The Aesthetic of Pink and Architecture_2018-2020 Architecture Portfolio_Miaoxin Wang

The Aesthetic of Pink and architecture a n d

o t h e r s

2018 - 2020 Architecture Portfolio by Miaoxin Wang

tubeee eeeee San Francisco, CA | architecture

4

SHIBUYA P.W.C S h i b u y a , To k y o | a r c h i t e c t u r e

16

W LA Campus Los Angeles, CA | urban planning

The

26

Wall

Beijing, China | architectural fiction

42

VoroSPACE Fabrication | parametric luminaire

50

N.Y.C.S.M Fabrication | Installation

56

Other Space Intuition

|

Sketching

62

Miaoxin Wa n g

+1 (805) 819 8682 walterwang9774@gmail.com 500 E Foothill Blvd , San Luis Obispo,CA, 93405

I am from China undergraduate 2020 urban dancer obssessed with sketching GPA 3.83

CuriousMinds LA LA CuriousMinds Architecture Internship Neil M. M. Denari Denari Architects Architects Neil Architecture Internship Jaeger Kahlen Kahlen Partner Partner Architekten Architekten Jaeger Architecture Internship CalPoly Architecture Department Architectural history TA California Polytechnic State University San Luis Obispo, CA Bachelor of Architecture City Regional Planning, Architectural Engineering minor Zhengzhou Foreign Language School Zhengzhou, China Tau Sigma Delta (TSD) member of the only honor society for discipline of architecture Dean’s Honor List Fall 2015 - Spring 2018 GPA 3.5+

Miaoxin Wang archwwang

- I worked with two senior architects to produce the physical model for a kindergarten project in China.

- My job included making physical presentation models and producing realistic renders for both SD and DD of projects.

- My job included material procurement, updating plans and wall section details in CAD. I also drafted SD in Rhino for conceptual projects.

- I was responsible for translating documents , making diagrams to communicate with clients. and massing models for projects.

2019.12 - 2020.1

- Grade exams and hold workshops to review papers for students.

2019.3 - 2019.9 2019.1 - 2019.3 2017.6 - 2017.9 2018.1- 2018.6

Undergraduate Thesis Award [The Wall] 1st Prize Prize Winner Winner [TUBEEEEEEE] 1st 2017-2018 Best of Show 3rd Year Super Review Cal Poly Academic competition certificated by AIA Finalist Entry Entry [Dream Machine] Finalist 2017-2018 LaunchPad LaunchPad 3rd 3rd Year Year Review Review 2017-2018 Cal Poly Academic competition Odo Scholarship Scholarship Competition Competition Odo Nominees of finalist Moskow Linn Architects I participated in an outdoor workshop in rural Vermont to design and build a wooden pavillion with two architects and several architecture students.

THE VIEW, published and awarded by AIA Vermont and Architecture Magazine.

OS

Mac Windows

Language

Graphic

Chinese English Korean

AutoCAD Adobe Photoshop Adobe Illustrator Adobe InDesign

Model &Render

Rhino 5 MAYA Sketchup V ray GrassHopper

Fabricate

Laser cut 3D Printing CNC Milling Wood shop Metal shop

Reference

Junya.Ishigami + associates Architecture Internship

Miaoxin Wang

Karen Lange klange@calpol.edu Stephen Philips sphilips@sparchs.design Jana Masset Collatz jana@@curiousminds.la

2020.6 2018.6 2018.2 2018.4 2016.7

Third year Design Studio Instructor: Umut Toker

tubeeeeeeee San Francisco, ca

Architecture and Laban Movement circulation and explore the typology of different Study types of creative working space.

Laban Movement study is used to described dance movement with a verbal annotation system. The vocabularies in the syste locates limbs with coordinates and describes the changes of limbs. It is a structuralist idea to break the object into components as a means to understanding. Architecture consists multiple systems, therefore the part-to-whole relationship appeals special interests in order to create architecture that is not monolithic.

Taking the Laban Movement as an inspiration, this projects intends to create spaces that displays various relationships between skin, structures, and programs to accommodate programmatic needs such as sunlight and

4

VR&MR and Choreography

VR stands for virtual reality. It is the technology to create virtual world through visual and acoustic simulation from digital devices. It has been widely applied in presentation in game industry, some tech companies and some architectural firms for rendering. It has the great potential to be used to provide immersing experience in virtual concert and interaction with virtual artists.

