JINGJING ZHU
Portfolio 2017
BASIC INFO
JINGJING ZHU 朱京晶 Born in Beijing, People's Republic of China 北京 中国 Current at 419 Oakwood Ave. State College, PA, USA 369669776@qq.com/jzz135@psu.edu 814-777-1385
EDUCATION
Pennsylvania State University, PA, USA / 宾夕法尼亚州立大学 美国 Master of Architecture (M.Arch.), Architecture, 2014 - 2017 建筑系硕士
Pantheon Institute, Rome, ITALY /Pantheon 学院 罗马 意大利 Summer Program, Architecture, 2016 - 2016 建筑夏季课程
Northern State University, SD, USA / 北方州立大学 美国 Exchange Student, American History, 2006 - 2007 交换生 美国历史
Capital Normal University, Beijing, CHINA/ 首都师范大学 Bachelor of Arts (B.A.), English, 2003 - 2008 英文文学学士
Capital Normal University, Beijing, CHINA/ 首都师范大学
Bachelor of Fine Arts (B.F.A.), Fine Arts, General, 2004 - 2008 美术绘画学士双学位
WORK
Graduate Teaching Assistant at Penn State University/ 研究生助理 宾夕法尼亚州立大学 August 2014 - Present (2 years 7 months) Responsible for collecting data for Prof.Rebecca Henn's Research. Responsible for NAAB Accreditation of Graduate School of Architecture. Responsible for some office work assigned by Head of the Department Mehrdad Hadighi during summer, 2016. Interpreter at China Jingye Engineering Technology Co., Ltd./ 施工现场口译 中国京冶 May 2014 - August 2014 (4 months) Responsible for the translation of construction schedules and daily meeting or conference. Responsible for the on-site interpretation for Chinese architects/engineers and their American counterparts. Manager at Beijing Riverdance Technology Co., Ltd./ 总经理 北京大河之舞科技有限公司 March 2012 - August 2014 (2 years 6 months) Co-founder of this company, which is dedicated to the design and construction of audio-video display for various events and venues. Responsible for the entire company, from project bidding to final construction. Responsible for the completion of the project as well as the promotion and demotion of all the employees in this company. Project Manager at Korea World EXPO 2012 / 项目经理 韩国丽水世博会 中国馆 March 2010 - November 2010 (9 months) Employed by China AVIC Information Co., Ltd. Responsible for the audio-video display construction in China Pavillion.
Interpreter at Shanghai World EXPO 2010 ICP/ 口译 上海世博会 March 2010 - November 2010 (9 months) Employed by Serbian Embassy. Responsible for the interpretation of the conference meetings in Serbian Pavillion. Responsible for the translation of the business contracts and legal papers. Responsible for welcoming tourists inside Serbian Pavillion. Projects Experience (Construction-Related)/ 建造相关项目经验 China Pavillion Audio-Video Display Construction and Installation at Korea EXPO 2012 韩国丽水世博会中国馆视频音响安装调试
March 2010 - November 2010 (9 months) Position: Project Manager Location: Yeosu, Korea This project includes the installation and commissioning of all the display touch screens, interactive performance device. I am responsible for the communication between Chinese engineers, construction workers, and their Korean counterparts, as well as the translation of all sorts of schedules. Wanda Group Recording Room Construction and Commissioning 万达集团录音室安装调试
May 2013 (1 month) Position: Project Manager Location: Beijing This project includes the installation and commissioning of the lighting, recording device, as well as the interior construction of Wanda Group recording room. I participated in the tendering, procurement and supervision of this project. Wanda Wuhan Movie Park Construction and Commissioning 武汉万达电影乐园安装调试
May 2014 - August 2014 (4 months) Position: Interpreter Location: Wuhan This project includes the construction and commissioning of the building. I worked as an on-site interpreter. SOFTWARE SKILLS Rhino 3D/Grasshopper/Revit/Lumion/VRay/Auto CAD/Photoshop/Illustrator/InDesign/Processing REFERENCE LANGUAGE SKILL Pep Avilés English (Full professional proficiency) 英文流利 Professor at Pennsylvania State University Chinese (Simplified) (Native) 中文母语 pep.aviles@gmail.com 法语基本对话 French (Elementary proficiency) Mehrdad Hadighi CERTIFICATION Head of Architecture Department LEED Green Associate Pennsylvania State University GA 绿色建筑认证证书 License 11095006-GREEN-ASSOCIATE +1 814.865.9535 August 2016 to August 2018 Arch-Head@psu.edu
ISSUU
Breathing Landform
City Within City
The Eye
Meadowcroft, Pittsburgh
Philadelphia
Arizona
Solo Work_Fall 2015
Solo Work_Spring 2016
Solo Work_Spring 2017
Library
Museum Addition
Observatory
Library design at the Meadowcroft Anthropology site. The concept is inspired by the LongNow Foundation Project
Addition to the old Athenaeum Exhibition, serving as exhibition, lecture hall and guest room.
