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TABLE OF CONTENTS

EDUCATION

NEO · YANGHUA MONASTERY Religious Architecture Academic & Individual work · Fall 2021

Chongqing University 09/2017 - 06/2022 Bachelor of Archeitecture, School of Architecture and Urban Planning GPA: 3.5/4.0

Politecnico di Milano 10/2019- 02/2020 International Exchange Program, School of Architecture Urban Planning Construction Engineering Grade: 26.75/30

HONORS & AWARDS

A MOONLIT NIGHT ON THE SPRING RIVER Hotel & Gallery & Library Academic & Individual work · Spring 2021

FUN CINEMA · FUN CITY Cinema Academic & Individual work · Spring 2021

The second prize in 2021 Architectural Model Making Competition held by Chongqing University Excellent Project Conclusion Report in 2021 China Undergraduate Training Program for Innovation and Entrepreneurship Excellent Project Conclusion Report in 2020 Undergraduate Student Research and Training Program of Chongqing University

CRYSTAL CHAIN: Service System For New Arctic Waterway Integrated Infrastructure Academic & Individual work · Winter 2020

Scholarship of 2019 International Exchange Program set for excellent undergraduate students by China Scholarship Council The third prize in 2018 China Greenbuilding Design Competiton The first prize in 2018 Tongji University Construction Festival (2018 Fengyuzhu Plastic Polypropylene Design and Construction Competition)

OTHER WORKS Urban Design · Chinese Traditional Architecture Construction Practice · Stage Art Design · Photography

NEO · YANGHUA MONASTERY Location Gonghe, Qinghai, China Programme Religious Architecture Type Academic & Individual work Supervisor Huang Yonghui (kyleaza@outlook.com) Date Fall 2021

The Yanghua Monastery, or Thegchen Chonkhor(Techen Chokling), was built in the 1578 of the 1575. It was a Tibetan Buddhist temple that once existed south of Qinghai Lake in Amdo Tibetan region. For a meeting between Altan Khan of Tumed Mongols, and Sonam Gyatso, leader of the Gelug-pa, the Ming emperor named the monastery and sent Han craftsmen to build it, but later burned the monastery in the 1591 when the Mongols invaded Amdo.

Sonam Gyatso received the title of Dalai Lama at the monastery, and Altan Khan was converted to the Gelugpa there, so the monastery, which has been in existence for less than 20 years, is both the birthplace of the living Buddha system of the Gelug-pa and the beginning of its spread into Mongolia. The temple plays an important role in the history of culture, religion and architecture of the Han, Tibetan and Mongolian intercourse.

Based on historical information and modern design method, this project reconstructed a modern Yanghua Monastery on the original site. Fully concerning the architectural features of the original temple, the need for worship space, religious symbolism, modern materials and aesthetics, the temple’s glory is reproduced in this threelevel earth-rammed structure mixed with CLT.

I. [Research] Architectural Form of Yanghua Monastery: A Study On The Spread of Tibetan Buddhist Architecture In Mongolia

【Typology: Relationship between wooden slope roof and rammed earth volume】

The Yanghua Monastery is a missing piece in the early transmission route of Tibetan Buddhism architecture in Mongolia. While through the evolution of the Symbolic architectural forms of the temple along the transmission route, literature records of the temple, we can infer a lot of information about the original look of the temple.

The layout of the whole temple complex and the function of the halls were deduced from the literature records, the general layout of the Han area and the layout of the two related temples. The plan of the three main halls refers to perhaps the most similar building unit, while the circumambulation corridors of the two 16-column halls is questionable.

In addition, the existence of the Yanghua Monastery itself was relatively short. By the influence of the Mongolian temples. They were generally added with the form of Ü-Tsang dharma halls after the 17th century due to religious reasons.

Since the Yuan dynasty, the main halls of high-level Tibetan Buddhist temples have all been of mixed HanTibetan characteristics, that is to say, the main body of the Tibetan original flat-toped volume and the small Hanstyle pavilion of the wooden structure sloping roof are mixed together in various splicing ways. The new design should also be a new expression of this fusion of duality.

