CONTENTS
01 The Somerset Restoration Society and the Zen Garden Architecture Design - A Factory as it might be
PORTFOLIO OF MUYU WU Bachelor of Arts (BA) Honours in Architecture Univeristy of Westminster M.Arch Student GSAPP Columbia University Selected works from 2016-2019
02 Folding Space Architecture Design - Re-imagination of Architecture Faculty
03 The Curve House Architecture Design - Ceramic workshop with residential purpose
04 Wall As Rooms Architecture Design - Nomadic Domesticity
05 BE, ACTIVE WITH ANKLE Installation - Study of Silicon Joint in Urban Domesticity
06 Walls, not barriers Architecture Design - Temporary Home
01 The Somerset Restoration Society and the Zen Garden
THREE MOMENTOS OF THE BUILDING
Individual Work • Spring 2018 ACADEMIC, Proposal for Society of antiquaries of London • Site : Strand, London WC2R 1LA The Society of antiquaries of London focused on achieving a goal, investigating deep into social and education responsibilities of architecture in growing economies and urban built environment. The project starts from William Morris’ article in ‘A factory as it might be’ in 1884, which stated to imagine an educational building with a factory. Inheriting from this great idea, I was able to rethink the mixture of program within my design, combining office of antiquary society and school of preservation education, nurturing the public while they take a journey through the space.
II
I
III
As the fundamental purpose of the building whereby the factory is designed for manufacturing and designing arts, crafts and reproduction of wooden antiques in a modern way. Thus, as part of the process of the city invading the building and a 24/7 usage of the building, restoration purposes were introduced into the building as well as a direct link with the Society of antiquaries of London, which used to be located in the Somerset House.
Composed Building Structure
John Ruskin | Seven Lamps of Architecture | Lamp of Truth Pier Vittorio Aureli | Framed Infinity : The Concept of Byzantine Urban Form
Robin Evans | Figures, Doors and Passages
John Ruskin | Seven Lamps of Architecture | Lamp of Truth, Beauty William Morris | A Factory as it might be
A Zen Garden as an atrium and symbol of the project
Passages are used for curation purposes
Factory for recreating wooden antiquaries
MOMENTO I - THE ZEN GARDEN Space of origin - a space that combines all fragments in unison.
MOMENTO II - CURATION OF ART PIECES AND ARTIFACTS fragments of art - manipulation of fragments.
MOMENT III - THE FACTORY OF REPRODUCTION Re-imagined factory: A factory as it might be
ELEMENT I THE ZEN GARDEN
ELEMENT II CURATION OF ART PIECES AND ARTIFACTS
ELEMENT III THE FACTORY OF RE-PRODUCTION
THREE MOMENTOS OF THE BUILDING | Momento I
THREE MOMENTOS OF THE BUILDING | Momento II
MOMENTO I - THE ZEN GARDEN
MOMENTO II - CURATION OF ART PIECES AND ARTIFACTS
Space of origin - a space that combines all fragments in unison.
fragments of art - manipulation of fragments.
The zen garden of this proposal is one of the most important spaces. Not only because of its historical relation with John Ruskin but also the architectural aspect of it combining fragments into unison. A controlled green space helps the users and visitors to restrospect the origin of all the natural materials used in this building, in this case, wood. Its centered location was inspired by Pier Vittorio Aureli, who argues that a centered space hevlps enhancing not only the architectural language of the building but also its philosophical meaning. In this case, mainly the beauty of nature. It is a space that people meditate, communicate and relax. The garden is the central conective heart of this project. Users and visitors are ecouraged to experience growing nature and the openess of light in thius part of the building. Every connection of the circulation in this proposal was resolved to conform to the Zen garden.
Another important aspect of the design proposal it is the curational aspect that the building will perform throughtout the year. Exhibition in this case is considered to be open to the users and visitors as an introduction to the spatial experience. The educational aspect of this project suggests this; Production of knowledge. The use of strategic points of connections leads the users to the fundamental elements of the building. As portrayed in momento II. The game of perspective communicates the passionate feeling of experiencing the spaces. This is encouraged through the use of the idea of wooden artifacts being appreciated whilst juxtaposed against each other.
