PORTFOLIO Yiming Liu Selected Works 2022-2018
Yiming Liu
yiming.liu.19@ucl.ac.uk
+44 (0) 7494177644 Instagram: archi_yiming
EDUCATION 2021 - 2025 University College London MPhil/PhD Architecture 2019 - 2020 University College London MA Architecture and Historic Urban Environments (Distinction) 2016 - 2019 University of Sheffield BA(Hon) Architecture WORK EXPERIENCE 2021 - Present ARCHITECTURE EDUCATION ENTREPRENEURSHIP, Shanghai, China An education consulting business in introductory education for pupils and portfolio tutoring Co-founder • Established & operated architecture education entrepreneurship for undergraduate & graduate students • Designed introductory sessions of Architecture, Interior Design, Urban Design, Environmental Design for undergraduate students and produced bite-sized tutoring content accordingly on social media. • Ran 3 social media accounts, received 19k followers and 2m+ views • Consulted and tutored 30 design projects for 23 customers 2021.2 - 9 LAC STUDIO, Shanghai, China A leading education and consulting firm for architecture portfolio Architecture Consultant • Consulted 40 projects for 14 students who received offers from UCL, AA, Edinburgh, HKU, Polimi • Lectured on “Architectural Education in the UK and Australia”, “Issues in Historic Urban Environments”, “Museum & Museology” for undergraduate students at 3 universities in China 2018.7 - 9 Tongji Architectural Design (Group) Co., LTD., Shanghai, China Architectural Assistant • Drew masterplans and construction drawings for 50-Hactare Chongqing Wanda Amusement Park and Wuxi Wanda Ice Dance Theatre • Participated and collaborated with a team of 14 in initial design proposal and computer-aided modelling for Japanese Town for the cultural tourism project, Sunshine Childhood • Compiled and created government-approval report on 900+ technical and design drawings for Jia Bao Amusement Park of Yin Ji International Resort project PROJECTS 2016 - 2019 University of Sheffield Architecture Society Student Member & Ambassador • Led a team of 24 members and organized pairing project to provide life & work support for juniors • Served as school open day representative and presented school life & culture to 16 prospective students • Co-organized regular architecture support group to discuss topics and design, attracted 120+ participants ADDITIONAL INFORMATION Awards Shortlisted in Drawing of the Year hosted by Archisource (2021), honourable Mention in ‘Re-Imagining the Artefact’ in AHRA Region 2021 Conference (2021), Certificate for Teaching for Success awarded by British Council (2017) Interests drawing, hip-hop dance, biking, travelling Skills Adobe Photoshop, Adobe Illustrator, Lumion, Enscape, SketchUp, Vectorworks BIM, Mapping, Photography, Archival Researching, Interviewing, Illustrating Languages English (fluent), Mandarin (Native)
Content
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Academic Works 01 ‘Bunny Wonderland’ (2021) Anachronist Experiments and Analysis on Traditionality and Modernity 02 ‘Pedagogy in Transition Space’ (2020) Interdisciplinary Reason-practice Architectural School in London 03 ‘Bio-renewable Kickstarter Yard’ (2018-2019) Incubator-and-Market based Complex in York
Other Works 01 'Drawings' 02 'Pop-up Installation' 03 'Professional Work - TJAD' 04 'Personal Commission - Interior Design'
Project: personal project School: Bartlett School of Architecture, UCL Name: Bunny Wonderland Time: 2.2021- life long Tutor: Knowledge Bunny Wonderland is a self-indulgent life-long playground for the experiments of traditional Chinese architecture (TCA) through the approaches of anachronism and deconstruction.