Observatory designed for Arizona Sky Center to provide shelter for the new telescope and temporary rooms for the astronauts.
Thesis Project--- Narrative Architecture New York City Thesis Project_Fall 2016+Spring2017 Mixed-Used Building A study of Architectural Programs Architecture should be a collective act.
Formation
Project Introduction:
The assignment is to design a library that could last for 10, 000 years in the nature, which means forever compared with humans’ life span. And the inspiration comes from the LongNow Foundation’s project, a 10,000-year clock, which is a mechanical clock located among the deep mountains in Texas. The designer Danny Hill says “I cannot imagine the future, but I care about it. I know I am a part of a story that starts long before I can remember and continues long beyond when anyone will remember me. I sense that I am alive at a time of important change, and I feel a responsibility to make sure that the change comes out well. I plant my acorns knowing that I will never live to harvest the oaks.” The clock will tick once a year and will chime a piece of music every 100 years. The gesture indicates the passing of time. One could not help asking the question whether the clock really “ticks” or “chimes” if nobody could hear it? The concept brings up an ancient philosophical question, which echoes with the poem by Wallace Stevens, Anecdote of the Jar,
The Breathing Landform 10,000 Year Library Meadowcroft Pittsburgh 2015
Design Philosophy
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Metamorphosis—comes from Nothing lasting for 10, 000 So only if architecture goes back nature years…. to where it comes from, then conA memory box that contains ceptually it could last for “10,000 If the building should come human knowledge will years”. And it could be appreciatfrom nature, then every be deeply buried here ed and valued by the comparison element from nature could be between the mountains of of the larger site in which it rethe inspiration, to become the sides. And the site receives more Meadowcroft. building’s form, its structure, memories after the long-gone of its skin, and its circulation. In both cases, the scale of two the building, as the jar coming objects are being compared, from earth and finally goes back The abundances in the nature between the moments of time to ashes. of Meadowcroft, and the and the everlasting concept site of the historical Indians of time in the former case, or offer plenty of examples for between the smallness of a jar inspiration. and the vastness of the land of Tennessee. And to some Structure—Trees extents, the comparison is Skin—Leaves ridiculous. But it is the ridicMountain—Roof Line ulousness strikes people with deep impression. And in time, the moments of time and the small jar will be buried and devoured by the concept of time and the vastness of Tennessee. But undeniably is the memories and very ephemeral presence of them and the lasting effect.