MR stands for mixed reality. It is the improved version of VR. Compared with VR, MR technology doesn’t block human senses.

It projects visual information into 3D world and allows one-way communication to happen.

One of the application at present is Hologram.

The advantage of real life interaction makes MR technology a great tool for the learning and making of choreography.

Right: Architectural Components Below: birdview render

Envelope

Aluminium girders

Cementitious cladding

Egress & Lateral bracing

Circulation Escalator & stairs

Open web joist

Column

Sturcture I beam cage

Deep truss

Plaza

Underground parking access

Pedestrian path to main entrance

5

10

11

10. Individual working splace 11. Group working space 12. CEO Office 8. Dance studio for collaborative

12

A room where you can overlook people playing with VR underneath!

F4

12 1’=1/16” 1’

Sec

20’

Sec

tio

nB

7-2

7-1 9 8

7-1. Software testing 7-2. Hardware testing 8. Dance studios 9. VR demo space

F3

6-2

6-1

5

5. Auditorium 6-1. Software develipment lab 6-2. Hardware development lab

1-2. Bike rack 2. Lobby 3. Outdoor/Indoor cafe 4. Bathroom

6

F2

F1

tio

nA

CL

CL

CL

CL

Egress

화장실

EXIT 출구

화장실

EXIT 출구

omg the glare

EXIT 출구

EXIT 출구

Individual workspace

Hardware testing

Software development

Communal workspace next to BOSS’s office

A corridor where people talk about Kpop gossip Atrium/staircase a good place to exercise !!!

Outdoor cafe

7

Max height of panles: 12’

- moment frame connection

Stainless steel - 1’ x 1/2’

Fiberglass faced gypsum panels

Recycled Denim Insulation

Cementitious panels - resist weathering - 48”x 96“ x 3/8”

All-air-based HVAC system

Left: Exploded Axon Right: Wall Details Section and Elevation

8

su mer Sum n

3

T/ Roof 88’ - 0”

Exterior roof sheathing Batt Insulation 4’00’’

2

Roof decking Variable Air Volumn system (VAV) Win ter su

n

Operable windows for hot air to exhaust

16’00’’ T/ Slab (Forth Floor) 68’ - 0”

4’00’’

2

Painted steel Fireproof I beam 2’x1’

Aluminum Mullion

Dimension: 2.5” x 7.5 “

16’00’’

Stainless steel truss Depth 4’ ~ 8’

T/ Slab (Third Floor) 48’ - 0”

6’00’’

Stainless steel truss Max height: 12’

Glazing

10’00’’

Max height 12’

Cementitious Panels Max: 48” x 96” x3/8”

T/ Slab (Second Floor) 32’ - 0”

4’00’’

latio

n layer

3

n betw een

CFF

Insu

Enve

Backfill

lope

latio

2

d CFF

Insu

1

stud

Reinforced concrete

Insu

latio

n layer

Expo

sed stee

Extruded Aluminium mullion +Double glazing

l ”cag

Insulated layer between interior and exterior steel member to minimise thermal bridge through structure itself.

e”

Insulated layer exists between CFF and stainless steel “cage” to minimize thermal bridge through the exposed structure

Granular Backfill T/ Slab 0’ - 0” Perforated drain

Drainage gravel wrapped in filter fabric

9

10

11

12

13

14

15

Off-campus Studio

SHIBUYA P.W.C

Instructor: Don Choi

Shibuya, Tokyo

Metabolic space in a high-density during the day closes off some at night, urban arena and moving kitchen pistons connect to the

Traditional Japanese architecture has been seen as “architecture of walls�, and the flexibility of space framed by moving sho-ji walls are the defining architectural elements. Shibuya P.W.C combines the modularity in modern Japanese Metabolism architecture in 1960s and its culture of wall and creates a 12-story structure with pistons(infrastructure), moving sho-ji walls (thresholds), and chambers(territory) to constantly configure into spatial conditions for different activities.

