Juno Zhu 2018-2022 S E L E C T E D W O R K S • H A R VA R D G S D • WA S H I N G T O N U N I V E R S I T Y I N S T. L O U I S
4-13
14-21
22-27
28-35
36-45
46-57
CONTENTS
The Autonomous Future A Tra n s p o r t a t i o n H u b i n t h e E ra o f A u t o n o m o u s Ve h i c l e s
Dovetail Complex A Residential Complex D esigned with a Focus on Interlocking Modules
T h e P a s t ’s F u t u r e A Museum of Scent that Preserves and Exhibits Olfactory Arts
Inflation An Inflatable Furniture Inspired from A Pair of Gloves
Victims: 2020 A Global COVID-19 Memorial: Time, Place, Memory
P e o p l e ’s P a l a c e A Public Sports Shed in the Urban Setting
Evanescence 18” x 10” Digital Render
THE AUTONOMOUS FUTURE A Transportation Hub in the Era of Autonomous Vehicles Fall 2020 Arch 411 Instructor: Constance Vale Site: Piazza della Liberta, Florence, Italy Partner: Liujie Lu
In media and popular culture, cars feature as the ultimate symbol of luxury and freedom. While automobiles increase mobility by decreasing time and distance, acceleration has led to a set of catastrophic collisions, including vehicle crash fatalities, environmental and atmospheric damage, military conflicts, insufficient infrastructure, and economic injustice and segregation in cities via the expansion of highways. In response to the rapid changes taking place in artificial intelligence, machine vision, and remote sensing, this project examines the future of mobility and autonomous vehicle technology in cities. Located at the northernmost point of the historic center of Florence, the transportation hub aims to react to its surrounding street conditions. Concepts of this project were extracted from precedents studies of the sculpture Hanging Herm by John Chamberlain, and the painting Reaper Drone by Trevor Paglen. The physical deformation and drone vision are carried in series of point-cloud animation of the context. Inheriting the concept of machine vision in the project, a combination of geometric study and digitalization of a car precedent Lancia Stratos Zero is created to produce a tool box, which is used to define the massing.
“A computer animation is less a reproduction and more a production...or creation of a model world...”
Stills from Animation I. Machine Vision of Firenze II. PIAZZA Della Liberta III. Carving the Marble IV. Evanescence V. Automous Future
“Navigation poses a contemporary challenge to montage as the dominant paradigm of techno-political visuality. If montage is the core formal device for concatenating space and time into a continuous causal sequence, then the computer-animated, navigable images that constitute the twenty-first century’s ‘ruling class of images’ call for new tools of analysis...”
A Future of Machine Vision The Digitalized and Fragmented The animations accounts for the parameters and aesthetic qualities of both human and machine vision. Projecting visUal effects as they would be perceived by both animate and inanimate audiences will generate new atmospheric effects and possibilities for occupation.The hybrid material and virtual nature of the project encourages speculation on the future of architectural representation, building, and the possibility of great hybridity between the two enacted in public space. The project sets its aesthetic through a digitalized and fragmented vision of a futuristic context. The architectural form is a visual connection between the past, represented by marble sculptures, and a futuristic setting that contrasts a material-based form. As the project dematerializes and flow against gravity, it reaveals its light-weight structure.
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00:37
00:54
01:11
01:17
01:47
01:55
02:10
02:20
02:49
02:57
03:02
03:12
03:20
03:28
Ground Floor Plan
I. Precedent Study of the T WA Airport II. Precedent Study of the Lancia Stratos ZeroIII. III. Massing and Facade in the Stoe
Elevation Digital Rendering
A Future of Dematerialized Reality Porosity of Space in an Urban Context
Ani The project sets its aesthetic through a digitalized and fragmented vision of a futuristic context. The architectural form is a visual connection between the past, represented by marble sculptures, and a futuristic setting that contrasts a material-based form. As the project dematerializes and flow against gravity, it reaveals its light-weight structure. With the problematic history in tow, the nature of automobiles is changing. In the last two decades, self-driving cars have advanced from research to reality and offer tremendous promise, from reducing emissions and congestion through ridesharing to decreasing the number of driving accidents and deaths. Nevertheless, we will only realize this potential if development accounts for past failures and future pitfalls like mass surveillance and adversarial attacks on artificial intelligence.