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Landform Architecture =Imitation of Mountain+ trees+leaves
Site Analysis
Vistor Center
Indian Huts
Boundary Lines Circulation Views Low Land
Forrest
Longitudinal Section
Technology Center Area
Public Area
Eatery Area
Building Facility Area
Administration Area
Storage/Mechanical Area
Collection Area
Programs
6 1 2
5
3
4
Plans
Roof
Second Floor
Ground Floor
Sub-floor
Ground Floor
1. Entrance 2.CafĂŠ 3. Computer Cluster 4. Lecture Room 5. Restroom 6. Public Parking Area
Circulation
17
Library Book Stacks Area(1499 sq.ft/100 gross≈15)
Second Floor:
Unconcentrated (494 sq.ft/15 net≈32)
Calculation Factor: 0.2 Number of People:64 Required width calculaion:12.8” Total door width: 144”
Reading/Study Area(852 sq.ft/50 net≈17)
16
15
16
Library Book Stacks Area(1139 aq.ft/100 gross≈12) Ground Floor:
4 16
Unconcentrated (395 sq.ft/15 net≈26) Assembly with fixed seats (Seats number with standing area 5 net, 120)
Calculation Factor: 0.2 Number of People:213 Required width calculaion:42.6” Total door width:288”
Reading/Study Area(926 sq.ft/50 net≈19) Exhibiton Area (1091 sq.ft/30 net≈36) 120
5
8
14
36
9
2
Library Book Stacks Area(410 sq.ft/100 gross≈5) 15
Unconcentrated (894 sq.ft/15 net≈60) Business Area (1633 sq.ft/100 gross≈17)
2
2
2
2
2
1
50
Reading/Study Area(179 sq.ft/50 net≈4) Exhibiton Area (1510 sq.ft/30 net≈50)
60
kitchen Area(337 sq.ft/200 gross≈2) 3
2
Mechanical Equipment Area(505 sq.ft/300 gross≈2) Storage Area(581 sq.ft/300 gross≈2)
Basement: Calculation Factor: 0.2 Number of People:142 Required width calculaion:28.4” Total door width: 240”
The City Within City Washington Square, Philadelphia Library Addition, Mixed-used Building Spring 2016
Site Location Washington Square, Philadelphia
Project Introduction This new addition to the old library building serves as the exhibition space, lecture hall and guest room to the old athenaeum. It is mixeduse building to expand the functions of the original one. Figuratively speaking, the new addition is a new pair of eyes to offer the old one different angle to look at the outside world. The old one collects historic maps and rare archive as if it were a condensed book that records American history. The new design brings the word “collection� to a new level, which collects the fragments of the city and multi-facet views of Philadelphia to record the vicissitudes as the Formation
City Texture
The Athenaeum
time goes by. So the faรงade will be designed according to what is mentioned above and appears to be multi-faceted. And the interior circulation connects the views collected from outside to the model and will also serve as a meaningful connection between the old and the new. A double faรงade with a pattern abstracted from the fragments of the city will further demonstrate the concept.
Vertiscape corridors
Site
T.O.Roof T.O. Roof T.O. Athenaeum 77’
Third Floor 65’
Second Floor 37’
Grade 21’
North Elevation
T.O.Roof T.O. Roof
The Staircase and the Windows
If we see the old Athenaeum as a collection of memories, then the addition to it is a collection of fragments of city. The staircases are the windows to achieve different views while walking inside the building. The views are limited, so one only have partial views of the city.
Fourth Floor 65’
Third Floor 65’
Second Floor 37’
Grade 21’
West Elevation
Sub Floor 2
Second Floor
Sub Floor 1
City Grids The circulation grids underlines the intention of creating a city with in city. The concept ripples from the city model of Philadelphia to the entire building to the outside, the real city. The city model is a condensed version of Philadelphia and therefore it is oriented as the real one.
Ground Floor
Third Floor
Fourth Floor
Roof Plan
Bedroom for Reading---D Good light is needed in the bedroom. Because the outer wall is porous and translucent concrete, which will partially block the sun but on the other hand it dims the interior light to give the tired scholars a nice sleep during anytime of the day. Small windows on the outer wall will be designed. Electrical lighting will facilitate.
Reading Space----D/E The reading room required better daylight for reading and people doing research. So this large glazing wall could allow more daylight comes in. Electrical lighting will be also added to this space.
Archive for Rare Book----C Daylight is not so welcomed in this space, since it stores rare and valuable books of the v. Daylight will damage those books.
Atrium as the Major Daylighting Source The atrium light is major source of daylighting in the entire building. It connects roof, fourth floor, third floor all the way down to the model space on the second floor, which offers the daylight level required on each floor and connects each floor conceptually. A higher BUG rating is required of the glazing installed here.
The Surrounding Buildings The surrounding building in the vicinity, most of them date back, which means no large area of glazing is used around this new building. Most of them are of brick and have regular comparatively small windows. Beside, right in front of it, is the Washington Square with a lot of tall deciduous trees. The environment are more absorptive rather than reflective, which does not help this new building to have more daylight.