Project Description Bunny Wonderland is a self-indulgent life-long playground for the experiments of traditional Chinese architecture (TCA) through the approaches of anachronism and deconstruction. Drawing inspirations from analysis on TCA’s elements and permeability, architectural elements were tested and arranged with a unlinear yet orderly pattern. The role of human is eliminated, questioning the "human-centred" design rules (an idea from temples and churches, place for God than man). Rules applied to the design is rather limited and is tolerated to maximum scale, namely, a non-contextural and non-material space. The design suggests that through anachronism we reach eternity and monumentality, and are able to perceive the ever-changing nature of architecture. It is the pursuit of the modernization of traditional Chinese architecture that prompts the design. As Edward Denison wrote, modernity is “a perpetually reconstituting global phenomenon, with multiple manifestations producing heterogeneous outcomes”. Eisenstadt’s “multiple modernities” and Dussel’s “transmodernity” both argue agree upon the multiplicity of modernities. Modernity, the quality of being modern, coincide with the traits of different moments. It is also a discussion of authenticity, the conclusion of which includes the notion of measurement of modernity, the measurement through architectural praxis. And I want to contribute my verse to the modernity of Chinese architecture and I do it through the pathway of anachronism. At this stage, the project raised mainly two questions. First, can anachronism be adapted as a design tool for Chinese architectural modernity and typological development? Wang Shu in the book The Beginning of Design described the Chinese Garden or Yuanlin as the “offspring of imagination”. Yuanlin, an urban semiprivate space for people to re-connect to nature for self-cultivation, has been one of most important space-making practices in Chinese architecture. The specific qualities of modernity given are the anachronist approaches to deconstruct and re-assemble Yuanlin to the architecture of modernity. Second, can art or art works define space? My answer is yes and I welcome art and art works in my design while disagree with the function-central and human-central design methodologies. For example, Dougong, a bracket system composed of mortice and tenon joins originated in China, was initially used for structural purposes and then “descended” to mostly art purposes during Qing dynasty. And I used it a lot now, for art, for space, for function. The theme is anachronism. At this stage, there are mainly two approaches. First, symbolic meanings. Second, permeability. Yet, an analysis on TCA must be conducted, whether it follows any systematic methodology or not.
Destruction lies in Anachronism. Anachronism is inevitably a mixture of time and experiences in time, The plurality in human and social cognition, as well as cultural complexity imply multi-layered features in modernity and traditionality. It lies in the disappearing Greek gods when names were mentioned, the Gothic Revival as Britain’s National Style, the contradiction to Ruskin's architectural honesty, the Freud's Letter 52 claiming that memory is unhinged to sequence, the present-past conversation in Confucian teachings, the heated debates of modernization of traditional Chinese architecture. It is out of chronology and it is ever changing, which is monumental and eternal. When anachronism is applied, the perception of will sail out of the bay of certainty, so is the images of architecture that construct and deconstruct themselves repeatedly. Deconstruction also lies in the constant assembling and dissembling of discussions and ideas, even further, in my one-man understanding of the world. I can never be absolutely objective and design renounces objectivity as the development of my perception on designs continues and the previous perception deconstructs itself.
Elemental and Semiotic Analysis on TCA
Spatial and Semiotic Analysis on TCA and Garden
Architectural imaginary is a tool for praxis and reflexivity of my ideas, allowing me to think while design. At this stage, I am a follower of Vitruvius and John Soane and I believe that this project is architectural imaginary, not architecture. It is not a deceit and is a noble faculty, for imaginary, according to Ruskin, confesses to its “summoning of the conceptions of things absent or impossible”. Architectural imaginary remains, to me, a test ground that I have been encouraging my students to create, like a memory palace. It is a world outside real world but can be used to test the real world. When all that is solid melt into the air, at least, I still have my wonderland to experiment, assemble and preserve ideas.
Manifesto I AM the Wanderer. I AM the Anachronist. I do trouble myself with the facile fawning analysis on architecture. Yet the path to systemic methodology and secular inconsequentialities, they impede my energy and constrict my time. The simplicity of forms sometimes confuses me with its presumed poeticness and richness, but the inner dynamics concluded from traditional architecture are the remedy to architectonics of the classical. Do my designs have purposes? Do my designs have virtues? How can I avert the deceitful and the honest and why should I? Please, I no longer support pretension in formalism nor prudence in adventurism. My design is the sacrifice of passionate lies of architecture partisans. Like Ruskin exemplified, “take the detraction and the mischief from the untruth”, forget the anthropometry and the anthropology. Neglect the pseudomorphism and the fallacy. Let indulgence run wild and be the forgiving child. This is the manifesto of my Wonderland.