Exterior Vignette Streetscape Digital Render
Interior Vignette imation Still of the Ground Level Digital Render
Interior Vignette Animation Still of the Parking Digital Render
Interior Vignette Animation Still of the Ramp Digital Render
Quadror Interlock 6” x 6” Digital Illustration
D O V E TA I L U R B A N I S M A Residential Complex Designed with a Focus on Nested Modules Fall 2019 Arch 311 Instructor: Pablo Moyano Site: St.Louis, MO Individual Work
At the junction of 7th and Olive Street, a historically significant corner next to Louis Sullivan’s Union Trust Building (now Hotel Saint Louis), a residential complex is proposed to be constructed. This residential complex servers as a mixed-use habitation for 30 families. The program includes a variety of residential unit types, along with public space, community amenities, and a public program at the ground floor. Architecurally, this project begins with a study of an interlock precedent named Quadror, which is developed as a generator of programmatic and spatial strategies that can appear across scales from the architectural detail to the building. Studies of Quadror inspire the design of the initial module, which is later developed into three types with a unified core system and various interlocking sptial strategies. Units with more complex needs are developed from these three modules.
Precedent Model
6” x 6” Plywood
Precedent Study Model
6” x 6” Acrylic, Basswood, Mylar Casted Sculpture, Resin , Rockite
Plan 1
Plan 2
Section
Axonometric
Module A
Module B
Module C Module Study Model
Basswood
Precedent Study Model Museum Board, Basswood
Module A Plan 01
Module A Plan 02
Module B Plan 01
Module B Plan 02
Module Section
B2
B1
A2
A1
Perspective Module Section Digital Rendering
Interior Vignette Ground Floor
238’
210’
190’
150’
130’
110’
90’
50’
30’
Model Rendering
1. Lobby 2. Retail 3. Garden 4. Playground 5. Gym 6. Meeting Room
Perspective Section Drawing
Untitled 11” x 17” Digital Collage
T H E PA S T ’ S F U T U R E A Museum of Scent that Preserves and Exhibits Olfactory Arts Summer 2020 Arch 312.01 Instructor: Chandler Ahrens Site: St.Louis, MO Individual Work
According to futurist, Ray Kurzweil, 2045 is the year for the “Singularity”, which is when Artificial Intelligence will surpass human intelligence, forever changing the balance of power between humans and technology. This studio begins with investigating at innovations from the 1904 Louisiana Purchase Exposition in St. Louis to speculate on an alternative evolution for the year 2045. Apart from the neoteric change that may occur in twenty years, this project aims preserve something that is ephemeral for human civilization, such as, the scent. The design of perfume has been overlooked historically as a significant creative practice. And the art of scent is rarely introduced in a museum environment. Therefore, this project proposes a place that preserves and exhibits scent and invites the public to immersively experience it. Architecturally, the museum is designed after a series of precedents study on objects that were exhibited in exposition back in the 1904. And a series of Boolean Operation took place to create the final form of the design.
