TRANSITIONS - Portfolio 2012

Transitions Architecture Portfolio 2012 Jessy Yang Rice University

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TRANSITIONS: ARCHITECTURE PORTFOLIO 2012 Presented here is a collection of academic studies, professional work, and independent interests completed between 2006 and 2012. Transitions not only represents a personal shift from academia toward professional practice, but it also expresses an interest in transit, both in terms of urban infrastructure and architectural frontiers.

Jessy Yang Rice University

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Table of Contents ACADEMIC STUDIES 06 18 20 26 28 38 44 48 56

New Kai Tak Conceptualizing Landforms Sheared Seam: Arthouse-Greenhouse Clay Brick Wall System Redesign Floating HydroGeneration Gulf Coast Film Archive Dustan Condominiums Dip Bulge FLUX HOUSE Wheeler Intermodal Transit Center PROFESSIONAL WORK

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Songyang Color-Wheel Masterplan Lushan Aquatherapy Hotel Three Generations’ House Longsea 12-Tower Facade Design MassArt Gallery Renovation and Addition Rio Olympics Masterplan Chazen Museum of Art The Mint Museum OST Mixed-Use Street Development Mandell Park Solar Storage Shed INDEPENDENT INTERESTS

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Essay: China Under Pressure Competition: LoopHALA Waterfront Center Essay: Infrastructure and the Collective Competition: Sensory Barge Competition: Europan Housing Block Visual Art

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Academic Studies 06 18 20 26 28 38 44 48 56

New Kai Tak Conceptualizing Landforms Sheared Seam: Arthouse-Greenhouse Clay Brick Wall System Redesign Floating HydroGeneration Gulf Coast Film Archive Dustan Condominiums Dip Bulge FLUX HOUSE Wheeler Intermodal Transit Center 07

New Kai Tak East Kowloon, Hong Kong, China Spring 2012 / Semester 5.2 Professor Albert Pope, Collaborator Jon Siani and studio Masterplan and Urban Design As cities continue to increase in complexity and unpredictability, traditional master planning strategies no longer work because they depend on each part’s faithful realization. New Kai Tak represents a new masterplan strategy whose whole is greater than the sum of its parts. It proposes a city-scaled primitive figure, an “ex-glyph,” that works urbanistically, architecturally, and cognitively. It’s strength comes from its near indescribability as an icon stamped onto Hong Kong’s former airport site, able to absorb any form of economic, social, and political unpredictability.

In 1993, Kai Tak Airport was decommissioned and completely gutted, leaving 2.7 km2 of developable land, longer than New York’s Central Park. The “exglyph” recontextualizes the existing runway by duplicating and rotating it toward Hong Kong Central. The former runway represents the Ocean Axis and the new runway represents the City Axis. The “ex-glyph’s” two legs inside the airport apron become voids, allowing the city to “flood in” and simultaneously reinforce its edges. The “ex-glyph’s” two legs in the water accommodate programs, one primarily housing, and the other shopping.

Because the “ex-glyph” divides the site into radial slices, a circular monorail, termed the Kai Tak Carousel, stitch the parts of the Masterplan back together.

Finally, in a grand public gesture, an iconic waterfront stadium is positioned tangent to the Kai Tak Carousel in Victoria Harbor facing Hong Kong Central.

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MONUMENTAL KAI TAK Everything in Hong Kong competes for attention. It is a city of urban noise; built of heroic infrastructures, enormous single developments, ubiquitous commercial signage, large artificial interiors, and an open multilayered display of the city’s deep history. If a monument is a built form that exerts the most visual and impressionable force, then Hong Kong is monumental by nature. Left to the forces of economics and politics, Kai Tak would be flooded with this random urban noise. The challenge is, therefore, to design monuments in a city of monuments. The solution, however, lies not in diminishing the amount or presence of monuments inevitably characteristic of the city, but to introduce a conscious framework that re-orders and stabilizes it.

Three scales of monumental intervention are proposed to grant Kai Tak Legibility, Orientation, and Hierarchy. The framework is established by deploying monuments at 3 scales: the satellite scale (Legibility at the regional city scale), the harbor scale (Orientation within the Victoria Harbor), and the fabric scale (Hierarchy at the local street block scale).

above, Satellite Scale, Operating at the satellite scale, the circular Kai Tak carousel provides general transportation to the entire site, a direct linkage to the Kai Tak Stadium, accessibility to the waterfront, seeds of development, and privileged sites of cultural institutions.

above, Fabric Scale, Operating at the harbor scale, the Kai Tak Stadium, the new financial tower, and the two runway islands project themselves into Hong Kong’s public stage that is the Victoria Harbor. Their privileged location on the water ensures their state of iconicity and importance as civic landmarks.

KAI TAK PARK

NODIUM

KAI TAK VILLAGES

above, Fabric Scale, operating at the fabric scale, monuments are teased out of contemporary prevalent typologies, namely the urban village, parallel slabs, and the podium-housing estates.

Instead of introducing new forms, this strategy reshuffles existing special programs and typologies already embedded in the fabric.

KAI TAK CENTRAL AREA: POP:

300,000 M2 91,530

NETWORKED PODIU M

AREA: 965,000 M2 POP: DENSITY: 1 PERSON / 4.6 M 2

CITY ISLAND

ISLAND LINK

HONG KONG STADIUM

KAI TAK CANAL

AREA: 108,000 M2 SEATING FOR 50,000

CANAL BLOCKS AREA: POP:

130,000 M2 23,220

NEW KOWLOON WALLED CITY AREA: 2,300,000 M2 POP: 178,000 DENSITY: 1 PERSON / 13 M2

MONORAIL EXPRESS TRACK

65 KM/HR

FINANCIAL TOWER

UP TO 27,000 PEOPLE/HOUR 1800 PERSON CAPACITY 1080 ST

FRACTURED PODIUM

AREA:

475,000 M2

DENSITY: 1 PERSON / 8 M 2

GROUND TRAM LOCAL

MONORAIL LOCAL TRACK

RADIAL ARRAY

35 KM/HR

UP TO 54,000 PEOPLE/HOUR 1200 PERSON CAPACITY

UP TO 21,600 PEOPLE/HOUR 1800 PERSON CAPACITY

720 ST

1080 ST

Kai Tak Masterplan

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Monorail (Kai Tak Carousel) Ground Tram, Local New Metro Station Existing Metro Station

P Connection to Parking

THE KAI TAK CAROUSEL Overlaid on top of the “ex-gylph” masterplan is a circular monorail system termed the Kai Tak Carousel, because it is a form of transportation, entertainment, and leisure. Situated 12 meters above grade, its roof allows for pedestrian access, similar to New York’s High Line.

The Kai Tak Carousel gives an additional legibility to the masterplan at the scale fo the entire city. Its unique circular geometry, super scale, and virtuality makes it an impressionable monumental figure that provides a productive tension that reinforces the “ex-glyph.” Its evacuated center is another form of a charged void.

The monorail system employs 2 tracks running the same direction at 2 different speeds, connecting the masterplan to itself and to the rest of the city. At the local scale, 7 linear ground trams provide a pedestrian scaled transit system, allowing users to quickly fan in and out of the site.

KAI TAK CAROUSEL AND GROUND TRAM SYSTEM SECTION, VELOCITY, CAPACITY MONORAIL EXPRESS TRACK 65 km/hr @ 6 cars / unit (x3) up to 27,000 people/hour @ 1800 person capacity

MONORAIL LOCAL TRACK 35 km/hr @ 2 cars/unit (x9) up to 21,600 people/hour @ 1800 person capacity

GROUND TRAM LOCAL Radial Array @ 2 cars/unit (x6 lines) up to 54,000 people/hour @ 1200 person capacity 12

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center, Equipped with two tracks running the same direction at two different speeds, the Kai Tak Carousel is a circular monorail system that stitch all the parts of the masterplan together and effectively reorganizes the site not by space but by time and speed.

Monorail (Kai Tak Carousel) Ground Tram, Local

NETWORKED PODIUM

Networked Podium

New Metro Station Existing Metro Station

P Connection to Parking Multipurpose Roof Market Artist Village Library

Telford Gardens Housing Estates

Ground Tram

Nodium

FASHION VILLAGE

Museum

Cultural Center Tram Terminal City Hall

Theater Hotel

Kai Tak Financial Tower

Ground Tram Terminal

Megabox

Cultural Exposition Center

Fractured Podium

Kai Tak Villages

New Kowloon Walled City

City Island Hong Kong Waterfront Stadium

Ground Tram

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above, The Kai Tak Carousel and Ground Tram together afford opportunity to spur new development along its infratructure line, similar to the “Highline Effect.� Operating at the fabric scale, monuments are teased out of contemporary prevalent typologies, namely the urban village, parallel slabs, and the podium-housing estates. Instead of introducing new forms, this strategy simply reshuffles existing monumental programs and typologies already embedded in the urban fabric.

Slab Type Variation: Library

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Podium Type Variation: Commercial / Residential

Slab Type Variation: Office

City Axis Park

above, The Monorail spurring the development of a potential hotel that takes advantage of its access points and views of the pedestrian path

above, The Monorail through the Nodium and several adjacent buildings, stringing the entire complex together into a sophisticated sectional weave of connectivity

above, The Monorail through a new open market development that provides spaces above and below its multi-fold surfaces

above, The Monorail through existing buildings, forcing building to adjust to its presence and inadvertently creating unique, monumental buildings.

above, The Monorail through existing tower, both tunneling through and stopping underneath.

above, The Monorail spurring the development of a sloped roof theatre that also provides rooftop connections to its upper pedestrian path

Podium Type Variation: Parking / Commercial

Seeded Development: Museum

Waterfront Stadium

Seeded Development: Threater Complex

Slab Type Variation: Office

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KAI TAK WATERFRONT STADIUM Operating at the harbor scale, the Kai Tak Waterfront Stadium projects itself into Hong Kong’s public stage that is Victoria Harbor. Their privileged location on the water not only ensures their state of iconicity, but also their importance as civic landmarks.