Gallery Space---C This place serves as the gallery to present architectural drawings and maps of the old Philadelphia city. But on the other hand, it also serves as the presentation space, so this gallery’s lighting should be controllable. Therefore the major light source will be electrical other than daylighting. The Model Space---C The atrium daylight will be used to offer the light on the city model.
Auditorium for social activity---B The auditorium is placed on the sub-floor level, which could help to avoid daylighting and
MATERIALS USED Used as a lecture hall, the reverberation time is comparatively shorter. So hard or live acoustics is the goal for this design. Absorbing materials are applied partially on the ceiling and on the back walls. To guarantee the sound of the speaker could be heard by everyone in this hall, reflective panels are installed by hanging from the ceiling. Indicating the locations of absorbing materials
Absorbing Coefficient Number--α (500HZ)
Auditorium Section The shape of the space allows sound to travel wall and could reach everyone in the auditorium. The blue block on the back walls indicate the location of absorbing materials.
Auditorium Plan The shape of the space allows sound to travel wall and could reach everyone in the auditorium. The blue block on the back walls indicate the location of absorbing materials.
Prefabricated Concrete Panel
α=0.03(Walls) α=0.05(Floor) Empty chairs, upholstered with leather
α=0.58(no audience) α=0.8(with audience)
Rectangular and prism boxes (studio wall) “Round Robin III”
The acoustic panels installed on the ceiling are adjusted to help the sound to reach from the very first to the last row. The panel are utilized as the acoustic devices as wall as the lighting to light the seating area.
α=0.95
REVERBERATION TIME Required Reverberation Time for lecture hall Less than 1 sceond
Four sides 68’ , 67’, 43’,51’ Height 26’ ΣA= The side walls and the back wall are of pre-fabricated materials, which could to some extent absorb certain wavelength and reduce reflection.
Sceling3225* αceiling0.95+ Sfloor3225* αfloor0.58or0.8+ Ssidewall1768*+αsidewall 0.03+ Sfrontwall1326* αfrontwall0.03+ Ssidewall1742* αsidewall 0.03+
The seats are made out of leather, which is also a material that could absorb sound.
Sbackwall1118* αbackwall 0.95 =6175 or 6885 V=76024 cb ft
RT=0.05V/ ΣA=0.61(without audience) RT=0.05V/ ΣA=0.55(with audience) Less than 1 sceond, so this space is optium for speech, a little bit dead for music.
APPLICABLE CODE IBC 2009
Fourth Floor--R1 Guest Houses 22 residents+2 staff=24 Door Width:24*0.2=4.8”/2=2.4” Actual Door Width: 44”>2.4”
Fourth Floor--R1
Guest House
Third Floor--R1 Guest Houses 22 residents+2 staff=24 Door Width: 24*0.2=4.8”/2=2.4” Actual Door Width: 44”>2.4”
Third Floor--R1
Guest House
Longest Distance115’ Other Path Distance 94’
OCCUPANCY GROUPS Third Floor Guest House R-1
Second Floor Gallery+Conference Room A3+B
Longest Distance115’ Other Path Distance 94’
Ground Floor Gift Shop+Office M+B Sub Floor 1 Auditorium A1
Gallery Conference
Sub Floor 2 Auditorium A1
Second Floor--A3+B
Second Floor--A3+B Gallery(15 net) + Conference Room(15 net) 1840sq.ft/15+1064sq.ft/15=192 Door Width:192*0.2=38”/2=19” Actual Door Width:44”>19”
Longest Distance115’ Other Path Distance 94’v
Sub Floor 3 Rare Books Archive +Mechanical S3+U
Gift Shop Office
REQUIRED EXITS
2 exits per floor required due to occu-
Ground Floor--M+B Shop(30 net)+Office(10) Total:1140sq.ft/30+10=38 Door Width:38*0.2=7.6”/3=2.5 Actual Door Width:44”>2.5”
Ground Floor--M+B
Sub Floor1--A1 Auditorium (fixed seats) Total:127 Door Width:127*0.2=25.4”/2=12.7” Actual Door Width: 44”>12.7”
Sub Floor1--A1
Longest Distance104’ Other Path Distance 94’
pancy of 1-500 persons per floor
CONSTRUCTION TYPE
Auditorium
Longest Distance 133’ Other Path Distance 68’ Other Path Distance 66’
ATRIUM
An atrium connecting three floors in the middle. The building is required to be fully-sprinklered
Auditorium
Archive Mechanical
OCCUPANCY LOAD Calculation
Sub Floor 2--A1 Auditorium(fixed seats) Total:212 Door width:212*0.2=42.4”/2=21.2” Actual Door Width:44”>21.2”
Sub Floor 2--A1