THREE MOMENTOS OF THE BUILDING | Momento III
EXPERIENCING THE NARRATIVES
EXPERIENCING THE NARRATIVE - THE REAPPEARANCE OF THE ZEN GARDEN Exploration of the building from visitors' perspective.
MOMENT IV - THE FACTORY OF RE-PRODUCTION Re-imagined factory: A factory as it might be
Based on the idea of William Morris and John Ruskin, wooden arts and crafts are being explored through out the building using different scales. From 1:1 scale construction to small wooden bowls. The beauty and materiality of wood are fully explored in this building. Students and visitors are experiencing the production process of wood work. From how it is transported, manufactured and sold. I wanted to esure that the project provides an interactive platform which introduces the users to the Antiquaries of London which are usually locked inside a glass casket.
EXPERIENCING NARRATIVE - A SPACE LIKE A MAZE Exploration of the building from visitors' perspective.
SECTION SCALE 1:400
PLAN SCALE 1:400
A
SECTION AA A
SECTION BB
B
B
ELEVATION SCALE 1:400
TECHNICAL DETAIL SCALE 1:400
SYSTEM STUDY
02 Folding Space Individual Work • Autumn 2018 ACADEMIC, Extension of GSAPP • Site : Columbia University Influenced by Rem Koolhaas, the methodology of folding is introduced in this case, a geometrical exploration to create spatial fluidity. One key idea is that visitors are encouraged to experience the building as a special existance to the site and to the idea of architectural education. The design is to re-imagine the architectural department building of Columbia University, in which I mainly researched on the impact of an integrated prototype on different aspects of the building operation. Heavily applied throughout the design, language of surface folding allows to enhance the flexibility and functionality of surfaces. For instance, working as the spatial divider, the continuously folded surfaces naturally separate the whole building into 3 main zones, namely, studios, library and auditorium, while at the same time creating the aperture spaces between zones as the light well, introducing skylight into the supposed dark part of the building. Taking advantages of tilted surfaces resulted from the folding strategy, various programs such as auditorium and stepping classrooms were able to better applied, uniting the whole building as a stronger integrity.
PROTOTYPE
FUNCTION
PROTOTYPE
FUNCTION
COMBINATION
BENDING
STUDY PLATFORM
FOLDING
SEMINAR
A - LECTURE HALL
BENDING
LECTURE HALL
FOLDING
READING
B - CRITS
DIVIDE & BENDING
SEMINAR & CRITS
COMBINE & FOLDING
PRIVATE STUDY
C - LIBRARY
D
COMBINE & BENDING
LIGHT WELL
COMBINE & FOLDING
LEISURE SPACE
D - STUDIO & SEMINAR
A
B
C
MATERIALITY & APPERTURE How a building can be approached differently
As Prof. Robert Shapley argued, the utilisation of monochrome materials enhance the learning process, as they have a performance on Primary Visual Corte in human brain. Concrete, the ancient materials that used in Ronchamp and Pantheon, along with Sawn Polished Basalt tile, a holy material used in the facade of Basilique du Sacre Coeur, in this case, will be introduced into the building as they will increase the learning process of students in this architecture school. As the language of folding is being fully utilised in the facility, it created different and interesting spacial quality throughout the building. With light carefully cast into the space from different direction, students and public will experience different qualities of space. Thus in this case, users will not only understand how architectural form is affecting a particular function, but also how light helping the process.
EXPERIENCING THE NARRATIVES
DETAIL SECTION OF STUDIO SPACE
1
2
3
SEMINAR ROOM AND SMALL LECTURE HALL Exploration of the building from visitors' perspective.
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6
7 8
9
KEYS TO THE SECTION
CRITS ROOM Exploration of the building from visitors' perspective.
