Yangchun (Spring) Wu a selection of architectural design works
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CONTENTS
RESUME
(5)
TOKYO 2020 OLYMPIC PARK
(6)
Critic: Nanako Umemoto, Fall 2016
SAPPHIRE -MIAMI CONCERT HALL
(16)
Critic: Kutan Ayata, Spring 2016
GHOST -CULTURAL CENTER OF URBAN VILLAGES
(44)
Critic: Peter Macapia, Spring 2017
PIER 11 ELEMENTARY SCHOOL
(56)
Critic: Theoharis David, Spring 2015
MODDERN CAVE
(64)
Critic: Maria Sieira, Fall 2015
COMUPTER MEDIA PROJECTS
(72)
Critic: Hart Marlow | Hannibal Newsom, Fall 2015
STRIPS -QUEENSWAY CONNECTION
(78)
Critic: Kevin Klinger, Fall 2013
INTERNSHIP WORKS
(84)
Supervisor: Erik Verboon | Gustav Fagerstrom, Summer 2016
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Yangchun Wu, is also called by her friends as Spring Wu, since her Chinese name Yangchun ( 阳 春 ) literally means spring as the season. Coming to the U.S. in 2010, Spring holds a Bachelor of Science in Architecture Major from Ball State University College of Architecture and Planning, Indiana (2014) and a Master of Architecture Degree from Pratt Institute Graduate School of Architecture and Urban Design, NY (2017). She was accepted to Pratt Institute GAUD on a merit-based annual scholarship and graduated from Pratt with distinction and as the receiver of the American Institute of Architects Henry Adams Merit Medal. Spring’s research at Pratt includes work on multi-communication media, architecture theories and 3D modeling. She has worked at architecture firms in New York and Beijing. Her professional experience ranges from conceptual design of residential and commercial projects to building structure detail drawings. Having travelled extensively in China, Italy and South America, Spring also volunteers as a part-time English translator for Foreign Experts Service Center in her hometown, Taiyuan, China. Now Spring is living with her husky dog -Hotpot in Brooklyn. -4-
RESUME Yangchun (Spring) Wu, LEED AP BD+C
springwu91424@gmail.com
www.springwu.com
232 Taaffe PL APT-203A Brooklyn, NY 11205.
EDUCATION PRATT INSTITUTE, NY Graduate School of Architecture and Urban Design Master of Architecture 17 Graduated with Distinction
BALL STATE UNIVERSITY (BSU), IN College of Architecture and Planning Bachelor of Science 13
AWARDS AND GRANTS AIA Henry Adams Award Pratt Circle Award Annual Merit Based Scholarship Pratt Institute Cripe Architecture+Engineers 4th Year Capstone Competition, 2nd Place, BSU Bright and Talented Student Award College of Architecture and Planning, BSU ACSA Steel Competition internal competition 2nd Place, BSU Indiana Concrete Masonry Association Competition 1st Place, BSU
2017 2017 2014 -2017 2013
ACADEMIC EXPERIENCE Graduate Teaching Assistant: CAP Studio
PROFESSIONAL EXPERIENCE Walter P. Moore (Jun 2016 - Aug 2016)
(Jan 2017 - May 2017) Studio: Kutan Ayata Pratt Institute GAUD, Brooklyn, NY Instruction Assistant of graduate level Comprehensive Architectural Project (CAP) design studio.
New York Engineer Intern - Facade consultant group - Architectural and structural detailing of building facades. I worked closely with WPM New York office principal Erik Verboon and digital practice leader Gustav Fagerstrom, in production of detail drawings related to building envelope, 3D modeling of building structural components and facade geometry. I worked mainly on two projects - a covered flex field of Jacksonville Jaguars in Everbank Field, Florida (detail drawings of facade and roof connection and structural centerline model); a interior feature wall in 70 Hudson office building, NJ (structural design modeling and detailing).
Graduate Teaching Assistant: Structure I & II (Aug 2015 - Dec 2016) Class Instructor : Cristobal Correa, Radhi Majmudar, Deborah McGuiness Pratt Institute GAUD, Brooklyn, NY Instruction Assistant of graduate level structural theory class, including structure problem tutoring and homework grading.
