Portfolio of siyang yu by Siyang Yu

Portfolio Siyang Yu

Siyang Yu designer siyang.yu@yahoo.com

academic background aug. 2013 - may. 2014

University of Pennsylvania Master of Architecture Philadelphia, Pennsylvania sep. 2006 - jun. 2011

Tongji University Bachelor of Architecture Shanghai, China

honor sep.2016

"Making" Alternative Designs for Factories Winner International Competition may.2016

"Sleeping" Alternative Designs for Hotels Honorable Mention International Competition may.2015

DADA 2015 Events - Digital Factory Exhibition Tongji University Oct.2015

A Surrealist Museum Publication featured at http://arquitectorial.com may.2014

inTRANSIGENT - Research in Surrealism Publication University of Pennsylvania

experience jul. 2011 - jul.2013, jul.2014 - current

Gensler Designer New York, Shanghai 88 Queen St Condos Toronto, Canada

GFA 800,000 SQFT, FAR 5.0 Competition First Prize, Schematic Design

25 Kent Avenue Warehouse Renovation Brooklyn, New York, US GFA 500,000 SQFT, FAR 3.0 Schematic Design, Design Development

Suzhou Zhongnan Center Suzhou, China

Megatall 700m, GFA 404,000 M2, FAR 22 Competition First Prize, Schematic Design

Chongqing Fusion Center Chongqing, China

GFA 106,000 M2, FAR 13.6 Competition First Prize, Schematic Design, Design Development, Built

Huawei Wuhan R&D & Production Project Phase II Huawei, China

GFA 223,000 M2, FAR 0.8 Competition First Prize

skills python grasshopper rhino vray autoCAD photoshop illustrator indesign

When I think about architecture, images come into my mind. Many of these images are connected with my training and work as an architect. They contain the professional knowledge about architecture that I have gathered over the years. Some of the other images have to do with my childhood. There was a time when I experienced architecture without thinking about it. ---------- Peter Zumtor It is an extremely common mistake that people think writer's imagination is always at work, that he's constantly inventing an endless supply of incidence and episode, that he simply dreams up his stories out of thin air. In point of fact, the opposite is true, once the public knows you as a writer, they bring the characters and events to you, and as long as you maintain your ability to look and to carefully listen, these stories will continue to seek you out over your lifetime. ---------- the Grand Budapest Hotel I believe that every delicate touch of instinct, which seems to come from nowhere, has to connect with some sort of experience, images in the mind. Images , like playing string game, twisting green pipes, building blocks at childhood, or scenes, like a smartly dressed eldly man taking photography of his wife, who's sipping on her espresso, stay in the mind, which I 've never tried to remember, but they are there and burst in unconsciously when I am doing my design. Images are my source of imagination.

01 THE FLYING FACTORY TYPE: "Making" - Alternative Design for Factory, Winner SIZE: Flexible LOCATION: Flexible COLLABORATOR:Zheng Cui

The Flying Factory

China is expecting to have over 1 billion people living in urban area by 2030. A colossal amount of investment on urban infrastructure and real estate are required to satisfy the migration. Meanwhile, with the rapid emerging industry of e-commerce, mega-packing warehouses and large manufacture centers are mushrooming in urban area, rendering the shortage of land resource even more critical, and consequently, a bloating in the housing market, let along the alarming environmental pollutions. The flying factory is aimed to solve this challenge. The factory is lifted by drones, powered by solar energy, with great mobility and zero land coverage. The traditional manufacture industry separates raw material gathering, making, storage, sell and delivery. The transportation itself between each stop is time and energy consuming, let along all sort of infrastructure that has to be built earlier. Our flying factory assembles the entire industry in one place. Products are assembled by working robots at work station and delivered by smart drones to storage warehouses. Consumers are welcomed to visit these warehouses by drones to choose and pick their favorite products, or simply place orders online and our smart drones will deliver the packages to your place. Our flying factory is extremely flexible. It is easy to expend or reduce manufacture scale by order to have drones and working robots to delivery and assemble. Even the entire factory could move to different locations at different times, such as city center during day time, and suburban residential area at night so people at office or home will get their packages in minutes. During natural disaster events or war time, our flying factory could serve to meet those urgent need.

