Portfolio - Qiyue Li - UCLA - Master of Architecture I by Qiyue Li

Portfolio Qiyue Li selected works 2014-2018 Applying for Junior Designer Master of Architecture I UCLA Architecture and Urban Design

fall

2010-2014

CIVIL ENGINEERING

2014

winter

spring

2015

ROOF BEYOND ROOF

fall

winter

An in-depth structure design of a steel house/gallery in California

Community planning

GROWTH WITHIN FRAGMENTATION

BIAD (Beijing Institute of Architectural Design ) @ BEIJING

selected works 2014-2018 - Applying for Junior Designer

internship

LAMINAR AMALGAM

Material and fabrication of envelope and facade

Formal design starting from case study of Gothic Vault

EVOLUTION

Portfolio Qiyue Li 05 02

05 02

01 12 08, 09, 10, 11 07 03

2016

2017

fall

winter

A Rest Place for Pilgrimages

INCIDENTAL CONVERSATION

spring

MUSEOLOGY NOW! Contemporary Art Museum Research Studio

Ateliers Jean Nouvel @ PARIS

internship

Ministry of Design @ SINGAPORE

SGS @ LOS ANGELES

internship

Fire Station Design in Los Angeles

WHEN SILHOUETTE BECOMES GROUND

01 Academic Work Professional Work 03 04

spring

2018

ARCHITECTURE

Master of Architecture I - UCLA Architecture and Urban Design

01 WHEN SILHOUETTE BECOMES GROUND Fire Station Design in Los Angeles UCLA SPRING QUARTER 2016 INSTRUCTOR: Mohamed Sharif Individual Academic Work

The task is to design a fire station in Hollywood, Los Angeles. The fire station has a very defined set of constraints while having a unique mix of program. It must accommodate everything from revolving living paces to the storage and maintenance of large equipment. Living areas are sometimes arranged above the garage bays where personnel without specific station duties during the night shift are allowed to sleep unless a dispatch is called. In that situation, firefighters may have special means to allow entry to the ground floor quickly when a call for help is received, such as sliding down a brass pole called a fireman's pole. The fire station is an iconic shed. It is an ordinary yet highly functional building that has a visual presence in the community.

In this fire station located in Los Angeles , the roof is a landscape and landform where the silhouette becomes the ground. The trucks have two main points of entry, the northwest and southeast corners. The apparatus bays sit on the two opposite ends of the site. There are multiple focus points which creates a central space for those programs, and the sliding poles are sitting right on the focus point that provides vertical circulation and quick reaction to emergency. Public and private work within one unified landscape which is a seesawing volume There are two ways of moving around, one for the private which is the spatial column, the other one gives access to the public. They can walk on the slope and either cross the building or climb up the roof. The roof profile is a result of a conflict between the parallel grid, which makes up the envelope system and the circular grid that deals with the interior circulation system.

Getting the public involved in the building also creates an interesting relationship between the users of the building and the people passing by. In some moments people can see fireman sliding down the firepole and when the fireman are eating in the dinning area, they can also see some children walking by. The building creates different levels of hierarchy in its relationship to the street. A private entry to the building, a public entry through the building, and a point of exit that displays the array of fire engines. When enter the building, the firemen need to walk through a long corridor between the slope and the apparatus bay.

Most programs are on the second level, leaving the ground level more open. The office, administration and conference room is on the ground floor and the dormitory, shower are on the second floor while kitchen and gym are on the middle level between first and second floor. So there are four sliding poles in total and the firemen can get down from the nearest spot and run to the apparatus bay on two sides.

The ground is an extension of the urban ground and starts to define an interior. Once people move into the building, there are some vertical elements that become the roof and an internal force that comes back up and becomes the peak and valley. There is one opening in each of the spacial columns where fireman can get down. The glass on top of the spacial column is translucent so there will be a bunch of sunlight coming down. The accessible roof makes itself an extension of the urban ground.