1. STUDIO SPACE 2. SEMINAR ROOM 3. CRITS SPACE & COMMUNICATION AREA 4. STAIRCASE TO LIBRARY 5. PUBLIC SPACE / EXHIBITION 6. STAIRCASE TO BASEMENT LEVEL 7. CAFE 8.MAINTENANCE LEVEL 9. WORKSHOP
EXPERIENCING THE NARRATIVES
DETAIL SECTION OF LIBRARY SPACE
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1
9 3
READING ROOM - LIBRARY Exploration of the building from visitors' perspective.
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5
6
8
KEYS TO THE SECTION
COMMUNICATION & GROUP WORK SPACE - LIBRARY Exploration of the building from visitors' perspective.
1. READING ROOM 2. PRIVATE STUDY ROOM 3. GROUP WORK SPACE / COMMUNICATION SPACE 4. ENTRANCE 5. LECTURE HALL 6. MAINTENANCE LEVEL 7. WOOD WORKSHOP 8. STUFF ROOM 9. STAIRCASE
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BASEMENT FLOOR PLAN SCALE 1:200
THIRD FLOOR PLAN SCALE 1:200
Keys To The Plan 1. Public Entrance from Amsterdam Avenue 2. Cafe 3. Reception 4. Staircase to Ground Floor 5. Wood Workshop 6. Wood Workshop with big machines 7. Stuff Office 8. Model making room 9. Schermerhorn Hall 10. Graduate School of Architecture, Planning and Preservation 11. St. Paul's Chapel
Keys To The Plan 1. Atrium 2. Cafe 3. Communication / Open Conference room 4. Leisure area / Communication area 5. Small Lecture Hall in Second Floor 6. Crits / Seminar Space in Second Floor 7. Public Staircase connecting first floor 8. Outside cafe 9. Reading area / Library 10. Schermerhorn Hall 11. Graduate School of Architecture, Planning and Preservation 12. St. Paul's Chapel
03 The Curve House
SITE STUDY`
Individual Work • Spring 2016 ACADEMIC, Proposal for Ceramic Union • Site : Broadway Market, London, E8 This project based a multi-functional purpose of living and ceramic making. Due to the unique site condition and space requirements, a curved architecural form is introduced in this case. The light quality of the interior of this project based on the unique function of the space. Thus, users will experience all kind of different light quality when they explore the house. Established on an old drover’s route into the city, Broadway Market has been home to market traders since the 1890s, and provides a unique kaleidoscope of tastes and cultures. Visit us and you will find independent shops, pubs, restaurants and cafes and of course stalls offering amazing fresh produce, authentic street food, the most original clothing, arts and crafts in London. All crammed into a little East End street between the Regent’s Canal and London Fields.
Welshpool Street
The interesting part of this design is that the light condition varies in different spaces so that user experience is unique in each room. How to fit a morden architecture in this conservation zone and responde to its narrow site condition is the ultimate problem in this case, which leads to poor light condition of the building. It was the poor site condition that inspired and led to my design intention to offer an exciting interior light condition for my users.
Broadway Market Duncan Road
The Curve House
Jackman Street
Ada Street
STREET VIEW
PLAN SCALE 1:100
C C
SECTION C-C
SECTION B-B
B
B SECTION D-D
SECTION F-F
SECTION E-E
F A
D
D
F
E
A
E
N
ROOF TRANSFORMATION
CONCEPT ISOMETRIC
The interesting part of this design is that the light condition varies in different spaces so that user experience is unique in each room. Therefore, different roof type are studied and introduced into the design. The transformation of the roof not only put an emphasis on the form, but also allows the building to fulfill the goal of changing light condition.
06 EXIT OF THE BUILDING
05 SMALL AUDITORIUM
Prototype
Transformation
Outcome
04 CERAMIC STUDIOS
Skylight from one side
Common room Section C-C
01 ARRIVAL FROM STREET
Skylight from one side and roof
Bedroom Section B-B
Skylight from roof
Small Auditorium Section D-D
Skylight from roof
Ceramic studio 1 Section E-E
Skylight from one side and roof
Ceramic studio 2 Section F-F
02 ENTERANCE TO THE BUILDING
03 CERAMIC STUDIOS
CIRCULATION FOR VISITORS
ROUND-CLOCK OCCUPATION
SECTION SCALE 1:100
A
SECTION AA A
Summer
Winter
In the Curve House, a round-clock occupation to the house is encouraged. In other words, visiters can visit the building all the time without interrupting the privacy of the ceramists.