4 7

[HERCULES DRONE] structure lift platform movement logistics management

[SMART DRONE] product delivery visitors transportation stand-by

[WORKING ROBOT] product assembly [DRONE and ROBOTIC SYSTEM] The specially designed drone and robotic system is a new type of multi-functional flying swarm robot. The major job for them is lifting the entire structure, carrying goods and visitors, moving warehouses and platforms, and most importantly, making deliveries. Once the order is placed, [SMART DRONE] will make delivers accordingly.

[VISIT] Wants to have a tour to the factory? make an online request and [SMART DRONE] will come to pick you up from your location. The platform lifted by those swarm robots will move you around to different warehouse zones

[ORDER] Don't want to go for outdoor shopping? place an online order and [SMART DRONE] will deliver your favorite products to your place

[WAREHOUSE STATION] lifted by [HERCULES DRONE] products are laid up on shelves, each with barcode and information is stored in the data center; selected products are delivered to customers by [SMART DRONE] ["MAKING" STATION] lifted by [HERCULES DRONE] products are assembled by [WORKING ROBOT], and delivered to [WAREHOUSE STATION] by automatic conveyor system

[PULLEY SYSTEM] preinstalled on the top or bottom side of each [WAREHOUSE STATION] and each [FLYING PLATFORM], so that [SMART DRONE]s could be held tightly to those stations and platforms; every pulley system allows settlement of three [SMART DRONE]s at the same time, which gives the flexibility of changing shift when one [SMART DRONE] on duty needs fuel filling;

[PROCESSING BAR] products are processed and information is gathered and barcode is added for each product. After processing, books are delivered to specific [WAREHOUSE STATION]

10 [FLYING PLATFORM] moving around to allow the connection of different [WAREHOUSE STATION]s and platforms upon request

6 2 2

Balloon Dream

02 BALLOON DREAM TYPE: "Sleeping" - Alternative Design for Hotel, Honorable Mention SIZE: Flexible LOCATION: Flexible COLLABORATOR:Zheng Cui

BALLOON DREAM is a floating hotel pod hanging on a hot air balloon, which is connected to a camping deck. Balloon comes down to ground every morning, and goes up during the night. Guests will experience a unique night sleeping in the sky. There are some basic functions inside the pod, such as sleeping space, mini bathroom and heating equipment, guests could use other amenities and facilities on the camping deck during daytime. Sleeping in the pod is free but guests have to find its location with clues by answering a series of questions posted on the website. To answer questions, guests sometimes need to physically go to certain camping locations, and post their answers on the website and other social media. People arrived but posted wrong answers will get compensations and could enjoy other activities on the spot. Those locations are actually belong to BALLOON DREAM, so itâ&#x20AC;&#x2122;s good advertisement. The event continues and will appear at random locations across all over the world. Join us today and start your new journey.

03 A Surrealist Museum in DMZ TYPE: Fall Sem. 2013 Design Studio, Upenn SIZE: N/A LOCATION: Demilitarized Zone, Korea PROFESSOR: Ferda Kolatan COLLABORATOR:Qi Shen

A Surrealist Museum

I believe in the future resolution of these two states -- outwardly so contradictory -- which are dream and reality, into a sort of absolute reality, a surreality, so to speak, I am aiming for its conquest, certain that I myself shall not attain it, but too indifferent to my death not to calculate the joys of such possession. Le Manifeste du SurrĂŠalisme, Andre Breton (1924)

The aim of surrealism is to resolve the previously contradictory conditions of dream and reality. Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself. As to the museum to house these art pieces, we intended to achieve such surrealistic feeling by blurring its boundary through a tactical dissolution of the object based on the blurring of its silhouettes and the dissolution of its presence. For the past half century since the agreement was signed, the Korean DMZ has been a deadly place for humans. However, the natural isolation along the 155 miles length of the DMZ has created an involuntary park which is now recognized as one of the most well-preserved areas of temperate habitat in the world. Such seemingly peacefulness and serenity is an ironic contrast to the current and long-existing tense relationship between the two countries at the border. Beneath the involuntary park, there twisted hundreds of tunnels, crooked, lonely, and tangled in all directions. Those tunnels, though long been abandoned, may still come to dreams to many people. Our new surrealist museum connects those tunnels with many new tunnels, while at the same time blurring the boundaries between inside and outside, the old and new, the past and the future and the real and dream. The ever-changing landform integrates with the museum. The rising tide would sometimes bring water up and flow along the land and permeate through the building. The museum tour is imbued with extraordinary experience overlapped with the environment, and historical existing.

