application for M.ARCH portfolio by Ruisheng Yang

application for M.ARCH portfolio Ruisheng Yang

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Fire Lookout on A Ridge ground, sky, in-between Workshop for Paper Artisans spaces for processing Architecture Hall Re-imagined altered physical reality Marie River Education Center construct (dis)connection SDF Installation WA(TER)POW(ER) space + information Composition Studies individual photography works

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FIRE LOOKOUT ON A RIDGE

Two types of vastly different landscape compose the site: the rocky shear dropping cliff with prospect of the entire valley, and subtly sloping meadow with intimate touch of grass. Human experience of the site is constantly changing as people move towards or away from the cliff.

BA.ARCH_DESIGN STUDIO 4_2017 AU INDIVIDUAL ACADEMIC PROJECT INSTRUCTORS: ROB HUTCHISON, SCOTT CLAASSEN

Situated on a ridge in Oak Creek Wildlife Area, East Washington, the building is designed as a fire-watch as well as a service station that provides hunters and backpackers with lodging. A road runs through the bottom of the valley, but there is no direct connection between the driveway and the ridge. To get

there, people have to hike though water and hillside. At the end of their hike, visitors will find a hovering linear structure that does not follow the terrain. As they get in, it removes them from the ground, shelter them from the sky, and prepare them for their future journeys.

100

200

300

400

500 (ft)

Oak Creek

Oak Creek Road

Prospect

Refuge

Fire Lookout

Library

Dining

Kitchen

Upper floor plan

Accommodations

Longitudinal section

By spanning over both the ridge and the meadow, the linear frame structure serves as a datum that helps generating spaces with distinctive qualities as view shifts and terrain changes. Based on the datum, programs naturally find their positions according to their spatial needs: The fire outlook gets the prospect as it stands on

top of the cliff; the lodging components find calmness as they hover above the less windy meadow; taking form of cast-inplace concrete platform, the heavier utility and more active public parts directly interact with the ground as they carve into rocks and become the entry.

The buildingâ&#x20AC;&#x2122;s west face is designed to be more solid so that it protects inhabitants from western exposure and sets an end to their past journey. The east side of the building, on the contrary, is open: people are always visually connected to the nature, and invited to explore the untouched landscape out there.

Section perspective through dining space

Fire lookout prospect

Structural scheme: Due to limited accessibility of the site and difficulty of transportation, structural frame is designed to be built out of two by lumbers that can be dropped off by helicopters. This simple and repetitive structural scheme allows fast-peaced, low-tech on-

site assembling with a small number of builders involved, which is desirable given the remoteness of the site. Building envelopes are all designed to share the same dimensions and similar structures, which makes pre-fabrication, delivery, and installation easier.

Construction: As the building is expected to be built by a few people in a relatively long time span, phased construction turns this building into a evolving narrative rather than a standstill object - the building will have changing functions as its parts are gradually implemented.

Phase 1 Campground

Phase 2 Shelter

Phase 3 Fire Watch

Phase 4 Lodging Addition

WORKSHOP FOR PAPER ARTISANS

During papermaking process, materials of different kinds are broken apart and then reassembled together to form a new uniform object. Following a similar logic, design of the workshop seeks to bring a coherent and poetic language that organizes the process of making.

BA.ARCH_DESIGN STUDIO 3_2017 SP INDIVIDUAL ACADEMIC PROJECT INSTRUCTORS: JENNIFER DEE, JULIA REEVE

Located in a light industrial area along the bank of Fremont Cut, Seattle, WA, the workshop provides five artists with a series of essential spaces for traditional western papermaking, a collaborative workshop, and individual studios.

Context texture is envisioned as a continuous skin that wraps around all different programs and binds them together. Meanwhile, Separation and parting among programs also break apart the skin and open interior spaces to the exterior.

A. B. C. D. E. F.

Beating Forming Couching Pressing Drying Finishing

E D

F B

Context and programs

Elevations

South elevation

West elevation

Skin texture study

Entry and main staircase

Paper forming space

Collaborative workshop

Section B

Wet and messy space for paper forming

Schematic: The programmatic design starts with separation between wet activities and dry activities - papermaking process takes place in the wet area while administrative works and sophisticated craft works happen in the dry sector. Then, smaller spaces within each sectors are further taken apart - wet and clean spaces for paper drying and inspecting are separated from wet and messy space for

Section A

Wet and clean space for paper drying

paper forming; individual studios are parted from gathering space and shared workshop. Meanwhile, dry and wet sectors remain connected through circulation of paper, and spaces for various activities maintain spatial bonds through visual connections and circulation of workers. Tectonics: Concrete grounds the building; structural frames claim space; skin defines

Section C

Dry space for paper art making

enclosure and bonds everything together by wrapping around frames and concrete. Vertical plywood formwork that leaves concrete its impression and vertical wood lapping siding are used to visually anchor this building down to its heavy-traffic corner position, although horizontal wood siding is common on buildings nearby.