Each floor is in sequence two hours ahead of the floor below, and the structure will complete will reset into initial configuration every 24 hour -- walls move every hour to open up some chambers

16

adjacent open chambers to provide dining space and storage space. Inspired by Shoji, walls are designed with wood members of four different profiles to provide various potential transparency and shadows.

Socially, Shibuya P.W.C proposes a structure for mixed-use housing project that incorporates family-owned diners to promote interactions with people from outside and necessary privacy for residents, which is traditionally important to cultivate a Japanese sense of family and community.

Right: Shibuya Metabolism Diagram Below: Collages Exploring Modularity, and Flexible Configurations

17

Right: Facade evolution over a day On the Page Next: Exploded diagram each modules

18

Chamber 07

Structures attached to the floor plates on top four floors. They are hidden by moving walls when residents are going to sleep or requires high level of privacy.

Chamber 08

Structures that are attached to the floor plates of top six floors and provide major sleeping and private spaces for the residents when they are hidden by moving walls.

Chamber 03

Room 03s are on every floor of the building and function as dining spaces when kitchens in Piston 04 are at the same floors. When not connected to kitchens, these rooms can be used for social activities .

Chamber 05

They are technically corridors to circulate on the same level, but lighting will affect the quality of the space for undefined uses.

Chamber 04

Sandwiched between two moving walls, Chamber 04 on each floor has very different views and privacy throughout the day. Therefore its function can change between private uses and social

Chamber 06 Shower rooms are

Piston 04

A four-story structure similat to Piston 1 includes kitechen and staircases inside. It moves from top to the bottom of the building and collaborates with Chamber 03s.

Piston 03

Two three-story structures moves from center to the ends. It provides storage space for residents

Chamber 02

Bathrooms for the buildin. Pipes go within the central column.

Chamber 01

Rooms with various degress of enclosure that responds to sunlight. It provides dining spaces through collaboration with kitchens in Piston 1.

When not connected to Piston 1, it functions as social spaces without a defined program.

Piston 02

Hydraulic elevator

Piston 05

A monolithic concrete structure for Zen meditation. It doesn’t move but intends provide a view of moving shadows of a cross at the opening on top.

Piston 01

A four-story cylindrical structure that is powered by hydraulic system to move from top to the bottom of the building. It collaborates with Chamber 01s to allow families run their restaurants at certain time of the day.

At night, it reaches the ground and becomes part of the street life Shibuya.

Cylinder 05

A structural column holds up spiral staircases that go through the whole building.

19

Right: Mobile wall assembly On the Page Next: Chamber assembly

Y-PROFILE STUD

D-PROFILE STUD

K-PROFILE STUD

A-PROFILE STUD

SEMI-TRANSPARENT GLASS K-PROFILE STUD

HORIZONTAL STUD

WALL CONSTRUCTION

WALLS MADE WITH STUDS OF DIFFERENT PROFIL D-PROFILE STUD

SEMI-TRANSPARENT GLASS K-PROFILE STUD

HORIZONTAL STUD

20

EXTERNAL WOOD FRAM External wooden frame

Sliding glass door

SLIDING GLASS DOOR SEMI-TRANPARENT GLA

Semi-Transparent glass

Raised wooden floor

RAISED WOOD FLOOR

Pre-fab concrete slab

PRE-FAB CONCRETE BA

Chamber 8 assembly

21

Below: Diagram to explain motion of walls

to

Chiyoda ĺ?ƒäťŁ

On the Page Next: Composite exploded axon drawing

ht g i n d i rm k2 ess afte mercial bloc

in

No bus

com

Motions of walls and adjacency to vertical structures

wall-A 22

...

...

...

+ 2hrs

+ 2hrs

+ 2hrs

wall-C

Generic floor plan compatible with changes of programs

Spatial qualityin terms of territory, navigation, and freedom

wall-E

...

...

wall-G

No business after midnight

...

+ 2hrs

+ 2hrs

+ 2hrs

wall-I

wall-K

wall-L

おはようございます > <

A 8:00 AM

Walls move away from sleeping pods and open these rooms to other adjacent spaces

朝食は用意できている ~

お腹が空きました !!

寝る時間です

Z Z Z Z Z Z ....

staircases give access to residents to lower level

Around 8am, kitchen tube connects with the rooms on upper levels, which are closer to sleep rooms. Therefore it allows adjacent rooms to become breakfast spaces for residents.