A Surrealist Museum

He had no choice but went on until he found another man in a northern army uniform leaning to a rock, with very weak breaths. Both guys had no weapon and were more or less injured by the land slip, the last thing they would like to do was fighting. It didn’t take long before Seung got to know that this leg-injured guy named Namgung had been trapped in these secret tunnels for more than 10 days and had been just waiting to die, as the almost lost his movability. “Where are you from?” Said Seung looking in to Namgung’s eyes, “North Korea joint security area.” said Namgung. Occasionally a slender beam of light slipped in through some openings before them, tiny but bright, which threw a great joy in Seung and Namgung's heart. But this was seldom and soon ceased altogether.

A SURREAL STORY SUMMER, 2051, DMZ When Seung first came to DMZ - Demilitarized Zone between North Korea and South Korea, it was Seung’s first year of conscription as a sergeant. This area had used to be rich of plants and animals, until World War III in 2044, when 11 hydrogen bombs exploded across the land. In the dark greenish sandy desert, hundreds of Towers stood in front of Seung. Constructed with 50 feet height and an overwhelming podium, they looked like living monsters moaning in the wind and soil. They looked like sort of strange flowers from far away, but reminded you of the mushroom cloud of Hydrogen explosion. Under the soil, enormous buried mines had kept people of the two countries from entering the zone for ages, since before WW II. After 2044, the mines were getting even much more sensitive to the ground activities, soldiers in the army camp called the mines furious ghost beneath feet. Every time a mine exploded, a tower would be built as an observatory tower and controller of radiation, while also as hosting the souls of the victims in either the hydrogen or the mine explosion. Winter, 2051, DMZ On a routine patrol around the mines, Seung realized that he hadn’t seen any Towers for hours. All of a sudden, a mine exploded with the sands around flowing downwards, which unveiled the sculpted rocks beneath. Seung fell down with the sand slides, with his face cut bleeding by some rock. When the sand stopped slipping, in front of Seung, there were many paths of some material like rocks but much softer. Those paths were crooked, lonely, and tangled in all directions. Desire for living had driven him to move forward. He soon found out that most of the paths were deceptions and led nowhere. In his first few hours in these dark tunnels, he could not tell a glimmer in the path was indication of a pool or an underground stream or a tunnel towards another twisted cave. As his eyes became used to the dimness, he could see there were tunnels in all direction in a sort of dark rose-red glimmer, intersecting to each other. The way towards the ground also seemed impossible with the hundreds of tangled paths concealing the one he came from. Seung longed for a sight of sun and the sky and the feel of the wind on his face.

Summer, 2052, DMZ When Seung woke up in the camp clinic room, he was told he had been unconscious for 6 months since rescued from DMZ, 11 days after the explosion accident. His army mates found him in a sand slip caused by mine explosion. Fortunately surviving an explosion, Seung’s left leg was found seriously injured by steep rocks, according to the doctor, but nothing had been wrong with his face and eyes. With his crutch, Seung waddled back to the explosion site where another Tower was being assembled. Below those prefabricated frames, the podium had already been covered with wind and water proofing cotton panels. Those giant orange monsters were now all covered with the greenish cotton panels which showed spotted area of pink stains. Due to serious El Nino and hydrogen radiation, rains had come more and more frequently, with a smell of acid. Seung spotted a new river flowing across the joint area which used to be a desert. The stream was so shallow that the distributed steep rocks were unveiled. Something flashed through Seung’s mind when he was thinking about the rock tunnels, he thought something must be hidden by the water and soil, and he suspected that it was Namgung who saved unmovable him in the explosion. He rushed out from the joint security area all the way to the river, where he found all those twisted tunnels, waving up and down through sands and fluids, implied some connections to the other bank of river. Seung went into one of the tunnel. Not too long after the tunnel entrance, Seung fearfully confirmed with himself that the dangerous, crooked, lonely and tangled tunnel paths were the place where he had been in the mine accident. But it changed a lot, water drifting from above to the ponds which used to be paths. Seung tried out every path he had walked with Namgung, but most of them were blocked by water or mashes. Getting colder and darker, where he could go was only the way without water or with more light leaking from above. He ended up back to the basement of a Tower. Winter, 2052, DMZ When the observatory was completed and furnished, nature lights gently poured through the leaves of frames. The walls of the observatory tower stretched into the air, from where the wind and sky lights melted along those organic walls. Standing beside the palm-looking concrete walls, in his last serving month in camp, through the observatory’s supervising openings, Seung saw his old friend Namgung serving in the guard house on the

