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Director: Dr. Aroussiak Gabrielian
Resurfacing the Unseen
Humans have long concealed waste—dumping it into the ocean, burying it underground, and burning it into the atmosphere. The illusion of dilution hides its lasting impact on ecosystems and human health. The Fukushima nuclear disaster highlights the urgent need for landscape architects to address “invisible” waste beyond land, turning attention to the ocean.
Through research, I reveal that nuclear contamination in water and soil is more extensive than commonly perceived. This led me to design a coastal purification system that integrates phytoremediation and real-time monitoring. The project reimagines landscapes as protectors of wildlife and educators of hidden pollution, making the unseen visible to foster awareness and action.
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Director: Dr. Aroussiak Gabrielian
Ocean’s Remedy
Inspired by SEAmpathy by Daniel Elkayam, this project explores bioplastic sheets as a sustainable alternative to conventional plastics. Made from alginate, glycerin, and sunflower oil, bioplastics require less energy to produce, emit lower carbon emissions, and biodegrade safely—offering a solution to plastic pollution in landfills and oceans.
Through hands-on experimentation, I developed and tested bioplastic formulations, refining their composition and performance. This project not only investigates material innovation but also challenges our reliance on non-biodegradable plastics, envisioning a future where bio-based materials redefine waste and sustainability.
Oasis in Transit
Director: Prof. Takako Tajima
Jan. 2023May. 2023
Los Angeles is a city of movement, yet fragmented public transit limits access to green space, making it a privilege rather than a right. This project reimagines the bus center as more than a transfer point—it becomes a space of pause, connection, and discovery, integrating nature into daily commutes. With areas for gathering, bird-watching, and learning, it fosters a deeper relationship between transit users and the environment.
Through extensive topography modeling, I explored how landforms shape not only water distribution but also human perception of space. This hands-on process informed a design that merges infrastructure with landscape, envisioning a city where transit and nature exist in harmony.
Topography of Hahamongna Watershed
Rendered plan of Hahamongna Watershed
PROGRAMMING
CIRCULATIONS
PERSPECTIVES
PERSPECTIVE 1: Public Activities
STORMWATER MANAGEMENT VEGETATION
PERSPECTIVE 2: Education & Family
PERSPECTIVE 3: Bus Station
Return to Silence
Director: Changyue Liu
In China and many other cultures, death is often a taboo subject. This project challenges that silence, rethinking the role of the crematorium as more than a site of cremation—it becomes a space for remembrance, dialogue, and reflection on life’s cycles.
Just as in nature, where fallen trees nourish new growth, death is not an end but the beginning of another cycle. By integrating this philosophy into design, the project fosters a deeper, more open relationship with mortality, honoring both tradition and renewal.
The first plan modle comes from the idea of “life” in chinese character. 1. is the commemorate place for people to remember their relatives. 2. is the garden part for people to meditation 3. is the church like section, the facility can hold events here.
This idea comes from Taiji shape in Taoism. It has meaning of the balance between Yin(live) and Yang(death). It also has meaning of “supreme ultimate ” to state indefinite potential. It would bring up peacefulness to people.
Instead of using tombstone, it uses plaque to give lighter feeling for people.
Over roof top, it creates unclosed space for people to relieve their moods, and enjoy nature.
This idea comes from the state of Buddism. In this model, it adapts mostly circular shape to give people gentle feeling about space. Instead of rigid edges to give stiffness to the space. Finally, it turn out to be similar to sun(life) and moon(death).
This idea comes from geometry shape of flower. It comes up with the idea of relate the beauty of flower to the attitude toward death. It brings up question to people that death is not as scary as people think.
This idea comes from using concentral shape of circles. By using differnet variation over circular shape, it gives people different feelings about space. Additionally, it corresponds different life stage in Buddism. When people go through the space, they think of their life stages.
This idea comes from concentral circles. The continuous circular shapes give people a sense of fluent over space. It also gives idea of the continuous of life, from birth to death. The central space gives people space to meditate about idea about new thoughts about attitudes toward death.
The most central part of architecture. It’s also the central idea of this design. It gives space for people to rethink attitude toward birth and death.
Space for worker to rest.
Space for people to buy flower to commemorate.
TECHNICAL DRAWINGS