Sub Floor 3--S3 Rare Books Archive(100 gross)+ Mechanical(300 Gross) Total:6940sq.ft/100+1904sq.ft/300=77 Door width:77*0.2=15.4”/2=7.7” Actual Door Width:44”>7.7”
Sub Floor 3--S3
Longest Distance 83’ Other Path Distance 104’ Other Path Distance 70’
Longest Distance144’ Other Path Distance 67’
TRAVEL DISTANCE
Diagonal Distance: 173’ Exit to Exit: 71’ 173’/3=57’<71’ (Fully sprinklered)
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These two pictures could present what I would like my interior to appear like. All is hidden. But still they should be smart hint for people to know there is technology hidden behind it. For example, the picture on the right, it shows a button on this concrete wall. This is very good example of the integration of mechanical equipments with interior design. In the picture on the left, the stone panel covers all the piping and electricity cables, but only let light shine through the gaps between them. By doing so, this approach protects the concept of the design the purity of material.
Air Exhaust(on the roof) Air exhaust vent is located at the back the building to lease the stale air collected on each floor.
Air Supply(on the ceiling) Supply air comes through the vent on the roof to supply outside air to the building, it first going down to the basement to be treated and filtered through the AHU and then will be transported to each floor through the pipes on the ceiling.
Air Return(in the floor) The stale air will be collected through the pipes under each floor. Part of the return air will be mixed with supply air and recycled back to each floor. Part of the return air will go through the exhaust vent and leave the building.
Water Heating (in the floor) Take comfortableness into consideration, a water heating system is added to the air ventilation system. The water boiler is located also in the basement and supply hot water to heat up each floor through the pipes embedded in the floors.
Geothermal(under ground) The geothermal method is a complementary part of the water heating system. It saves energy by warming water several degree up during winter time, which then will be heated up to supply each floor.
Observatory
Arizona, USA Spring 2017
Ralph Waldo Emerson I become a transparent eye-ball; I am nothing; I see all; The currents of the Universal Being circulate through me; I am part or particle of God.
TELESCOPE PLATFORM
CONTROL ROOM /INSTRUCTION ELEVATOR
Meditation Corridor The meditation corridor features as a place of all ages to explode knowledge of the nature by themselves by observation. The circle-shaped windows along this corridor serve as the opening to the outside world, which are at a various height for different age groups.
THIRD FLOOR
M OO SR L AS CL SMAL
MEDI TATI ON CO RRI DO R/I NS TR UC
TIO N
2
CL
A LA SSR RG OO E M
RE
ST
ELEVATOR
RO
OM
ELEVATOR
AR EA
Y RAR LIB INI /M EA AR
EX HIB ITO N
OM
RO
ST
RE
ANIC
MECH
AL
ENTRANCE
WC GALL
EXH IBIT IO N
EY
OB SE R VA TIO N
CO R
OF
FIC
E
PL AT FO
RM
GE
R DO RI
A OR
ST RO
BED OM
OM
BEDRO
SECOND FLOOR
GROUND FLOOR
Site Plan
Limiting the light Pollution During the night, the light ribbon here will be the only exterior lighting source to help people find their bearings in the dark. They aim to reduce the light pollution and make this habitant a quiet place for the wildlife.
Outside Observation
Exhibition/Gallery
Platform Structure
Telescope Platform
Control Room
Instruction Room
Classrooms
Cafe / Resting Area
IO
RY BRA OB SER
2 AR EA
PL AT FO
LA SR RG OO E M
AS CL
EX HIB ITO N
MEDI TATI ON M OO SR L AS CL SMAL
VA TIO N
RM
CO RRI DO R
/IN S
Astronauts Lodge
TR UC T
N
LI INI /M EA AR
ELEVATOR
Two Circulations The spiral staircase leads people towards the observatory platform where the new telescope is during night time. Another circulation is designed for the day time, leading people from classroom, lecturer room, passing along the meditation corridor to get prepared for the observation during the day. LONGITUDINAL SECTION
The observatory is our eyes to peek into the secretes that are up in the sky. Within the gaze, all the mysteries are buried. But this type of the eye should not be limited only to observe the universe, it should also become the link between the sky and the earth.
