Individual work
Master year 1 Studio C, 2019
Tutor: Ariani Anwar
Collaboration: John Wardle Architects
DESIGN BRIEF
The project critiques established conventions of the court typology and introduces new and innovative programs into the building and surrounding urban realm, in order to allow the court to act as a contemporary community gathering place.
The Law Gallery House is a second-life home to ex-criminals, and a gallery where the legal trials and the accused, the general public life, and ex-criminals’ new life become curated objects juxtaposed to each other, promoting better connections and deeper interpretations of each other.
The law gallery house is a second-life home for ex-criminals to reintroduce them into our community by offering necessary skills and employment. Various activities of the three groups require courtrooms, broadcast studios for teleconferencing, education, entertainment and exhibition spaces, market lanes, cooking classes, and a food court. As historical laneways have been diminishing since 1895, the future twonscaping will restore the unique Melbourne laneway culture. The final arrangement features highly mixed and active ground floor laneways.
In the law gallery house, ex-criminals after going through cooking classes and art workshop can become chefs and artists to regain public support, and exhackers can become IT technicians, to construct the virtual court. Law Gallery House will help our society to reconfigure a harmonious and active community.
Studio E, 2021
Tutor: Peter Stasios
DESIGN BRIEF
Nowadays, performing arts has been evolving and diversified to meet a changing generation of audiences, the city craves a revolutionary upgrade of performance industries. Therefore, Performance Depot is a warehouse with rehearsal, production spaces for practitioners, and an immersive theatre that forges closer connections between performers and audience by immersing them in hyper-realistic stage-sets as if they are living and exploring in fiction.
THE OBSOLETE THEATRE
The site used to be the Palace Theatre, a traditional theatre as evident in its facade. Such identity is edified to represent the obsolete theatre, which is now converted into an urban plaza. The public stairs can be used as a stage for street artists and public gatherings.
In light of recalling the former theatrical identity, the new immersive theatre should challenge the obsolete theatre at the right angle, with a rotunda public foyer as a connecting node. The main entrance is covered by operable curtain-like aluminum claddings, used to make any industrial shed. The curtain-like concrete walls frame the entrance as a portal into a theatrical reality.
The interwoven floor tiles guide you towards the reception and two folded stairs, from which you have an all-round view of the art-deco, nostalgic grandeur. Following the stairs to the first floor is a public lounge. Walking straight through the rotunda is the reception and public lobby. Here audience can grab their costumes and change at the back.
Working spaces include co-working costume and stage-set workshops at the street corner, rehearsal and production spaces on lower floors. Through the historic fenestration and strip windows on the ground level, curious pedestrians are allowed opportunities to observe how stage sets and costumes are designed and crafted. The trapezoid tables are designed with flexible configurations for sharing. Right below the amphitheater is walk-in costume storage.
Three cubes of immersive theatre whose configuration can be rearranged for specific stage sets as required. The steel structure is designed to work with scaffoldings for installations.
During the day, the building appears as an industrial warehouse to be unveiled.
THE EPHEMERAL FACADE
At night, the proceeding immersive show would constantly cast vibrant lighting on the ephemeral skin, being enlivened as a fluid story maker, as an attractive, resilient creative engine for the city.
THE IMMERSIVE BAR
Individual work
Thesis Studio, 2021
Tutor: Marijke Davey
This thesis perceives ‘loss’ as an invitation to response, especially in the context of Beirut, Lebanon, which has accumulated various forms of loss throughout her history. Using poetry and acrylic painting as the main method of research, this thesis speculates ways to manifest loss into space, and seeks for a critical position or commentary towards the issues of loss. An emergency coordination department has been absent in the former port system. In order to ensure a safe, creative, and commemorated port, this thesis designs a House of Loss for people who dance with fire.
Beirut is a city that went through several stages of loss and reconstruction.
Loss is ambiguous to comprehend, while losses pile up, at your feet, and behind the space you see. So tall, it starts crumpling. To swallow you with a throttle. To make you react.
Through poetry, painting, and architectural intervention, this thesis manifests four issues of loss in the context, or loss of context, of the after-blast Beirut. These issues are: loss of identity, loss of life, loss of built fabric, and loss of memory.
Architecture moves forward not by becoming more rigorous, but more imaginative. Encounter more than you can think of. Reconstruct our collected knowledge to fit as a whole. And such reconstruction will be an infinite game.
There exists a place where the residents head out for every battle against loss. They are agile, admirable, and anonymous. Sometimes some of them never come back. They are people who dance with fire.
Every good firefighter loves fire. And the fire instructor is a pyromania. The heavy protective suit wraps around the body, insulating the frenzy heat, but never the call for help.
Amidst the crackling and popping bursts of fire, rescuers use their ears to scan for yelling from people, from cats, and silent screams from paintings. A smooth curve that holds on lives and civilisation.
At the shadowy site boundary, paramedics lean their ears to weeping survivors. Sighs and solace echo in a spiral tunnel. A spiral that mingles shattered souls.
The time froze at 6:07 PM on the day. Nine firefighters and one paramedic were killed in the devastating Beirut blast next to the site. With elongated silence, one takes a linear walk through photos and trophies, glories and commemoration.