The Hong Kong Waterfront Stadium uses a circular banding strategy to accomplish four 4 things. First, it references the circular geometry of the Kai Tak Carousel, thereby referencing the masterplan at large. Second, it moves people through the Stadium and the Island, integrating these two parts with the rest of the city. Third, it provides spectator seating in the middle, opening up views to the water and Hong Kong Central at the ends, allowing the viewer to relate back to Victoria Harbor. Finally, it creates an icon on the waterfront, at the scale of the entire city.

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above, Stadium Plan with upper concourse removed, indicating section cut

Spectators

Victoria Harbor

center, The Waterfront Stadium is comprised of a series of circular bands that fluctuates in section, functioning as general circulation and connecting views between spectators and Victoria Harbor.

right, Perspective at the intersection of main seating stadium and secondary half open waterfront stadium Kai Tak Masterplan

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Upper Concourse

VIP lounge

Green Lawns

Open Waterside Public Stadium

Circulation Bands Main Concourse

Waterside Promenade Main Field

Monorail Stop

Monorail Track with Pedestrian Path above above, Waterfront Stadium Exploded Axon

above, Perspective Section through stadium showing connection to monorail, concourse levels, and dramatic opening out to Victoria Harbor 18

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above, Kai Tak Night Lights, Every night, the Kai Tak Carousel and the Waterfront Stadium are brightly lit in concert with Hong Kong Central’s light show, displaying a spectacle of lights signaling New Kai Tak’s arrival and importance to the rest of the city.

above, Reconnecting with Hong Kong, To establish a connection back with Hong Kong and Victoria Harbor, Kai Tak Stadium literally peels up and opens to allow visual connections between the spectators and the rest of the city. As the viewer moves further away from the main soccer field, the attention is focused instead on Hong Kong’s panoramic shot.

above, An New Icon on Victoria Harbor, The Kai Tak Stadium next to the new financial tower represents a new public icon on the Victoria Harbor waterfront, in line with Kowloon’s Cultural Center and Central’s Exhibition Center.

Kai Tak Masterplan

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Conceptualizing Landforms Siteless Spring 2012 / Semester 5.2 Professor Michael Robinson Speculative Design Landform Buildings exist between earth’s hard geology and nature’s fluid dynamic flows; therefore landforms transcend the field-like compositions of the these two substances, often crystalizing into singularities. This design exercise was an attempt to set up a simple Manhattan-like iron street grid, and after intentionally torqueing it, extract landform buildings from within it. The torqued grid gives an initial directionality whereby different forms of singularities are generated, through operations ranging from simple scalar contrast to complex unit aggregations and extensions.

above, Lexicon of scaled geometric configurations and grid manipulations right, Rendering illustrating five different instances of transcendental singularities extracted from the field below, Semantic diagram of Landform Building’s historical, social, and architectural importance

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Sheared Seam: Arthouse-Greenhouse Governor’s Island, New York Fall 2012 / Semester 5.1 Professor Troy Schaum Comprehensive Design

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ARTHOUSE-GREENHOUSE The most interesting part of Governor’s Island, located just off the coast of Manhattan Island in New York, is a string of houses called Colonel’s Row. It is at this line that marks a typological seam of many dualities: between the original island and the appendage, the once natural and the artificial, the domestic and the institutional, Liggett Hall’s architectural frontality and Fort Jay’s landscaped horizontality. Replacing one of the existing duplex houses, this project seeks to expresses these moments of “shear at the seam” by juxtaposing two formal volumes rotated against each other.

above, The existing houses on Colonel’s Row are horizontal duplexes. They represent two mutually exclusive programs that shares one volume. Sheared Seam takes this adjacency as a starting point, and then weaves them into a tangle.

Site Plan, Site Section

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above, Two proposed programs, Arthouse and Greenhouse, are interwoven via a double helix ramp. The solid volume to the south responds to Liggett Hall’s frontality, and the tilted glass volume to the north responds to Fort Jay’s horizontality.

above, Although arthouse and greenhouse are mutually inaccessible, they nonetheless share the same volume, generating opportunistic moments of spatial “spill-over” effects.

Arthouse is a string of artist studios and Greenhouse is a vegetable and botanical garden.

above, In direct contrast to the solid compartmentalized volume to the south facing Liggett Hall, the volume to the north is a rotated glass block whose spaces are sectionally open in response to the horizontality of Fort Jay to the north. Here, expanses of space provide for more open programs, such as auditoriums, botanical gardens, and art galleries.

above, Sheared Seam is imagined as a productive machine. Arthouse and Greenhouse will be occupied by two different groups of users, one temporary; the other, permanent.

The former consists of invited artists who are given accommodations in the adjacent houses, while the latter consists of ex-urbanite farmers and children from the local school.

Sheared Seam: Arthouse-Greenhouse

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Arthouse

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1. Arthouse Entrance 2. Art Studio 3. Gallery Hall 4. Multipurpose 5. Kitchen 6. Cafe 7. Woodshop 8. Courtyard 9. Auditorium 10. Storage 11. Mechanical Greenhouse

2nd Level

A. Greenhouse Entrance B. Flower Garden C. Vegetable Garden D. Tree Planting Bed

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above, South Entrance Approach

Ground Level

4 above, View from 3rd floor, overlooking art gallery ramp

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above, View inside botanical garden, adjacent to art studio

above, Partial South Elevation

above, Section Detail

above, Partial Plan at Slip-In Window on South Facade Sheared Seam: Arthouse-Greenhouse

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Clay Brick Wall System Redesign Siteless Spring 2012 / Semester 5.2 Professor Spencer Parsons Schematic Design This design exercise seeks to re-conceptualize traditional wall systems by speculating on what the fundamental clay brick can become when stacked on its side. Combining a conventional curtain wall system with steel brick hangers, a much lighter single-layer clay wall can perform more radical architectural maneuvering. In this case, it literally “peels” from the inner facade to bring in natural lighting and ventilation. The experiment hints at the further step of combining these two independent layered systems into a single totalizing wall system. top, Clay bricks stacked on its side can act as a perforated, albeit deep, facade. left, Front elevation illustrating clay brick’s lateral perforations. below, Two-Ply wall system combing a traditional curtain wall, layered with a more radical clay brick skin that literally peels off.

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Academic | Wheeler Intermodal Transit Center

Floating HydroGeneration Fengjie, China Spring 2010 / Semester 4.2 Professor Eva Franch Projective Design

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Academic | Wheeler Intermodal Transit Center

A Projective History In 2025, a new form of floating inhabitation was constructed on the Yangtze River upstream from the newly constructed Three Gorges Dam. Labeled Floating HydroGeneration, the project was a large pavilion that created a new space of cohabitation based on notions of pollution, self-sufficient communities, and close environmental, sustainable and symbiotic relationship with its polluted natural site. It successfully accomplished this by addressing three prominent environmental, social, and cultural issues of its time.

Environmentally, the project consumed the excess from the heavily polluted reservoir of the Three Gorges Dam, transforming it to energy. Socially, the large pavilion depopulated the congested urban centers by providing new places of inhabitation, residence, and industrial production primarily for the 150 million migrant farmers. Culturally, the project addressed a national nostalgia for cultural preservation by re-establishing new cities over lost submerged cities on the reservoir and re-examining the traditional Chinese courtyard typology as spaces of collectivity.

Formally, the geometry of the pavilion becomes the shape of a floating courtyard. The shape was optimized linearly along two axes to take advantage of solar and wind energies. These two renewable energy sources are used to pump the polluted water up the pavilion into interstitial capillaries. A multilayered skin contains hyacinths to bioremediate the pollution, and afterwards, the water is discharged to harvest its potential energy. Finally, the pavilion is anchored to its specific location through flexible tubular tentacles that also extracts biogas.

The 5 renewable energy sources: biomass, biogas, solar, wind, and potential energy can all be stored as hydrogen, which is manipulated to effectively control the pavilion’s buoyancy and floatation.

Users, energy flows, visual continuities, programmatic elasticities, atmospheric exchange all combine to manifest the pavilion’s social, cultural, and environmental symbiosis. Here, the central courtyard is a hyper voyeuristic brise soleil, directly displaying the oscillating programs that change cyclically as the floorplates expand and contract. At the base where all energy conversions occur, visual connections to the previous submerged city triggers mourning for a nostalgic past. The exterior facade is a fantastical display of artifically composed arrangments of water hyacinths, clothing the entire pavilion, colorfully symbolizing the pavilion’s consumption of excess.

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FLOATING HYDROGENERATION The first Floating HydroGenerator provided a community for 800 inhabitants offering them a set of different socio-spatial conditions: harvestation, production, leisure, recreation, learning, exchange, and mourning.

Users, energy flows, visual continuities, programmatic elasticities, atmospheric exchange all combine to manifest the pavilion’s social, cultural, and environmental symbiosis. Here, the central courtyard is a hyper voyeuristic brise soleil, directly displaying the oscillating programs that change cyclically as the floorplates expand and contract. At the base where all energy conversions occur, visual connections to the previous submerged city triggers mourning for a nostalgic past. The exterior facade is a fantastical display of artifically composed arrangments of water hyacinths, clothing the entire pavilion, colorfully symbolizing the pavilion’s consumption of excess.

