Queena Wang Portfolio by Queena Wang

Queena J Wang

RPI School of Architecture Class of 2021 queenawang3228@gmail.com 856-503-6060

TABLE OF CONTENTS Presence for the Absence

Geode Library

Harmonizing Terraces

Colors and Volumes

Stepping Up

The Bouquet

Flexform

Chaotic Butterfly

Miscellaneous

Link to Walk-Through of Space and Individual Growth: https://www.youtube.com/playlist?list=PLgdRlL_g7yc5TkicA5jOgfYV-TSpcQz9G

PRESENCE FOR THE ABSENCE 1

PRESENCE FOR THE ABSENCE 2

Ecological and human interactive memorial for the Blackfeet Tribe that is attempting to repopulate buffalo and control water levels within the area. The architectural system reflects on the idea that a change to an individual can affect the whole. In this case, the collapse in the water system could cause a chain reaction. 3

2.5 FT 5 FT

7.5 FT

4 PRESENCE FOR THE ABSENCE

PRESENCE FOR THE ABSENCE 5

The need of increasing the activity in Albany and decrease in library usage inspired the idea of displaying the books to the public’s attention. However, in order to reach the central gem (books), people must circulate int he outer cluster of boxes. The juxtaposition between the two clusters of boxes is shown int he exterio appearance, interior separation, structure, and more.

GEODE LIBRARY collaborated with Abraham Wei

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8 GEODE LIBRARY

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GEODE LIBRARY 9

Extended I Beam

Column

L Bracket Steel Tube

Cover w/ holes for shelf attachment

Prefab concrete slab

Panel Attachment

Vertical al Support rt

GFRC Panel

ntal Horizontal rt Support

Level 11 130' - 0"

Level 10 120' - 0"

Level 9 110' - 0"

Level 8 100' - 0"

Level 7 87' - 0"

Level 6 74' - 0"

Level 5 61' - 0"

Level 4 48' - 0"

Level 3 32' - 0"

Level 2 16' - 0"

Level 1 0' - 0"

Level -1 -10' - 6"

Level -2 -21' - 0"

Level -3 -31' - 6"

10 GEODE LIBRARY

GEODE LIBRARY 11

13. Mechanical Room

Clear

Medium 11 11. Reading Area 12. Bookstacks

Dark Main Structural Grid

9. Gallery 10. Storage

Library Bookstack Structure 8. Large Study Rooms

Building Core & Main Vertical Circulation

7. Open Classrooms

5. Computer Room 6. Children’s Library

0. Mechanical 1. Office 2. Reading Area 3. Book Stacks 2

12 GEODE LIBRARY

GEODE LIBRARY 13

Introducing reality in the project resulted the idea of reversing the appearance of the facade during the day and night. At night, the idealization of display of books is possible. However, during the day, it would be rarely visible due to the electrochromic glass’ tint and/or the sun’s reflection. Thus, the concrete facade mimics the book’s spine and bookshelves. 14

In the revised version of the Geode Library the juxtaposition and the display of books was retained. However, the phsycila wall of separation was replaced by the relief in the walkways. Although there is no physical visible barrier, the gap between he library and the other programs is another form of separation.

HARMONIZING TERRACES collaborated with Alexandra Kallish

Continuing the garden concept from the previous project, this compact, multifloor, puzzle-pieced 80+ residential housing and garden is an environment oriented for the elderly. They are able to continue or pursue physical and mental activities on site: cooking lessons, gardening, and interacting with other residents. 17

ONTARIO STREET

N Vehicular Circulation Building Pedestrian Circulation Grass Gardens

DELAWARE AVENUE

The main program that my partner, Alexandra Kallish, and I have incorporated into our 80+ housing for 50 and above elders at Cohoes, NY is gardening. As people get older and retire, they discover hobbies that become a large part of their lives. The gardens are located on the rooftops (for residents only) and by the waterfront (for the public). The overall shape of the buildings was created through the manipulation of a massing subtracted from a cube. Five basic units were generated to fit within the two main residential buildings.The basic shapes of the units derived from the shapes of the avoids from the top view and side view. The units then went through a random transformation, an extension in the y-axis. When insert back into the original location, overlapping interior issues were resolved. The transformation also produced another level of detail on the facade. There is an endless amount of knowledge anyone can learn from the culinary world. The elders and restaurant customers are guaranteed to consume fresh produce from the gardens grown by their community. In addition, residents are able to access the restaurant kitchen after working hours to cook, learn from classes, or even teach. In doing so, this allows the elders to become more involved with what they are consuming and how it is produced. 18 HARMONIZING TERRACES

