ARCHITECTURE P O R T F O L I O Zheng Wu
ARCHITECTURE P O R T F O L I O Zheng Wu wuzheng.tjc@gmail.com +61-0457698000
CO N TEN TS
01
House of Loss
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for people who dance with fire
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Performance Depot
17
a creative engine for city
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Law Gallery House
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Melbourne legal precinct 2050
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The Rotunda
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BOZAR a silent giant
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Skyedge Tower
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a one-stop mixed-use supertall
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Palazzo
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a venetian typology for co-living
07
Breathing Silver
31
the second skin
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The Gyroid-Fort a home for echidnas
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Valley Acacia the estate pleasure garden
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The Arc at Carlton a community health centre
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AIM Exhibition hand-crafted models
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4 | INTRO
RESEARCH | 4
01
HOUSE OF LOSS FOR-PEOPLE-WHO-DANCE-WITH-FIRE Individual work Thesis Studio, 2021 Tutor: Marijke Davey
INDEPENDENT THESIS BRIEF
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 was absent in the former port system. To ensure a safe, creative, and commemorated port, this thesis designs a House of Loss for people who dance with fire.
For the four artefacts of loss in poetry and acrylic painting, please visit: https://issuu.com/tirteenzhengwu/docs/thesis_conceptual_artefacts
For the short presentation video, please visit: https://vimeo.com/644418016
For the virtual exhibition on msdx, please visit: https://www.msdx-gallery.com.au/students/zheng-wu-tirteen/
5 | CONTEXT
SCULPTURE | 5
the Ear
People Who Dance with Fire
6:07
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. 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.
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.
6 | LOSS OF IDENTITY
ARTEFACTS | 6
7 | PLAN
COLLAGE | 7
8 | LOSS OF LIFE
ARTEFACTS | 8
9 | MAP
COLLAGE | 9
10 | LOSS OF BUILT FABRIC
ARTEFACTS | 10
11 | SECTION
COLLAGE | 11
12 | LOSS OF CONTEXT
ARTEFACTS | 12
13 | PLAN
COLLAGE | 13
14 | PLANS
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SEQUENTIAL SECTIONS | 15
16 | PUBLIC SPACE
MOMENTS | 16
17 | INTRO
CONCEPT | 17
02
PERFORMANCE DEPOT A-CREATIVE-ENGINE-FOR-CITY Individual work 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.
For the virtual exhibition on msdx, please visit: https://msd.unimelb.edu.au/msdx/archive/2021_s1/graduate-design-studios-and-subjects/architecture/cde-studio-03/zheng-wu
18 | ENTRANCE ROTUNDA
the former foyer
DETAIL | 18
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.
19 | CO-WORK
WORK AND LEISURE | 19
20 | IMMERSIVE THEATRE
FACADE | 20
CONT E NT S [INSERT TEXT] Aliquam erat volutpat. Proin porttitor sodales libero, at varius massa sagittis eget. Nunc velit lorem, lacinia nec pharetra et, varius non mauris. Duis egestas dui vitae leo laoreet, a vehicula urna egestas. Pellentesque bibendum consequat ante vitae pellentesque. Ut consequat mollis enim, non viverra neque. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos.
Working spaces include a coworking workshop at the street corner, rehearsal and production spaces on lower floors, and three cubes of immersive theatre whose configuration can be rearranged for specific stage sets as required. During the day, the building appears as an industrial warehouse to be unveiled. However, 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.
21 | RENDER ENTRANCES
INTERIOR RENDER | 21
22 | INTRO
SECTION | 22
03
LAW GALLERY HOUSE MELBOURNE-LEGAL-PRECINCT-2050 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 excriminals, 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.
23 | MAGIC DRAWING
PARTI & PLANNING| 23
FOOD COURT COURTROOMS & OFFICE
COOKING CLASS
VENDING VIRTUAL LIBRARY GALLERY
MARKET & BROADCAST STUDIOS
In 2050, as the rate of excriminals returning to prison would fluctuate at a high level of 45 percent, the law gallery house is a second-life home for ex-criminals to reintroduce them into our community by offering necessary skills and employment. This is also a gallery where the legal trials, the general public
life,
and
the
ex-criminals’
new
life
conceptually become curated objects juxtaposed to each other, promoting better connections and deeper interpretations. 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 ex-hackers can become IT technicians, to construct the virtual court. Law Gallery House will help our society to reconfigure a harmonious and active community.