Atelier FCJZ 2013 2012 2011
PUBLICATIONS Featured in Pratt Institute s INPROCESS 22: Design Studio III: Maria Sieira Design Studio IV: Kutan Ayata Featured in Pratt Institute s INPROCESS 21: Design Studio I: Carla Leitao Design Studio II: Theoharis David Computer Media I: Hart Marlow Computer Media II: Christopher Kroner Fielding Istanbul: Sulan Kolatan Dead Corner? 104- A Collection of Architectural Essays, Online publish Edited by Ariane Harrison
(+1) 765. 760. 3277
2017 2014 2014 2016 2014 2014 2014 2014 2014 2014 2014 2014
REFERENCES Erik Verboon Principal, Managing Director of Walter P. Moore, NYC everboon@walterpmoore.com Kutan Ayata Adjunct Assistant Professor of Pratt Institute GAUD kutanayata@gmail.com Cristobal Correa Associate Professor of Design & Technology of Pratt ccorrea@pratt.edu
SKILLS Rhinoceros, AutoCAD, Revit, Maya, Vray, Maxwell, Keyshot, 3DsMax, Grasshopper, Adobe CS, Mudbox CNC milling+RhinoCAM, ArcGIS , COMcheck, THERM 7.5 Hand graphics Photography
(Jun 2013 - Aug 2013) Beijing, China Intern Architect - directed by Yung Ho Chang and assisted in design of projects, 3D modeling and model making. I worked on the master plan and landscape design of the Qingpu campus of High School Affiliated to Fudan University.
The Architecture Design Institute of Shanxi Province (Jun 2012 - Aug 2012) Taiyuan, China Intern Architect - Architectural work in concept and schematic design phases. Assist in the design of projects, work on presentation materials, site researches and graphic presentation.
LANGUAGE KNOWLEDGE CHINESE ENGLISH
Native proficiency Professional working proficiency
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TOKYO 2020 OLYMPIC PARK Shinjuku, Tokyo, Japan. Critic: Nanako Umemoto Fall 2016 | Pratt GAUD++ This Olympic Park landscape design derives its form by stimulating the patterns as the water flows through several obstacles --the programs. This form is also inspired by the 3D undulation feature of water body and the material erosion water creates. These flows build up networks and creates this upper structure interacting with the ground while hosting various programs.
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NATURAL FORCES STUDY
CAVE FORMATION
MARBLE CAVES, CHILE A specific geological site was selected to analyse the natural forces such as sea water, wind, wave reaction that created this certain typography. Two scales were used when conducting this research: 1) Aerial map with large distribution of the land shape and format 2)Small caves along water shore that have unique topological features and textures.
SEA WATER EROSION
RAIN WATER EROSION
WIND EROSION
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15.0 18.0
28.0
9.0
FORM STUDY
Water flow trace and simulation process - a demonstration of water flow movements that are cutting and reshaping the land form; the process of creating new land component and configuration.
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Rock form studies - reproduction of the various rock shapes manipulated by the water erosion and combination of different scales of rock which generate new clusters of space that could be used as host of future programs.
Surface analysis - making surfaces out of the water flow line trace. The surfaces, as the large scale landscape structure hosts the "rocks"(programs), are created to mimic the three-dimensional quality and fluidity of water body movement, which will have long-span structural systems embedded.
PROGRAM STUDY
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P
PROCESS352&(66
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WIRE MODEL The wire model was created to illustrate the structural system of the landscape design. Functioning as the skeleton, a steel frame system will be used to construct the surface that holds the programs that populated on top or beneath.
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SURFACE MODEL The surface model shows the overall spatial quality of this design and the undulating effects that created by simulating water movement.
STUDY MODELS
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UPPER LEVEL PLAN
LOWER LEVEL PLAN
A
5
5
5
5
B
B
A
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1.GYMNASTICS ARENA 2.SOCCER/ATHLETICS FIELD 3.BASKETBALL COURTS 4.STORAGE 5.ATHLETICS RESTROOM 6.TRAINING LAKE 7.CANOE SLALOM COURSE 8.CANOE SPRINT COURSE 9.MARATHON COURSE 10.TRIATHLON RUNNING COURSE 11.TRACK
1.VELODROME 2.OFFICE 3.SHOOTING RANGE 4.STORAGE 5.ATHLETICS RESTROOM 6.ARCHERY RANGE 7.MECHANICAL SPACE 8.BEACH VOLLEYBALL COURTS 9.BADMINTON COURTS 10.CAFE 11.PUBLIC RESTROOM 12.SWIMMING POOL 13.TRAINING LAKE 14.CANOE SLALOM COURSE 15.CANOE SPRINT COURSE 16.TRIATHLON RUNNING COURSE
FUTURE PROPOSE (WITH EXPOSED STRUCTURAL MEMBERS)
MAJOR PROGRAM
4.