HARMONIZING TERRACES 19

20 HARMONIZING TERRACES

HARMONIZING TERRACES 21

This home, for Sol Lewitt’s soul and Frank Wilczek, embodies the connection between art and science through architecture. The geometry was derived from Lewitt’s #652 painting and Wilczek’s scientific study about asymptotic freedom. The three colors and the bond between particles correlated to the production of the home sitting on top of a jungle.

COLORS AND VOLUMES

24 COLORS AND VOLUMES

COLORS AND VOLUMES 25

STEPPING UP 26

Located along the Hudson River in Cohoes, diamonded kayak houses are also the homes for honey bees. This garden allows the public to learn about bees and participate in physical activities. While the honey produced by the bees is a source of income to keep the public space operating; the gardens would improve the environment. 27

VE EA

R WA ELA

1 COMMERCIAL Building 1 6000 SF / 4 Retail Spaces =1500 SF Building 2 2000 SF /1 Retail Space Building 3 1750 SF / 1 Retail Space Building 4 2500 SF / 2 Retail Spaces = 1250 SF RESIDENTIAL Building 1 1st floor - none 2nd floor - 19 3rd floor - 13 4th fllor - 9 Building 2 1st floor - 2 2nd floor - 3 3rd floor - 1 Building 3 1st floor - 3 2nd floor - 2 3rd floor - none Building 4 1st floor - 9 2nd floor - 8 3rd floor - 6 4th fllor - 2 TOTAL - 10,000 SF 12250 SF / 8 Retails Spaces 76 Apartments 80 Parking Spots (including 4 Handicap Parking)

28 STEPPING UP

TAR

STEPPING UP 29

THE BOUQUET collaborated with Becky Zhang

The hybridization of the study models become the collection of individual pieces that sewn together to form the massing, The Bouquet. The name bouquet relates to our main program, banquet, physically and metaphorically. There are lots of events that incorporate bouquets of flowers into the aesthetics of the event. Figuratively, a banquet becomes a gathering of people for an event.

32 THE BOUQUET

THE BOUQUET 33

We selected banquet as the program in response to the Ex Filanda competition, which desires engagement with the public at a site surrounded by a monument, park, transit and more. Spatially, we want to achieve a flexible private to public space. This will allow the space to be utilized throughout the year and for different purposes as desired by hosts. The building will become a local and tourist attraction. The building can also use its surroundings to expand the presence of public events such as fashion shows. The flexibility in creating private and public spaces can be produced in the usage of fin-like movable walls and creased drapes like steps. The prototypes correspond with the fluidity of the walls and the circulation of the space.

34 THE BOUQUET

Banquets will be provided in the open space. Simple movable interior furniture can be provided. Similarly to the fashion show, other events hosted here must book their time of reservation. Banquets not only include large events like weddings, but also smaller events or even free events. The following lists some events that are allowed, but not limited to the examples. • Public events - picnic, market, fairs, tours • Semi-Private events- small concerts, parties • Private events - workshops, meetings, conferences, gatherings THE BOUQUET 35

30'-0"

1D FLEXFOR

MAKING THE STATIC SOCIA

5'-0 41"

8'-9"

9'-3 41"

1'-10 21"

10'-0 21"

7'-2"

6'-11"

FLEXFORM challenges the traditional notion that major elements of the home should be static. Typical household symbols—chimneys, walls, windows—can be flexible. By making these programs tectonic, each constantly shifting between private and public needs, the home is able to create new modes of social living and communication at both the scale of the home and the community.