Circular Spatial Arrangement based on Yuanlin Study
Spatial Composition One
Spatial Composition Two
Spatial Composition Three
The "Gallery" Part of Bunny Wonderland The composition ideology was based on the "in-between" logic embedded within Chinese philosophy, an anachronist perspective towards ruins and historical existence. Thus it focused on the transition space than the beginning or end, critically evaluating the definition and the use of movement and transitory status.
The "Gallery" Perspective No.2
The "Gallery" Perspective No.3
The "Gallery" Perspective No.4
The "Gallery" Perspective No.5
The Entrance of Bunny Wonderland The project does not intend to impose a cartographic authority on architectural imagination. Thus, visuals remain the main media for the expression of ideas.
The Entrance of Bunny Wonderland
Indeed, the constraints of urban settlement may estrange me from the rational deduction of space and form. Instead, I command my subjective initiative to indulge my imagination, alluring myself with, particularly, architectural elements. The elements endure both functional and ornamental meaning, obscuring the spatial integration and segregation, discarding the profane socio-political architectural eligibility, concentrating compositions to the sphere that is chaotic yet orderly, inferior yet sublime. The chaos means my methods of design which can not be concluded systemically. The orders imply the inescapable mindset and perception of objectivity. The inferiority means my complex, to the Vitruvius teachings. The sublime implies my commitment to revive and interpret Chinese architecture in my way. Yes, the pond, the self-reflection and fortune-gathering pond for Fengshui, above which is a wall composed with five different walls, one with a moon opening, one with a half-opening and a carving of lotus, one with strings or mesh, one with elliptical window and an attached reflective chair, one with a small opening and a reflective vase. The whole five walls plus the whole wall sum six walls, a number representing smoothness in life in Chinese culture. You may see through the full-moon opening, but realize the scenery on the other side to be untouchable, just like the natural laws that after the full moon comes the crescent, after the satisfaction comes the emptiness. You may be blocked twice, by the carving and the wall, but the semi-opening offers an incomplete see-through nevertheless. You may see through the mesh but no matter how insignificant the strings may be, it sets an obstruction between the full visual perception and the scenery behind. You may be accustomed to sitting while appreciating a view, but the pond and the suspended wall make it impossible, you longing for it but failing to reach it. You may be disappointed with the visually heavy wall and little opening, but the calming pond and the reflective vase may remind you of the peaceful mindset and self-reflection on what is pleasing and what is disappointing about the wall as architectural element. Some may question my work of attaching meaning to a design rather than designing the meaning or discussing art itself. For what I have observed, true modern art has evolved to the point where meanings represent philosophical thinking and the debate of art leads to the debate of philosophies, an endless effort which I deem it a waste of time when I write down these words. If the suspended wall is defined as a screen, an architectural element in traditional Chinese architecture that shields the living zone from the evil, then mountain-wall behind is the big screen. The carving of tree shape on the top represents not only the Chinese craftsmanship of carving art but the recent call for climate emergency and sustainability. Sadly, the representation of the call remains solely as a symbol not action. Am I eligible to reflect on the talking-than-doing performances shown in the global architectural sphere? Maybe not, I rest my case. Then, the whole screen is filled with random-and-repeatedly-placed decorations or spacesegregation elements, depending on how one perceives them, still an inspiration from the Sir John Soane’s Musem where architectural elements and art works densely organized, defining the space and causing intimate distance between them and people.