02 ROOF BEYOND ROOF An in-depth structure design of a steel house/gallery in California UCLA WINTER QUARTER 2016 INSTRUCTOR: Narineh Mirzaeian Individual Academic Work

Situated on the site of the Eames House along the Pacific Coast, the steel house is designed as a house and gallery for a local art collector who will exhibit a collection of Edward Ruscha's paintings to the public once a month. As such the project aims to create an architectural promenade as a gallery that directs visitors under the roof and upstairs to the main exhibition area. The ground floor remains devoted to the resident's living quarters as pockets of outdoor space alternate with various programmatic elements. The over-sized butterfly roof collects the various spaces, gallery and residence, underneath it keeping at once the legibility of each mass while as well as an overall reading of the project as a whole.

PROGRAMMATIC CLUSTER UNDER BIG ROOF

PUBLIC CIRCULATION & ARTWORK LAYOUT

The programmatic volumes collected under the roof are clad in various, different materials including metal panels, wood panels and glazing. Operable shutters are layered atop some glazed surfaces, specifically in the bedroom and living room for privacy. The residential program on the ground level is organized adjacently to pockets of outdoor gardens to be enjoyed from each local area.

ELEVATION

1’=1/4’’

The roof has a structural system independent from the volumes under it in order to accommodate it's larger span but more importantly, to reinforce it's reading as an independent element. It is supported by truss beams that meet the seven columns on each side. The structure system for the volumes beneath is comprised of a regular interval grid in two directions, employing moment frame connections to provide stiffness.

FIRST FLOOR

03 MUSEOLOGY NOW! Contemporary Art Museum Research Studio UCLA FALL QUARTER, 2017 INSTRUCTOR: Neil Denari Individual Academic Work

The studio is presented as a mini research studio whose ends base upon the findings of the preliminary research. If the concept of temporality and the informal identity of the objet trouvĂŠ of industrial architecture were at the core of the new museum, then our quest is to move to the next level of museology to discover what is the forthcoming iteration of the public museum. As this shift from heavier to lighter forms of institutions took root in the last 25 years, what has begun to supercede it is the general embrace of digital experiences and the emergence of distraction as a parallel universe to our primary universe of attention. Indeed, in this light, one must ask questions in general about the status of architecture and in particular about the status of the rarified ambience of the museum.

When we talk about contemporary art, an art piece, how do we describe it? Is it painting? Sculpture? Or pop art? Land art? In the most basic sense, the term contemporary art refers to art produced today. Although it looks simple, the details surrounding this definition are often a bit fuzzy, as different individuals’ interpretations of “today” may widely and wildly vary, and so many new things

have come up over the past few decades. There is an overlapping, including or being included between different pieces, but what the research is aiming for, is a direct impression on what is on right now, what’s the more popular ones, and what can be achieved to predict the future.

Painting

02 03

Outdoor

Physical

Sculpture

Static

07 08 09

Moving

Indoor

13 14

Digital

Performance Art

11 12

A Particular Kind of Heaven Ed Ruscha

Diane di Masa Catherine Opie

Lichtung / Clearing Thomas Demand

03 Mystery Circle Cai Guo-Qiang 13

Photograph

Spiral Jetty Robert Smithson

Rubber Duck Florentijn Hofman

Candy Damien Hirst & Felix Gonzalez-Torres

FedE Walead Beshty

Light and Space Robert Irwin

Grosse Méta-Maxi-Maxi-Utopia Jean Tinguely

Silver Clouds installation Andy Warhol

VB 64 Vanessa Beecroft

Jennifer Steinkamp

555 KUBIK Urbanscreen & Daniel Rossa

Drawing Room Jan Rothuizen

KNBC Casey Reas

Film

16 17 18

The physical material that forms the artwork, they are the early form of art form, but not the art media. But actually sometimes there is an overlap between the material that forms the artwork and the media that spreads it. The scenes, light and shadow in the films, are the physical materials that make up the work of art, and they must be associated with the communication media and the reception media. This phenomenon seems to be more common in contemporary art forms. The storing and receiving media of some of the art Material v.s. Media forms are totally seperate, like film. some are relatively separate, like painting, and sometheyare highly coincident, like performance art. The physical material that forms the artwork,

For example, the performance art emphasizes the place and time where it happens. If it’s disconnected with surrounding environment and time elements, then it will be no longer meaningful. In this case, the media is highly coincident with the material of the art . The art media is an extension of the artist’s intuition and imagination, its’ also the extension of the intuition and imagination of the audience. They look like two media systems, but in fact they are one media system. It’s like two sections in different direction of one thing. The development of the system is driven by the development of the technology.

are the early form of art form, but not the art media. But actually sometimes there is an overlap between the material that forms the artwork and the media that spreads it.