II. [Design] Morphogenesis: The Birth of A Modern Form of Tibetan Buddhist Architecture 【Reinterpretation: From juxtaposition to superposition】

【Space Element And Prototype】

To transform the original layout of the Yanghua Monastery complex, a traditional Chinese temple, into a single modern building, the core approach is to transform the juxtaposition of one-dimensional courtyards into a vertical superposition of multi-storey spaces. Therefore, the new design transforms the projected three-courtyard layout into the three-storey plan of the new building, at the same time, it ensures that the sequence of stream-line connecting space, layer upon layer advancing and symmetrical space effect can be continued in three dimensions.

The building uses contemporary rammed earth to build load bearing exterior wall, follows the tradition of Tibetan architecture in terms of the color and thickness of the wall, rising from thickness to thin with height. The entrance door and the horizontal window of the third floor are highlighted with simple plain concrete as the only openings. The main girders of each floor are placed on the concrete slab of the wall, while the load bearing slabs of the stairs surrounding the inner wall are also exposed through the wall. The floor slab and the stair slab together outline the striations of the facade.

The unit spaces used to assemble the building consists of three important symbolic sections.

The shell is a traditional Tibetan building with a trapezoidal façade, first-floor structure with Tibetan horizontal and vertical racks, and two way vertical traffic flow up and down as a 3D circumambulation corridor. The inner Buddha halls retain shapes of two traditional Han buildings, but the load-bearing structure of the roof is modified and deformed to connect with the main structure of the building through metal cables, and use bare rafters and grilles to create transparency in both the roof interface and the enclosure interface.

III. [Performance] Illustration & Diagram & Render 【Section A-A】

The building has a glass roof over the timber structure, white translucent ceilings below structure sheaf of the second and third floors, and wooden grilles around the two main halls on the second floor to suggest circumambulation corridors, allowing daylight and artificial light to permeate the building from top to bottom.

【Section B-B】

3. Corner: Skylight And Transparency

4. End: Seeing Bahujana After Seeing Buddha

1. Dharma Hall: Darkness And Chanting

2. Gathering: The Four Halls Face Each Other

A MOONLIT NIGHT ON THE SPRING RIVER Location Fuyang, Zhejiang, China Programme Hotel & Gallery & Library Type Academic & Individual work Supervisor Huang Yonghui (kyleaza@outlook.com) Date Spring 2021

Poetry, nature, space, there is a long tradition in China of thinking about the relationship between them. From which both the unique Shan shui and the mature theory of Chinese garden were born. This project will continue this thinking by embedding an inspired hotel for writers, musicians and painters in one of the most famous scenic poems in China, A Moonlit Night On the Spring River.

This poem is weak in narrative and famous for its imagery and philosophy, so my design does not use the narrative spatial clues but responds to the imagery and philosophy instead. At the micro, the combinations of images in each paragraph create specific functional spaces, in which human behaviors corresponds to those in poetry. At the macro, this design responds to the cycle of fate revealed by the poem by connecting all spaces with a circular streamline and placing them at the boundary of land and water, with the building half solid and half floating.

The traditional core does not necessarily require the traditional form, so the building is not only simple and modern in form and material, but also uses the modern techniques of the mobile floating building, in order to embody a kind of water falling flower mood.

I. [Research] From Literature To Space: Reinterpretation of The Poem

In the process of figurative reinterpreting the abstract textual descriptions of the original poems, the focus is on extracting some objects that best reflect the emotions of each passage, and then organizing these objects into organic images (the images are based on the illustrations of embroidered picture books of the Ming and Qing dynasties). These imagined images are then three-dimensionalized, corresponding to single spatial containers respectively, to shape a specific mood atmosphere, so that each scene with typical limited characteristics and expressive light and shadow can echo the action and emotion in certain poetic passage. Each spatial unit here will serve as the part that make up this design.