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center, The pavilion Floating HydroGeneration absorbs solar and wind energies to pump polluted water from the river. To optimize solar and wind exposures, the geometry is optimized along its longitudinal axis, thereby maximizing the surface area of its flying courtyard.

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right, Floating HydroGeneration established pollution consumption systems, traditionally understood as remediation systems, located directly on the water over previously submerged cities to utilize the reservoir’s pollution through two strategies.

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1. Form Finding Begins with a Floating Courtyard, Form takes the chinese traditional courtyard typology as a jumping point. Looking at buoyant objects like ship geometries, the form becomes a floating courtyard.

2. Response to Site, Solar and Wind Conditions, Geometry is expanded longitudinally to maximize solar and wind exposure.

3. Inhabitable Volumes and Interstitial Space, Inhabitable volumes are framed within 2 horizontal plates. Using alternating solar and wind energies, their interstitial space becomes expandable containers for water pumped directly from the polluted river.

4. Diagonal Water Pump Canals, Polluted water is pumped upwards through large structural canals lining the sides of the pavilion. When water is discharged, embedded turbines harvest its potential energy.

5. Thickened Elastic Water Hyacinth Mesh, Pumped water is treated through hyacinth located in a net thickened skin. Because hyacinth is a colorful plant, the facade transforms constantly. Afterwards, they are burned as biomass.

6. Introduction of the “Neighborhood,� A third space of a finer texture contains the neighborhood fabric, containing pedestrian-scaled circulation and inhabition spaces. It is supported by a dragonfly wing truss grid.

As the pavilion changes elastically, so does this space.

7. “Neighborhood� structured by Dragonfly-Wing Truss System, Floor plates are supported by the dragonfly-wing truss grid and the 12 diagonal water pump canals. During the course of the day, the floor plates rise and sink, changing program atmospheres.

8. Anchor and Extract, The pavilion is anchored to its specific location through flexible tubular tentacles that extracts biogas using an umbrella-like cover.

9. Stasis, The pavilion prior to any environmental stimuli is flat, still, in stasis.

10. Midday, The pavilion expands according to the motion of the sun to maximize its exposure. Solar panels are embedded on the roof of the flying courtyard. Its energy is used to pump the polluted water.

11. Sunset, At night, he other side of the pavilion rises to harvest wind forces. Therefore, the pavilion goes through a 24hr cycle of oscillation, thereby constantly transforming interior program.

13. 15+ Year Energy Cycle: Lift Off, The pavilion has the option to float to another location by completely filling its interstitial capillaries with hydrogen.

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above, Spin Wheel of Atmospheres, As interstitial cappilaries spaces are pumped with water, floor plates and ceiling heights rise, thereby changing its inherent atmospheric conditions: A space is both a bedroom and living room depending, or both a library and a mahjong gaming center.

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above, Hyacinth Skin, The exterior facade is a fantastical display of artifically composed arrangments of water hyacinths, clothing the entire pavilion, colorfully symbolizing the pavilion’s consumption of excess.

above, Daily Cycle of Interstitial Water Capillaries, As inhabitable volumes expand, program within the same volume transforms due to the atmospheric changes. For instance, a bed room becomes a living room, and by the same token, a market becomes a night club.

above, Social, Cultural, and Environmental Symbiosis, Users, energy flows, visual continuities, programmatic elasticities, atmospheric exchange all combine to manifest the pavilion’s social, cultural, and environmental symbiosis. The central courtyard is a voyeuristic brise soleil, directly displaying the oscillating programs that change cyclically as the floorplates expand and contract. At the base where all energy conversions occur, visual connections to the previous submerged city triggers mourning for a nostalgic past.

Floating HydroGeneration

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1. Courtyard of foliage (in grey) act as void mediators between program.

Exhibition (in red) is any other block.

2. Filtering foliage and film exhibition, the center strip becomes a series of juxtaposed experiences.

3. Sectionally, progression through the film center becomes an alternating experience of film intensity and film relief.

Gulf Coast Film Archive Houston, Texas Fall 2009 / Semester 4.1 Professor Carlos Jimenez, Michael Morrow Comprehensive Design Located in Houston’s Midtown District at the intersection of Main St. and Alabama St., the 18,000 sq. ft. film archive is an urban infill project bordering existing retail buildings. Other than an adjacent light rail line, the context is a collection of bleak parking lots and sparse retail stores–everyone gets to bring their own eclectic architectural style to the neighborhood.

Because the site is linear, stretching from one street directly to the other in a 50’ wide gap, the GCFA takes the dominant programs (2 theatres, archive, multi-purpose space) and stretches them to opposite ends of the site, treating them like stagnant anchors. In the center, a thick wall punched by rhomboid openings for circulation mediates an interior screen of film exhibition and an exterior screen of bamboo foliage, thereby choreographing a rhythm of visual intensity and visual relief, appropriate for an institution of image and sound. Furthermore, this center wall stretches its “fingers” of circulation out to the anchors at the ends, intruding into their program spaces.

The homogenous facade of aluminum panels wraps around the entire building to unify the stretched programs. The skin is cut and folded down the courtyard to continue the alternating pattern. Finally, the aluminum panels respond with dense perforations where there are opportunities for natural light.

opposite, Accordion Wall, At the center of the Film Archive is a thick perforated concrete wall that separates and mediates between visual intensity (via film projections) and visual relief (via foliage).

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above, B Level Perspective toward Exhibition Lobby

above, B Level Perspective toward Courtyard

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1. Entrance 2. Lobby 3. Exhibition 4. Multipurpose 5. Small Theatre 6. Main Threatre 7. Cafe 8. Bamboo Courtyard 9. Viewing Bench 10. Archive 11. Bookstore/Gifts 12. Director’s Office 13. Small Office 14. Conference Room 15. Reception 16. Mech Room 17. Dropped Firewall 18. Foyer 19. Chiller

Ground Level

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above, Aerial View of Site indicating infill and adjacent lightrail metro line

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2nd Level

3rd Level Gulf Coast Film Archive

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above, Longitudinal Section through model

above, Longitudinal Section looking west

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Gutter 3” Roof Insulation 20” Deep I-Beam 1/16” Swisspearl Cement Composite Panels 2” Galvanized Steel Sub-structure 18” AC Duct to Slot Diffuser Cone Lighting 1-1/2” Rigid Foam Insulation 5/8” Gypboard Double Layered Tinted Glass 6” Deep Store Front System Grid Line Concrete Column Beyond Cone Lighting

10” Steel Tube for Lateral Stability 4’ Wide Egress Stairs Beyond

Perforated Aluminum Panel 2” Galvanized Steel Sub-structure

Aluminum Panel Clip

Spandrel Glass Steel L-angle to Curtain Wall Extended Steel Framing Electric Lines to Circuit Box 4” Cavity for Lighting Custom Bent Steel Angle 6” Curtain Wall System

Wood Clad Wall Beyond

8’ Aluminum Framed Glass Door 4’ Wide Egress Stairs Beyond

left, Detail Section through South Entrance below, South Entrance Elevation below far, Roof Elevation

Existing Sidewalk Cast in Place Post-tensioned Concrete Slab Suspended Ceiling Frame 18” Deep AC Duct to Slot Difffusers 4” Cavity for Lighting 5/8” Gypboard Painted White 2” Soil 4” Gravel Earth 4’ Wide Egress Stairs Beyond

Moisture Barrier 18” Deep Grade Beam

Drilled Pier to Footing

30” Wide Spread Footing

Gulf Coast Film Archive

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Tangley Rd

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right, 3rd Floor Overall Site Plan top, View from Southern Entrance middle, View from private garden above, View from North housing block looking south

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9 11 3rd Floor Site Plan 1. Site Entrance 2. Living 3. Dining 4. Kitchen 5. Master 6. Guest 7. Study 8. Balcony 9. Unit Storage 10. Private Gardens 11. Residence Parking 12. Garbage 13. Shared Circulation 46

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Dustan Rd

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Dustan Condominiums Houston, Texas Spring 2008 / Semester 2.2 Professor William Cannady, with Phoebe Kung Comprehensive Design Located at the transition point between an urban 2 story village neighborhood and a more traditional suburban district, Dustan Condominiums proposes a pair of housing blocks over an existing dilapidated apartment complex. The solution is at once urban and suburban, stacking density but also providing a private front and back yard. Both blocks are serviced by a single central core, thereby cutting initial cost, waste, maintenance, and material use. The towers are positioned diagonally from North East to South West to take advantage of the prevailing South East wind.

top, Context Site Plan showing site’s location between an urban condition to the left and a suburban condition to the right below, Overall Site Model showing both condominium blocks serviced by single central core

Dustan Condominiums

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2” x 2” Aluminum Frame 3/8” Perforated Steel Plate Planting Media 6” Gravel Moisture Barrier w/ Drainage Slope 6” Insulation 1/16” Aluminium Flashing

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2 x 14 Treated Blocking 1” Cement Composite Panel 1-1/2” Rigid Foam Insulation Tyvek Moisture Barrier Hex Bolt w/ Washer Fastener 7-5/8” x 8” CMU Block 1/2” Airspace #5 Steel Rebar Concrete Fill

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9 #7 Steel Rebar @ 12” o.c.