[8] [6]

[9]

[10]

[7]

[4]

[3]

[2]

[1]

[1] Office [2] Paper forming shop [3] Pulp preparing room [4] Restroom [5] Letterpress shop [6] Individual studio [7] Kitchen [8] Conference room [9] Paper drying space [10] Inspection space

Paper Circulation

Ground level

Mid level

Top level

ARCHITECTURE HALL RE-IMAGINED

This project brings out an “cover version” of an existing building: while the building’s original programmatic design remains, physical realities, like structures and materials, are reimagined to explore things beyond schematic.

BA.ARCH_DESIGN STUDIO 5_2018 WI INDIVIDUAL ACADEMIC PROJECT INSTRUCTORS: MARK WEST, TYLER SPRAGUE

The 100-year-old Architecture Hall in University of Washington campus employs a conventional steel and concrete frame structure. Experience of the building is fragmented into a series of individual rooms and never forms a whole picture due to extensive use of standard wall

partitions. In this new “cover version”, a slab and column structure is introduced to replace the existing structure of Architecture Hall’s central bay and pushes what is possible given the existing schematic design.

Interior perspectives of existing condition

Fabric formwork experiment (in collaboration with Morocco Branting, Mikhail Zogorski, and Nik Rustad)

Material: Concrete is generally not considered flexible as a result of conventional rigid formwork. However, when concrete is cast into inelastic fabric formwork, it offers complex and intriguing forms which directly express gravity and tension within concrete. By using permeable geotexile fabric and modular formwork system DUO, I experimented with this concrete casting technique in a

group of four by casting two short concrete walls. Concrete actively interacts with forces that try to constrain it and shows exceptional ability to visualize those forces with the most delicate impression of the fabric. Structure: Fabric formed concrete slab is introduced to replaced rigid steel framing. Making of the slab involves a 3-step

process. First, column positions are marked by jig, and then fabric is secured to it and tensed. Second, mould is cast against the fabric. Lastly, the slab is cast against the mould. A series of ribs radiating from columns will show up on the finished slab and provide it with structure; Capitals are formed where columns meet the slab to help distribute load.

Plaster study model 1/4” = 1’ 0”

A B

1. Configure column positions

2. Secure fabric and create structural shape

3. Cast mould with light weight concrete

4. Divide mould into 3 parts for transportation

D E F G

5. Assemble and elevate mould on-site

A. B. C. D. E. F. G.

6. Cast slab and bearing walls

While fabric formed concrete slabs and steel columns compose the bones of this central bay, separation of spaces is achieved through use of hanging wood panels. What is structure and what is partition are clearly distinguished. Unified by shared undecorated concrete ceilings,

each levels becomes a single environment with smaller spaces within it, instead of a series of individual rooms. Electric and mechanical system that used to be hidden above hanging ceiling are moved underneath elevated floor. One of

Concrete Slab Rubber Pad Steel Column Electrical System Steel Cylinder Anchor Bolt Steel Plate

the two identical staircases is replaced by a slide that brings an alternative way for moving between floors. Unused attic above the top level cafe is removed to make room for long span warehouse structure that vertically extrudes the space and improves natural light access.

MARIE RIVER EDUCATION CENTER

BA.ARCH_DESIGN STUDIO 6_2018 SP INDIVIDUAL ACADEMIC PROJECT INSTRUCTORS: GLENN MURCUTT, PETER COHAN

Overview of Education Compound

Disconnections to the nature have to be constructed in order to protect us from the elements and wildness. Connections also have to be maintained to make us learn respect and feel alive. There is an certain balance that needs to be determined.

30 minutes’ drive from the small town Kempsey, New South Whales, Australia, Glenn’s farm locates right next to Marie River and Marie Short House sits on the highest spot within the farm. In addition to the main farm house and several abandoned sheds, student accommodations and food production components will be implemented to make

the farm an education center that runs outside winter months. In order to acquire clean energy to supply the building complex, a small wind power plant that takes advantage of North-Eastern wind and open space at the farm’s entry will also be installed.

100 (m)

win d

Wind Turbine

[1] Pond

[8] [9] [2]

[5] [4]

[3]

[7]

[10] [6]

SE w

ind

Floodplain

Marie River

Existing Buildings [1] Marie Short House - instructor residence [2] Abandoned Office - repurposed to farm product storage [3] Guest Studio - remodeled to host more students [4] Large Shed - repurposed to accommodate goat milking stalls and chicken copes [5] Small Shed - reused as Cheese Making Room Education Compound [6] Activity Center [7] Student Housing Food Production Center [8] Tropical Glass House Vegetable Garden [9] Tractor Shed [10] Goat Shed

Kangaroo population

DEC

Veranda and rainwater collection

Seasonal ﬂood

JAN

NOV

DRY-BULB TEMP (degrees C)