The eyes observe, then the minds could contemplate and meditate. All the mysteries of the universe is therefore learned by the human beings. The observatory or the telescope is a better, more accurate kind of eyes. These kinds of eye should be “transparent”, which means to be fully integrated into nature. Its very existence is to observe, not to
disturb. As Waldo Emerson writes in his famous essay Nature, it should be “nothing”, but it sees all. It sees the stars forming the constellations in the sky, as well as the flora and fauna on the earth.
TRANSVERSE SECTION
Narrative Architecture Introduction
Thesis Statement
This thesis will focus on the discovering of the latent pattern in human interaction and the overlapping architectural functions therefore generated by it. The data is collected through a website, Humans of New York by title. The stories written on that website were interviews of the people living in New York City on a day-to-day basis. Behind the lines, there are many architectural functions/programs can be extracted. By combining and superimposing a diverse range of functions/programs, one could create a new spatial and to reveal and increase the latent encounters between human beings.
This thesis explores the needs of individual subjects in the city of New York to define new overlapping programs generating social encounters. I call these new social institutions â&#x20AC;&#x153;social connectors.â&#x20AC;? By reimagining social connectors in this way, I intend to link remote personal biographies to find moments of interaction between people that could foster micro-changes in the urban landscape.
--Reimagining Social Connectors
6th and 7th Street, Manhattan Thesis Project, Mixed-used Buildings Spring 2017
Architecture is a collective act
“I’m studying to be a counselor for battered and abused women. I haven’t had any actual cases yet because I’m still learning. But eventually I want to help abused women clearly understand the situation that they’re in. Seventy percent of cases go unreported. There are a lot of reasons that women don’t speak out. Some have low self-esteem and feel like they have no other options. Some are afraid. But a lot of women just genuinely love their partners, and they convince themselves that it’s ‘just a phase.’ They think that things will get better. There can be a lot of idealism involved. I work at a bridal salon now. At our shop, we never call women ‘customers.’ We always call them ‘brides.’ Because brides are special. Marriage is a dream come true. I can see it in the brides’ faces when they try on their dresses. They feel like they’ve finally found their ‘happily ever after.’ And it can be hard to give up on that idea. Even if they’re being abused.”
My mom wants me to be perfect and well-behaved and religious. If I’m less than perfect, she doesn’t want anything to do with me. Recently I met my dad for the first time on my 20th birthday. I visited him in prison and really opened up to him. I told him that I was into girls, and that I smoke, and stuff like that. He was much more understanding than my mom. But then again, he really has no choice.”
“I can do all the same things as my wife except for the milk part. And I try to make up for that by reading a lot of stories and showing her my vinyl collection.”
“I’m artistically brokenhearted. I wanted to be a screen actor. I wanted to change the world through my sensitivity. But it was a very closed system in Italy. There are only like five movies per year. And there aren’t exactly auditions. You must be friends with the director to get a role. So I tried going to Britain. And that almost destroyed me. I was always cast as a foreigner. Usually I was a Mafioso, but I played all types of foreigners. I’ve been a Spanish waiter, a Turkish waiter, and a French waiter. And they were always making me wear a mustache.
“I teach English at a community college in Queens. I love the job, but I hate grading papers. I’d prefer to just have one continuous discussion about Shakespeare. I envy the math teachers who can just put their tests through a Scantron machine. Placing value on a student’s writing is much more nuanced and complicated. What if they have great ideas but their English language skills aren’t as developed? What if English is their second language? What if they’ve faced major challenges in life? Do I ignore those things? Or do I consider context while grading? I want to set high standards and prepare my students for what comes next. But so many of them already have a self-defeating attitude. And I don’t want to discourage them any further.”