6.
5.
ROCKS
7.
2. UPPER CIRCULATION
9 9.
3.
8.
1.GREEN HOUSE 2.SWIMMING POOL 3.LAKE 4.OFFICE 5.PUBLIC RESTROOM 6.CAFE 7.PLAYGROUND 8.WALKING TRAIL 9.PEDESTRAIN PATH
SURFACE STRUCTURE
LOWER LEVEL CIRCULATION
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SAPPHIRE -MIAMI CONCERT HALL Downtown Miami, FL. Critic: Kutan Ayata Consultants: structure | Cristobal Correa facade | Kate Kulpa landscape | Nick Koster mechanical | Stuart Bridget Spring 2016 | Pratt GAUD++ Team Member: Xiao Li, Lunjia Li The design uses the form of a perfect sphere to create a sense of non-directional space by rotating floor plans along multiple axes. The structural design uses two layers of envelope define the inner core and the outer shell, which are inter connected by the tentacles.The apertures on the outer shell are adjusted based on the orientation of the faรงade to have better control of solar heat gain. The exterior amphitheater on the top of the building allows a rainwater collecting system to be embedded within the structure. Since only the space within the inner core is conditioned, there is natural ventilation between these two layers of enclosure.
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FORM-FINDING PROCESS
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DOUBLE-SKIN & CIRCULATION SYSTEM
TENTACLES
ROOF TOP THEATER
INNER STRUCTURAL CORE
OUTER SKIN
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SUSTAINABLE STRATEGIES
PARKING GARAGE
BUS STATION/ TAXI PICKUP
AXIS/ACCESS CORRIDOR
UP
UP
LOADING DOCK
BUS STATION
PIER
PEDESTRIANS
ENTRANCES
BIKES VEHICLES
The landscape design of this site promotes diverse circulations. The meandering pedestrian sidewalks leading towards the main structure above the landscape; while there is a pathway along the central axis of the site underneath the sphere that provides the access to the theater and connecting the amphitheater to the front plaza and to the parking space.
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The sustainable site design maximizes the flexibility of the site usage. First, it creates various circulation flow that are adapted to different use. Second, outdoor performance spaces are combined with sustainable site strategies such as permeable pavers -grass-planting bricks to reduce rain water sun off. Third, certain landscaping techniques are used to control the microclimate within small exterior gathering spaces.
SITE PLAN
AMPHITHEATER PLAZA
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GROUND FLOOR PLAN
MUSEUM PARK
OFFICE 222 SQ.FT +0’-0”
CONFERENCE ROOM 400 SQ.FT +0’-0”
TICKET OFFICE 883 SQ.FT +0’-0”
PRESS ROOM 910 SQ.FT +0’-0”
SPRING XIAO BRAD DESIGN EXTERIOR RECREATION SPACE +0’-0”
UP
LOBBY UP
9,500 SQ.FT +0’-0”
PRATT INSTITUTE GAUD 1 A 300
FRONT ENTRANCE PLAZA +0’-0”
WOMEN’S RESTROOM 636 SQ.FT +0’-0”
MEN’S RESTROOM 820 SQ.FT +0’-0”
LODAING DOCK 1050 SQ.FT +0’-0”
STORAGE 217 SQ.FT +0’-0”
GIFT SHOP 800 SQ.FT +0’-0”
ELECTRICAL/DATA ROOM
PLUMING/ FIRE PLUM 437 SQ.FT +0’-0”
468 SQ.FT +0’-0”
MECHANICAL ROOM 376 SQ.FT +0’-0”
COOLING TOWER
2
A 300
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2
L 201
324 SQ.FT +0’-0”
KUTAN AYATA
STRUCTURE CRISTOBAL CORREA FACADE KATE KULPA SITE+SUSTAINABLITY NICK KOSTER MEP STUART BRIDGETT