Z Flashing

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2” x 9” Storefront Mullion w/ Thermal Breaks 3/8” Gypboard Roll Up Blinds Fluorescent Light 7/8” Polygal Ice w/ Ventilation Gap

Circuit Box Aluminium Frame-In Kit Recessed Cone Housing Fluorescent Light C Channel Metal Stud Framing 5/8” Gypboard

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8 Removeable Trim Treated Wood Frame Window System 3/8” Aluminium Channel 3/4” Treated Wood Panels Wood Frame 3/4” Sheathing Board Tyvek Moisture Barrier 1-1/2” Rigid Foam Insulation

Aluminium Window Handle 3/4” Treated Wood Panels

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Aluminium Window Handle Insulation Infill 6” Storefront Mullion w/ Thermal Break 2” x 9” Storefront Beyond 3-1/2” Metal Stud Framing 1-1/2” Rigid Foam Insulation 3-1/2” Batt Insulation 4” Trim Beyong Wood Flooring 2” x 4” Screeds Set in Mastic

5/8” Sheathing Board 1” Cement Composite Panel 1/4” Airspace 4” Trim Z Flashing

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1” Cement Composite Panel 5/8” Rigid Foam Insulation

Storefront Mullion to Concrete Fastener 3/4” Treated Wood Panels

3 Circuit Box Aluminium Frame-In Kit Recessed Cone Housing Fluorescent Light C Channel Metal Stud Framing 5/8” Gypboard

4 15 Treated Wood Frame Window System

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2 Roll Up Blinds 7/8” Polygal Ice w/ Ventilation Gap

Typical Floor Plan 1. Entrance 2. Outdoor Balcony 3. Galleria 4. Kitchen 5. Living 6. Dining 7. Study 8. Master Bedroom 9. Master Restroom 48

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Aluminium Box for Electrical Outlet

10. Her Closet 11. His Closet 12. Guest Bedroom 13. Guest Closet 14. Guest Restroom 15. Powder Room 16. Air Handler 17. Laundry 18. Coat

Removeable Trim Storefront Mullion to Concrete Fastener Spandrel Glass #7 Steel Rebar @ 12” o.c.

4” Metal Stud Framing Drainage Pipe

Removeable Trim

Detail Section

above, Exploded Axonometric showing multi-fold Polygal wall, ceiling, shelving system Dustan Condominiums

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Dip Bulge FLUX HOUSE Anywhere Suburbia Fall 2008 / Semester 3.1 Professor Sean Lally, Michael Robinson with Diana Ang Speculative Design 50

The problem of the contemporary suburban house lies in the increasing division of family members, just as the problem of the suburban community lies in the division of the households. Flux House seeks to redistribute amenities to maximize spaces that encourage family interaction and minimize spaces that demand necessary personal privacy.

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CONTEXT Houses during the Renaissance period consisted of rooms positioned adjacent to each other, therefore encouraging spontaneous social interactions. The introduction of the hallway in the 17th century began to segregate spaces based on circulation. Whereas rooms in the Renaissance typology are simultaneously circulation and destination, in the latter typology, rooms become simply points of destination connected by a pathway. Random interaction is sacrificed for personal efficiency, as exemplified in Le Corbusier’s concept of “Machine for Living.”

PROJECTION This typology has persisted in the contemporary suburbia, only with the addition of the carport.

Typically, bedrooms are tied to a hallway that terminates at the only communal space, which are the living and dining rooms. Every space in the house is assigned a specific function with its respective amenities. For example, the living room provides entertainment for the family, the hallway accommodates circulation, the restroom satisfies hygienic needs, the dining room provides a space to dine, etc. All these are true except for the bedroom, because its functions are no longer exclusive to sleeping or relaxing. Instead, because of the ever increasing convenience of technology, the bedroom starts to envelope other functions of the house. Why meet physically when one can meet virtually and instantaneously? As a result, we project that family members will become more hermetic, ultimately leading to a house that is no more than a collection of separate rooms, each capable of satisfying all living needs. We call these rooms the “lifepods.” This extreme projection will completely limit the spectrum of human interactions and experiences.

STRATEGIES Amenities are variables that together create a certain quality of space. These variables are temperature, lighting, acoustics, electric sources, furnishings, equipment, and claddings. By leveraging amenities, these spaces are classified in terms of the flexibility of interaction depending on amenities and its consequent control over the range of allowed activities for a certain space.

In effect, the variability of amenities correlates with the flexibility of the space for interaction.

Spaces of Absolute Pink are those that allow for no interaction. Here, the activities include bathing, changing, toileting, private studying, etc.

Spaces of Absolute Blue are those that allow for a maximum flexibility of interaction. Here, a maximum range of activities are accommodated. These activities include playing, entertaining, recreating, eating, chatting, studying, etc.

Depending on the amount of people, these spaces range from completely private to completely social. above, Fragment Section Spaces in between these colors are those that allow for a limited flexibility of interaction. Depending on the amount of people, these spaces range from completely private to semi-private/social.

Therefore, amenities exist in all spaces; however, it is the control of their qualities that creates these colored zones. Quantity is also implied in quality.

above, View inside typical house 52

Academic

Minimum Flexibility of Interaction Maximum Flexibility of Interaction

1. Surface

2. Infills

3. Skin

Layer

Minimum Flexibility of Interaction

Remove and Fill

FORMAL SOLUTIONS 1. Surface, The vertical color gradient bar to the left represent sectional undulations that organize spaces. A flat surface is blue, an enclosed undulation is pink, and an undulated dip or bulge is a gradient in between blue and pink. This infrastructure creates a corresponding flexibility and degree of privacy.

2. Infills, amenities that are controlled according to the intended qualities of spaces. There are 2 types of infills: those that are layered, and those that are filled inside the cavity space of the undulated surfaces.

3. Skin, separation of interior from exterior. In the housing development, the skin not only provides privacy among houses, but also governs the relationship among them, which encourage visual interactivity through degrees of opacity.

Dip Bulge FLUX HOUSE

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above, Night Views of Model, illustrating different types of usage

above, 3D Printed Model at typical Node of Amenities

above, Section through typical suburban house and Flux House, illustrating contrast in verticality to horizontality 54

Academic

PROPOSAL We seek to challenge the projected trend of hyper-privatization and segregation by prioritizing interfamily interactions over privacy. What may be lost (i.e. personal efficiency) is traded for the benefits of this increased social interaction. For example, physical presence produces a much stronger bodily stimulus between two people than virtual presence does. Virtual presence does not transmit body language, chemical exchanges, or a complete three-dimensional figure that physical presence fully offers. These phenomena carry significant implications for the human experience and growth, such as nurturing a child and maintaining a strong relationship. On a larger scale, suburban communities are shaped more by the efficiency of the automobiles rather than by interactions among households. In a similar manner, by trading private spaces of individual houses (i.e. large backyard), families can gain more benefit of living in a community.

MULTIPLIED ACROSS 10 HOUSES Embedded in the single house design is a generative principle that hints at its inherent potential to expand across an entire 10 house block, swallowing everything that exists in its ubiquitous undulating surfaces.

Here, the section undulations utilize 3rd degree curvatures, and the planar boundaries demarcating housing units utilize a 2nd degree curvature.

Strategy Multiplied across site previously occupied by 10 typical suburban houses

approx. 1000sq.ft.

1-2 households

approx. 1000sq.ft.

1-2 households

approx. 1600sq.ft.

2-4 households

Single House

approx. 1600sq.ft.

2-4 households

approx. 2400sq.ft.

4-6 households

Housing Type Matrix

approx. 2400sq.ft.

4-6 households

Dip Bulge FLUX HOUSE

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FROM A SINGULARITY TO THE FIELD When expanded to an entire block of suburban houses, the surface undulations remain the same scale, although the surface itself expands to the edge of the property line, as if it stretches infinitely in a grid of absolute flexibility.

This strategy replicates the advantage of a sitelessness characteristic of contemporary suburban development while still capable of adjusting to context limitations. Because private front and backyards are collected and re-imagined as large communal public spaces, the units can exist in greater density than contemporary suburban neighborhoods.

Units are separated by simple 2nd degree curved walls.

To accommodate natural lighting, every unit borders a naturally lit courtyard at least on one side. Furthermore, car ports are collected into efficient linear strips pushed to the edge of the site. Each undulation can be considered as nodes that simultaneously compact amenities and limit the range of social interaction.

2F

The three pairs of plans to the right demonstration how the various undulation nodes provide different amenities throughout any given time. The section below demonstrates how the site may look through any possible section, illustrating interactions both domestic and public.

Artificial Lighting Heat Coils in Slab Air Conditioning

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above, Typical Site Section

1F Scenario 1: Summer Week Afternoon

2F

2F

1F

1F

Scenario 2: Winter Weekday Evening

Scenario 3: Autumn Weekday Night

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Academic | Wheeler Intermodal Transit Center

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Wheeler Intermodal Transit Center

Vehicular Parking New Lightrail Line

Houston, Texas Spring 2008 / Semester 2.2 Professor Gordon Wittenberg, Michael Morrow Infrastructure

Program, Retail Pedestrian Circulation Existing Lightrail Line

Located at the existing Wheeler Station on the intersection of Richmond Ave. and Main St., the intermodal transit center proposes a infrastructure to accommodate a new light rail line running parallel to Richmond Ave., 400 parking spots, intercity and intracity bus parking spots, and various retail shops.

The project acknowledges the existing city grid on the ground level and imposes its own geometry on the second and third level, generated by vehicular circulation to the doubled-loaded band of parking lots on the third level. Along this band are several expanded moments that accommodates circulation to the second floor of retail centers. All the retail shops, approximately 25’ deep, hug the same perimeter line to take advantage of natural light, facade advertising area, and pedestrian circulation exposure and efficiency, characteristic of contemporary shopping malls.