People Who Dance with Fire
6:07
the Ear
Groupmates: Chiara Tobia, Konstantina Schonia
TU Delft Msc2 Public Building Studio (Studio D), 2020
Tutor: Ir. Sien van Dam
Professor: Ir. Nathalie de Vries (MVRDV)
The project aims to revitalise urban vacancies in state buildings via architectural intervention, and therefore re-establish a future-proof identity for state buildings in The Hague, Netherlands. The key words are resilience and diversity: to be future-proof, the space should provide flexible solutions, able to host multiple functions. In other words, it provides a set of spaces diverse enough to invite multiple programs, ultimately promoting exchange and resilience itself.
One of the state office buildings opposite the Hague Central Station, was vacant during the COVID-19 pandemic. It was chosen to be intervened and appropriated for a future-proof identity for the city of the Hague.
The city of the Hague emits a multiplicity and complexity generated by layers of elements in both vertical and horizontal directions. These layers consist of artificial structures, natural systems, and fragments of monumentality. This integration of different layers creates an ambiguous socio-bio ecosystem that determines the resilient identity of the city.
This ambiguous identity, as portrayed in a hand-drawn collage, considered with brave re-imagination of the future work space and some montage drawings of multiplicity and ephemerality, provides first-hand inspiration and basis for designing strategies that aim to reuse the vacant state office buildings in the central precinct of the Hague.
Our goal is to transform the vacant building to an engaging and resilient space, capable of interacting with the public urban life in the most active manner for short and long term challenges. Hence, we introduced the concept of Enfilade as a leading principle for our design, which allowed us to translate in spatial terms the idea of membrane. The Enfilade relies on two main ideas: space as a sequence and visual connections. This would be the typical distribution of a renaissance palace, where each space has its purpose and style. Openings and closures operate as membranes, their multiplication in space allows for endless possibilities of configuration: what is open and what is closed can be redefined from time to time.
Starting from the Hoftoren as a vacant testing ground, with the enfilade principle in mind, we elaborated the membrane application and introduced a new centrality. Compiling all the intervened spaces by the means of enfilade, we have composed a new central public plinth. The resulting space is indeed able to receive multiple public uses such as exhibitions, performances, debates, just chilling out or walking through. It can operate as a passage, a rest stop, and a destination, enriching the Hoftoren with a dynamic new life and image.
FILTERING porosity
MULTIPLICAITON transgression & ambiguity
CAVITY, LIGHT & WATER engagement
ASSIMILATION transgression
PUBLIC ENTRANCE - porosity & diversity
Handcraft Model of a commercial project, Indoor Horseriding Arena in Launcefield
Scale: 1 : 250
Size: 695 x 454 x 60 mm
Stage: Design Development
Left Page: Contextual modeling and Townplanning renderings of a new house in Kew
Softwares: Rhino, V-ray, Photoshop
Drafting AutoCAD plan according to Revit Standard
Construction Documentation of a commercial renovation project
Softwares: AutoCAD, Bluebeam
Groupmates: Daniel Chen, Yalin Li
Applied Architectural Technology, 2021
Tutor: Anthony Blazquez
PROJECT BRIEF
Standing at a height of 229.8m , Skyedge Tower is located at the corner of Spencer and Lonsdale street on the western edge of Melbourne’s Central Business District (CBD). Adjacent to the Docklands precinct, the tower contains a mixed-used programme of retail, premium office spaces for rent, high-end luxury hotel floors, a sky lobby and a sky deck, that offer scenic city views.
Main Role: Podium Design and Documentation, Rendering
Softwares: Rhino, AutoCAD and V-ray
Internship at AIM Architecture
Shanghai, 2021
Directors: Vincent de Graaf, Wendy Saunders
Harmay Chengdu Flagship - Shelf Stairs
Groupmates: Cindy, Greta, Jose, Thomas Venice Studio, Jan 2022
Tutors: Oliver Lütjens, Thomas Padmanabhan
Collaboration: Lütjens Padmanabhan Architekten, Switzerland
We chose to study the Rotunda of the first / second floors of the Bozar, Brussels by Victor Horta. Importantly, as elsewhere in the Bozar, it must allow people to navigate between four different levels. The Bozar itself is not a huge room, but the feeling of arrival is amplified and exaggerated by the use of layering. This layering creates a sense of journey as you approach the rotunda, through the various smaller antecedent spaces, and allows for incidental views through and between them. The layering is also seen in the building elements used to make the rotunda. Whether they be columns or ceiling, surfaces and objects are broken down and peeled away to create a multiplicity of surface that belies the modest scale and materiality of the rotunda, thus creating an illusion of grandeur that makes this a monumental space.
Our artefact is a representation of our interpretation of Horta’s approach to monumentality as witnessed in the rotunda of the Bozar. It aims to combine the ideas of journey, arrival, views through and between, and the layering of surfaces. The elements themselves are made from layered white painted 20mm MDF except for the base / stair which will be made of layered ply. Each piece is separated by shadow gaps. The sub-structure would be an aluminium frame. From the outside the artefact reads as one, a white cuboid. Within, it reveals itself to be a multilayered and complex collection of space and view which reflects the nature of the Bozar itself, the silent giant.
Groupmates: Vladislav Trofimov, Joe Moran
TU Delft Elective, Urban Architecture, 2020
Tutors: Elsbeth Ronner, Aurĕlie Hachez