AMPHITHEATER +0’-0”
GAS ROOM
WU LI LI
FIRST FLOOR PLAN & TRUSS FLOOR 1 PLAN
A
B
C
D
RAMP TO THE PARK +18’-0”
A
UP
A
UP
DRESSING ROOM 494 SQ.FT +40’-0”
EUIPMENT STORAGE
EUIPMENT STORAGE
152 SQ.FT +40’-0”
256 SQ.FT +40’-0”
B
B STAFF ROOM
KITCHENETTE
REHERSAL ROOM
272 SQ.FT +40’-0”
407 SQ.FT +20’-0”
468 SQ.FT +40’-0”
UP
UP
1
1
STORAGE
A 300
119 SQ.FT +40’-0”
AREA OF REFUGE
AREA OF REFUGE
A 300
MECHANICAL ROOM 190 SQ.FT +40’-0”
MECHANICAL ROOM 222 SQ.FT +40’-0”
C
C WOMEN’S RESTROOM
MEN’S RESTROOM
285 SQ.FT +40’-0”
232 SQ.FT +40’-0”
D
D CAFE 1125 SQ.FT +20’-0”
A
2
D
2
1/16”=1’-0”
C A 300
FIRST FLOOR PLAN
2
A 300
1
B
TRUSS FLOOR 1 PLAN 1/16”=1’-0”
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THEATER FLOOR PLAN
+52’-0”
+67’-0”
+52’-0”
1
1
A 300
A 300 +67’-0”
+52’-0”
BALCONY
+73’-0”
200 SQ.FT +52’-0”
BALCONY 190 SQ.FT +52’-0”
+73’-0”
MECHANICAL ROOM 126 SQ.FT +52’-0”
FOYER
FOYER
+52’-0”
+73’-0”
2
THEATER PLAN 2 (STAGE POSITION B) 1/16”=1’-0”
2
1/16”=1’-0”
A 300
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THEATER PLAN 1 (STAGE POSITION A)
2
A 300
1
TRUSS FLOOR PLAN & ROOF TOP PLAN
A
B
C
A
D
A
REHERSAL SPACE 1,611 SQ.FT +106’-0”
ROOF TOP THEATER
B
B DRESSING ROOM
3,230 SQ.FT +142’-0”
MECHANICAL ROOM
310 SQ.FT +106’-0”
360 SQ.FT +106’-0”
MECHANICAL ROOM 300 SQ.FT +106’-0”
OFFICES 678 SQ.FT +106’-0”
AREA OF REFUGE
EUIPMENT STORAGE
CONFERENCE ROOM
268 SQ.FT +106’-0”
600 SQ.FT +106’-0”
AREA OF REFUGE
STORAGE 78 SQ.FT +106’-0”
STORAGE 163 SQ.FT +106’-0”
DW
UP
1
1
A 300
A 300
WOMEN’S RESTROOM
MEN’S RESTROOM
300 SQ.FT +106’-0”
239 SQ.FT +106’-0”
C
C GALLERY SPACE 1,670 SQ.FT +142’-0”
COPY ROOM 603 SQ.FT +106’-0”
D
D
A
B
C
2
2
1/16”=1’-0”
A 300
TRUSS FLOOR 2 PLAN
2
A 300
1
D
ROOF TOP PLAN 1/16”=1’-0”
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THEATER CEILING PLAN & TRUSS FLOOR CEILING PLAN
D
C
B
A
4
4
3
3
SPRIN XIAO BRAD
OPEN BELOW FOR DROP DOWN STAGE
DESIGN
SPOTLIGHT
2
STRUC FACAD SITE+S MEP
2
PRATT
LED LIGHTING STRIP
EXPOSE CEILING
1
1
2'X2' AIR SUPPLY 2'X2' AIR RETURE 2'X2' TROFFER LIGHT 2'X4' TROFFER LIGHT
D
1
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THEATER FLOOR CEILING PLAN 1/16”=1’-0”
2
TRUSS FLOOR CEILING PLAN 1/16”=1’-0”
C
B
A
1'X4' CEILING LIGHT BOX
162’-0”
106’-0” 94’-0”
52’-0” 40’-0”
WEST & NORTH ELEVATIONS
ROOF TOP
ROOF TOP THEATER
UPPER LEVEL TRUSS FLOOR
THEATER FLOOR
LOWER LEVEL TRUSS FLOOR
SPRING XIAO BRAD
20’-0”
0’-0”
FIRST FLOOR DESIGN
106’-0” 94’-0”
52’-0” 40’-0”
20’-0”
0’-0”
KUTAN AYATA
STRUCTURE CRISTOBAL CORREA FACADE KATE KULPA SITE+SUSTAINABLITY NICK KOSTER MEP STUART BRIDGETT
GROUND FLOOR
PRATT INSTITUTE GAUD
WEST ELEVATION
1
162’-0”
WU LI LI
1/16”=1’-0”
ROOF TOP
ROOF TOP THEATER
UPPER LEVEL TRUSS FLOOR
THEATER FLOOR
LOWER LEVEL TRUSS FLOOR
FIRST FLOOR
GROUND FLOOR
2
NORTH ELEVATION 1/16”=1’-0”
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SECTIONS 162’-0”
106’-0”
ROOF TOP
ROOF TOP THEATER
ROOF TOP THEATER DRESSING ROOM
94’-0”
REHERSAL SPACE
DRESSING ROOM
UPPER LEVEL TRUSS FLOOR
FOYER
52’-0” 40’-0”
THEATER FLOOR 1 A 302
LOWER LEVEL TRUSS FLOOR
1 L 201
DROP ON STAGE AHU
MOTOR
SPRING XIAO BRAD
WU LI LI
KITCHENETTE
20’-0”
FIRST FLOOR
DESIGN
AMPHITHEATER
MAIN ENTRANCE LOBBY
0’-0”
GROUND FLOOR
PRATT INSTITUTE GAUD
SECTION 1
1
162’-0”
1/16”=1’-0”
ROOF TOP