The intersection of the existing and new light rail lines form a center stage, whereby circulation strands links this center with the perimeter. The pockets of void spaces becomes different destination spots, such as an outdoor basketball court, a fountain plaza, and a smaller playground. The largest of these pockets provides an open event space for public festivals, farmer’s markets, and other public venues. Finally, a collection of water fountains double as water retention ponds.

6

1. University Light Rail 2. Main St. Light Rail 3. Intercity Metro Stations 4. Intracity Bus Stations 5. Retail 6. Temporary Parking 7. Drop Off 8. Event Space 9. Recreation Center 10. Outdoor Dining Area 11. Playground

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above, Site Plan opposite top, Perimeter facade showing degrees of perforation opposite bottom, Aerial perspective of model, Ground level perspective in main courtyard Academic

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Professional Work 60 62 66 68 70 72 74 76 78 80

Songyang Color-Wheel Masterplan Lushan Aquatherapy Hotel Three Generations’ House Longsea 12-Tower Facade Design MassArt Gallery Renovation and Addition Rio Olympics Masterplan Chazen Museum of Art The Mint Museum OST Mixed-Use Street Development Mandell Park Solar Storage Shed 61

Songyang Color Wheel Tourism Masterplan Songyang, China Sumer 2012 / Internship SGB Architects, Hangzhou, China Masterplan Conceptual Design Can a masterplan be more than the sum of its parts? This conceptual design for 430,000 m2 of used agricultural land adjacent to the city of Songyang, Zhejiang Province in China seeks to leverage a super large figure in order to imbue the masterplan with a unifying reading. Termed the “Songyang Color Wheel,” a 250 meters radius circle is imprinted on the site spanning the bisecting river, connecting and activating multiple points of interests along its circumference. Its colors represent different segmented programs along its arc, allowing the pedestrian to walk the entire perimeter without infrastructural interruption.

The circle is an XL primitive figure that can read like a charm bracelet, connecting different programs without ever losing its own identity. In this way, no matter what the parts of the charms consists of, the masterplan is able to retain a sense of fidelity and integrity, always transcending just the sum of its parts.

Cultural, Historical Pedestrian Street

Boutique Hotel 酒店

养生文化街

Recreation, Exercise Park 活动区

Public Plaza, Parking 62

停车场

Housing Blocks

住宅区

Green Riverfront Park 绿色公园

center, Aerial Rendering of Site right, Masterplan indicating imposition of the “color wheel”

Pinic Hill

野餐山

Green, Mixed-Use District

Boutique Hotel 精品酒店

Retail Center

Villas

商业区：电子,等等

别墅

影视基地, 创业园, 客人混合使用区

Fountain 喷泉

Civic Riverfront Stage 城市平台

River-Top Foot Bridge 亲水桥

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Stone Box: Hotel Units 重石箱

+

Lushan Aquatherapy Hotel Facade Design 庐山温泉酒店外皮设计

Lushan, China Summer 2012 / Internship SGB Architects, Hangzhou, China Schematic Design Asked to redesign only the skin of an 8,500 m2 4-storey aquatherapy hotel, the project re-conceptualizes the massing and transforms the building’s reading from a simple 2 block stacking scheme to a sophisticated tangling of 3 prisms differentiated by its materials. These materials not only express the inner functions, but also begin to utilize its form to appear larger, heavier, and hence more dramatic. This is achieved through a modest push-pull maneuver repeated 3 times, thereby minimizing the extent of change and maximizing the architectural after effect. The plan diagram to the right illustrates how forms are given individuality and integrity through such simple moves.

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Professional

Wooden Box: Main Pool, Spa 打开得木箱

+

center, Original Idea Diagram demonstrating a facade redesign can re-conceptualize the mass of the entire building right, Perspective View of a later design iteration right middle, Original Design

Light Metal Box: Lobby, Lockers 轻铁箱

= Lushan Aquatherapy Hotel

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1. Mesh Skin

2. Aluminum Panel Skin

3. Grey Aluminum Panel Skin

4. Plastered Wall, with Wood Veneer

5. V Columns, Wood Screen over upper hotel units

6. Simplified Wood Veneer strip above, Facade Design Major Iterations

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3rd Floor Plan

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Professional

1. Hotel Room 2. Elevator Lobby 3. Spa 4. Storage 5. Light Wells 6. Outdoor Terrace

West Elevation

East Elevation

North Elevation

South Elevation

Lushan Aquatherapy Hotel

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3 Generations’ House 三代同堂家

Hangzhou, China Summer 2012 / Internship SGB Architects, Hangzhou, China Interior Conceptual Design This interior design project for a four storey infill house seeks to first separate each floor by rendering its common spaces with different colors, atmospheres, and materials, and afterward, tying the floors back together via a central vertical open spiral stairway. A continuous vertical 2” thick woodmesh reinforces this multi-floored connection.

The basement is a cool blue recreational room, the 1st floor a white living room and a green kitchen, the 2nd floor a yellow bright game room, and finally the 3rd floor a red adult study room.

Master Study

F3

Grandparents F2

F1

Child

Living

-F1

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Professional

Kitchen Entry

Recreation

top, Concept Diagram, the kabob right, Floor Plans -F1 thru 3 below, Perspective Section through spiral staircase

Game

top, Perspective view from central staircase upward at wood mesh bottom left, Perspective view from living room looking toward kitchen below right, Perspective view in 3rd floor hallway

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Longsea 12-Tower Complex Facade Design Changsha, China Winter 2011 / Internship WW, Ron Witte + Sarah Whiting Conceptual Design The client asked us to redesign just the skin of a 12-tower single development in Changsha, China. Ron Witte asked me specifically to literally push the boundaries of this thin facade to give the overall tower a sublimely unifying reading, one that expresses its solidarity and volume. The series of strategic shifts seeks to realign a disorganized site. The horizotal seams of the shifts creates advantageous moments of public spaces, potentially adding to the overall value of the project. left, View skyward toward exposed ceilings generated from the volume shifts. The volume’s “underbellys” are intensified in bright yellow.

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Professional

above, Section perspective studies illustrating different conditions at moment of shift. Here, multiple voided inner atria connect spaces sectionally and adjacently to the newly created outdoor patio.

above, A multi-storied exterior patio is created, generating occupiable public space and potentially raising rental value.

below, Rendering of overall site from northeast corner. The volume shifts to realign building plans and unify the entire complex.

Longsea Mixed-Use Complex

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1. Entry Lobby Addition 2. Existing Gallery 3. Circulation / Function 4. Freight Elevator 5. Interior Loading 6. Exterior Loading

6

5

4

2 1 A

3

Site Plan showing two platonic shapes: a square in the middle and a triangle to the right

Section AA through existing gallery and new lobby addition

South Elevation showing existing exterior walls and new lobby addition 72

Professional

A

Massachusetts Art Gallery Renovation and Addition Boston, Massachusetts Spring 2011 / Internship Machado Silvetti Associates Design Development ”

’8

12

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50

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75

17”

14’5”

The design for both the renovation and the addition both idealize a central platonic shape bordered by support and circulation spaces. The former involves transforming the existing gallery into a pure square, while the entrance addition outside adds a pure equilateral triangle, with one edge facing Huntington Street, declaring its arrival and prominence. top, Diagrams of lobby addition’s formal evolution above, Geometric studies of equilateral triangle lobby addition below, View from existing gallery’s renovation space below far, Aerial of lobby addition below right, View inside circulation space around existing gallery

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Rio Olympics Masterplan Rio de Janiero, Brazil Winter 2010 / Internship Machado Silvetti Associates Masterplan Competition Entry Spanning masterplanning to apartment unit floor plans, the masterplan competition seeks to gentrify downtown Rio and provide housing for the 2016 Olympics with a 5-star hotel, convention center, office towers, and enough apartment units to accommodate 50,000 residents. This collage was produced after the competition. clockwise from top left, Housing block axonometric showing units inter-exchangeability, Housing Unit Floor Plans, Partial Site Plan, Elevations of Housing Block, Curved Overall Site Plan illustrating program in blue

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top, Perspective Rendering at front facade illustrating physical connection with existing art museum on left above, Perspective Rendering from open courtyard right, Section Detail

Mock-Up Axonometric 76

Professional

Chazen Museum of Art Madison, Wisconsin Fall 2010 / Internship Machado Silvetti Associates Marketing

above, The new museum addition to the right frames an open courtyard with the original existing museum.

An addition to the existing 1950’s Museum of Art in Madison, Wisconsin, the new extension is a modern update on the original. While the ground floor is a collage of programs whose forms follow their respective functions, the 3rd floor is almost a replica of the existing museum’s gallery, though updated with its own set of light monitors. The 3rd floor gallery also makes a physical connection with the original, whereby it “pulls” the original museum’s rough stone cut facade onto itself. Here, facing the university’s main street, the stone facade expresses a literal and metaphorical transformation, both connecting to the existing museum representing history and also reinforcing its own arrival and identity.

above, 3rd Floor Plan showing physical gallery connection with the existing museum

above, Elevation from main street 77

2 8

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4

2 1

8

6

3 5

1. Main Exterior Stairs 2. Outdoor Cafe 3. Entrance 4. Multi-Purpose Lobby 5. Retail 6. Auditorium 7. Main Hallway 8. Exhibition Space

Section through main lobby

North Elevation

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2nd Floor Plan 78

Professional

1. Main Exterior Stairs 2. Outdoor Cafe 3. Entrance 4. Multi-Purpose Lobby 5. Retail 6. Auditorium 7. Main Hallway 8. Exhibition Space

 ” ”   

 

The Mint Museum Charlotte, North Carolina Fall 2010 / Internship Machado Silvetti Associates Marketing

   

The Mint Museum is conceived as a monolithic object whose front “stone gates” are dramatically opened and cantilevered to the visitor, conjuring an image of both ancient history and contemporaneity. The viewer is first confronted with a pyramidal public staircase, leading though a small hallway, and finally exploding onto a large 4-storey open height multi-purpose lobby adjacent to a minimal curtain wall. The walls are made of precast limestone, spanning up to 12’ in length.