The Entrance of Bunny Wonderland
To utilize permeability is to extend the depth of the scene, increase the variations via spatial layers and ultimately respond garden-making ideologies including implicitly, serenity and indirectness. Garden as a vital space of traditional Chinese architecture, is designed to be natural through delicate craftsmanship, different from the geometry-centered Western classical garden that is guided by rationalism and proportion aesthetics. Chinese garden has been an informal personal destination to actively conduct introspection, discuss life and art philosophy and cultivate literati interests. Moon gate, the symbolic transitional architectural elements, functions as a passage between gardens and yards and a frame for scenes, namely, practicality and ornamentality. Yet the wall is replaced with abstract water ripples patterns that clash into one another. The centered moon part is the boundary between stability and instability. Stability implies the constant ripple-clashing patterns and settled moon frame. Instability means the rippleclashing indications and living-being’s activities in the form of permeation and adjacency within a temporal range. The pitched roof pavilion, though not surrounded with walls, is the transitional symbol for directions after entrance. Then comes another pavilion adjacent to five structural columns that are connected through the traditional techniques call Iron Gecko. The perimeters of columns and roof meet and in between inserted with iron rod that extends through and out of the column. Then, a metal lock in the shape of leaf is put to secure the rod, which from a far distance, appears to be geckos on the columns or roof. Plant pods are attached to the columns, trees and flowers levitating in the air.
The Entrance of Bunny Wonderland
Juhani Pallasmaa, in the The Eyes of the Skin, mentioned that, "the ultimate meaning of any building is beyond architecture; it directs our consciousness back to the world and towards our own sense of self and being" (2012, p. 13). Maybe the architecture realm has deserted its oblivious relative, philosophy. Chinese literati requireYuanlin or Chinese garden to provide him with a stopping point, to ponder, to wander, to confess, to dream. I am pursuing and toying symbols, for the whole architectural manifestation is concerned with architectural forms of symbols which is as media conveying information. Mausoleum architecture, one of the most overlooking architecture types in China, probably because of the reluctant discussion and involvement of any kind relevant to the after-life in Chinese culture, exhibits a number of spatial totality and unity in its abstraction. First, the entrance to either the top nature area or the underground palace complex is a sign, a ritual, a warning and a separation (between the top and the bottom). Second, each startend part is accompanied with a transitional space in the form of gate and corridor. Third, the nature and palace are visually and physically disconnected after the main entrance, though structurally harmonic. Fourth, the walking path and the nature is attached without accessibility to one another. I then delineate the mausoleum, one transition with one start-end, transforming it from the specific to the generic via architectonics and forming a synergetic sequence of (all transitional and start-end) spaces, nature and path.
The Entrance of Bunny Wonderland
Si Mian Ba Fang, or “four sides plus eight sides”, represents the common views of geography and cosmology, meaning that the sky is divided into four directions (east, west, north, south) and the ground has eight directions (those between the four). The flag pole is suspected to exercise John Ruskin’s structural deceit by hiding the weight of what is contained, but it actually is not, for “It is no deceit…when the weight to be borne is necessarily unknown”. The elemental permeability is experimented on the eight ground walls, holed, holed yet covered, attached, attached yet covered, semi-attached, attached with layers, penetrated, surrounding two things, one quasi-architectural existence representing deconstructive classism of Piranesi’s philosophy, and one purely decorative Bunny head with reflective panels. The structures are exposed with confession to its supporting mechanism yet deceived the eyes of senses with plaster covering and unknown material core. Symbols can represent other genres of things with accordance to cultural norms of customs and can be understood. Although USC professor Ghirardo has depicted the very act of borrowing “inadequate tools of art history as traditionally practiced” which “substitutes descriptions for analysis” (Architecture of Deceit, 1984, p.113), I intend to extend the use of symbols that relate to the conceptual understandings of things and impose an authority based on my indulgence. . What if the compositions of traditional Chinese architecture was reversed and symbolised? The sixth entrance constitutes several columns with curved segment of a conceptual roof and a pot of plants on the top. The roof is the roof but it is reversed. The plants is the symbol of ground, an abstract expression of buildings’ connection to the ground due to structural requirements. Yes, the TCA was abstracted into three parts (column, roof, ground) and it just went upside down.
The Bridge of Bunny Wonderland With forms inspired by Sir Soane’s Bridge of Magnificence, the design proposed a towerbridge platform, namely, Anachronism of Magnificence, for the interaction between the Bunny and the People. It reflects the early classical modernism with implications from architectural elements and paradigms from both the Antiquity and Industrial Age. Sustainability is discussed here, using revolutionary yet anachronist power generator and borrowing power from the nature. Power generators and windmills are designed using both wind and water and they functions according to different spatial conditions of the design.