1 A 301
ROOF TOP THEATER
STAFF ROOM
106’-0”
ROOF TOP THEATER
REHERSAL SPACE
94’-0”
UPPER LEVEL TRUSS FLOOR
DRESSING ROOM
FOYER
52’-0” 40’-0”
20’-0”
0’-0”
THEATER FLOOR
DROP ON STAGE
LOWER LEVEL TRUSS FLOOR
CAFE
ENTRANCE
FIRST FLOOR
GROUND FLOOR
LOBBY
2
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KUTAN AYATA
STRUCTURE CRISTOBAL CORREA FACADE KATE KULPA SITE+SUSTAINABLITY NICK KOSTER MEP STUART BRIDGETT
SECTION 2 1/16”=1’-0”
DOUBLE-SKIN WALL SECTION
1 A 400
SPRING XIAO BRAD DESIGN
WU LI LI KUTAN AYATA
STRUCTURE CRISTOBAL CORREA FACADE KATE KULPA SITE+SUSTAINABLITY NICK KOSTER MEP STUART BRIDGETT PRATT INSTITUTE GAUD
2 A 400
3 A 400
1
THEATER WALL SECTION 1/4”=1’-0”
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FACADE DETAILS
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STRUCTURAL SECTION D 162’-0”
C
A
B
ROOF TOP
2 S 301
3 S 301
106’-0”
94’-0”
PINNED CONNECTION TO THE OUTER SHELL ROOF TOP THEATER
AHU
UPPER LEVEL TRUSS FLOOR
AHU
AHU
SPRING XIAO BRAD
OCCUPIABLE FLOOR TRUSS
DESIGN
WU LI LI KUTAN AYATA
STRUCTURE CRISTOBAL CORREA FACADE KATE KULPA SITE+SUSTAINABLITY NICK KOSTER MEP STUART BRIDGETT PRATT INSTITUTE GAUD
THEATER
INNER CORE STEEL TUBE FRAME
52’-0”
THEATER FLOOR
40’-0”
LOWER LEVEL TRUSS FLOOR
20’-0”
FIRST FLOOR
AHU
AHU
PINNED CONNECTION TO THE OUTER SHELL
LOBBY SPACE 1 S 302
0’-0”
INCOME SERVICE ROOM
COOLING TOWER
GROUND FLOOR
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MATERIALS AND ASSEMBLY DIAGRAM
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FACADE PANELLING
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GHOST -CULTURAL CENTER OF URBAN VILLAGES Shenzhen,China. Critic: Peter Macapia Spring 2017 | Pratt GAUD++ Team member: Xiao Li The so called urban villages are slum areas in Shenzhen which are filled with informal settlements and surrounded by modern city infrastructure. Urban villages in Shenzhen could be renovated and remain as part of the city, or they could be completely removed depends on the government's policy trends. Meanwhile there is a high mobility of its residents that majorly consist of young factory workers who constantly change their occupations. Fascinated by this uncertainty of both the site and people, we decided to create this cultural center for one of the urban village called Gangxia.
picture credit to SZNEWS.com.
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ABOUT THE GHOST This cultural center that will document the history of this area shall remain unchanged as the city going through the future urban movements. â&#x20AC;&#x153;Ghostâ&#x20AC;? is the idea we use to manifest both the spiritual and architectural quality of this project --a ghost that will persist in the future when this area is demolished by either political or economic power; a ghost that is a shell within an urban context where evacuations are constantly happening.
Through the concept of ghost, this design is trying to make people rethink the city in the future when the urban villages have been changed --what will be left on the site and what should be documented as the remains of the past. The Cultural Center of Urban Villages represents the uncertainty of Gangxiaâ&#x20AC;&#x2122;s fate as part of the city and becomes the ghost from the future.