   

    



   



East Elevation

Section Detail 79

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Retail

Supermarket

Apartment Garage

Old Spanish Trail Mixed-Used Street Development Houston, Texas Summer 2011 / Internship CDC Houston, Paul Charles Conceptual Design A new mixed-use development at the corner of Old Spanish Trail and Tierwester St, the project includes a 50,000 sf supermarket, 15,000 sf retail block, 3 storey garage parking, and 6 storey apartment block.

The collage to the left is not the final submission set but a personal follow-up critique overlaying the actual project renderings. It was an effort to call to attention the expedience and instant-gratifications of computer generated and stylized images produced in contemporary professional practice.

Professional

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Mandell Park Solar Storage Shed Houston, Texas Summer 2009 / Internship Asakura Robinson Co. Architecture Intentionally employing two of the most popular trends in green architecture, material reuse and green roofs, this storage shed proposed for a new local neighborhood park at the intersection of Richmond Ave. and Mandell St. glorifies both: the former in terms of reusing an old shipping container and the latter in terms of a homemade, low-cost green roof system.

The container is a standard 8’ wide by 20’ long corrugated steel box, equipped with two 4’ wide swing gates at one end. The elevated green roof extends 6’ beyond one side, providing shade for the container and a small porch. Further customizations include a side door, side clerestory windows, green trellis, and solar vent fans.

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Professional

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Independent Interests 84 86 88 92 92 94

Essay: China Under Pressure Competition: LoopHALA Waterfront Center Essay: Infrastructure and the Collective Competition: Sensory Barge Competition: Europan Housing Block Visual Art

100 RESUME 2012 85

above, Classical Townhouses afloat on River of Grass, Due to the developer’s intentional delay and a rushed construction pace, a new row of classically designed townhouses are noticeably absent, overrun with vegetation.

above, Housing Tower as Monument, A simple 3-story bridge in the sky not only physically connects two large housing towers, but transforms the set of 3 into a supersized building, casting it into a piece of typological monument.

above, Hangzhou Urban Landscape, As the Chinese city rapidly develops, new urban spaces sprawl from the city limits, renewed urban spaces holds massive often gated housing complexes, and ignored urban spaces languish in standards and quality. left, Simultaneous Scales and Resolutions, A small nuclear family of three eats breakfast in front of their tiny family owned convenience shop, planted at the bottom of a 32 story housing slab tower that spans the entire 200 meter block.

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Independent

China under Pressure: found Urban Glitches and Typological Monuments Hangzhou, China Summer 2012 Independent Essay on Urbanism China is under extreme pressure. Commanded by a central planning government, financed by an international reverse gold rush, fueled by hundreds of migrant farmers, and unchained by a de facto capitalist economy, China condenses a century’s rate of development into two decades. What results are the stunning socioeconomic leaps we have all been hearing about. But under such extreme pressures, even granite cracks. Lying within and without the purview of China’s formal planning agencies are moments where these cracks are manifested as radical urban compositions, ranging from small “urban glitches” to “typological monuments.”

of quite intimacy is quickly overwhelmed when one steps back and looks up and around at the 32 story residential apartment tower spanning the entire 200 meter block.

There is also a disparity in the resolution and texture of the two juxtaposed scenes. While the small convenience store resembles a low-income improvised shack, the blank face of the slab tower resembles the ubiquitous concrete modernity of China. Built recently as a piece of mid-to-high income urban gentrification project, the large tower development displaced existing low-income residents, compensating a few with small retail shops.

In my travels, I used a set of working phrases to help classify my observations. A radical urban composition can be considered a unique singularity in the urban environment.

At some critical threshold, independent of scale, an extreme socioeconomic or political force creates an unexpected urban juxtaposition, connection, or transformation. For example, an urban glitch can be considered an aberration or a forgotten repeat, similar to a malfunctioning keyboard letter. The system has a small fluke, but everything nevertheless continues moving forward. On the other hand, a typological monument is an urban transformation of an existing typology from a filler building to a unique moment of punctuation.

Typological Monument. Though the name is an oxymoron, the phenomenon nonetheless exists because of sudden scale jumps in the urban landscape.

In the picture, Hangzhou Urban Landscape, new larger residential towers, when juxtaposed against traditional older residential blocks, are monumentalized simply by a scalar contrast. A more interesting example is found in the picture, Housing Tower as Monument, depicting a relatively new housing tower community. All the residential towers are of the same slab building typology, except for the glitch that is the threestory bridge connecting the two towers at the center left.

Suddenly, this radical urban composition renders the set (2 towers + 1 bridge) as one supersized building, setting it apart as a typological monument. Interestingly, for economical, architectural, and practical reasons, these residential towerto-tower bridges almost never occur.

The Urban Glitch. In the picture, Classical Townhouses afloat on River of Grass, a pedestrian street flanked by two rows of classically designed townhouses is overrun with wild plants and weed. The townhouses are in fact new, less than a year old, even equipped with small outdoor AC unit balconies. Although an exact replica of a classical townhouse neighborhood has its own set of architectural questions, this disturbingly absent set of new houses within a popular district points to a more complex question and answer. Incidentally, this new neighborhood is actually part of a larger aesthetically-nostalgic masterplan assembled by one developer, who intentionally stalled leasing contracts until all parts of the plan was built, eager to maximize on his advertisement and investment. Because the design and construction phase for this type of building is now so fast and streamlined, the entire project was completed within a few months. Afterward, it was simply forgotten.

Another Urban Glitch. In the picture, Simultaneous Scales and Resolutions, a small family of three eats breakfast outside their family-owned convenience store. This moment

Pressured by time, money, and image, China continues to push forward with rapidity and inconsistency. The country is being built upon a combination of market-driven and government-invested developments, which all together suggests a very clearly planned vision but in reality is highly organic. This two-pronged political engine (formal topdown central planning and informal “well-greased” bottom up local planning) ensures that speed of development will not slow. Newly developed areas sprawl from traditional city limits, renewed urban areas lifts the new middle-high income class into tower condominiums, and ignored urban spaces languish in living standards and quality. Within this feverish growth, moments of radical urban compositions emerges in a quick cyclical rate. What and where exactly does this threshold sit between pieces of urban form and pieces of radical form? It seems increasingly, however, that this threshold does not exist, but instead is blurred, subjective, and contextually dependent.

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concept diagram 1, An existing road splits the site into halves

concept diagram 2, An artificial green surface is lofted between the hill and the waterfront edge

Beton Hala Waterfront Center Competition Entry Belgrade, Serbia Spring 2010 with Jeffry Burchard, Mete Sonmez, Neyran Turan Conceptual Design Titled LoopHALA, the project concept spotlights a continuous plane that slopes from the city’s historic fortress district down to the waterfront edge. A central “cut-and-lift” move creates a seamless programmatic and circulation loop.

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Independent

concept diagram 3, The surface is cut into and the program loop emerges from below.

concept diagram 4, Exhibition, retail, and commercial spaces bridge over a large public stairwell and plaza

concept diagram 5, Two speeds of circulation emerges in a loop.

concept diagram 6, Another slice of program emerges from the bridging surface, containing the main exhibition hall.

concept diagram 3, The main exhibition hall frames a view to historic statue Trajan’s Pillar.

concept diagram 8, The lifted program enjoys privileged views toward other sites of interest and meaning.

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Infrastructure: the Frontier of Collective Legibililty Tel Aviv, Israel / Brussels, Belgium Winter 2011 under Professor Neeraj Bhatia Thoughts on Urbanism and Infrastructure In the contemporary city, the public realm is diminishing in importance, availability, and legibility. Cities are no longer anchored by singular civic institutions, but are instead constantly formed and transformed by polycentric networks of flows.

As the homogenizing forces of globalization continues to erode the hierarchies of the metropolis, architectural spaces that traditionally embodied and formalized the ambitions of the public are blurred into indefinite grey spaces of sameness. Two projects, Tel Aviv

by Jacob Bakema and Europakruispunt by Xaveer de Geyter, offer contemporary solutions to reactivate the public realm through infrastructural interventions. While both projects address the public by leveraging an infrastructural node, they differ in civic visibility, formal articulation, programmatic organization, and functional effectiveness. Through an overt formal gesture, Bakema employs a snaking infrastructuralurban wall to give orientation and identity to the city. On the other hand, by integrating and intensifying existing conditions with new construction, De Geyter provokes and juxtaposes the infrastructural-public opportunities that intersect at intermodal crossroads.

By addressing visibility and legibility, both Tel Aviv and Europakruispunt utilize infrastructure at a scale that produces a certain civic reading relative to its site. In Tel Aviv, a competition to develop a new city center linking the ancient town with the modern European extension, Bakema creates an elevated pedestrian civic square situated at the crossroads of two major thoroughfares, framed by large perimeter wall-like superblocks. Beginning at an artificial indentation of the adjacent Mediterranean Sea, the wall-like buildings hold a clear legibility as it snakes its way through the city, descending in height as it reaches the city’s edge.