The scenes, light and shadow in the films, are the physical materials that make up the work of art, and they must be associated with the communication media and the reception media. This phenomenon seems to be more common in contemporary art forms. The storing and receiving media of some of the art forms are totally seperate, like film. some are relatively separate, like painting, and some are highly coincident, like performance art. For example, the performance art emphasizes the place and time where it happens. If it’s disconnected with surrounding environment and time elements, then it will be no longer meaningful. In this case, the media is highly coincident with the material of the art . The art media is an extension of the artist’s intuition and imagination, its’ also the extension of the intuition and imagination of the audience. They look like two media systems, but in fact they are one media system. It’s like two sections in different direction of one thing. The development of the system is driven by the development of the technology.

Painting brush

canvas

oil Produce

Store

canvas

Receive

Store & Receive same?

Material & Media totally separate

can be duplicated via digital media

YES

Film space light sound

Performance Art

camera

body space light sound

Store

Produce

screen projection Receive

Store/Receive & Produce same?

Material & Media relatively separate

can be displayed in different location

body space light sound body space light sound

Store

Receive

YES

Material & Media highly coincident

site-specific

off-site

on-site

poster rolled up in a tin

collect poster

model of sculpture

collect model

piece of culture out of the machine

original work of painting/ photograph

installation/ sculpture/ kinetic art

card with QR code

Art Vending Machine on the street

scan code and watch video of digital art

VR/ immersive projection

make payment

ticket of Vending Museum

visit Vending Museum

The goal of the vending museum is to advertise by spreading the art to the city spontaneously instead of passively. There are art vending machine next to metro station all over the city, offering buyers pieces that are related to the work exhibited in the vending museum on the site. There are three types of pieces: prints rolled up in a tin, with a painting or photograph printed; or a model of a sculpture/installation/kinetic art; or a card with a QR code. Buyers can select and make payments. The piece will come out of the art vending machine, together with a ticket to the vending museum.

insert ticket

elevator lead to exhibition room

They can take the prints or models home as decoration, or scan the QR code using their mobile phone to watch the video of a digital art. They can also take the ticket to the vending museum, insert the ticket into the checking machine on the ground level, and the elevator will take the visitor directly to the exhibition room where the original work is exhibited, such as painting/ photograph/ sculpture/ kinetic art/VR/immersive projection/interactive installation. The museum is operated 24/7 automatically.

DUSTRIBUTION_PROGRAMS EXHIBITION PATIO SERVICE SPACE CIRCULATION

56 / 47.5% 22 / 18.6% 5 / 4.2% 35 / 29.7%

896 sq.m. 352 sq.m. 80 sq.m. 560 sq.m.

TOTAL

118 / 100.0%

1888 sq.m.

QIYUE LI / PROGRAM_EXHIBITION PROGRAM

MUSEOLOGY NOW!