Yiming Liu, Bunny Wonderland conceptual drawing, “Bridge” Perspective No.1 of Yiming’s design for an Anachronism of Magnificence over River “Climate Emergency”, December 2021.
This is the first cooperation between the Bunny and the People, an attempt to build trust. Previously, the Bunny despised People’s hypocrisy, protesting than contributing, saying than doing. The Bunny offered one last chance their wisdom and forgiveness to the fickle designs of biophilia that only affects the forms.
Each floor is designed with anachronism, “misplacing” objects and concepts from time, space, culture, etc. The I beam is here used as paradigm of architectural modernity on the functional and formal aspects. The classical columns and orders are detached, penetrated and overlayed, putting an emphasis on the aesthesis of contesting truth and deceit. Can tradition and modern live together? The Bunny think, “YES”!
Ground Floor
First Floor
Second Floor
Third Floor
The "Bridge" Perspective No.2
The "Bridge" Perspective No.3
The "Bridge" Perspective No.4
The "Bridge" Perspective No.5
The "Bridge" Perspective No.6
It is estimated that with Antarctica ice melted, the sea may rise up to 61 meters paralysing the costal habitats with great threat to living conditions. The resilience shown is to consider the after-rise use of the bridge when the turbines of towers remain working, using from wind energy to ocean current and tidal energy for power generation. Maintenance is provided on a regular basis while levitated windmills with hydrogen are tied to the functioning ruins.
The Kitchen of Bunny Wonderland Treehouses, act as the kitchen and centre of Bunny Wonderland. Min Yi Shi Wei Tian ( 民 以 食 为 天 ), a proverb from Han dynasty (202BC-220AD), emphasises that food is the paramount necessity of the people. Thus, 5 and 9 are used as indications that centralise the functions that space is designated. The primary and secondary structures drew inspiration from Chinese temples of Tibetan Buddhism, Qing dynasy, a peculiar typology of Zhuanlun Cangge (Cakravarti Scripture Pavilion or Depositary of Buddhist Texts), a metaphor of forever-turning prayer wheel, an unremitting pursuit of self-renewal, meaning life and growth from food.
The "Kitchen" Perspective No.1
Speculative Drawings on Architectural Elements of the Centre
The "Kitchen" Perspective No.2
The "Kitchen" Perspective No.3
The "Kitchen" Perspective No.4
The "Kitchen" Perspective No.5
The typology requires a speculative approach to primary and secondary structures based on traditional Chinese towermaking.
The "Kitchen" Perspective No.6
The "Kitchen" Perspective No.7
The "Kitchen" Perspective No.8
The "Gallery" Perspective No.6
The project continues to explore locality in Architecture and extends to the idea of vernacular strutrualism, specifically Chinese Dougong and Summao, or Chinese mortise and tenon joints. Historicity in building tectonics lies in the typology of traditional Chinese architecture and is re-invented through formal deconstruction and reconstruction. Symbolism and Imagination contributes to the eternity of structure which is expressed through continuous (re) construction of the living habitat with modular elements, detachable, movable and flexible. Again materiality is eliminated for attention on form itself.
Garden Perspective No.1
Garden Perspective No.2
Garden Perspective No.3
Garden Perspective No.4
Garden Perspective No.5
Garden Perspective No.6
Garden Perspective No.7
Garden Perspective No.8
Garden Perspective No.9
Garden Perspective No.10
Garden Perspective No.11
Garden Perspective No.11
Project: school project School: Bartlett School of Architecture, UCL Name: Pedagogy in Transition Space Time: 2.2020- 5.2020 Tutor: Hannah Corlett The proposal discusses the educational function of transition space. Assessed as a means to connect destinations, these spaces also make a significant contribution to the occurrence of happenstance interaction. Transition space is used as a platform for conveying knowledge, impromptu gathering and discussion as described by Raphael’s School of Athens. A craft-based collective is proposed, adjacent to St. Pancras Station to question architectural pedagogy. Learning from the Bauhaus and Soane Museum, interaction and knowledge sharing between skill-bases is encouraged together with direct, everyday access to crafted detail through a transitional spine about which workshops and teaching spaces will populate. The project then continues its exploration on transition space apply traditional Chinese Architecture and Piranesi's ruin theory.