B
SECTION BB
B
PLAN SCALE 1:150
04 Wall As Rooms Individual Work • Autumn 2018 ACADEMIC, Cottage in Loch Lomond • Site : Loch Lomond, Scotland The concept of wall as rooms originated from Louis Khan's study of ancient Scottish Castle. A methodology of re-imaging the thickness of a wall is fully explored in this project. Historical background and actual need of a cottage next to Loch Lomond determines the existance of this project. As a Cottage for hikers and next to Loch Lomond, views towards the loch are fully considered. Four Rooms are equally placed with 60 degree rotation each time, therefore generating a 180-degree view towards the loch. What's more, a dialogue between human and nature is introduced in this case. The aim of the project is not only to explore the relationship of public space and private space but also man-made built environment and delicate landscape. Therefore, The threshold between public and private is largely questioned by inviting the everchanging nature into relatively solid "home" and discuss about nomadic domesticity, and finally nostalgia.
00
30
40
00
4000
3300
7800 3600
SITE STUDY
2700 4000
N
N
The main researching direction of this project is to explore the thickness of a wall, in this case, a dialogue of growing rooms is explored. Varies from 2700 mm, a single room, to 3600 mm, kitchen. 300 mm creates different inner dialogue within each room, which generates different function.
AXO
CONSTRUCTION PROCESS
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5
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6 6 4
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12
3
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Keys To The AXO 1. Entrance 2. Living Room 3. Bedroom I 4. Bedroom II 5. Bedroom III 6. Toliet 7. Kitchen
1
8. Water tank 9. Water accumulator 10. Chimney 11. Fireplace 12. Roof structure 13. Wall structure 14. Concrete slab
SECTION SCALE 1:150
05 BE, ACTIVE WITH ANKLE
KEY FORM SIMULATION OF FLEXIBLE JOINT
Group Work • Summer 2017 ACADEMIC, Silica soft joint workshop/ installation design and construction • Site : Shanghai, China GUME workshop firstly started in Columbia University, a research group that focus on designing soft joints and how they can be applied to real construction. This time, this project is to design an installation for exhibition in Old Millfun 1933, Shanghai. The five buildings were built in 1933 during the Republic of China period.Property managers say that they comprise 32,500 square meters,described by the Atlas Obscura travel guide as “an eerie Gotham-Deco achievement in concrete, glass, and steel, and the last remaining of its design in the world.”Curved staircases, bridged walkways, and thick walls give the complex a unique industrial aura, especially for an area aspiring to house cuisine and the arts. The buildings were under renovation in 1998 after years of abandonment. The building became old and decayed and occupied by squatters. What make this project interesting are those soft joints made of silicon and the actual construction of the installation on site. As a promising material silicon is, especially when it is combined with wooden Tenon, the structure allows those joints doing a lot of physical transformation such as bending and twisting. Also, resilience of silicon promised the structure a recoverable form, which in real life allows the structure to vibrate but stay stable. The idea of the whole installation not only explored physical condition of a silicon joint, but also provided a possibility, a potential to visitors so that they can interact and relax in the hustle, the bustle. GUME in this case provided a potential hideaway for public in Shanghai to shun away from the intense urban life.
KEY JOINT CASTING PROCESS
Vaseline 3 Layers 2 pin points
Material Connects: grid cloth
Use 2 pins nail three layers together
Paint vaseline inside of panel
Air bubble
Top layer
Envelop
Pour silica gel into mold to the half of depth
crack
Detach the mould
Put the rest silica on the top layer
Fill extra silica to get rid of bubble
waste
Cut the waste off
Perfected outcome
INSTALLATION DETAIL
SILICON JOINT DETAIL
Wooden Tenon
Potential supporting rods (Dash)
Griding Cloth
Wooden Tenon
CNC Mould
CNC Mould
Actual supporting rods (Green)
Silicon Joint
Final Installation result
Transformation when force applied (Green)
Transparent Tube
Transformation of silicon joint during the process
CNC Mould
SITE RELATIONSHIP
HUMAN INTERACTION
Human interaction with the installation Exploration of the installation from visitors' perspective.