24 | LEGAL PRECINCT 2050 MASTERPLAN
DISTRIBUTION | 24
25 | SITE PLAN
PLAN | 25
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1. LEGAL OFFICE 2. OFFICE RECEPTION 3. CUSTODY LOBBY 4. CUSTODY CELL 5. STAFF TOILET 6. ROOFTOP GARDEN 7. UBER AIR PADS
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1. LARGE COURTROOM 2. MEDIUM COURTROOM 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. SECURITY CHECK 7. LEGAL ATRIUM 8. INTERVIEW ROOM 9. GALLERY ATRIUM 10. ART STORAGE 11. CAFE 12. RESTAURANT 13. KITCHEN 14. FOOD STORAGE 15. COOKING CLASS 16. BROADCAST OFFICE 17. BROADCAST STUDIO 18. MARKET STALLS 19.VIRTUAL REALITY VENDING LIBRARY 20. FOOD COURT ATRIUM 21. WEEKLY OUTDOOR FARMERS’ MARKET 22. PLAZA 23. FRONT YARD 24. VEGETATION GARDEN 25. THE HELLENIC MUSEUM 26. TRAM STOP 27. MECHANICS 28. OFFICE RECEPTION
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1. SMALL COURTROOM 2. LEGAL OFFICE 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. INTERVIEW ROOM 7. LEGAL ATRIUM 8. ART GALLERY 9. ART WORKSHOP 10. LECTURE 11. OBSERVATION PLATFORM 12. FOOD STALL 13. FOOD COURT 14. ROOF TERRACE 15. CUSTODY LOBBY 16. MECHANICS
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1. LARGE COURTROOM 2. MEDIUM COURTROOM 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. SMALL COURT 7. LEGAL ATRIUM 8. INTERVIEW ROOM 9. GALLERY RECEPTION 10. ART GALLERY 11. LECTURE 12. CLASSROOM 13. OBSERVATION PLATFORM 14. FOOD STALL 15. FOOD COURT 16. BROADCAST OFFICE 17. BROADCAST STUDIO 18. ROOF TERRACE
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26 | DETAIL
DURING A MARKET MARDI GRAS
MODEL | 26
27 | SPATIAL ANALYSIS
04
VIRTUAL EXHIBITION | 27
THE ROTUNDA BOZAR- A-SILENT-GIANT
Groupmates: Vladislav Trofimov, Joe Moran TU Delft Elective, Urban Architecture, 2020 Tutors: Elsbeth Ronner, Aurĕlie Hachez
Layering Towards A Monumental Illusion I Rotunda Study
We chose to study the Rotunda of the first / second floors of the Bozar, Brussels by Victor Horta. It is a linking space, it connects various spaces and geometries. It negotiates between the two axes set up by the building line along the existing streets and the internal orthogonal gallery spaces that Horta creates within. It accepts the structural requirements of these different axes and resolves them through the use of the circular form, setting up the rotunda. Importantly, as elsewhere in the Bozar, it must allow people to navigate between the different levels, in this case four. 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.
THE EXHIBITION AT THE HORTA HALL
BOZAR - A Silent Giant
Exhibition of Horta’s Monumentality The Palais des Beaux-Arts, or BOZAR, turned out to be Victor Horta’s magnum opus. Horta managed, in spite of all the difficulties, to create a hidden palace in the city of Brussels with an intriguing spatial arrangement of several large exhibition spaces and concert halls interlinked by foyers, hallways, ramps and stairs. The interior contrasting the exterior which presents itself in the city as a silent giant relating to its next-door neighbours, and modest in scale and extravaganza. This exhibition presents 12 objects, representing various interior spaces in the BOZAR, placed in the Horta Hall. Each introduces a new way of experiencing the existing architectural elements. The objects are organised in different themes and zones. As some may deal with the structural elements, others deal with the spatiality of the space or the materiality of the surfaces. The exhibition lay-out puts a strong focus on axiality and symmetry, in coordination with the symmetry found in the Hortal Hall itself. The centre piece of the exhibition, which represents the main rotunda of the building, offers a focus point where the visitor could divert, like in the actual building, to the different zones of this exhibition and saunter around.
TowardsA Monumental Illusion 1:100 ILLUSION I LAYERING Layering TOWARDS MONUMENTAL Vladislav Trofimov, 5101069 Zheng Wu, 5200113 Joe Moran, 5201721
Layering Towards A Monumental Illusion II
THE INVENTORY OF OBJECTS
Artefact
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. From a distance you can get glimpses into the heart of the artefact . As you get closer you can begin to read the abstraction of the rotunda dome and column layering at the corner. As you step through the doorway onto the stairs, the space above and to either side of you starts to peel back and expand as you rise up into the artefact. Reaching the top of the steps you can pause, sit and look up. Above there are three suspended objects that make up the layers of the main internal rotunda. Light streams in through the oculus and seeps between the object having been diffused by the fabric surround of the uppermost element. One can see out into the hall through gaps in the elements that make up the artefact. 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 that extends up to support the rotunda and provides a lattice on which the fabric of the top element is stretched. 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.