21'-3"

6'-7 41"

12'-6"

13'-1"

6'-3"

Three major programmatic needs of the home—sleep, storage and VKRZHUŤEHFRPH DQG GHƓQH WKH ZKROH IRUP 7KHVH HOHPHQWV UHODWH DV PXFK WR WKH KRPHŧV LQKDELWDQWV DV LWV VXUURXQGLQJ FRPPXQLW\

5'-0 41"

PUBLIC and PRIVATE spaces are changed by the movement of these conditions:

2'-9"

28'-11"

9'-4 41"

o The sleeping alcoves can create space or limit circulation as they RVFLOODWH EHWZHHQ WKH LQWHULRU DQG H[WHULRU RI WKH FRUH

8'-4"

5'-7"

2'-6"

7'-9"

7'-2"

5'-0"

o The washing units (shower, sink, tub, and toilet) defy normal modes of SULYDF\ E\ JLYLQJ WKH XVHU OLEHUDWLQJ DJHQF\ 7KH ZDWHU VRXUFH LWVHOI LV utilized by the inhabitants as well as the greater community, transforming IURP SULYDWH VKRZHU WR SXEOLF VSODVK ]RQH 20'-5 43 "

o The storage trunks, forming most of the façade as wheeled walls, become social spaces for gathering, capable of moving within and EH\RQG WKH KRPH

21'-3"

LEVEL +1

Each individual element is constantly engaging both sides of the interior/exterior and public/private, by literally breaking apart the notion of solid, inactive walls.

LEVEL 0 26'-4"

The families and individuals living here have constant, adaptable agency in their own private/public programmatic needs, hinging at the home’s center and surroundings, providing ample room for user agency in FUHDWLQJ QHZ VRFLDO VSDFHV

28'-11"

2'-9 21" 8'-9"

5'-8" 5'-0"

1'-6"

6'-8 41"

11'-1"

6'-3"

9'-11"

10'-6"

7'-1 41"

8'-9"

11'-4"

4'-5"

1'-6"

TRANSITORY PLANS + SECTIONS SCALE: 1’ = 1/2”

6'-9"

11'-11"

6'-9"

0'-7"

1'-6 41"

8'-2"

D SC

38'-9"

10'-2"

11'-4"

10'-2"

3'-0"

30'-0"

1D: FLEXFORM (ALL) shiftspace / moveawall / adaptawall / unit FLEXFORM challenges the traditional notion that major elements of the home should be static. Typical household symbols—chimneys, walls, windows—can be flexible. By making these programs tectonic, each constantly shifting between private and public needs, the home is able to create new modes of social living and communication at BOTH the scale of the home and the community. Three major programmatic needs of the home—sleep, storage and shower—become and define the whole form. These elements relate as much to the home’s inhabitants as its surrounding community. Each individual element is constantly engaging both sides of the interior/exterior and public/private, by literally breaking apart the notion of solid, inactive walls. The families and individuals living here have constant, adaptable agency in their own private/public programmatic needs, hinging at the home’s center and surroundings, providing ample room for user agency in creating new social spaces.

Link to Individual Interrelated Parts: https://www.youtube.com/playlist?list=PLgdRlL_g7yc5sk6QlQfzgNqC6ffXpVP5f 38 FLEXFORM

PUBLIC ENTERTAINMENT

PRIVATE CLOSET

PUBLIC

PRIVATE PUBLIC + PRIVATE POSITIONS SCALE: 1’ = 1/2”

PRIVATE SHOWER STALL

PUBLIC SPLASH ZONE

CLOSED PRIVATE

OPEN PUBLIC

WELLING ELEVATIONS CALE: 1’ = 1/2”

Public and private spaces are changed by the movement of these conditions: 1. The sleeping alcoves can create space or limit circulation as they oscillate between the interior and exterior of the core. 2. The washing units (shower, sink, tub, and toilet) defy normal modes of privacy by giving the user liberating agency. The water source itself is utilized by the inhabitants as well as the greater community, transforming from private shower to public splash zone. 3. The storage trunks, forming most of the façade as wheeled walls, become social spaces for gathering, capable of moving within and beyond the home.