These linear “vertebrate” blocks act as urban living room walls, while two semicircle shell-like buildings, one toward the north and the other toward the south, acts as urban thresholds to the city. Though alien to the city fabric, the wall-like buildings take on certain civic functions inherent in its undeniable aesthetics. First, it is an informative silhouette that signifies important places and functions throughout the city, a deliberate design so fundamental to the creation of cities that it “constitutes most of the physical part of establishing civilizations” (Moore 1965:173). While the forms index different functions within, they converge at the crossroad of the city to demarcate the civic center, highlighting its symbolic importance. Second, it is a representation of the infrastructure running in parallel directly below. The 90

Independent

above, Brussels, Belgium

above, Tel Aviv, Isreal by Jacob Bakema

superblock allows for future urban development to radiate outward, generating transitional elements that over time builds up the body of the town. Offices are located in the backbone, existing buildings are attached to it, and living apartments develop vertically as towers on it. Therefore, the built form begins to index and reveal infrastructural networks. Finally, the snaking walls, recognizable from the total tissue of the town, create a sense of identity for the city, less as billboards, and more as monuments. Therefore, certain social expressions of the city are directly embodied in the formal planning and gesture. The optimistic notion is social cohesion and political solidarity, insomuch that the city’s constituency would harbor a responsibility and obligation to care and maintain it.

On the contrary, De Geyter employs contextual integration in Europakruispunt to achieve similar social and cultural expressions.

In his approach to Europakruispunt, a competition in Brussels to redesign a stretch of unbuilt space between the central intermodal station, a cathedral, and a large active boulevard, De Geyter intensifies the intricacies of existing overlapping infrastructures by merging existing solitary buildings and non-constructed areas with new infrastructure and construction to form a “superblock” with the central station at its heart. The product is a conglomeration of different buildings and voids that sit in indeterminate, albeit “superglued”, fragmentation.

Nonetheless, what this superblock loses in the clear legibility of Tel Aviv’s wall-like buildings, it gains in representation and expression of the chaotic history, dissonant urban environment, and brutal infrastructural transformations characteristic of modern Brussels. In a maddening ambition to modernize infrastructure after World War II, Brussels became a conflicting cityscape fused with new underground rail tunnel, tunnels, viaducts, flyovers, and a vast network of road tunnels. To De Geyter however, it is precisely this dissonance that gives the city its allure. Understanding that “spatial forms and processes are formed by the dynamics of the overall social structure,” he seeks to exploit and exacerbate the existing conditions in Europakruispunt, seeking to generate spaces that are “not just a reflection of society, [but also] its expression” (Castell 1996: 441).

De Geyter unapologetically discards traditional notions of public spaces, such as large courts and gridded trees, for a redefinition of public spaces that juxtaposes private, collective, and public spaces. As a result, Europakruispunt gains legibility not through an overt alien presence, but as a

above, Wall-like infrastructural buildings give Tel Aviv orientation and identity

above, Assemblage of different buildings and voids in indeterminate fragmentation

condensation of contextual forms and voids. While Tel Aviv sits as a figure in the field, Europakruispunt emerges as a figure of the field.

On the other hand, De Geyter’s new typology, the intermodal superblock that is Europakruispunt, emphasizes the “democratic” over the “collective.” As if in direct opposition to Bakema’s approach, De Geyter not only celebrates the existing divergent elements converging at the site, he further exacerbates it through additional infrastructural and programmatic forms. The central station is a piece of public infrastructure, a space of flows that daily witnesses the best cross section of the city. Instead of desperately trying to “recover identity beyond the global logic of uncontrolled power of flows,” De Geyter reveals these underlying pieces of infrastructure to “expose [the city’s] own reality, without faking beauty from transhistorical spatial repertoire” (Castell 1996: 449). Brussels’s newfound reality is that it is as much a high-performance international terminal as it is a city of dissonant juxtapositions and collaged beauty. As if making a mockery of traditional urban planning approaches, ie. neat plazas and planted gardens, De Geyter’s design comes from a fascination with the oxymoron that is modern Brussels.

Aesthetically and programmatically, Europakruispunt becomes a microcosm of Brussels, effectively staging the multiple publics that collide at the site, for “the reality of the public realm relies on the simultaneous presence of innumerable perspectives…being seen and being heard by others derive their significance from the fact that everybody sees and hears from a different position” (Arendt 1958: 57). Here, monumentality, derived from an infrastructural superblock, embodies not a singular social vision, but a mixture of pluralistic views, suggesting that “conflict, friction, unruly diversity and noise are the seasoning that gives urban life its flavor” (De Geyter 2001). While Tel Aviv’s infrastructural wall-like buildings grant monumentality to sameness, Europakruispunt’s infrastructural superblock grants monumentality to diversity. In comparison, Tel Aviv looks like a sterile alternative.

Beyond visibility and articulation, both Tel Aviv and Europakruispunt also achieve differing expressions of formal articulation and monumentality. Through formal articulation, the built form expresses certain cultural codes, by using “a vocabulary of forms responsive to the marvelously complex and varied function of our society, instead of…imposing the vague generalizations with which we presently add to the grayness of the suburban sea” (Moore 1965: 182). Through monumentality, the built form can embody the collective value, for “monumentality is a function of the society’s taking possession of or agreeing upon extraordinarily important places on the earth’s surface” (Moore 1965: 173). Contemporary pluralism and divergent values call for a shift of privileging monumentality from traditional singular institutions, such as city hall and churches, to a new typology that embodies the democratic collective. In Tel Aviv, the infrastructural wall-like buildings that demarcates the city is the new typology. Bakema situates the civic center at the main infrastructural crossroad, framed by a consistent and homogenous network of monumental superblocks.

Its monumental stature introduces a hierarchical ordering system for the city based on the formal object. Here, the “collective” is emphasized over the “democratic,” because a singular vision and common solidarity are necessary to achieve a built form so incredibly uniform. Nonetheless, the articulation of the vertebrate buildings is so alien to its context that it begins to express the new city as a modern reconciliation between new forms of transport, centered on speed and flow, with traditional forms of public spaces, centered on openness and engagement. In fact, “the architecture that seems most charged with meaning in societies shaped by the logic of the space of flows is… ‘the architecture of nudity’…its forms so neutral, so pure, so diaphanous, that they do not pretend to say anything” (Castell 1996: 451). Bakema allows the bases of the vertebrate walls to be porous to differing speeds of vehicular transport and privileges the elevated third floor platform for pedestrian traffic. In sum, Tel Aviv consists of functionally segregated forms stringed together through a grand, albeit forced, monumental gesture meant to define the new city as an expression of modern movement, economic efficiency, functional clarity, and civic solidarity.

Because the two projects differ in visibility, legibility, formal articulation, and monumentality, the two projects also engage the public realm in very different ways. The effects of the aforementioned design moves should indicate clear intentions for staging the public realm, the most important aim of both projects. “We should consider what the public realm is…so that the ‘monumentality’ and ‘urbanity’ that we seek may be appropriate as functions of our own society and not of some other one” (Moore 1965: 174). The public realm is the only place that can multiply the greatest amount of social potentials for a city. It has the capacity to generate Infrastructure: the Frontier of Collective Identity

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                      

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  

                   

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     

           

  

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above, Elevated civic plaza at intersection, framed by infrastructural urban walls

above, Public spaces transgress boundaries to mix private and collective spaces

social cohesion, house general assemblies, and generate political solidarity, among others. A city has potential, but collective power, however, is only activated when its people not only come together, but act together. It is this power that “preserves the public realm and the space of appearance…it is also the lifeblood of the human artifice, a public stage for the scene of action and speech…the highest activities in the political realm” (Arendt 1958: 204). Though different in their approaches, both Tel Aviv and Europakruispunt privilege public spaces to direct its primary organization.

agglomeration of superglued blocks is actually a protected string of public circulation through the project. Yet, this public circulation is neither polite nor neat. Public spaces and corridors juxtapose, overlap, and occasionally confront various types of collective spaces, whether private or semiprivate. For instance, Horta Hall, previously a waiting room for trains, is opened up to the surface above, purging it out to the open. An auditorium of 2000 seats located next a hotel atrium is occupied for at one moment for congressional meetings, becomes a conference platform for the adjacent private hotel, and then becomes an open stage for public events. A sunken plaza links a car park, an office foyer, access to public transport and tourist coaches, and a string of services spaces. A continuous chain of pubic places and routes guarantees access from all directions. This blurring approach is therefore a polemical attack on the segregation of public and private spaces. By setting up a distinction between public and private spaces, such as that deployed in Tel Aviv, one only furthers the traditional notion and duality between the two spaces. De Geyter’s response is productive both urbanistically and economically. In a society driven by capital and commercialization, Europakruispunt offers an approach that allows public spaces to reappropriate other spaces back into its realm. This method is a fresh counter to an urbanization increasingly changing from “an expression of the needs of industrial producers to an expression of the power of finance capital over the totality of the production process…finance capital step in as mediator and facilitator of the urban revolution” (Harvey 2002: 142). Because urban space is a unit of “capital accumulation as well as a site of class struggle,” it is of crucial importance not to recede control of public spaces to a small, extremely influential subgroup of society, away from the collective. Europakruispunt offers an architectural solution by condensing and intersecting public and private spaces.

Tel Aviv elevates and concentrates its main public space, in the form of an open civic plaza, at the crossroads of the new city center. Its location is visibly marked by four framing wall-like buildings. The public square is privileged on a higher plane, removed from fast, slow, and fixed vehicular traffic. Pedestrian access occurs within vertical chases in equally spaced cores along the vertebrate walls.

As a result, the pedestrian experience is a choreographed sequence of movement from urban thresholds, to urban corridors between walls and buildings, to an open urban void. In the central square, there are council buildings, halls, theatres, shops, cafes, and restaurants. In a grand gesture commensurate with the rest of the design, Bakema formally evacuates the central public space to allow for the greatest flexibility of public events, gatherings, and assemblies.