600
500
500
600
Display
Hanger
Placing
Screen
Portal
Sitting
06 Walls, not barriers
CONSTRUCTION SEQUENCE
Individual Work • Fall 2019 ACADEMIC, Temporary shelter in Broadway, Manhattan • Site : New York, USA The first recorded use of the term “Grand Tour” was by Richard Lassels, in 1670. By definition, “a traveler”, accompanied by “a knowledgeable guide”, traveled with the goal of achieving four areas in human development: intellectual, social, ethical and political awareness. Grand tourists returned from their journey with objects as evidence of their development, such as crates full of books and works of art, which would then be displayed to the public in the form of a gallery, library or museum built in that purpose. Although initiated as a form of cultivating bourgeois society, this process in education and re-presentation could fundamentally redefine our attitude towards citizens that find themselves without a home. Walls, not barriers is a temporary home and that introduces an architectural series of dialogues that support the four steps of human development outlined originally as the Grand Tour. Thresholds between the very public space of the sidewalk and surrounding park and semi-public education, communication, and making spaces, and finally private dwelling spaces are mediated by manipulating the role of walls. From the outside, the complex looks like a collection of opaque masses, but in fact, they are internally carved into rooms that expand and contract, carrying all “Grand Tour” functions along their length. People stay for 12 months, gradually honing practical skills, like repairing shoes, at the side of their knowledgeable guide. Intellectual occurs as a classroom and workshop space; Social occurs as small communication rooms; Ethical appears as medical center; and Political appears as an observation deck. The series culminates in an exhibition space, before graduation, allowing conversations to happen between homeless people and general public, even a job fair. Thus, the building is not only a dwelling but also a space for learning, reflecting, observing, equipping people to emerge and re-engage society. Walls, Not Barriers, slows down nomadic domesticity, movement is given purpose, marking time, development, and culminating in accomplishment that is visibly reintroduces to the city at large.
The process of preservation and renovation happens often in the workshop and by people living there. The building design becomes part of the education process and instills the habits and empowerment of caring for domestic life. This built in habit extends the life of the building, creating a self-sustaining system, and its ability to serve others in the future.
GROUND FLOOR PLAN SCALE1:1000
SECTION SCALE1:1000
G B J
F
A E
H
D C
I
B B
A - Medical Centre B - Residential Units C - Classroom D - Communication Space
E - Amphitheatre F - Workshop G - Observation Deck H - Exhibition Space
I - Music Cornor J - Communication Cornor
People stay for 12 months, gradually honing practical skills, like repairing shoes, at the side of their knowledgeable guide. Intellectual occurs as a classroom and workshop space; Social occurs as small communication rooms; Ethical appears as medical center; and Political appears as an observation deck. The series culminates in an exhibition space, before graduation, allowing conversations to happen between homeless people and general public, even a job fair. Thus, the building is not only a dwelling but also a space for learning, reflecting, observing, equipping people to emerge and re-engage society.
COMMUNICATION SPACE
WORKSHOP SPACE
The waffle structure acts as the roof and faรงade, controlling natural light and shadow, while also starting to shape the space. For example, the communication rooms are shorter compared to the corridor next to them when it comes to the room height, as those communication rooms are more private, restricted to certain usages and people.
The process addresses the building more into a teaching tool, which means that extra skills to be taught during the stay in terms of maintaining the building, constructing furniture and even designing the space on their own.
FLOOR DETAILS
1:1 MODEL OF FLOOR DETAILS
A
B
E
C
D
A - Floor Tiles B - Floor Slabs using reciprocal structure C - Insolation
D - Dropped ceiling with pipes and lights E1-8 Floor Construction Process
The process addresses 1:1 scale model representing how the floor will be constructed and support not only floor tiles but also people.