Boolean Tools
Operation 1
Operation 2
Operation 3
Boolean Operation Digital Render
Section Studies Digital Render
Section Perspective Drawing
Summer 6:00AM
Summer 6:00 PM
Ground Floor Plan
Winter 6:00 AM
Winter 6:00 PM
2nd Floor Plan
Roof View Rendering
Interior Gallery Rendering
Form and Facade Digital Render
Exterior Rendering
Hands 8” x 8” Physical Model of Infltated Gloves
I N F L AT I O N An Inflatable Furniture Spring 2020 Arch312 Instructor: Nanako Umemoto Partner: Brandon Shen
Furniture is evaluated as the quintessential representation of architectural design principles. And air has been utilized in built objects in history. This project combines these two subjects, aiming to present the social, formal and aesthetic forces that are reserved in furniture with air and the elasticity of membrane that air grants. And the form of the furniture is determined by this inflating action and material properties. There is a long history of utilizing air in built object. The physical characteristic of gas and elasticity of membrane grant freedom from typical architectural tectonic that makes revolutionary structure possible. The intention of the project is to produce a piece of inflatable furniture at full scale. This project begins with a study of found object: a pair of crossing hands. The study transforms hands into inflated gloves that create a crossing pattern at joint intersections and bugling palm. Numerous inflated gloves construct a massing, and the seams is tranfsformed onto paper, which makes the three dimensional folds flat. Tracing of various types of seams are re-applied to translucent plastic sheeting, which is then sealed to form the final outcome.
Inflating Furniture Tectonic Structure from
This project focuses on a numb
matter in the development of a
on human functions. We elabo exploring novel techniques of
6ft
Precedent Study Plaster Model of Intersecting Infltaed Gloves
m the Hands
ber of specific design techniques in a highly regimented manner. The theme of thisproject is the relationship between geometry and
a piece of furniture. It explores the nature of these complex surfaces and the effects of a limited but continuous enclosed environment
orated our skills in model-building, with particular emphasis placed on the value of accurate representation both by fostering craft and by fashioning and representing precise geometries.
6ft
2ft
Digital Model Side Elevation
3ft
Digital Model Front Elevation
Interior Skin Drawing
Front
Exterior Skin Drawing
Side
t of Paper Model
Physical Model 3”x6” of Paper Model
Paper
Details of Physical Model Translucent Plastic Sheeting
Physical Model 5’x8’ Translucent Plastic Sheeting
The Polyptych 11” x 17” Collaged on Texture Ppater
VICTIMS 2020 A Global COVID Memorial Spring 2021 Arch 412 Instructor: Igor Marjanovic Site: Taipei Individual Work
The narrative is inspired by the story of a victim of the covid 19. His name is Ao Xingwu, and he came from WuHan City. His son is a journalist that got commissioned to report the situation in WuHan after the city was locked down. And Ao asked to accompany his son. Unfortunately, he got infected and passed away soon after. Ao’s family decided to donate his body, and they didn’t get to see their loved one for the last time. Months later, when Wuhan unlocked, Ao’s son finally went to his father’s ward to commemorate and to say his goodbye. He retrieved Ao’s belongings, which were only a phone, and a cardholder. And this reminds me of how we naturally commiserate memories through objects. Therefore, the primary program is dedicated to displaying personal belongings. To echo with the idea of burial and ruins, the project is placed underground, accessed from a sunken plaza. And it sits aligning the symmetrical axis of the Taipei National Museum, connecting to an orthogonal pathway. The entrance faces the more lively part of the park, whereas the end blends into the serene forest. The project comprises seven main volumes, in the shallower/ wider to the deeper/narrower, and they create three relationships with the ground. And the scale of the spaces ranges from the mass memorial to a family chapel, then to an individual.