A Surrealist Museum

An observatory is specificly designed to enhance the surealistic feel: its precious peacefulness and an invisible tense atmosphere, which conducts a completely different advanture from traditional gallery experience. The observatory is the interweaving of the three distinct material, casting an another layer of ever-changing sensuality. When moving forward, people hover between the outer corten layer, the inner concrete and the construction core as the geometry is twisting and folding. The palm print texture and the flesh alike curvature wall are trying to remind visitors' memory of war.

A Surrealist Museum

Showroom

Restroom

-3.00

Showroom

0.00 Showroom 0.00 Showroom

-3.00

-2.40 Garden

dn Void dn -0.30 Entrance

Parking

0.00 Lobby

0.00 Cafe Information Void

dn -3.00

-3.00

0.00 Showroom

Void

2.10 dn

1.80 Media

0.90 Garden

0.00

1.80 Showroom

-3.00

0.00 up

-1.05 Kitchen 2.10 Garden

0.90 Water

Cafe

-2.85

Void

-1.95

-1.20 -3.75

-1.05 0.00

dn -2.85

0.00

Showroom

-1.50 Garden

Void

-1.05Outdoor Possible Event -0.90

0.00 Cafe

-1.65

up Outdoor Possible Event -1.80

-1.95

-2.10

-0.75 -0.60

-0.75

Void

1.35

Water

Void

04 Suzhou Zhongnan Center TYPE: Competition First Prize, Schematic Design SIZE: 404000 M2,,700m,137 floors LOCATION: Suzhou, China

Elevation Geometry y(t) = Asin(2∏ft +Φ)

Suzhou Zhongnan Center

A = the amplitude, the peak deviation of the function from zero f = the ordinary frequency, the number of oscillations (cycles) that occur each second of time Φ = the phase, specifies (in radians) where in its cycle the oscillation is at t = 0 1

0 -1 0

1/2

3/2

t(∏) y = sin(t+∏)

a = 1; f = 1/2; Φ = ∏ 1

0 -1 0

1/2

3/2

x(∏) Elevation Geometry is based on sine function, and is shaped by four variables. The major feature of the tower is decided by the number of oscillations (cycles). It also depends on whether it's a completely rational sine curve, or a irrational curve which grediently elongates on top. With larger number of f (oscillations), the shape appears to be more dramatic, while on the other hand, with smaller number, the tower becomes more elegant.

y = sin(2t+∏/2)

a = 1; f = 1; Φ = ∏/2 1

1 1.0 1.055556 1.111111 1.166667 1.222222 1.277778 1.333333 1.388889 1.444444 1.5

1.0 0.97619 0.952381 0.928571 0.904762 0.880952 0.857143 0.833333 0.809524 0.785714 0.761905

-1 0

1/2

3/2

5/2

x(∏) y = sin(2t+∏/2)

a = 1; f = 1; Φ = ∏/2

y = sin(2t*f+∏/2)

a = 1; f = 1*d; Φ = ∏/2

0 -1 0

1/2

3/2

5/2

x(∏) y = sin(2t+∏/2)

a = s; f = 1; Φ = ∏/2

y = sin(2t*f+∏/2)

a = s; f = 1*d; Φ = ∏/2

0.738095 0.714286 0.690476 0.666667 0.642857 0.619048 0.595238 0.571429 0.547619 0.52381 0.5

t(∏)

t(m)

500

780

720

500

3/2

t(∏)

t(m)

500

416.667

333.333

250

166.667

83.333

3/2

250

1/2

1/2 0

t(∏)

t(m)

500

416.667

333.333

250

166.667

83.333

3/2 1 1/2 0

1 0 -1

y(m)

01 y = a*sin(t*f*d+∏) *s a = 3; f = 1/2; d = 1.0; s = 0.8

04 y = a*sin(t*f*d+∏) *s a = 3; f = 3/2; d = 1.0; s = 0.8

07 y = a*sin(t*f*d+∏) *s a = 3; f = 3/2; d = 1.0; s = 0.8

780

720

t(∏)

t(m)

t(∏)

t(m)

t(∏)

t(m)