II. [Design] Form & Function The main part of the building is a circular volume with a width of 6 meters. Inside the volume is the traffic space and the functional spaces along it. The upper surface of the whole ring is an open-air walkway. The half ring on the land and the two circular spaces connected by it are hidden underground. The Big Circle is the sunken garden, and the small circle is the inclined window of meditation room, the earth-covered text and media rooms have side-high windows. The other half of the ring above the water is marked by the arch. Except for the large arch under the observation bridge, all arch and block spaces are arranged in a linear pattern alternating open and closed. The arch blocks are connected to the floating modules of the other two types of rooms. The modules within the ring are the visual arts rooms with a width of 8 meters, the outer 4m wide modules are paired to form music rooms.

III. [Tectonic]Render & Model & Detail

The meditation room is an open, simple and monumental earth-covered space. The circular plane is arranged symmetrically, the height of the room is adapted to the original natural terrain above and gradually decreases from the side connected to the main ring to the farthest end. The circular slanting windows at the far end provide the only natural light source in the space, with subtle variations of daylight at different times of the year and day, and guests sitting on the futons in the middle of the room will be able to look out of the window directly at the graceful arc of the view bridge.

1. Docking status

The floating module is attached to a connecting dock extending from the circular massing through a specific hook member, and the connecting port is provided with a rubber buffer and a waterproof seal. The floor elevation of the main volume, the connecting dock floor and the floating module floor are aligned. When all the floating modules are fully attached, the roof of the inner and outer floating modules will each form an arcshaped undulating pattern combination.

2. Release status

【Arch Block & Floating Module】

All of the floating modules are prefabricated building units with core structure of flat aluminum frames in both directions. The exterior envelope is made of thickened low-E glass on the viewing side and hollow sandwich waterproof wood on the private side. Each module’s streamlined curved pitched roof is covered with inflatable ETFE double membranes, which echoes the shape of the South-China black awning boat and has a strong sense of modern aesthetics and technology.

Each floating module has mechanical hooks and rails for lifting and lowering to the dock, and is also designed with a waterproof roll-up curtain and a waterproof door. The buoyancy airbag groups of the floating module are provided with automatic induction to adjust the water draft line, and each module is also provided with the necessary propeller power device.

When the floating module is disconnected from the connecting dock, the waterproof sealing roller shutter facing the water surface of the connecting dock is first drawn, and then the slide rail waterproof door on the floating module is closed, after checking the tightness, operate the mechanism to move the hook down, place the floating module in the water, and withdraw the hook on the dock after sensing that the floating state is normal and the buoyancy is sufficient.

3. Floating status

The free-floating module can float along the water wave without power, and also can navigate directionally by controlling the hybrid power drive blades on both sides of the float box. The height of the continuous arches on the side of the music modules are designed in advance to ensure the passage of the visual arts modules inside the ring, while the height under the arches of the elevated observation bridge satisfies the entry and exit requirements of all modules.

4. Berthing status Small ferries are reserved at the water-land junction within the ring to allow all floating modules to choose to berth directly at the natural water body boundary and enter the shore landscape directly from the floating module. The water-land ferries are equipped with mechanical devices for fixing, and all floating modules can be regarded as small boats, which can be tied directly to the shore.

FUN CINEMA · FUN CITY Location Chongqing, China Programme Cinema Type Academic & Individual work Supervisor Wang Li (407699189@qq.com) Date Spring 2021

Chongqing is a famous 3D city in China. The Yuzhong Peninsula is the core of the city, especially embodying the magic charm of a mixture of urban sentiment and the style of cyberpunk. This kind of city charm is favored by the big screen in the history of Chinese film, and many spaces of this city are outlined by the movies. The urban spaces, the cinematography and the cinema, container which holds the movies, are in Chongqing as a whole.

When a cinema dedicated to local film festivals is born in such a film city, it must have a unique design, allows the activity and immersive experience to be not confined to a single location, but mobile, multi-centered, scattered throughout the city. Therefore, this design project creates cabin units for watching, non-permanent supports or mega-structures for flexible accommodation of these units shall be provided in the main body and the sub-venues throughout the city, create this nomadic cinema in a way that pays homage to the cybernetic spirit of the Fun Palace and the works of High-Tech masters.