exhibition 15

exhibition 10

entry hall

exhibition 11

exhibition 19

exhibition 14

exhibition 12

exhibition 13

exhibition 17

loading zone service room

exhibition 18

exhibition 10 exhibition 11

exhibition 16 exhibition 12 exhibition 13

loading zone

exhibition 19

exhibition 15 exhibition 22 exhibition 23

exhibition 06

exhibition 10

entry hall

exhibition 17

exhibition 16 exhibition 05 exhibition 20

exhibition 01 service room

exhibition 18

exhibition 14

exhibition 13 exhibition 17

exhibition 04 loading zone exhibition 21service room

exhibition 03

exhibition 02

exhibition 15

exhibition 10

entry hall

exhibition 11

16 exhibition 12

exhibition 14

exhibition 22 exhibition 23

exhibition 06

exhibition 13

exhibition 09

exhibition 05

exhibition 19

exhibition 01

exhibition 20

2 exhibition 23

loading zone

exhibition 06 exhibition 04

exhibition 17 exhibition 16 exhibition 05

exhibition 07

exhibition 01

exhibition 20

exhibition 21

exhibition 18

exhibition 02

exhibition 03

service room

exhibition 13

exhibition 10

exhibition 04 exhibition 11

loading zone exhibition 03

exhibition 12

exhibition 02 exhibition 15

exhibition 19 exhibition 08

exhibition 10

entry hall

exhibition 17

exhibition 11

exhibition 12

exhibition 14

exhibition 18

service room

exhibition 09 exhibition 16

exhibition 22 exhibition 23

exhibition 06

exhibition 09 exhibition 05

exhibition 07

exhibition 01

exhibition 20

exhibition 17

exhibition 04 exhibition 16

exhibition 15

exhibition 07

exhibition 21service room

exhibition 03

exhibition 02

exhibition 22 exhibition 23 exhibition 08

exhibit

exhibition 14 exhibition 15

exhibition 19

exhibition 05 exhibition 20

exhibition 08 exhibition 17

exhibition 04

exhibition 21service room

exhibition 18

exhibition 14

exhibition 03

exhibition 09

2 exhibition 23

exhibition 06

exhibition 05 exhibition 20

exhibition 01

exhibition 07

exhibition 04 exhibition 19 exhibition 03

exhibition 02 exhibition 09

exhibition 17 exhibition 22 exhibition 23 exhibition 08

exhibition 06 service room

exhibition 18 exhibition 19

exhibition 05

exhibition 01

exhibition 20

The research of the media system shows that the degree of overlap between material and media indicates more layers of storing and displaying art. Some of the art form is site-specific, and it will lose value when disconnected with environment. Some of the art form can be displayed in different location, and some of them can be duplicated easily via media. exhibition 17

exhibition 04

exhibition 21 service room

exhibition 18

exhibition 03

exhibition 02

exhibition 09

exhibition 08

exhibition 07 exhibition 22 exhibition 23

exhibit

exhibition 05

There are individual exhibition spaces in different sizes on each level, with patio attached to some of them. Rooms without window can provide better control of the light, which is good for immersive projection or virtual reality; Paintings or photographs are displayed in rooms with window so that natural light can play a role. Outdoor padio is good for installation or sculpture, where the urban context creates a dynamic background to the artwork.

The vertical circulation serves as a hub holding all the exhibition spaces together, and provides direct access. The additive and extroverted nature indicates the building being a destination on-site after completing a journey off-site. The vending museum is bring art to the market. Just put the money in the slot of the machine, and out pops a piece of culture. It is reaching a whole new audience, and spreading art into every corner of the city.

Staff Restroom Meeting Room

Curator Room

Staff Dinning & Kitchen

Administration takes up a portion of the space in museum silently but indispensably. It takes many people to run a museum. But in most cases, they work in the background. There are both public space and non-public space in museum, and visitors have no idea what kind of work they are doing in non-public spaces.

DUSTRIBUTION_PROGRAMS ENTRY HALL PUBLIC SERVICE OFFICE CONFERENCE/MEETING/ LOUNGE ARTWORK CIRCULATION TECH SHOP STAFF AMENITIES CIRCULATION

10 / 6.3% 10 / 6.3% 40 / 25.0% 8 / 5.0% 13 / 8.1% 10 / 6.3% 14 / 8.8% 55 / 34.4%

160 sq.m. 160 sq.m. 640 sq.m. 128 sq.m. 208 sq.m. 160 sq.m. 224 sq.m. 880 sq.m.

TOTAL

160 / 100.0%

2560 sq.m.