Bozar, The Silent Giant
AR2UA010
LAYERING OF SPACE
Urban Architecture
2019/2020
THE ARTEFACT
LAYERING TOWARDS A MONUMENTAL ILLUSION II
28 | INTRO
TECHNOLOGY | 28
OUTRIGGER SYSTEM
05
SKYEDGE TOWER A-ONE-STOP-MIXED-USE-SUPERTALL 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.
FACADE AXONOMETRIC VIEW
Outrigger structural system is employed to help distribute the overturning loads to the foundation effectively. The Skyedge Tower use double glazed curtain walls as the typical wall system.
It is economic and convenience for the high-rise building to construct. Generally, The Skyedge Tower provides a good work and living space for people who come here. The entire
facade guarantees the needs of sunlight, ventilation and aesthetics, etc. Meanwhile, its modernity can be well integrated into the surrounding city life.
29 | PODIUM
TECHNICAL DETAIL | 29
30 | MASTERPLAN
PALAZZO TYPE | 30
Axonometric: Celebrating a waterfront lifestyle, the venetian palazzo is a complex type of bundled row houses the boundaries between individual families become ambiguous. Hence, this type allows for coexistence of different people. The waterside portegos accept happenings from the splendid canal, yet they are private from each other. Each house has a series of thresholds that emphasize the depth of the space.
06
Ground Plan:
PALAZZO A-VENETIAN-TYPOLOGY-FOR-CO-LIVING
Groupmates: Cindy, Greta, Jose, Thomas Venice Studio, Jan 2022 Tutors: Oliver Lütjens, Thomas Padmanabhan Collaboration: Lütjens Padmanabhan Architekten
PROJECT BRIEF
Venice could reinvent itself as a place for working and living if it manages to rediscover its historic role as a gateway to the Mediterranean and to the East in the context of the reality of the ongoing refugee crisis. On the site of Sant’Elena the studio seeks to develop an alternative place for the future of working, living and leisure. The studio seeks to give form to a new community in which the contemporary social reality of Italy, that of a multi-cultural and multi-racial country of immigrants, finds a utopian place to thrive and develop: the Comunità Elenica.
To reclaim public space on the ground floor, the portegos can be connected as a walkthrough gallery, like an enfilade, with restaurants, workshops, and other spaces surrounding a central lobby, which is a semi-public library.
Upper Floor Plan: On the upper floors, portegos for flexible gatherings are reconfigured to form three clusters of midand short-stay apartments, filled with natural light from the courtyards. So the three new collective families can accommodate more immigrants, with a balance between privacy and collective domesticality.
31 | PARAMETRIC DESIGN
3D PRINTING | 31
07
BREATHING SILVER THE-SECOND-SKIN
Groupmates: Jenny Wu & Karina Lai Digital Design & Fabrication, 2017 Tutor: Siavash Malek
08
THE GYROID-FORT A-HOME-FOR-ECHIDNAS Individual Work Studio Air, 2018 Tutor: Isabelle Jooste
09
VALLEY ACACIA THE-ESTATE-PLEASURE-GARDEN Individual Work Studio Earth, 2018 Tutor: Michelle Ransom
Folding for Varying Transparency
Entrances into the Fort
Community Cafe and Restaurant
The Second Skin in Action
Section Model of the Gyroid Fort
Roofscape
32 | MODEL MAKING
HANDCRAFT | 32
10
THE ARC AT CARLTON COMMUNITY-HEALTH-CENTRE
Study Model - Floor plates, North Facade
11
Individual Work Studio Fire, 2019 Tutor: Ahmed Sadek
AIM EXHIBITION
Final Sectional Model - North Entrance
Slope of Arcade and Public Lecture
South Facade Archways - Communal Space
Beijing Siheyuan, Courtyard House Renovation
Courtyard House Renovation - Interior Studies
Internship at AIM Architecture Shanghai, 2021 AIM FIFTEENTH ANNIVERSARY EXHIBITION
HAND-CRAFTED-MODELS
M Campus in Shanghai (2020) - Volumetric Model
Harmay Chengdu Flagship - Shelf Stairs
The Lost Silos - Loss of Context
Tirteen Zheng Wu wuzheng.tjc@gmail.com +61-0457698000 instagram : wu_zheng_happy