Narrative Drawing 11” x 17” Collaged on Texture Ppater
Precedent Model, Berline A Growing, Incremental Place- Incremental Time: “Victims”, a Project by John Hejduk (1984) 36”x52” Wood, 3D Printed Objects
Site Model, Taipei People, Building, Context - Incremental Time: “Victims”(2021) 36”x52” Wood, 3D Printed Massing
Atmospheric Collage 11” x 17” Watercolor, Digital Print collaged on Mylar
Ground Floor Plan
Physical Model 36”x52” Wood, 3D Printed Massing
Unfolded Section Digital Illustration
Exhibition of Victims’ Personal Belongings Digital Render
Untitled 18”x18” Digital Render
S I T U AT E A Sports Shed in the Urban Context Spring 2022 Harvard GSD Core II Instructor: Emmett Zeifman Site: Boston, MA Individual Work
“A shed is performed by its secrets. It is defined by the way it is used rather than what it is. A shed is for nothing and for everything. It is full of possibilities—it is for anything. It relies on potential, not actual. It can house anything and that is its beauty, the undefined pragmatism, the openness and the possibilities that come with them. It is not grand; it is subtle. It is the palace of nothing...” —from Drawings Matter: Sheds: Palaces of Nothing This project proposes a multi-functional sports complex situating in a public groundscape and a set of large, flexible interiors that can become an integral part of a neighborhood in Boston’s North End. The attendant technical issues of topography, accessibility, lighting, and the structural requirements of the large sheds will be in conversation with the broader conceptual questions of what it means to design public spaces in the 21st century. Working across architecture, landscape architecture, and urban design, students will speculate on the relationship between architecture’s interior and its inevitable exchanges with the city.
PRIVATE
PUBLIC
CIRCULATION
ENCLOSED STORAGE
OFFICE RESTROOM
STUDIO
CAFE
THEATER STRAIGHT
BASKETBALL COURT
SPORTS PICKLEBALL COURT HOCKEY FIELD
DOG PARK
TICKET
MARKET
CROSS
SANDPIT
OPEN
PLAYGROUND CIRCUIT
Program Diagram
Narrative Trajectory Sketch Collage
Site Analysis de Fillipo Playground, North End, Boston The site in Boston’s North End is triangular in shape and approximately 48,000SF. And it is now an underutilized public park with dilapidated surface courts, a dog park, and a children’s playground. A 37’ grade change in the north corner is partially disguised by a terraced dog park. The North End neighborhood is defined both by a rich immigrant history and its current status as a high-rent and heavily-touristed area Site Drawing Digital Illustration
of the city. The program is considered in terms of both its local, citywide, and regional importance.
Physical Model Museum Board, 3D Print Parts
Ground Floor Plan This project proposes an open-plan on the ground level, which maximizes the exterior and covered activities s
Plan 02
Plan 03
Section Drawing
Massing Model A nested truss system forms two intersecting boxes, which are supported by four functional cores
Physical Model The enterance is raised above ground level, to welcome the ramp; the playground infrastructures create a dynamic elevation
Re-examine the Shed de Fillipo Playground, North End, Boston The name of the type is a variant of the word shade, implying shelter. It is an extrapolation of the primitive hut, a universal and very old exercise in creating the largest covering with the least means. The essential abstraction of the shed is its quality. It allows many things to happen and at the same and across time. The study will address the servicing of the resultant free space with antagonistic adjacencies spanning the fixed and the flexible—the permanent enablement of the temporary. It is a study in efficiency. It is also a study in span—the calibration of the roof to liberate the floor and its three dimensional resolution to generate the character of the space and its urban identity with a minimum of means. The seeming anonymity of the shed will be the guise for a wolf-in-sheeps-clothing of a building: an apparently simple massing that will allow us to experiment with new structural, spatial, and social forms for the collective city.
“A shed is performed by its secrets. It is defined by the way it is used rather than what it is. A shed is for nothing and for everything. It is full of possibilities—it is for anything. It relies on potential, not actual. It can house anything and that is its beauty, the undefined pragmatism, the openness and the possibilities that come with them. It is not grand; it is subtle. It is the palace of nothing...” —from Drawings Matter: Sheds: Palaces of Nothing
Interior Rendering from the mezzaine level 14” x 8” Digital Render and Collage
Exterior Rendering 18” x 18” Digital Render and Collage
J U N O Z H U • H A R VA R D G S D • WA S H I N G T O N U N I V E R S I T Y I N S T. L O U I S • 2 0 1 8 - 2 0 2 2