Collage of Classic Teaching, the "Architect"
Reasoning and practice must be combined. Classic knowledge must be taught, for its the root of western architecture. The authority must be established before it is critisized. “The architect's expertise is enhanced by many disciplines and various sorts of specialized knowledge, all the works executed using these other skills are evaluated by his seasoned judgment. This expertise is born both of practice and of reasoning. Practice is the constant, repeated exercise of the hands by which the work is brought to completion in whatever medium is required for the proposed design. Reasoning, however, is what can demonstrate and explain the proportions of completed works skilfully and systematically… To be educated, he (she) must be an experienced draftsman, well versed in geometry, familiar with history, a diligent student of philosophy, know music, have some acquaintance with medicine, understand the rulings of legal experts, and have a clear grasp of astronomy and the ways of Heaven.” ——Marcus Vitruvius Pollio, Ten Books on Architecture (Cambridge: Cambridge University Press, 1999), p.21, p.22.
“The aim of classical architecture has always been to achieve a demonstrable harmony of parts…Classical architecture is only recognizable as such when it contains some allusions…Such an allusion may be no more than some groove or projection which suggests the idea of a cornice or even a disposition of windows which suggests the ratio of pedestal to colum¬n, column to entablature…When I was a student in the Bartlett School at University College, London, it was taken for granted that one’s first task as a student was to draw out in great detail three of the classical orders.” ——Sir John Summerson, The Classical Language of Architecture, Thames and Hudson Ltd, London, 1996, p.8, p.9, p.12.
Why Bauhuas? The interdisciplinary idea promoted in Bauhaus movement reconsidered the relationship among art, crafts and architecture. From nature to fabrics, from construction to colour composition, from materials to presentation, Bauhaus teaching gave their students structured the craft-andpractice based pedagogy. The proposal encourages such interdisciplinary study by providing one-to-one scale replica, casts and art/crafts works collection. The design itself also serves as an example for students to understand architectural language like Bauhau campus buildings.
Why Soane? Shown in this section drawing, the spatial relation and distance among architectural elements forces people to observe closer to the collection as the passages, transition space in Dome area, were dramatically shrunk. “In the Royal Academy the students in architecture have only a few imperfect casts from ancient remains, and a very limited collection of works on architecture to refer to…I began to arrange books, casts, and models, in order that the students might have the benefit of easy access to them.” ——Sir John Soane. David Watkin, Sir John Soane: Enlightenment Thought and the Royal Academy Lectures (Cambridge: Cambridge University Press, 1996), p.346, p.579, Lecture VI.
Why School of Athens? The famous drawing by Raphael shows the world a feast of academic atmosphere and goldern ratio. It is interesting that when deconstructing the drawing, the architectural media in the drawing is transition space, a hallway and staircases. Scholars from different time and regions are gathering. They are carrying various activities, some sitting, some standing, some lying, some leaning. It is believed that transition space creates a comparatively relaxing environment for encouraging ideas and discussions.
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Grid and Ruins The speculative drawings concerns with the primitivism and blankness from neoclassicism and Greek Revival. Compositions of columns and beams examplified the grid pattern typically found in Soane's understandings on Laugier's idealism. Yet Soane grew the urge of imagining the future ruins of his buildings, a way to immorality through actively dealing with composition and decomposition. Let nature do her work and the idea of perfect ruins shall reveal itself through us learning from Greek and Roman architecture.
The collection not only serves an educational function but also exemplifies the classic antiquity of western architecture. The current design project only aims to perpetuate traditional western architecture knowledge in education but other parts where the Baptistry leads to will adopt a more “globalist” perspective on what the Architecture School should offer on the foundation of classic teaching. This is based on the “multiple modernities” view proposed by Shmuel Eisenstadt, where he believes modernity is “a story of continual constitution and reconstitution of a multiplicity of cultural programmes” . Architects as a profession in the UK should no longer be constrained in Europe, especially after Brexit and COVID-19 global pandemic.