I. [Research] Movie location Mapping: The Architectures And Spaces That The Movies Favor

The previous research sorted out 21 important films which had been shot in Chongqing since the 1930s, and listed the Chongqing shots in all these films as a series, mapping in and around Yuzhong Peninsula corresponds to 26 urban spaces.

In order of frequency in all the films, and then remove from the most frequent spaces the demolished Shi Ba Ti old street and the over-commercialized surrounding area around the liberation monument, finally, six of the most important film locations were left as the sites for the sub-venues of this design.

II. Design Process: Let The Movie Containers Nomadic In The City 【Project Strategy】

【Theoretical Sources】

1. Modularity: Prefabricated Cinema Cabins

III. Main Venue: Technical Details & Performance

2. Megastructure: High-Tech Truss Frame

3. Decomposability: Sub-Venues for Single Cabin

【Section A-A】 The main venue is located in a triangle-shaped site at the intersection of the roads. The sharp corner of the site faces one of Chongqing’s landmarks, the Cathay Grand Theatre & Film Center. The main street-facing facade is diagonally opposite the entrance of Hongya Cave. According to the site, the main gate-like frame is arranged side by side along two axis, which are 45 degrees from each other. So that the back of the largest IMAX cabin is facing the direction of the Theatre, the facade itself can be formed directly from a large screen. The cabins are suspended on the frame, and the social & traffic spaces are arranged around the cabins on transparent planes. The whole ground floor is completely elevated and open to the public activity, and with arc-shaped high white glass enclosing the high-transparent ticket hall and foyer.

【Facade Render & Interior Details】 1 ROOF CONSTRUCTION:

Steel ribbed net roofing Insulation 80mm Secondary waterproofing/covering layer Boarding 29 mm Cellular glass 120 mm

2 MAIN STEEL CONSTRUCTION: Single-piece Warren Truss 3D truss column 3m×6m Latch type connection point

3 STAIRS CONSTRUCTION:

Escalator Rounded glass wall Hollow web steel seem base plate Stabilizing steel hoop

4 CABIN CONSTRUCTION:

Aluminum double dense ribbed panel Insulation 80mm Removable audience seat Perforated I-beam U-shaped suspension frame

5 WALL CONSTRUCTION:

Aluminium window frame Reinforced fixing bar 50 mm Single glazed externaly glass 20 mm

6 FLOOR CONSTRUCTION: Flooring cement 15 mm Polyethylene sheet 80 mm Thermal insulation 20 mm Concrete, type 6 250 mm

The main frame column module of the whole main structure is 3 meters, and the rectangular volume arranged along the main axis consists of 4 rows of main frames and 10 rows of secondary frames between them, the secondary axis is pierced by one long frame. The double grid structure of the non-movable dome screen hall on the top floor is connected with the portal frame to form an integrated structure. Three specifications of the film cabins are suspended in layers on these frames, and the circulation spaces of several main facades are continuous tubes of metal and glass woven inside the 3D envelope.

IV. Sub-Venues Montage: Location & Scene & Route & Procedure 1. Shibanpo Bridge

4. Sujiaba Overpass Junction

The old and new lines of the bridge run parallel, and the cinema cabin is sandwiched between the parallel piers, the structure is attached to the bridge like an upside down spider, with elevators and stairs leading to the deck and the sandbars below.

The medium-sized cabin is located on the lower surface of the uppermost layer of the multilevel overpass, and is supported by the frame structure rising from the elevation and the columns of the original overpass, it is directly accessible from the subway platform under the overpass.

2. The Ropeway Station(N)

【Operation Manual】

The 6 venues are all located in Chongqing’s characteristic urban spaces, many of which are built on air infrastructure. The cabin temporary intervention, in line with the local conditions, the structure of the original borrowing to a certain extent the principle of the structure, so that each venue is a extension of movie scene, and integration with its environment.