FLEXFORM 39

1'-5 541" 2'-4"

6'-6"

EXPOSURENCLOSURE

0'-2 43 "

ACTIVE PRIVACY PANELED WASH

PUBLIC

OPERABLE PRIVACY IN PLAN + SECTION SCALE: 1’ = 1”

1' = 1"

PRIVATE

8'-0"

solid glass exterior panel to maintain consensual exhibitionism

5'-0"

2'-1"

1'-6"

2'-0"

6'-6"

2'-7"

2'-6"

5'-0"

6'-6" MULLION

TYPE: PANEL OPERATION: SLIDE PROGRAM: SHOWER CONTROL: OPERABLE PUBLIC OR PRIVATE 100% SIGHT

GLASS FACADE

7'-0"

IN FLUX

50%

MOVABLE PANELS

PUBLIC PRIVATE

1' = 1 1/2"

50%

private w poo

PRIVATE SHOWER 0%

PRIVATE POSITION SCALE: 1’ = 1 1/2” PUBLIC POSITION SCALE: 1’ = 1”

TYPE: PANEL OPERATION: FOLD PROGRAM: TOILET/WALL CONTROL: OPERABLE PUBLIC OR PRIVATE

PRIVATE VERTICAL SHOWER + TUB

PUBLIC SPLASHER

TYPE: ARM OPERATION: ROTATE PROGRAM: SHOWER CONTROL: OPERABLE PUBLIC OR PRIVATE

PUBLIC

HORIZONTAL NOZZLE + SPLASHER

1' = 1/2"

PRIVATE/PUBLIC TWO-SIDED SINK PRIVATE TOILET SEAT SINK DUO

MATERIAL ASSEMBLY SCALE: 1’ = 1/2”

PUBLIC TOILET SEAT COVER

PRIVATE RESTROOM / QUIET READING NOOK PUBLIC PLAYSCAPE / EXHIBITION WALL

1C: EXPOSURENCLOSURE • • • • •

The moving panel element visible on the façade comes from the major tectonic elements discovered during the design of the bathing stations We aimed to challenge the notion that shower spaces are always concretely private The addition of these panels gives the user consistent control over what they wish to see, show, or cover up (no access beyond the one showering) The secondary purpose of the shower system uses the tectonic shower arm as an energized waterspout, traveling beyond the home as a playful waterscape for kids (or others) within the community The toilet element is enclosed in adaptable walls that are removed when the nozzle becomes a public resource. When the toilet is enclosed, however, it becomes an opaque space for calmness

40 FLEXFORM

COMPONENTS BREAKDOWN SCALE: 1’ = 1”

TEA TRUNK

SOCIAL STORAGE

PUBLIC

1'-6"

PRIVATE PLANS + SECTIONS 1'-6"

SCALE: 1’ = 1” 2'-6"

1' = 1"

2'-4"

2'-6"

1'-6"

2'-6"

PRIVATE CHANGING SCALE: 1’ = 2” half opened trundles provide curtained privacy for changing

1' = 1"

3'-0"

PRIVATE

7'-0"

1'-6" 3'-0"

7'-0"

1'-3"

1'-3" 3'-6"

2'-6"

3'-6"

2'-6"

7'-0"

1'-6"

1' = 1"

2'-3"

1' = 2"

PUBLIC PLANS + SECTIONS SCALE: 1’ = 1”

2'-6"

1'-6" 6" 6"

1'-6"

PUBLIC ENTERTAINING SCALE: 1’ = 2”

1'-6"

2'-6"

1'-2"

3'-6"

1'-2" 1'-6"

1'-6"

2'-6"

1'-3" 2'-3"

7'-0"

3'-6" 2'-3"

7'-0"

1'-3" 1' 3

2'-6"

1B: TEA TRUNK • • •

“component” as “wall” Communicates with interior as well as exterior (wardrobe to window, changing space to social space) Communicates to GENERAL context through the window. Communicates to SPECIFIC context with passageway house and food/drink collective party program

FLEXFORM 41

TRUNDLE TOWER ALCOVE SLEEPING SYSTEM

PUBLIC

PRIVATE

PUBLIC + PRIVATE POSITIONS SCALE: 1’ = 1”