500

3/2

375

3/2

375

3/2

375

250

277.78

208.335

1/2

125

1/2

138.89

69.445

1 1/2 0

69.445

1 0 -1

y(m)

02 y = a*sin(t*f*d+∏) *s a = 3; f = 1; d = 1.0; s = 0.8

05 y = a*sin(t*f*d+∏) *s a = 3; f = 3/2; d = 1.2; s = 0.8

780

720

t(∏)

t(m)

500

310

3/2

t(∏)

t(m)

500

339.50

222.222 166.665 111.111 55.555 0

3/2

1/2 0

08 y = a*sin(t*f*d+∏) *s a = 3; f = 3/2; d = 1.2; s = 0.8

166.667

83.333

1/2 0

t(∏)

t(m)

500

3/2

395

303

227.25

151.5

1 1/2 0

75.75

1 0 -1

y(m)

03 y = a*sin(t*f*d+∏) *s a = 3; f = 1; d = 1.5; s = 0.8

06 y = a*sin(t*f*d+∏) *s a = 3; f = 3/2; d = 1.5; s = 0.8

09 y = a*sin(t*f*d+∏) *s a = 3; f = 3/2; d = 1.1; s = 0.85

Plan Geometry

d = plan size o = the size of serrate n = the number of serrate r1, r2 = corner shaping fector s = scale fector, changing along elevation creates a fluid dynamic elevation effect

Suzhou Zhongnan Center

n=2

0.6 0.8 1.0 1.2 1.4 1.2 1.0 0.8 0.6 0.8

floor010 floor09 floor08 floor07 floor06 floor05 floor04 floor03 floor02 floor01

n=4

0.90 0.95 1.0 1.05 1.0 0.95 0.9 0.95 1.05 1.1

o=5 d = 65

r1 = 2 r2 = 2

r1 = 4 r2 = 4

s = 0.9 to 1.1

s = 0.6 to 1.4

floor010 floor09 floor08 floor07 floor06 floor05 floor04 floor03 floor02 floor01

Plan Geometry is controled by five variables to form a serrated shape, which, when extruded by controled elevation curve, generates a fluid movement. Variables, such as O and N control the size and the number of serrate, when changed, generate shapes from square to rhombus: with smaller number and size of serrate, the shape appears to be more like rhombus. Variables, such as r1 and r2, controls tower's corner detail. With larger number, the tower's corner appears to be sharper and more dramatic. Variables s, controls horizontal movement of the serrate along with the height: the larger the number, more dramatic is the movement.

01 d = 65; o = 2; n = 4 r = 2 to 6; s = 0.9 to 1.1

05 d = 65; o = 3; n = 4 r = 2 to 6; s = 0.9 to 1.1

09 d = 65; o = 3; n = 4 r = 2 to 6; s = 0.5 to 1.5

02 d = 65; o = 2; n = 3 r = 2 to 6; s = 0.9 to 1.1

06 d = 65; o = 3; n = 3 r = 2 to 6; s = 0.9 to 1.1

10 d = 65; o = 3; n = 3 r = 2 to 6; s = 0.5 to 1.5

03 d = 65; o = 3; n = 2 r = 2 to 6; s = 0.9 to 1.1

07 d = 65; o = 5; n = 2 r = 2 to 6; s = 0.9 to 1.1

11 d = 65; o = 5; n = 2 r = 2 to 6; s = 0.5 to 1.5

04 d = 65; o = 7; n = 2 r = 2 to 6; s = 0.9 to 1.1

08 d = 65; o = 9; n = 2 r = 2 to 6; s = 0.9 to 1.1

12 d = 65; o = 9; n = 2 r = 2 to 6; s = 0.5 to 1.5

Suzhou Zhongnan Center

ELEVATION FACTORS y = a*sin(t*f*d+â&#x2C6;?) *s amplitude (A) frequency (F) scale factor (S) taper factor (T)