PROGRAM

There are director, curator, archivists, technicians, conservators, museum educator, docent, etc. Each kind of job requires a specific space. The fact that all of these works and the people who do the jobs are separated from the audience is blocking the audience from getting to know how the system of museum works, which is an important part of popularizing the art.

Loading Zone

Staff CloackroomStaff Cloac

Photo Services Photo Services Security Security Network Network Control Room Control Room Acclimation

Cloackroom

Ticket Window Ticket Window

Quaranteen

Membership & Membership & Development Development

Restoration QuaranteenWorkshop Restoration Workshop

Paint Shop 1

Registration

Acclimation

Registration Storage

Paint Shop

Storage 1

Open Office Laser Lab

Open O

Laser Lab

X-Ray

Carpenter X-Ray Shop Carpenter Shop

Public RestroomPublic Restroom Public Locker Room Public Locker Room

Staff Cloackroom Staff Cloackroom

Publication

Office Publication

Vip/ Guest Lounge Vip/ Guest Lo

Office

Acclimation

Open Office

Registration Storage

Open Office

Storage 1

Open Office

Director Office

Director Offi

Curator Room

Curator Roo

Open Office Artist's Prep RoomArtist's Prep Room Staff Restroom Meeting Room

Staff Restroom

Meeting Room

Vip/ Guest Lounge

Finance Human Resources

Conference Room Director Office

s Prep Room

Curator Room

Staff Dinning & Kitchen

The proposal is to expose the traditional non-public space to the general public by creating a visual access to the space and the activity inside. Subtractive and introverted is the underlying principle of this atrium building. The stepping forward and backward of the atrium creates layers of visibiliy and interaction between the public and staff. There are two main entrance: one for audience in the front, and the other for staff and artwork in the back. The general public can only get physical access to the ground level, to the ticket window, membership office, cloakroom and public restroom, but not to the upper level. However, they can look up through the window wall on the internal boundary and get a glimpse of the work the staffs are doing.

Programs surrounding the atrium are: registration, restoration workshop, different tech shops, storage, open office, artistâ&#x20AC;&#x2122;s prep room and one of the meeting rooms. As the floor level goes up, the privacy increases, and openings on the facade get smaller. Besides the fire stairs, there are separate stairs in the atrium space connecting each two floors, for the circulation within the administration. The big opening on the facade is sending a welcome message as an attraction.

04 INCIDENTAL CONVERSATION A Rest Place for Pilgrimages UCLA WINTER QUARTER 2018 INSTRUCTOR: Ben Refuerzo Individual Academic Work

The project is designed as a rest place for pilgrims, focusing on the interaction between both acquaintance and stranger. It aims to create chances for people to interact by place-making, and try to make incidental conversation more incidental. Thinking of things that happen in connection with something else that is more important or happen naturally as a result of something, the connection between the daily activities of the pilgrims becomes the motivation - sleeping/ eating/ bathing/ praying. In this project, the most primary demand sleeping is set as default while the other three communal activities are treated as destination. The thermal bath, dinning area and the prayer room are located on three ends of the site, where the shelters are placed in between. A network of circulation is created by the suspending bridges and occupiable rooftop. Apart from physical access, visual access is also created by the elaborately placed openings and platforms. Watching and being watched enhance the interaction between people and the possibility of an incidental conversation. There are seating areas along the pathway, providing possible places for a conversation.

The project is located along the pilgrimage route at about 1/4 away from the destination at talpa de allende in Jalisco, Mexico. The meaning of the pilgrimage is not only about getting to the destination, it is also about what is perpetuated in memorial, which is emphasized in pilgrimage. There are approximately two million people coming from different places participate in this 117 kilometers religious phenomenon every year. Some of them go with friends, some with family, and some of them are on their own. During this long and repetitive journey, people make friends, and they talk as they walk. The sharing of experience and exchange of idea arouse new reflection and inspiration. In the journey, story, ritual and place merge into one.

