inside and under the platform.

9:00

Lift platform to distort light

Light reflection with curved mirror

Daytime record light field with vegetation

Nighttime record light field with solar powerd ground light

12:00

15:00

17:00

concept diagram

SUNLIGHT SIMULATION

site sunlight analysis

By stydying how a reflective material distort the light environment in different ways, both summer and winter, we can find a shape that can maximize the light field.

GROUND FLOOR PLAN

FIRST FLOOR PLAN

Exterior render- The project act as a urban light garden

SUMMER LIGHT simulation

WINTER LIGHT simulation

LOBBY

CENTRAL PIAZZA

ROOF LIGHT HOLE

READING TABLES

LIGHT GARDEN

beijing entropy

Urban Menifesto Personal Work Aug 2017

A city is a dynamic system that keep update itself, and it can sometimes develop itself in unexpected way.

How architects and planner deal with the self-transformation is a topic worth discussion. In this project, I imagined an extreme senerio that what is designed and assigned would have a direct conflect between what is self-grown, by detach these two elements and treat the self-grown as it own spacial form.

Beijing is the greatest city on this planet.

However, it is a malformed city: it is a capital city.

A city is a combination of lives.

A capital city is a background of governments. It is a place of supreme order; it has to have clear blue sky whenever an international event is held, it has to close shut down every bar at night whenever a national meeting takes place.

There is no doubt that there is still not enough order in this magnificent capital.There is too much life going on here, and the life is destroying the environment with all the billboards, pedlars, and spontaneous buildings.

These disharmonious elements are not welcomed in the capital of China. There should be order, and order only.

With combined efforts, Beijing will undoubtedly become a pure and ideal city.

Everything in this city will look just like what it is designed to be.

Beijing is the Ideal City.

After years of effort, Beijing successfully managed to remove all the undesigned element in Beijing in 2049 and made Beijing what it supposed to be: pure architectures and streets just as designed and planned, an ideal city with no chaos. Slogans, sculptures, billboards, shop signs, gardens, posters, bicycles, sheds, tubes, fences, logos, vendors, beggars, they used to define the city as much as architectures do, now expelled outside the wall of Beijing.

Without an architecture or a city to attach to, chaos became the architecture itself, an architecture made up of architecture’s enemies.

Chaos is strong, stronger than all architects and urban planners combined. They can be expelled for now, but never be truely defeated.

It’s law of nature.

It’s law of arcitecture.

Welcome to Beijing.

More utopian the city is, more fragile it will become. Now the chaos has taken back the city which abandoned them, the city they belonged.

Beijing is still the greatest city in the world, but this time it is because it's inclusive and flexible. It's ready for everything.

Welcome to Beijing.

the linpan afterlife

Urban Design Studio, Tsinghua University Cooperate with Xiao Xing, Xuqiang Zhang Role in team: Team Leader, Concept, Representation Advisor: Ge Zhong, Yan Tang, Andrea von Mansberg Site:Chengdu, China Apr 2016

City of different periods is like a graphic with various layers. However the pattern of the pre-urban settlement are often forgotten, sometimes deliberate erased.

In this urban design project, I preser ved the destructed settlement pattern by remake it into a new urban form.

Farmers in western Sichuan live in a particular kind of settlement: Linpan. Diameter varies from 50 to 150 meters, Linpan provides the home for 2 to 30 households, covering a farmland area of 0.5 to 5 acre, about ten times smaller than an ordinary village. By living inside Linpan, Farmers can get easy access to the fields.

SITE TEXTURE Foxconn factory constructed

The project is based on Linpans on this site. By ke e p i n g L i n pa n i n t w o different ways: positive and negative, a public web is developed by Linpans and riverside footpaths. All the negative Linpan also called innovative Linpan, are center of innovative companies.

As China Changing its course of development, more and more emphasize have been placed on innovation and entrepreneurship. In 2016, 16million new companies are founded in China, 11.6% more than 2015. The number of company incubators also have a dramatic increase of 47.3%.

In 2015, China decided to set up 17 demonstration bases for innovation, and Pi County of Chengdu is one of them.