01 A = 3.0 F = 3/2 S = 1.1 T = 0.8

02 A = 3.0 F = 3/2 S = 1.1 T = 0.8

03 A = 3.0 F = 3/2 S = 1.1 T = 0.8

04 A = 3.0 F = 3/2 S = 1.1 T = 0.8

05 A = 3.0 F = 3/2 S = 1.1 T = 0.8

06 A = 3.0 F = 3/2 S = 1.1 T = 0.8

07 A = 3.0 F = 3/2 S = 1.1 T = 0.8

PLAN SHAPE side offset (O) number of jag (N) scale factor (V) corner shape factor (R)

O = 3.0 N = 4.0 V= 0.5 to 1.5 R = 6.0 to 2.0

O = 3.0 N = 4.0 V= 0.9 to 1.1 R = 6.0 to 2.0

O = 3.0 N = 2.0 V= 0.9 to 3.0 R = 2.0 to 4.0

O = 3.0 N = 2.0 V= 0.5 to 2.0 R = 2.0 to 4.0

O = 3.0 N = 2.0 V= 0.9 to 1.1 R = 2.0 to 4.0

O = 5.0 N = 2.0 V= 0.9 to 1.1 R = 2.0 to 4.0

O = 3.0 N = 3.0 V= 0.9 to 1.1 R = 2.0 to 4.0

top of geometry

base plan

plan at half oscillation cycle

plan at full oscillation cycle

08 A = 3.0 F = 3/2 S = 1.1 T = 0.8

09 A = 3.0 F = 3/2 S = 1.1 T = 0.8

10 A = 3.0 F=2 S = 1.1 T = 0.8

11 A = 3.0 F = 3/2 S = 1.5 T = 0.8

12 A = 3.0 F = 3/2 S = 1.1 T = 0.8

13 A = 3.0 F = 3/2 S = 0.9 T = 0.8

14 A = 3.0 F = 5/3 S = 1.1 T = 0.8

15 A = 3.0 F = 5/3 S = 1.1 T = 0.8

O = 5.0 N = 3.0 V= 0.9 to 1.1 R = 2.0 to 4.0

O = 5.0 N = 3.0 V= 0.5 to 1.5 R = 2.0 to 4.0

O = 5.0 N = 3.0 V= 0.7 to 1.3 R = 2.0 to 4.0

Suzhou Zhongnan Center

01 aluminum horizontal mullion with cap aluminum vertical mullion without cap clear version glass

02 aluminum horizontal mullion without cap aluminum vertical mullion without cap clear version glass

03 aluminum horizontal mullion with cap aluminum vertical mullion with cap clear version glass

04 aluminum horizontal mullion with cap aluminum vertical mullion without cap clear version glass gredient frit pattern shadow box

05 aluminum horizontal mullion with cap aluminum vertical mullion without cap gredient frit pattern on clear glass aluminum panel shadow box

06 aluminum horizontal mullion with cap aluminum vertical mullion without cap gredient frit pattern on clear glass white painted shadow box

05 CHONGQING FUSION CENTER TYPE: Competition First Prize, Built SIZE: 106,000 M2 LOCATION: Chongqing, CHINA

CHONGQING FUSION CENTER

Module = 1680

Num of module = 3 (560, 1120, 1680)

Num of module = 6 (280,560, 840, 1120, 1400, 1680)

Num of module = 3 (280,560, 840, 1120, 1400, 1680)

Stack of floor = 10

Stack of floor = 6

Module = 2100

Module = 1400

Num of module = 3 (350, 700, 1050, 1400, 1750, 2100)

Num of module = 4 (525,1050, 1575, 2100)

Num of module = 4 (350, 700, 1050, 1400)