“I’m on a tour to study music with African roots. It’s not for school or anything. It’s just a personal project. I want to travel alone for an entire year with just clothes and my drumsticks. I’ve saved $6000 and I plan to work along the way. My first stop was New York. I’ve been here two weeks and I went to ten concerts. I’ve already spent $300 so I need to be more careful. I’m about to catch a bus for Detroit. I found a place where I can live in exchange for a few hours of daily work. Then I’m going to Chicago, St. Louis, Memphis, and New Orleans. Then Cuba. Then Brazil. Then Peru. And after that I’ll go home to France. I want to learn as much about music as possible. But that’s only half the reason for the trip. I also want to learn if I can do it. I am a little afraid that I’ll get lonely, but that’s something I want to figure out. I want to know if I can be alone.”
“When I was you leave the house man, but then clothes. My mot devil was in me. that I was usel took me to the out what was go grandfather alw me. He was mo than my parents cause he worked restaurant and ple who came ou when I was a ch clothes I wore, a ‘If you were a gir beautiful.’ When everything I was ‘You’re a great never be afraid on with you.”
unger, I’d always e dressed like a I’d change my ther told me the . My father said less. They even e doctor to find oing on. But my ways supported ore open-minded s. I think it’s bed at a 24 hour met all the peout at night. Even hild, he’d see the and he’d tell me: rl, you’d be very I finally told him s feeling, he said: person, and I’ll of what’s going
Today marks a major milestone in the history of geriatric canine literature! The Susie’s Senior Dogs book was released today. After months of breathless anticipation, scholars and critics agree: ‘Susie’s Senior Dogs has set a new high-water mark among books that have nice pictures and sweet stories about old dogs who find new homes.’ The author, coincidentally, is my wife. She worked so hard to make this book perfect and it came out wonderfully. The book will warm the heart of every dog lover. Moby, Simon, and I are very proud of her. And Erin is using every penny that she makes to pay for the medical bills of old foster dogs– so that they’re healthy and happy when they arrive at their new homes. The book only costs $15 human dollars. So please consider getting Susie’s Senior Dogs for yourself or the dog lover in your life!
“I thought I was going to work until “I’m not sure if people have become I died. But they came in and told me less interesting, or if I’m just less inthat I was too old and that I didn’t terested in people.” know the computer. They thought I was obsolete. If that’s true—then how did I get so far without the computer? I’ve got that computer in my head. I can design the whole process. I can start with a blank sheet of paper and cycle the whole line: the robots, the tooling, everything. That was my life. At night when I go to sleep, I’m still building welding lines. There were only 1800 of us in this town that could do it. And each of us had our own style. People could recognize Norm Szewsky’s work. But you know what happened? They took all 1800 of our brains, and they put them in a computer. So now a guy who don’t know nothing can just press a button, and out comes a clamp. Oh well, I don’t really give a shit. I’m checking out soon.”
I’ve been out of art school for a couple years now. Eventually I’d like to make a living as a fine artist. I try to challenge myself in a different way every day. I’m always trying different colors, or different materials, or different styles of drawing. It’s my way of leveling up. Right now I’m seeing if I can touch the paper only once with each mark, yet still create enough information to convey light and shade. The hope is that by challenging myself enough, I can eventually reach a level where I can challenge the art world.
“I want to be a stand up comic. The hardest thing is to find material that’s not just funny—but also true. Funny can just be a surprise. But good comedy articulates truth in a certain way. And I don’t think I’ve experienced enough to know what’s true for other people. I’ve had a bit of a charmed life. Nothing too traumatic has happened to me. I have a lot of creative energy but I’m not sure that I have the arsenal to back it up. Recently I was at an open mic upstate, and there was an older guy performing who used to be a heroin addict. There was just this sense that you should be paying attention to every word he says, and not just the punch line. I’m not there yet.”
“I have electrosensitivity. When I’m exposed to electricity, it’s like one thousand scorpions stinging me. It’s like every description of fire in the bible. There is no ‘off the grid.’ Because the grid is everywhere. So I live ‘between the grid.’ I have a lot of memorized safe spaces. I’ve tested all the stoops in the neighborhood, and this is an especially good one because it has a lot of wrought iron going into the ground. I wear seven layers of shielding clothes. I wear silver sterling boxers. I wear conductive socks. And nobody protects me because they think I’m imagining things. They think that they can decide how much I can take. Some people even point their cell phones at me. It’s like they’re punching me without punching me. Even after I explain the science, I get pigeonholed as crazy. The bigotry is maddening. Because even if I remove all my quantified evidence, and I say that I believe it hurts me; that should be fine. I have the right to choose how much radiation I’m exposed to.”