Innovation would be a new engine of Chinese economy development

The outcome will be marvelous if the majority of Chinese people gain their sense of achievement through challenging and creating.

1st generation worker/factory ENJOYMENT

INDIVIDUALITY

CREATIVITY

EFFICIENCY

new space for new working genaration THERE WERE TWO GENERATIONS OF WORKING SPACE: FACTORY FOR WORKERS AND OFFICES FOR WHITE-COLLARS workers. NOW makers, as a new kind of workforce, require the third generation of working space: The makerspace.

2nd generation white collor/office ENJOYMENT

COMMUNICATION

INDIVIDUALITY

EFFICIENCY

HEIGHT

PLOT RATIO

BUILDING DENSITY

CREATIVITY

COMMUNICATION

3rd generation maker/maker space ENJOYMENT

INDIVIDUALITY

EFFICIENCY

HEIGHT

SCALE

PUBLIC SPACE

PLOT RATIO

BUILDING DENSITY

CREATIVITY

COMMUNICATION

HEIGHT

SCALE

PUBLIC SPACE

PLOT RATIO

BUILDING DENSITY

SCALE

PUBLIC SPACE

All urban functions are now expanded on the public web made up by Linpans and footpaths. Positive Linpans are center of maker space, contain small-scale leisure facilities such as hotels, restaurants, bars, and museums.

Negative Linpans contain outdoor public space.

Green passageway connecting Linpans serve as walking, running and biking ways. Central green belt serves as agricultural farmland and outdoor sports field.

Two public building belts connect positive and negative Linpan area, containing large-scale, public service facilities such as government, school, hospital, and shopping mall.

negative linpan piazza

positive linpan island

other works architecture & photography

HENONG DESIGN CENTER Commercial Street / Design Center Conceptual Design (2016-2018) Coorperate with Zhekun Luo Design Complete with LJJZ Architects Area: 20000 m² Site:Wuxi, China Built in 2020

WASHIONTON HEIGHTS

FO OD OASIS Grasshopper Urban Information Model Project Cooperate with Rasam Aminzadeh and Skylar Royal Critic: Lucien Wilson

BRONX

GREENPOINT

Dec 2020

Sale outlets to food

FOOD DESERTS OF NYC

What if produce was no longer needed at grocery stores because it was grown in vertical towers? Current zoning and planning inequities create food deserts in lower income and minority areas. In this project, we propose to provide healthy food to food deserts by creating a series of vertical agriculture through local developments to allow for increased self sufficient living, equal access to fresh food, and therefore increased health benefits.

Our site is in Wahionton height the largest food desert in Manhattan. We built a computational design model with a design space has 5 inputs with 3 options for each input, creating 243 options.Through the model, we have identified that lower FAR and density that increases towards the north, and a diagonal street grid yield higher food production for residents and access to green spaces.

This allows us to address the issues of providing self sufficient healthy food options to residents in food deserts, while allowing access to additional outdoor recreational space and not just labor intensive space.

Procedural types and variations

computational model for food production

LIGHT AFTER LIFE Honorable Mention, DYING Competition Honorable Mention, DYING With GSAPP DeathLab Role in team: Representation, Detail Design Director : Karla Rothstein Apr 2019

F R O M E A R T H T O T H E S TA R S YAC Obser vator y Houses Competition, Finalist Mention Obser vator y House Design Cooperate with Ruixue Wang Role in team: Team leader, Concept, Representation, Physical Model Aug 2017

MEANINGLESS MEANINGLESS

The graphic is often the carrier of meanings.

By editing some photos I took in Tsinghua University campus with the simple method of repetition, I demolished the meaning of the original graphics while I have no intention to create a new one. However, even without an intention, new meanings are inevitably produced.

But I promise, What you are just looking at are nothing but pixels.

photography personal work Nov 2015

HAO CHANG Master of Architecture Candidate GSAPP, COLUMBIA UNIVERSITY https://studio-chang.com/ changhaoarch@gmail.com 560 Riverside Drive, New York, NY 10027