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CONCEPTUAL DIAGRAMS
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The concept of ghost is expressed as a mega structure that spans across the entire site. A simple grid scaffolding system is used as the body of the ghost. With its flexibility and pure structural impression, this system allows the ghost emerge from the existing urban fabric and blend into the surroundings. The unfinished or unenclosed feature of this frame system represents the traditional Chinese belief of ghosts which are partial human; and ghosts are transitions of human life cycle --the ghost is after death and before the life beyond.
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This grid system hosts various architectural spaces and art installation at an urban scale. It elevates and generates a new layer of occupiable space that co-exists with the urban village. This lifting gesture separates the architecture from the street. The relationship between architecture and ground, in this case, is articulated with stairs leading towards the upper layer. The street, that belongs to the existing urban fabric, is no longer a question related to this system. The system propose its own â&#x20AC;&#x153;streetâ&#x20AC;? or ground plane with circulations on the upper layer.
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PIER 11 ELEMENTARY SCHOOL Pier 11 ,NYC. Critic: Theoharis David Spring 2015 | Pratt GAUD++ Inspired by a simple geometric shape that is taken from the precedents study, a module was generated to produce architectural forms. This design features as a protrusion from the city –Lower Manhattan to the water –East River by reinforcing the horizontals. At the same time it functions as a space of learning – an elementary school, and a transition from urban context to the nature. The second step was to introduce natural forces, such as sun, wind and river current, to manipulate the architectural form.
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MODERN CAVE Bay Ridge ,Brooklyn. Critic: Maria Sieira Fall 2015 | Pratt GAUD++ Started with series of Grasshopper definitions, this residential project was developed from a basic unit geometry. By arranging and scaling the basic unit, it creates a continuous architectural dwelling spaces that are interconnected by the corridors. This residential complex features a curvilinear form that contains various studio apartment rooms which ranges from 450 sq.ft. to 1200 sq.ft. Surrounded by the units there is an enclosed playground dedicated to the residents while the semi-open courtyard is for the general public.
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Comupter Media Projects Multi-media Experimental Studys Critic: Hart Marlow | Hannibal Newsom Fall 2014-Spring 2015 | Pratt GAUD++ Explore into digital representation methods and 3D modeling. Computer program used includes Maya, Rhino+GH, Mudbox; rendering softwares used are Vray for Rhino, 3dMax, Keyshot and Maxwell.
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In order to explore into representation methods and 3D modeling, an experiment of physical reaction was developed, which was dropping a marble into a bottle of soda water and creating bubbling effects. Series of hand drawings were produced to document this process and focused on the change of water flow. The digital drawings were generated from photos and original hand drawings by editing and translating various kinds of information through different
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line work. Previous documentations of this experiment were synthesized into a detailed and precise 3D model with Rhinoceros modeling technique. The second phase of this project was to transfer Rhinoceros model generated previously into Maya. The original rhino model was manipulated and re-developed into units for animation and rendering.
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STRIPS -QUEENSWAY CONNECTION Ozone Park Station, Queens. Critic: Kevin Klinger Fall 2013 | Ball State University
honors: 2th Prize, Cripe Architects+Engineers 4th Year Capstone Competition Elevating the Public Realm: This project supports the transformation of an abandoned railway into a greenway, which serves diverse neighborhoods in central and southern Queens. Seeking to supplement the ongoing feasibility study for the railway’s transformation, this exercise emphasizes the importance of the park’s access points and programming the park entrance so that it extends the street activity onto the railway.this design features multiple paths—“strips” flowing through the site—with gallery and market spaces underneath. Meanwhile, these undulating strips converge at certain point along the site, where a small plaza allows all users to gather or switch their path. The largest gathering space is the civic theater, acting as the focal point of the entire site.
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INTERNSHIP WORK Walter P. Moore Supervisor: Erik Verboon | Gustav Fagerstrom Summer 2016 I worked closely with Walter P. Moore New York office principal Erik Verboon and digital practice leader Gustav Fagerstrom, in production of detail drawings related to building envelope, 3D modeling of building structural components and facade geometry. I worked mainly on two projects - a covered flex field of Jacksonville Jaguars in Everbank Field, Florida (detail drawings of facade and roof connection and structural centerline model); a interior feature wall in 70 Hudson office building, NJ (structural design modeling and detailing).
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70 Hudson - Feature Wall
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Everbank Field - Roof Connection
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further information about projects in this portfolio and original drawings are available by requests.
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