FEB

OCT

MAR

SEP

APR

0% 72% 13% 13% 13%

< 0 0 - 21 21 - 24 24 - 38 > 38

Natural Ventilation AUG

MAY

JUL

JUN

Comfort Zone

Number of days of rainfall ≥ 25mm Number of days of rainfall ≥ 10mm Internal Heat Gain

Number of days of rainfall ≥ 1mm

1. Expanding the ground

2. Relocating activities

3. Sheltering and adapting

Marie Short House

View to floodplain

Food Production Center

Education Compound

Environment Notes: As it gets neither too hot nor too cold all year round in Kempsey, internal heat gain may satisfy heating need for the most time and natural ventilation can help deal with summer heat and extreme humidity. Adequate rainfall from April to November makes rainwater harvesting ideal. Usually 20-40 kangaroos wander around the farm and may come very close to human. Floodplain to the west and south of the site may flood 3 to 4 times a year during storm season.

Master Plan: Contrasting to open farmland on the north and west of Marie Short House, land to the south is fragmented by trees. New building additions quietly lie behind the woods without disturbing the existing conditions and views of the main farmhouse. The existing farmhouse, agriculture center, and education compound form three spatially disconnected clusters that are indirectly tied together by the farm product storage â&#x20AC;&#x201C; the abandoned office.

Food Production Center: Concentrated within existing fence, a series of farm programs create a courtyard compound which hides its messiness from the rest of the farm. Old sheds are repurposed to accommodate new farm programs. The tropical glass house has an internal height of 6m to grow papaya trees and other tropical fruit plants. It digs 2m into the ground to reduce its exterior height. Translucent PV panels partially cover its slope roof and produce energy.

June 21 Studying Sleeping

Gathering

December 21

Education Compound: Two linear buildings radiate outwards as they form an outdoor playground between them and allow prospect of the floodplain to pass through. Hovering above floodplain and putting minimal spatial interruption to wildlife, they remove human presences from the ground by relocating and concentrating human activities. While asked to maintain

a physical distance, people are always visually connected to the site. Building positions and orientations allow sunlight to wake people up from their bed, and illuminate their dining table in the evening. Activity Center: Accompanied and bridged by a linear service sector that contains a library, a storage, and restrooms, the main

lounge space floats above floodplain and offers uninterrupted views of the nature. Large folding door opens the lounge area to outdoor environment. Water tanks that collect storm water off the giant roofs are located underneath the building while cantilevering gutter overflow at the entry remind visitors this process.

Activity Center entry and gutter overflow

Insect meshed veranda and open lounge in late afternoon light

Section A Lower operable vents and higher operable windows with insect mesh enable natural gravity ventilation

Section B Fixed louvers completely block out summer sun until 4 PM. Afterwards, evening light filtered through louvers and tree canopies will fill up the living space

Section C Kayaks stored under the activity center will float and be ready for adventure when flood comes

Section perspective during a ï¬&#x201A;ood

Railing & Joist

Gutter & Rafter

Footing & Column

Morning light in sleeping unit

Walkway perspective

Section through walkway

Student Accommodation: Sleeping space disconnects dwellers from constant presence of the floodplain and generates a sense of intimacy through its smaller scale and filtered view to trees nearby;

walkway leading to each units reconnects people back to the outlook of floodplain and forest beyond. A deep, narrow, and low portal completes the transition between these two distinctive experiences.

While the structure is filled with dwelling units, both ends of it open up and offer unique hangout spaces. Again, gutter is emphasized to draw connections among form, functionality, and climate.

SDF INSTALLATION WA(TER)POW(ER)

BA.ARCH_BE STUDIO_ 2017 SU GROUP ACADEMIC PROJECT INSTRUCTORS: ROB CORSER, JULIET DUBROCA

(Project in collaboration with Amandeep Panach, Yuchen Qiu, Jim Ditto, Melinda Groenewegen, Elaine Palacios, Michael Ennen, Evan Solic, Jack Aitken, Lauren Patnoe, and Matt Frantz. All drawings included are personal work if not clearly labeled with other names)

Designed and fabricated by a group of 11 students with a budget of 1,500 dollars, installation WAPOW speaks about the power of water. The installation was exhibited during Seattle Design Festival Block Party 2017: POWER.

Central “canyon” stands as a spatial metaphor for power of water. Blue fabric moves with wind and creates watery effect. Facts about water are laser printed on plexiglas panels that are inserted inbetween “outriggers”. This installation is an experiment that studies how built

object communicates with people in both spatial and informative ways. We utilized lumber, steel, and other found objects like scaffolding and PVC pipes as materials, and various tools such as CNC and 3D printer for the fabrication process.

Central “canyon” view (photo credit to: Yuchen Qiu)

Side exterior view (photo credit to: Yuchen Qiu)

COMPOSITION STUDIES

2017 - 2018 INDIVIDUAL WORKS MEDIA: DIGITAL AND ANALOG PHOTOGRAPHY

portfolio Ruisheng Yang ruishyang@gmail.com