FOURTH LEVEL 01 Restroom (women) 02 Restroom (men) 03 Stage 04 Gathering Space 05 Sleeping Quarter 06 Sleeping Quarter

THIRD LEVEL 01 Dressing (women) 02 Shower (women) 03 Shower (men) 04 Dressing (men) 05 Gathering Space 06 Sleeping Quarter 07 Restroom 08 Sleeping Quarter

SECOND LEVEL 01 Thermal Bath 02 Terrace 03 Terrace 04 Prayer Room 05 Pond 06 Restroom 07 Gathering Area

FIRST LEVEL 01 Terrace 02 Dinning Area 03 Storage

The project aims to take full advantage relationship between ground and under and ramps are the elements that realize t

of the hillside and the landscape. Itâ&#x20AC;&#x2122;s discussing the rground, as well as ground and above ground. Stairs the movement in three dimensions.

When people walk around to finish their daily activity, the light condition changes, the view changes, and the group of people they meet changes. Earth, water, light and landscape, the ordinary and primitive elements for life are emphasizing the reciprocal relationship between communal and individual memory, as well as individual memory and the individual.

05 GROWTH WITHIN FRAGMENTATION Community planning UCLA FALL QUARTER, 2015 INSTRUCTOR: Georgina Huljich Individual Academic Work

The project started with the case study of Tulou in Fujian, China. Fujian Tulou is a type of Chinese rural dwelling of the Hakka in the mountainous areas in Fujian, China. Tulou is enclosed, and has a central public space in the middle. The activities inside tulou are busy and diverse, which makes a great contrast with the outside of tulou. The project aims to see how the cluster of those enclosed buildings will produce new relationship between each other, and how they can have an influence on the fabric of the entire site. There is no corridor in the building, which makes the access to each unit more individual. As the height goes up, the organization becomes more fragmented, the space will get more private, and the expereince people get will be more individual.

Cluster Distribution

I zoomed in to a cluster of spaces to develop. The area of each residential unit is between 800--1000 square feet. Some of the units are two-storied, and most of them have balconys which are private or shared by two units.

06 EVOLUTION Formal design starting from case study of Gothic Vault UCLA FALL QUARTER, 2014 INSTRUCTOR: Steven Christensen Individual Academic Work (case study part with Xiaowan Qin)

The studio aims to provide an introduction to architectural design studio culture, and a particular introduction to key themes, conceptual models, and methodological agendas explored throughout the remainder of the Core Studio series at UCLA. An in-depth analysis of architectural form will develop design and critical thinking skills. Students will become familiar with the fundamentals of spatial organization, analyze different principles of proportion, engage in critical and formal analysis of historical precedents and finally develop tools to produce measured drawings and physical models as the currency of exchange between thought and object.

Church of the Jacobins, Toulous, France The project started with the case study of Church of the Jacobins in Toulous, France. The Church of the Jacobins is a deconsecrated Roman Catholic church. It is a large brick building whose construction started in 1230, and whose architecture influenced the development of the Gothique mĂŠridional (southern Gothic) style. In the case study, I worked on branching, on how the two naves and chapels serve as off springs of apse and the transformation and relationship among them. This made me choose the certain part as a prototype, because it has all the elements and genetic code producing the whole apse, which is the most precise, simple and condense one.

In the plan, there are two angles that are similar with the one in the center of the apse, which are potential to divergence and reproduce, to be the carrier to produce next generations. But the slightly different geometric properties indicate the transformation that is going to happen. While the lines in plan are identified, the curves in elevation find their positions. However, the original curves connected to the ground meet the highest point in the vault, and in order to keep the continuity, at least one has to self-sacrifice. Therefore, within the vaultâ&#x20AC;&#x2122;s genetic code, genetic mutations occur and the beneficial mutations are preserved and are passed onto the next generation.

The relationship is similar to binary tree, where each generation is the sub tree of the last generation. In elevation, the problem is how to keep the continuity of each two generations. When the second generation meets the first generation, the previous lowest point is supposed to meet the previous highest point, so at this time, the new generation comes to exist through variation and evolution based on the genetic information of last generation. In this way, transformation happened. All generations are related and have descended from the common ancestor. The original part of vault transforms and branches into a new look, from solid to abstract, from rigid to fluid, and from a single part to an organic whole.