The Loggia of Sculptures
The balustrades are also an exhibition of traditional British wrought iron craftmanship. The loggia structures are inspired by the St. Pancras pointed arches and are made into several combinations maximizing its adaptability and flexibility, with artefacts and sculptures dispersedly placed. People may choose either walk through the loggias or take a rest while appreciate the displays.
The Classic Hall
The Classic Hall took the inspiration from the Colosseum, with platforms of varied heights to encourage conversations outside the main teaching area.The transitional canopyapplied gathering-encouraging entrance is inspired by Tivoli Corner of Sir John Soane’s Bank of England design and Alberti’s Sant Andrea-Mantua and is meant to establish a strong yet welcoming image towards the entrance/exit of St. Pancras station.
The Loggia of Sculptures No.1
The Loggia of Sculptures No.2
The Loggia of Sculptures No.3
The Loggia of Sculptures No.4
The Classic Hall No.1
The Classic Hall No.2
The Classic Hall No.3
The Classic Hall No.4
China Lang, Reading Room Corridor
China Lang, Reading Room Corridor
China Lang, stairs to Sky Yuanli
China Lang, Tunnel to Mortise and Tenon Joints Courtyard
China Lang, Front Yard
China Lang, Reading Room Corridor
China Lang Mortise and Tenon Joints Courtyard
China Lang Mortise and Tenon Joints Courtyard
The design continues to explore the ruin theory by Piranesi and Sir Soane, assembling art and architecture to spatial interference, or, the Pasticcios.Then, there goes new sequence "Architecture of Question",attempting to achieve at a philosophical level where people stop and wonder.
Soanian Pasticcios
The Twin Towers of Question (TTQ) raise the Question: since when we stopped to build true towers and disconnected ourselves from the Cosmo? An imposing sky with Venus is telling people that not thinking about cosmo, is a form of apocalypse for Architecture. The structure is inserted with platforms and stairs, as well as greenhouses to interact or display. The plants (flowers and trees) indicate people's focus on sustainability and nature. But could we ask, isn't it the ultimate relation to nature, is Architecture and the cosmo? To reach harmony with nature, the active role of human is suggested to extend beyond the Earth itself, so the Marcrocosm and Microcosm.The arch-column combination is designed according to the Golden Ratio, deprived from Fibonacci sequence.
The Path to Twin Tower of Questions
The Golden Spiral Yard
The Golden Spiral Yard
The Soane Yard
What is the role of water in Architecture? Villa Barbaro used it to cool or warm the house according to seasons. Traditional Chinese Architecture use it to create a homogeneous and harmonious atmosphere with nature. Water is active and alive, yet passive and calm. Water reflect mind and is adaptable to different environment. Use water (in Architecture) my friend.
Project: school project School: Sheffield School of Architecture, University of Sheffield Name: Biorenewable Kickstarter Yard Time: 11.2018 - 4. 2019 Tutor: Maggie Pickles The project aims to design an integrated architecture, to promote bio-economy and business start-up.The design focuses on bringing old and new together. It compliments the historic background of york, by designing a market and meeting space. Utilising the advantageous location, near famous tourist attractions, Cliford’s Tower and York Castle Museum, the market will be featured with biorenewable theme for publicity, with different business scale from kiosks to retail shops. A laboratory will arranged on the top part of the architecture and it will be a collaboration with Centre for Novel Agriculture Products (CNAP), Department of Biology. A incubator will also be designed for idea-sharing, co-working, and business start-up.
Urban Analysis
Coffee Coffee is one of the most underrated bio-material, especially coffee grounds. Huskee cups, bio-bean coffee, incineration, textile, etc. can be made during the processing of coffee beans. The potential is enormous when considering how people rely on cofee nowadays.
Fashion The section looks into a particular aspect of bio-economy, apart from materials. Hemp, orange fiber, bamboo, crab shells, can all be made into clothes. Fashion industry is ranked the second most polluted industry after Car industry. Paying more attention to and supporting bio-clothing will undoubtedly make a difference.