5. Zuoying Street Pedestrian Bridge

Small door frame structure stands in front of the ropeway station, the direction of the cabin facing parallel to the direction of the ropeway.

The cinema is accessible from three points, the platform, the ground floor and the earth slope.

The cabin is placed below the footbridge and suspended from a frame next to the original columns, leaving space for the ground parking entrance. From the ground there are spiral stairs to reach, the footbridge leads to a long ramp can also be reached.

6. Huanghuayuan Station 3. Chaotianmen Dock On the north side of the dock are the tracks and platforms of the old tilting trains.

The largest IMAX cabin is suspended above the orbit by two frames, the lower surface of the cabin is parallel to the orbit, and the entrance is directly connected to the Chaotianmen Square.

The cabin is located in the atrium between the front hall building and the elevated platform of the station, parallel to the direction of the subway. The main entrance is located directly on the subway platform and is the most convenient branch hall.

CRYSTAL CHAIN: Service System For New Arctic Waterway Location Arctic Ocean Programme Integrated Infrastructure Type Competition & Individual work Date Winter 2020

Climate change and global warming are bringing the disappearance of the Arctic ice cap, scientists conservatively estimate that within 30 years we will have almost irrevocably ushered in a summer-ice-free Arctic Ocean. On that day, the aboriginal animals and plants of the Arctic will have nowhere to go for their habitat loss. At the same time, a new Arctic waterway near the North Pole, which is extremely short and navigable almost all year round, is clearly bringing an explosion of human activities to this virgin sea. But if the new waterway has to emerge in the near future, there is still a chance that architectural solutions will address the conflict and translate the uncertainty into an optimistic reality.

It is clear that individual or small-scale architectural design can not effectively intervene in the new Arctic sea route, so we would like to provide an Arctic waterway infrastructure system consisting of three types of modular sea skyscrapers, in this architectural scenario, it will solve the problems of human and nature in the future Arctic shipping route.

I. [Research] Natural Background In Arctic

1. Existing Arctic waterway

2. Distribution of Arctic natural resources

The fabled Northwest Passage and Northern Sea Route that were once the quests of early Western explorers are now increasingly sea ice-free because of global warming, with routine vessel transits expected by midcentury.

The Arctic is rich in oil and gas resources, which still remains intact because of ice and high risks.

But with the decline of Artic sea ice coverage, the natural resource in Artic may become more available than before. It's urgent to consider how to exploit the resource in Artic.

3. Vulnerability of Arctic marine mammals to vessel traffic The Arctic used to be one of the least visited regions by humans. But now vessel traffic may cause potential impacts on endemic Arctic marine mammal species. they play a critical social and ecological roles in the ecosystem and are widely recognized susceptibility to ice loss.

4. Prediction of Arctic sea ice area The Arctic sea ice decline has occurred in recent decades by sea ice in the Arctic Ocean melting faster than it refreezes in the winter. The area of Arctic sea ice is decreasing year by year.

5. Vulnerability of Arctic marine mammals to vessel traffic

【Mapping】

The fabled Northwest Passage and Northern Sea Route are now increasingly icefree because of global warming, with routine vessel transits expected by midcentury. In response to the coming situation, a service system is needed to help maintain the normal operation of the Actic waterway. The system consists of three models:large, medium, and small. Their functions are implemented by small modules such as guide, recovering garbage, monitoring environment and exploiting gas/oil in the ocean and so on. Besides, biological habitat can be created by enclosing a large area with buildings, which may protect vulnerable Arctic marine mammals.

And then we place the three kind of models on the Arctic waterway according to the distribution of oil and gas resources and the scope of their influence on each other. They can not only serve as a service system for Arctic waterway, but also provide habitat for Arctic creatures.

II. [Design] Function & Structure The largest Type L of immobile towers serve the most important themes of the Arctic waterway, cargo trade and oil and gas exploration.

They will function as both an oil and gas platform, a cargo terminal and a maritime settlement.