6'-10"

1' = 1"

5'-0"

6'-10"

1'-3"

6'-10"

CLOSED POSITION SCALE: 1’ = 1”

OPEN POSITION SCALE: 1’ = 1”

5'-0"

private space positioned within the core

1'-6"

11'-9"

1' = 1"

6'-0"

private interiors give more room for public exteriors

7'-2"

1'-0"

4'-6"

3'-3"

1A: TRUNDLE TOWER • • • •

This design led to the creation of the main idea of the core house: that main, historically concrete elements of the home—the core/chimney, walls/windows—can actually become tectonic elements The movement of the beds, or alcoves, creates and takes away space between the interior and exterior of the core Public space is expanded when the beds retire to the innermost private position within the core The core space is lit by a glass roof skylight, letting the moving elements become shading devices that also have access to light within an otherwise very enclosed vertical space

42 FLEXFORM

The void works as the main formal organizational device and the central connection space. Our building offers a portion of the void as the entrance to the elevated walkway for the public but cuts off access to the private portion clearly defining what is private versus public. The public use the co-working space and travel to the other residents in our community through the void as the main circulation space. Our residents transverse the void and then filter to our secondary circulation of half floors and ladders. We connect our residents to the public through the use of common space including working and eating spaces. Our single family and co-living residents connect themselves through their personal void and interwoven spaces.

CLOSING: URBAN CONNECTIONS

THE VOID HOUSE

Atmospheric Living has layers of public and private program dictated by material transparency and circulation. Our ground floor contains the semi-public sauna that can be enclosed with pivoting doors, while the upper floor has four fluctuating floor plates so the individuals in their respective spaces have the ability to interact with their neighbors or transform the space for privacy.

ATMOSPHERIC LIVING

The RaumHome is a compact and ever dynamic sub-level dwelling for a family of five and three. Utilizing sliding and folding components, spaces can expand and close off at the discretion of the occupants depending on the public or private programs that are in use.

Link House is a transition from the organic landscape to the orthogonal walkways, both literally and figuratively. Following a mound that folds the ground up to the paths above, it creates a sensory experience that allows people to feel the gradual change in geometric atmosphere by playing with moments of rectilinear and sinusoidal forms. The inhabitants of the house also experience this juxtaposition as they transverse between the interior and exterior, while large windows give them a peripheral view of the eclectic mix of the surrounding architecture.

Since the walls engage both exterior and interior conditions, they better communicate with the urban space. Each element is a window for both the inhabitants and community, but contain more program than a typical window and can be moved within and beyond the footprint.

•

LINK HOUSE

This dwelling is designed to strengthen the bond between the inhabitants and the habitat further than what’s experienced in a typical structure while simultaneously responding to the inhabitants’ interests. Our method recalls how a musician is introduced to, learns, then eventually masters their instrument; the inhabitants are provided with an open-ended set of instructions on how to operate within the dwelling, with which they then proceed to learn to move in the space based on how they uniquely see fit. This encourages them to develop a personal method of living in the space similar to how a musician develops an individual style or sound on their respective instruments.

MUSIC MATRIX

RAUMHOME People experiencing the skatepark and building above are able to acquire both enjoyment and excitement in many aspects. Inhabitants can enjoy the skatepark along with people around the community, which would attract more liveliness. They share the special space formed by various sizes of triangular faceted surfaces, which would bring fun and inspiration especially to artists and children. They can also form their private spaces and interact with each other through the ascending/descending and sliding of furniture.

What is the center of the home? What if it moved? The core house creates a condition for adaptable alcoves that move as individual tectonic elements within the home. Public and private spaces are changed by the movement of these conditions; the alcoves can create space or limit circulation. Walls engage both exterior and interior conditions, with private storage becoming a public entertainment bar to engage with surrounding dwellings, specifically the Passageway house, for community gatherings centered around food and drink. The private bath modules become community waterspouts, changing from screened showers to playful splash zones. The families and individuals living here have constant, adaptable agency in their own private/public programmatic needs, all hinging at the home’s core.