Stack of floor = 6

Stack of floor = 5

Stack of floor = 6

CHONGQING FUSION CENTER

750

900

750

150

TOP OF FINISH

2850

ALUMINUM HORIZONTAL MULLION EXTERNAL: PVDF PAINT INTERNAL: PPC PAINT

TOP OF FINISH

750

150

750

1650

3900

HIGH PERFORMANCE INSULATED GLASS UNIT

750

900

THERMAL INSULATION W/ VAPOR BARRIER

FINISHED CEILING

3900

FACE OF STRUCTURAL COLUMN 2850

1650

HIGH PERFORMANCE INSULATED GLASS UNIT

150

FACE OF STONE

DISTANCE TO COLUMN FACE

550

FACADE SYSTEM DEPTH

200

750

300

DISTANCE TO SLAB EDGE

RAISED FLOOR

FACE OF GLASS FACE OF STONE

CURTAIN WALL STUDY : 1400 MODULE

SLAB EDGE

700

1650

OPERABLE WINDOW

GLASS

750

GLASS

1400

STONE

OPERABLE WINDOW

GLASS

700

STONE

1050

350

STONE STONE

STONE

STONE STONE

STONE

OPERABLE WINDOW

GLASS

STONE

GLASS

700

TYPE C

750

GLASS

STONE

GLASS

GLASS STONE

STONE

750

STONE

STONE STONE

GLASS

GLASS STONE

STONE

1650

GLASS

750

STONE

750

GLASS

STONE STONE

1650

STONE

750

GLASS

1650

TYPE B

750

TYPE A

GLASS

GLASS STONE

STONE

GLASS STONE

STONE

CURTAIN WALL STUDY : 2100 MODULE

TYPE E

350

700

TYPE F

TYPE A

750

GLASS

STONE

350

750

GLASS

TYPE E

1400

1650

GLASS

350

GLASS

1650

750

GLASS

1050

TYPE B

750

GLASS

750

TYPE F

700

FACE OF GLASS

750

700

1650

TYPE A

350

750

TYPE C

350

750

1400

750

700

750

700

OPERABLE WINDOW

350

700

TYPE G

350

700

TYPE E

STONE

700

TYPE D

06 Lighthouse Art Hotel TYPE: Competition SIZE: 2,500 M2 LOCATION: Syracus, Italy

Lighthouse Art Hotel

From the legendary Colossus of Rhodes to the majestic Pharos of Alexandria, lighthouses have always marked human history, acquiring a crucial importance beyond the basic function of a warning facility: suggesting dream, adventure, fascination and mystery. On the cliff of Murro di Porco, a few kilometers from the historic center of Syracus, is situated a lighthouse of supreme charm and value. The lighthouse was once lived-in but then it was gradually abandoned with the arrival of modern technologies. As it became a simple lantern, a place no longer inhabited by humans, the lighthouse and its surroundings have begun its descent into shabbiness. With no doubt, such deterioration shall by no means last for long, simply because of its extraordinary historical value and invaluable landscape significance. Sky ,rock and sea: a wild scenario where the human component is rear, guaranteeing a holiday with every comfort. As a result, a lighthouse art hotel is envisioned. A place where relax is enriched by art, conference rooms, amphitheaters, exhibitions, art studios, and themed accommodation with the lighthouse, sound of waves and the heat of the sun being the perfect background.

Lighthouse Art Hotel

01 EXISTING LIGHTHOUSE

04 DEVELOPING ROAD SYSTEM

07 CONNECTING ROOF + CREATING CONNECTION BETWEEN DIFFERENT LEVELS + TO EXPERIENCE ART IN AN UNIQUE AND INTERESTING WAY

02 CONNECTING EXISTING BUILDINGS

05 LOBBY

08 AMPHITHEATER +TAKING ADVANTAGE OF THE SHAPE OF ONE OF THE GALLERIES, +CREATING CAUSUAL SEATING AREA AROUND THE STAGE

+TO APPRECIATE THE INSIDE OF LIGHTHOUSE, GET A TOUCH OF ITS MATERIAL/HISTORY

03 EXISTING ROAD CONDITION

06 ART GALLERIES

09 EXHIBITION CENTER

+TAKING THE ADVANTAGE OF THE EXISTING ROAD, +MAKING AS LITTLE CHANGE AS POSSIBLE

+TAKING FULL ADVANTAGE OF 4M HEIGHT LIMIT +CREATING INTERESTING VISITING PATHS AND PLATFORMS

+TO DISPLAY LARGE SCALE ART, AND HOLD POSSIBLE EVENTS

Lighthouse Art Hotel

.0 .2-

00.0 )9.51=00.0(

4.51

04.2-

.6-

06.0-

.0.2.6-

05.2-

-0.60

outside, up and down. Those passages are composed of ground wood deck, bridge, stairs and roof deck. They follow the site elevation changes, creating different platforms for people to explore, to wander or to lost. The journey is long, and provides many different opportunists: whether to enjoy the arts, discover folklores, taste cultural cuisines, or have a sun bathing on the roof.