Site Locations
Str uc tu r
re for Electro Tempo-rooms for Traveling se ctu Artists/Musicians/Performers Kids’ Playgroundnsiti v Public Dressing Room/ Lockers Public Restrooms Lobby Str u
ity
ty
Structure
Public Restrooms Pigeon’s Shelter Resting Terrance Garden
fo
r
Electrosen
Resting Terrance Public Performance Platform Public Restrooms Small Gallery For Emerging Artists
Public Restrooms Resting Terrance Garden
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ity
or
rosensitivity lect EPublic Dressing Room/ Lockers Job Interview Room Structur Tempo-rooms for Traveling Artists/Musicians/Performers Methadone Booth Lobby
o ef
Public Dressing Room/ Lockers Kids’ Play ground Pet Shops for Adopting Senior Animals Job Inter view Room Training Area for Workers to Update Knowledge Office for Consultation An English-Teaching Room Showers for Bicyclers Lobby
itiv ns
Public Restrooms Resting Terrance
sitivi
Garden
se n ro
Tempo-rooms Strfor uc Traveling Artists/Musicians/Performers re Training Area fortuWorkers to Update Knowledge f An English-Teaching Room El e ctr Room/ Lockers Public Dressing o se nsiSenior Pet Shops for Adopting tivity Animals Office for Consultation Lobby
Small Gallery For Emerging Artists Public Performance Platform Resting Terrance Garden
Pigeon’s Shelter Small Gallery For Emerging Artists Public Performance Platform Public Restrooms Resting Terrance
E Str ucture for
Resting Terrance Public Performance Platform Resting Terrance
le c or E trose e f for Adopting Pet Shops Senior Animals Training Area for Workers to Update Knowledge Public Dressing Room/ Lockers Job Interview Room Kids’ Playground An English-Teaching Room Showers for Bicyclers Office for Consultation Lobby
Public Dressing Room/ Lockers Job Interview Room Tempo-rooms for Traveling Artists/Musicians/Performers lec t Office for Consultation Showers for Bicyclers Methadone Booth Lobby Kids’ Playground
An English-Teaching Room Training Area for Workers to Update Knowledge lectrofor senConsultation Structure for EOffice sitivit y Public Dressing Room/ Lockers Methadone Booth Lobby
sit
y ivit
Closed Space + Liminal Space(Circulation)+Structure
Performance Area Bicyclers’ Shower
English-teaching Classroom
Rx Vending Machine
Sitting Terrace
Lobby
Public Restrooms
Second Floor
Resting Terrace
Consultation Rooms
Third Floor
Traveling Artists’ Shelters
Resting Terrace
Small Gallery
Ground Floor
Interview Room Public Dressing Rooms
Fifth Floor
Sixth Floor
Seventh Floor
Eighth Floor
Small Gallery
Resting Terrace
Consultation Rooms
Consultation Rooms
Traveling Artists’ Shelters
Resting Terrace
Interview Room Public Dressing Rooms
Fourth Floor
Fifth Floor
Sixth Floor
Garden
Training Area for Workers
Kids’ Playground
Petshop
Pigeons’ Nest
Ninth Floor
Tenth Floor
Eleventh Floor
Plans
Prototype
Seventh Floor
Sketches and Model Making
Chair_Wood Shop Training Work_Fall 2014
Sejima_Small House_Precedence Study Fall 2014
4 1
1. Top Floor_with mesh to protect privacy 2. Core_serve as structure and circulation 3. Details_raised floor 4. Details_courtyard at subfloor level
3 2
2
4
1 3
5
Nakagin Capsule Tower Plaster Model_Spring 2015
1. Final Product 2. First Attempt of Assembling 3. Team Work 4. Presenting Project during review 5. Pouring Plaster
Drafting and Structure Analysis_Rome Program_Summer 2016