SKATEPARK HOME

CORE HOUSE

The Passageway dwelling has a main core on the first floor that by shifting walls and temporary boundaries, opens up to the entire site. Inhabitants of the living unit and others from the community can make use of the kitchens and gather together in the center of the dwelling or pass through the entire passageway back out into the site, and its surrounding gardens. Through the raising/lowering and pushing/pulling the two families are able to communicate and form a community of their own as they help to serve the city of Troy.

PASSAGEWAY

•

The trunks are the most communicative. Private storage becomes a public entertainment bar to engage with surrounding dwellings, specifically the Passageway house, for community gatherings centered around food and drink. The private bath modules become community waterspouts, active on both levels of the home to provide more playful and public program to groups beyond the home.

The nature of the flexible elements, and their location along the dwelling’s exterior and core, lead FLEXFORM to have natural conversation with the greater community. The positive social spaces on the urban scale reflect the radical spaces within its flexible forms and functions. A flexible home is a social home, where user adaptability fosters urban inclusivity.

FLEXFORM 43

STAGE 1.5 - MARBLES

CHAOTIC BUTTERFLY The concept of our game is based on the Butterfly Effect, where a seemingly mundane action leads to a bigger consequence. With this concept and frame-by-frame style of gameplay, we are able to create connections among objects, lines, space, and material that which would not be able to exist outside of a virtual setting. The benefit of hand sketching allowed us to freely explore material and line morphing, camera pans and zooms, and other unique forms of transition from state to state. Our game comprises of 4 stages and 1 transition stage (Stage 1.5). In each stage besides Stage 1.5, an action-- and therefore an object, line, or space-- cause a reaction that gets progessively more dire in each stage. We took inspiration from Gorogoa and Petting Zoo. In Gorogoa, space is explored through moving frames around, and creating interlocking images that trigger a scene. In Petting Zoo, the player is able to swipe their finger to control animals’ movements. With just a simple line, it creates an interactive experience exploring shape and morphs.

LEGEND: Conceptual relationship [operations]

lines produce space with one-point perspective [scaling, fading in]

object manipulates division and space [rotation]

material property becomes environment [zooming in]

properties of object warps surrounding [line warping] broken object as landscape

GAME PLAY: Click or swipe on objects to trigger an animation when in doubt, spam click the screen :)

STAGE 1 - VASE

space to new space [panning down]

material property becomes environment [zooming in]

lines form object that exists in a landscape [morphing]

space to object while forming division between space and player [first person view]

STAGE 4 - BREAD

object’s action in one space occurs simultaneously in another space [zooming in and interlocking]

STAGE 3 FERRIS WHEEL

material property becomes environment [zooming in]

STAGE 2 MAGNIFYING GLASS components of objects form together into another object [zooming in and interlocking] property of object transitions to new scene [burning]

objects in space [selection] landscape to lines to object in space [object stretching and line manipulation] space to object-space exposing scene below [space manipulation; 3D to 2D]

it’s you! lines remove space (3D to 2D) [scaling, fading out]

new object geometry relates to another object with similar roundness [morphing lines and texture]

object within a landscape [zooming out]

space within a space [zooming out]

Link to Individual Scenes Playlist: https://www.youtube.com/playlist?list=PLzz8VsRsnH97aXEprEHwNoh57dInsb22J Link to Stages Playlist: https://www.youtube.com/playlist?list=PLzz8VsRsnH95sUTDwCN16AGZKBvvmz2BF Link to Film (fly-through of entire game): https://youtu.be/YxQOdOd-ir0 References: Gorogoa: https://www.youtube.com/watch?t=42&v=xtZVVW17oCY Petting Zoo: https://www.youtube.com/watch?v=rOX-zvIdH9w 44 CHAOTIC BUTTERFLY

CHAOTIC BUTTERFLY 45

46 VERTICAL FOLLY

MECHANICAL PINATA 47

48 DIGITAL IMAGING, CONSTRUCTION SYSTEMS, DRAWING

DIGITAL CONSTRUCTS 49

The section through an object, derived from a gothic oranament, produced an abstract clam shell after photoshopping layers of linework and renderings.