Although the surrounding urban walls are fixed, framing and anchoring the city center in place, this elevated public plaza becomes a potential space of dynamism and soft infrastructure.

In Europakruispunt, however, De Geyter sacrifices open public spaces, in the strict sense, in two ways to generate a more condensed sharper form. First, he reduces the site’s residual unbuilt spaces to a quarter of its original size. Recognizing that the existing condition consisted of an indefinite series of shapeless spaces, De Geyter places many more construction between the central station and the adjacent cathedral to give a clear boundary and legibility to the existing surrounding open public spaces. Therefore, though the superblock sits in indeterminate fragmentation, it nonetheless provides a clear edge for adjacent spaces.

Second, De Geyter unapologetically juxtaposes public spaces with those traditionally cataloged as private and collective spaces. This seemingly transgressive move is Europakruispunt’s most brilliant contribution to the shaping of public spaces. What may appear as a chaotic 92

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Although both projects share similar ambitions to “feed” the public, they differ in functional effectiveness at staging public spaces. Both projects utilizes infrastructure, an inherently public property, to generate spaces for the public, yet they are not without flaws. Although Tel Aviv’s legible public space at its city center is more effective at creating and staging the public space than Europakruispunt’s uneasy configuration of superglued blocks, it is also just as paradoxical; that is, its total urbanism requires that which it seeks, social cohesion and political solidarity. The elevated public plaza in Tel Aviv represents an abstract and schematic understanding of the

above, Public spaces appeal to traditional notions of segregated functions

above, Behind the seeming chaos: a string of public circulation through the project

modern democratic collective. The condensation of public spaces and corridors through Europakruispunt represents the opposite, a more realist approach at defining indeterminate spaces generated by a confluence of contextual conditions.

Although legible and clear, Tel Aviv expresses the vision of the public through one man’s vision, a methodology that is neither democratic nor pluralistic. Although the city center is located at the crossroad of the city, it is sectionally removed from this intersection, and therefore alienates a portion of society. Furthermore, the city’s infrastructural wall simultaneously provides a legible backdrop to the city and a fixed wall that segregates it. Worst, the main public plaza is both framed within the city and excluded from the city.

As a result, Bakema utilizes public infrastructure to frame a large open public space that is unexpectedly banal and dull, characteristic of traditional notions of singular moments of collectivity. It functions no different than a main city hall or a church plaza. The fact that there is only one public space also precludes sensitivity to the needs of contemporary polycentric societies. Ultimately, Bakema too closely and literally aligns his ambitions for social cohesion and political solidarity with a string of homogenous infrastructural-public urban walls that culminates at a singular civic plaza. This top-down vision requires a dictatorship of resources, which “contradicts the essential human condition of plurality, the acting and speaking together, which is the condition of all forms of political organization” (Arendt 1958: 202).

“power…vanishes the moment they disperse” (Arendt 1958: 200).

Though flawed as well, Europakruispunt accommodates the values of a pluralistic society through contextual integration and programmatic intensification. Instead of allocating a singular public space to an elevated, and effectively segregated, platform, Europakruispunt capitalizes on existing infrastructural opportunities by juxtaposes public spaces with private programs and collective spaces.

The tunnels passageways and underground programs are multiplied and then merged with the surface of the city to create an unusually vital result that symbolizes the uneasy confrontations between the different worlds existing within the metropolis. Inside the project, these edges and boundaries between the two are blurred. However, there is never a moment of open relief, where an assembly can engage the city in a more direct and visible way. In effect, the uneasy tension within the superblock precludes any moment of true public collectivity, where “power springs up between men when they act together,” and instead, becomes a staccato of circulation patterns, where, in effect,

Nonetheless, Europakruispunt posits infrastructural nodes as a new typology whose scale can address both monumentality and the public realm. Unlike a singular city center, infrastructural nodes occur throughout the city, whose size and number is proportionate to its density. As the contemporary society is increasingly defined by flows and movement, infrastructure can take on a large public presence, and intermodal transit stations can offer new forms of collectivity and political assembly. The new city defined by networks of information technology and flows does “not mean end of the city… people will shuttle between all places with increasing mobility precisely because of the newly acquired looseness of working arrangements and social network: as time becomes more flexible, places become more singular, as people circulate among them in an increasingly mobile pattern” (Castell 1996: 429). Where Tel Aviv effectively addresses civic orientation and identity, Europakruispunt turns a previous empty urban crossroad into a new typology that highlights the integrated infrastructuralpublic opportunities intersecting at intermodal transit stations.

References Arendt, Hannah. “The Public Realm: The Common”, “Action: The Disclosure of the Agent in Speech and Action” & “Power and the Space of Appearance” in The Human Condition. (Chicago, University of Chicago Press, 1958). pp. 50-58, 175-181, 199-207.

Bakema, J.B. Thoughts about Architecture. London: Academy Editions, 1981.

Print.

Castells, Manuel. “The Space of Flows,” from Rise of the Network Society, (Oxford: Blackwell Publishers, 1996), 407-459.

De Geyter, Xaveer. Xaveer De Geyter Architects 12 Projects. Ghent Amsterdam: Ludion, 2001. Print.

Harvey, David. “The Geopolitics of Urbanization” in Metromarxism: A Marxist Tale of the City, Andy Merrifield (author), (London: Routledge, 2002), 133-156.

Moore, Charles. “You Have to Pay for Public Life” in Perspecta 09/10. Robert A.M Stern (ed). 1965.

Infrastructure: the Frontier of Collective Identity

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Plan +18”

Plan +60”

Sensory Barge Competition Entry Boston, Massachusetts Spring 2011 with Jeffry Burchard Conceptual Design A sustainable, energy efficient, sensorial installation on a 24’ x 84’ barge, the pavilion explores ideas of co-dependent, tangled programmatic spaces that are mutually exclusive.

Entering the pavilion, the visitor is presented with 2 unlabeled directions, the left leading to a pristine museum-like hall with view tubes toward the sky and surrounding water, and the right leading to an interactive green playground with tunnels under the gallery hall culminating in a panoramic view of the Charles River harbor.

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Independent

Europan Masterplan Housing Block Haugesund, Norway Summer 2011 with Mete Sonmez, Neyran Turan Masterplan Conceptual Design Part of an overall masterplan, this housing block takes its form from the intersection of three adjacent streets.

The result is a web of closed and open courtyards serviced by five circulation cores located at each intersection. The units are single loaded and are optimized for natural lighting.

The unique overall shape gives rise to 24 different apartment shapes ranging from single flats to 4-bedroom multi-family units.

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Visual Art August 2006 - December 2011 Professor John Sparagana, Basilios Poulos

Still Life Study, 2009 Oil on Canvas Board m 12” x 18”

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Independent

Self-Portrait, 2009 Oil on Canvas Board m 12” x 18”

Aly, 2007 Acrylic on Canvas m 12” x 20”

Sam, 2007 Acrylic on Canvas m 16” x 20”

Visual Arts

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Nude Figure Study #4, 2006 Acrylic on Canvas s 9” x 12”

Nude Figure Study #5, 2006 Acrylic on Canvas s 9” x 12”

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Independent

Nude Figure Study #7, 2006 Acrylic on Canvas s 9” x 12”

Catherine in Green, 2006 Gouache on Paper m 18” x 24”

Visual Arts

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Independent

Preston, 2008 Pastel on Asphalt xl 120” x 120”

Krystal and Yoyo, 2009 Pastel on Asphalt xl 120” x 120”

Naomi, 2011 Pastel on Asphalt xl 120” x 120” Visual Arts

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JESSY YANG 11215 Pompano Lane Jessyyang23@gmail.com

Houston, TX 77072 832-202-8893

EDUCATION Rice University School of Architecture Bachelor of Architecture, May 2012, with GPA 4.00 Bachelor of Arts in Architecture, May 2010, Summa cum Laude with GPA 3.95 WORK EXPERIENCE Stan Allen Architect, New York, NY Architecture Intern November – December 2012 (2 months) Reference: Stan Allen, Principal, stallen@princeton.edu SGB Architects Hangzhou, Hangzhou, Zhejiang Province, China Architecture Intern / Junior Designer June – September 2012 (3 months) Reference: HaiBo Gan, Associate, sgb@vip.163.com WW Architecture, Rice University, Houston, TX Architecture Intern December 2011 (1 month) Reference: Ron Witte, Principal, ron@wwarchitecture.com Machado Silvetti Associates, Boston, MA Architecture Intern August 2010 – May 2011 (10 months) Reference: Craig Mutter, Associate, craigm@machado-Silvetti.com PageSoutherlandPage, Houston, TX Architecture Intern May – August 2008 (3 months) Reference: Arturo Chavez, Principal, achavez@pspaec.com AWARDS nd

Margaret Everson Fossi Traveling Fellowship, 2012, 2 Place Recipient, $5,000 William Ward Watkins Traveling Fellowship, 2010, Top Recipient, $10,000 Berda and Charles Soon Chan Memorial, 2009, Sole Recipient, $2,000 Rice Architecture Erin McKenzie Freshman Award, 2007, Top Recipient, $1,500 Jesse H. Jones and Mary Gibb Scholarship Award, 2006, Top Recipient, $4,000/yr.

RELATED SKILLS AutoCAD, Rhinoceros, Adobe Creative Suite, VRay, SketchUp, Proficient Model Maker Bilingual in English and Mandarin Chinese REFERENCES Academic and Employment References available upon request 102

Resume 2012

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