Hemp Hemp is considered to be the most promising resource for biorenewable technology and bio-economy. Many countries, like China, has been using hemp as cllothing material. UK’s hemp planting industry is not in good condition, most because of people unware of the benifits that hemp could bring. Hemp can be made into hard products like glass grames, construction material like hempcrete, and clothing material, ect.
Exhibition Stands
Exhibition Plan To make the most out of the P2.1, the group explored the possible arrangement for the biorenewable technology exhibition, giving a 1;1 mock-up test for the actual design in the next semester. Physical models were made and circulation was studied.
Sample
Brochure
Exhibition Time In the image on the top left, I was explaining biorenewable technology and its development in fashion industry to a guest companied by Simon Chadwick. I was wear clothes made of hemps, putting myself as the exhibition. In the image on the bottom left, one of our classmates was feeling the socks made of crabyon, a material extracted from crab shells and totally recyclable.
Hempcrete Sample
Castle Gatway Masterplan proposed by BDP BDP's proposed Masterplan balances many views and interests from the public, along with the history and heritage of the area, and the technical, planning and commercial possibilities of the site. The masterplan is ambitious, it aims to unlock the current Castle Car Park, improving the Eye of York and Clifford’s Tower, without losing the income from the existing car park. *Castle Car Park and the Eye of York will become a new public space, hosting events throughout the year. *New commercial and residential developments will be planned on the sites of Castle Mills Car Park and 17-21 Piccadilly. *There will be significant improvements to public spaces and streets throughout the area.
The strategy is to connect the two new parts from BDP Masterplan with my design, and forms a new commercial district in York.
Massing To utilise the first floor level space, the gallery has been changed to be connected with the upper deck above the shops and kiosks on the ground floor, via a light-weight(timber) pathway.
Groud Floor The main entrance is set facing the street, inviting activities and allowing transporting from Piccadilly area to Eye of York. A cafe is designed mainly for the public from Piccadilly area. A Recycling space is designed for the reuse of waste produced from the markets. The market consists of retail shops and kiosks. First Floor The exhibition space, or gallery space, is designed to promote the importance and stuation of bio-technology and bio-economy. On the roofs of shops and kiosks are decks linked by pathways as meeting space and various activites. Second & Third Floor Laboratory is designed to host less expensive equipment and exhibitional machinery for both research purposes and public pre-booked tours. The incubator, in the form of coworking space, is rented to those who are interest in bio-economy and related fields to start up their business in a cheap way. It is connect with viewing deck.
Sectional Experiment The exploded sectional per spetive drawing shows the thoughts and ideas at the mid stage of the design. There were not much differences from the final design.
The Incubator
The Street Perspective after Gateway Masterplan
Other Works - Drawings
Architectural Drawing Prize 2021 Entry - Quasi-architectural Existence (9.2021)
The Anachronist Ruins - 9.2021
The Walk - 9.2021
Other Works - Soanian Formal Analysis (5.2022)
Other Works - Speculative Drawings on Ruins (7.2020)
Other Works - Pop-up Installation Name: Space Hacking Time: 4.2017 — 5.2017 Tutor: Isabel Britch The project aims to impose a certain level of influence with small architectural interference. It will be basically built-up activities and carried out in the city centre. The even place and the content of project were determined by group members.We made it to the Sheffield newspaper, The Star. Our group chose “draw your Sheffield” as our apporach. Other than building benches or attaching signages. we would like to see what people in Sheffield think about Sheffield and if they have never done it, they wil be provided with such opportunity to re-exam their environment. The space was set in front of Sheffield Cathedral, local landmark.
Stage 1 Preparation
Stage 2 Set Up
Stage 3 Invite and Play
Other Works - Professional Works - Tongji Architectural Design 2018
Chongqing Wanda Amusement Park - Masterplan CAD Construction Drawing 1
Chongqing Wanda Amusement Park - Masterplan CAD Construction Drawing 2
Japanese Tourism Town - Modelling
Other Works - Personal Commission - Wenhai Apartment Interior Design 2017
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