The medium sized towers Type M will have more to do with the ecology of plants and animals. The towers are linked to each other by temperature conversion pipes that hang the chillers, an artificial ice sheet habitat is created by enclosing and cooling the interior by expelling heat from the outside. These habitat groups will remain in places where Arctic ecology has been active, providing homes for plants and animals. At the same time, a certain amount of spaces is reserved to provide the possibility of research and viewing.

The small towers Type S act as floating lighthouses and marine science stations, guiding shipping lanes, collecting marine data, and monitoring and filtering harmful materials brought to the sea by human activities. Type Ss can also be used as a sea refuge in case of emergency.

III. Organization: Morphogenesis & Unit Assembly & Operation Process 【Type M: Creating Artificial Habitats】

It's aimed to creat an artificial habitat for Arctic animal.

The temperature is low enough to ensure the area of the ice floe.

There is refrigeration at the bottom of every building.

Water eventually Form icebergs around the building.

The floating ice zone in the center of the site will act as habitat for Arctic animals.

All three types of towers consist of industrial modules in octagonal and tetrahedral shapes, with differentiated equipment or facades prefabricated according to the function and location within the tower volume. This design means that all three types can be assembled at sea, while all cold construction at each node ensures zero construction waste and the goal of complete recycling.

【Connecting Nodes】

【Process Diagram Section】

【Urban Design】 Name: Rebirth —— Old Community Micro Renovation Location: Chongqing, China Type: Academic & Group work Collaborator: Chuxiang Qiu, Kaikun Lai Date: Spring 2021

Name: Design of The Milan Railway-belt’s South Transect (Exchange Studio, POLITECNICO DI MILANO) Location: Milan, Italy Type: Academic & Group work Collaborator: Beken Amde, Jose Sibi, Sezen Akinci, Zumrud Nabiyeva Date: Winter 2019

Other Works

【Chinese Traditional Architecture】

Name: An Archaize Zen Temple of South-west China Local Style Location: Chongqing, China Type: Academic & Team work Collaborator: Jue Hou Date: Fall 2020

【Construction Practice】 Name: Blooming Lilacs —— A Plastic Polypropylene Pavilion Location: Tongji University, Shanghai, China Type: Building Construction & Group work Collaborator: Hongbo Du, Jue Hou, Xiaolan Gao, Xingjie Xie, Yiying Song, Yuan Xiong, Yuntao Li Date: Spring 2018

【Stage Art Design】 Name: Story of A Staircase (Historia de una escalera) Play Location: Chongqing University Film Academy Small Theater, Chongqing, China Type: Multi-disciplinary & Team work Collaborator: Keyao Ji Date: Winter 2020

Other Works

【Photography】

BIBLIOGRAPHY 1. Chen Wei. “Yeke Juu Mode”:The Rethinking of the Construction and Layout of the Tibetan Buddhist Monasteries in Mongolia and Tibet.Traditional Chinese Architecture and Gardens, 2020 2. Chen Wei. Rethinking the Study on Tibetan Buddhist Architecture in Mongolia since the Sixteenth Century. Architectural Journal, 2020 3. Charleux, Isabelle.“Circumambulating the Jowo in Mongolia:Why“Erdeni juu”must be understood a“Jowo Rinpoche,”Interaction in the Himalaya and Central Asia: Processes of transfer, translation, and transformation in art, archaeology, religion and polity. (Vienna: Austrian Academy of Sciences Press, 2017), 357-374

4. Zhang Pengju, Gao Xu. Some General Characteristics of the Tibetan Buddhist Architectural Form in Inner Mongolia. New Architecture, 2013 5. Hauser, Donna DW, Kristin L. Laidre, and Harry L. Stern. "Vulnerability of Arctic marine mammals to vessel traffic in the increasingly ice-free Northwest Passage and Northern Sea Route." Proceedings of the National Academy of Sciences 115.29 (2018): 7617-7622.

6.Titiladunayo, I. F., and R. A. Shittu. "Design of a Microcontroller Based Automated Ice-cube Making Machine."