Inspired by Sicily's slow lifestyle, delicate idleness and enriched cultural heritage, the lighthouse art hotel emphasizes on the concept of "journey". Sicily is one of the most fascinating places in Southern Europe. The area of Syracuse, being the "excellence of excellence", deserves the title of international heritage site of UNESCO. The charm of Sicily can't be summarized into a single component. Instead, it is a mixture of architectural, historical, culinary excellences that reflect the value of the area. The lighthouse art hotel is a step on the journey to discover Sicily: a journey which encompasses cultural, folklore and natural reserves.

The building material is made up of Sicilyâ&#x20AC;&#x2122;s local lava stone/ limestone and weathering steel plates, perforated metal panel, wood, and glass curtain wall. Itâ&#x20AC;&#x2122;s a combination of modernism and vernacular style. The function of the hotel contains Art Zone (Art Gallery, Studio, Exhibition, Amphitheater, and Gathering Space), Hotel Facilities (Lobby, Conference, Dining Space, Bars) and Guestrooms.

One major feature of this lighthouse art hotel is in its pedestrian passages, connecting the existing lighthouse and facilities, art studios, guestrooms and surrounding picturesque nature, while blending the inside and

(0.00=15.9) 0.00

0.00

15.4

-2.40

-2.40 -6.00

-0.60

-0.60 -2.50

-2.50 -6.00

0.00

-0.40

0.0

-0.8

Lighthouse Art Hotel

00.0 08.0-

cultural gallery

driftwood

(0.00=15.9) 0.00

15.4

0.00 -2.40

-2.40 -6.00

00.0

00.0 )9.51=00.0(

04.2-

4.51

04.2-

00.6-

06.0-

06.005.2-

05.2-

00.6-

04.0-

d gallery

00.0

ocean gallery

06.0-

06.005.3-

05.305.6-

Lighthouse Art Hotel

themed guestroom

07 Robotic Tensegrity TYPE: Installation SIZE: N/A LOCATION: Meyerson Hall, University of Pennsylvania COLLABORATOR: Chong Ye This installation, involving an adaptive tensegrity structure, responds to gesture movement, without any actual physical contact. A Kinect motion sensor device tracks the movement of the gesture, and thereby reconfigures the entire structure through the use of an Arduino control board and data process in grasshopper. Different server has different responding to different hand gesture.

Robotic Tensegrity

Server 1

Server 2 Hand Gesture 1

Hand Gesture 2

Leap Motion Hand Gesture Data Capture

Grasshopper Data Process

Server 1 linked with Hand Gesture 1 rotation in worldXY plane

Server 2 linked with Hand Gesture 2 rotation in worldYZ plane

Robotic Tensegrity

8 Synaesthetic Pavilion TYPE: Algorithm SIZE: N/A LOCATION: N/A

Sound is abstract and ephemeral which is primarily tired into emotion, whereas vision connects to our sense of logic. Sound is hardly regarded as a beautiful or interesting thing in and of itself. This algorithm is based on Chladni Experiment in which sound wave vibrates towards the nodal line where vibration was zero. Different sound vibrates in different way. The complexity of geometry increases with the increase of sound frequency. This project extends the Chladni Lay into 3D geometry exploration based on which the pavilion emerged.

Synaesthetic Pavilion

01 sin wave: frequency 15, with centripetal force plan

02 sin wave: frequency 60, with centripetal force plan

03 sin wave: frequency 45, with centripetal force plan

01 sin wave: frequency 15, with centripetal force elevation A

02 sin wave: frequency 60, with centripetal force elevation A

03 sin wave: frequency 45, with centripetal force elevation A

01 sin wave: frequency 15, with centripetal force elevation B

02 sin wave: frequency 60, with centripetal force elevation B

03 sin wave: frequency 45, with centripetal force elevation B

01 sin wave inside hexahedron

02 cos wave inside hexahedron

03 cos and sin wave inside hexahedron

04 sin and cos wave inside hexahedron

04 sin wave: frequency 15 plan

05 sin wave: frequency 60 plan

06 sin wave: frequency 45 plan

04 sin wave: frequency 15 elevation A

05 sin wave: frequency 60 elevation A

06 sin wave: frequency 45 elevation A

04 sin wave: frequency 15 elevation B

05 sin wave: frequency 60 elevation B

06 sin wave: frequency 45 elevation B

05 sin wave inside dodecahedron

06 cos wave inside dodecahedron

07 cos and sin wave inside dodecahedron

08 sin and cos wave inside dodecahedron