Salaryman dress up!

遅刻だ !!!

私はとても疲れている !

私はとても疲れている !

どこにいますか ?

Kitchen/bfast space for residents at upper level ~ 8am

Stairs run from ground floor to top floor, which provides the primary means of circulation and encourages encountering among residents.

私は待っています

私は待っています

I12:00 PM

どぞ ~~

G13:00 PM

‫ݖ‬ǼଜੇǦȘ

どぞ ~~

From 8am to 12pm, kitchen tube slowly moves down to the middle floors and connect to the adjacent pods that are opened up by moving walls. Programs such as family restaurants can therefore be accomodated within these spaces.

corridor

昼寝る時間です nap space for residents on upper level ~ 14pm

何を着たらよい?? 急ぎます !!!!!

Residents take out their clothes from storage tube and put back their blankets and pillows.

Walls partially hide the sleeping rooms where people can choose to take a nap or use them as personal spaces for work and study.

E 15:00 PM Elevator takes salaryman residents down to floor level

Rooms on both sides by moving walls experience the most dynamic changes in terms of privacy and views. Therefore they become the perfect spaces for social uses such as groupstudying and hangout.

group space for public use on lower level 15pm

お元気ですか ?

私は大丈夫です !

Hydraulic elevator tube Kiki do you love me...

A8:00AM Pedestrian path

On ground level, wall-A plan forms very directional spaces to give more room for the pedestrian need passing the site due to busy rush hour in Shibuya.

寝る時間です

Z Z Z Z Z Z ....

L 20:00 PM

At around 8pm, walls move hides the sleeping roooms in upper levels to create privacy for residents.

私はとても疲れている !

どこにいますか ?

私は待っています どぞ ~~

L

‫ݖ‬ǼଜੇǦȘ

20:00 PM At around 8 pm, when Shibuya gets busier and people come out to hangout, the kitchen tube reaches ground floor, connecting with the spaces of adjacent rooms to allow people to gather in these family-style restaurants.

23

Right: Street View

24

25

Urbanism Studio

West LA Campus

Instructor: Stephen Phillips

Mix-use urban campus in west LA

Replacing the current West Pavilion Shopping Mall, this project envisions a new type of urbanism resultant from a series of studies of linear geometries the Boomarang Urbanism. The programs include a Google office complex, an Equinox Hotel, family housing units, transitional housing units, shops, and restaurants, with a required sqaurefootage of 1,500,000 sqf.

Learning from the common problems in LA such as lack of shading, low diversity in users, unequal proximity to amenities, etc, the proposal pays close attention to the connectivity of circulation and shared outdoor public plazas as nodes within the campus: how does the circulation within the campus connect to outside; how do Google

26

Los Angeles, CA employees arrive; how do residents move across different residential complex and commercial spaces; how to prevent under used outdoor public space, etc.

The planning strategy is informed by a study of the boomerangs and their spatial qualities. The object from earlier studies also take on certain qualities which translate into a pattern for developing the facade of a detailed portion of housing units.

Lines and Line-weight

The design of housing explores an alternative to a typical single-loaded corridor typology. By shifting stacks of geometries to create different layouts of units with balconies or larger rooms. The

facade explores a hierarchical treatment inspired by line-weights in drawings to increase or decrease the perceived shape and transparency of the building. The design also explores disrupting the linear space with different spatial volumes to provides social space between buildings.

Right: Studies of Dissimulated Geometries Below: View of final proposal from housing complex

DISSIMULATION 1

SECTION_01

“TOO FLAT”

AXON

SECTION_02

DISSIMULATION 1.5

SECTION_03

AXON

SECTION_04

01_Dissimulation Studies primi�ve

primitive

COMPLEX COMPLEX

SEGMENT SEGMENT

CHAMFER

N

NEEST STLE LE

CHAMFER

STACK

C PROFILE STUDY

STACK

C PROFILE STUDY

SHARED VOID

SWELL

SHARED VOID

SWELL

?

CONTAINED CONTAINED

AGGRESSIV E E AGGRE ESSIVSSIVE IVE GGR RESSAGGRESASIV E AGGAGGRESSIVE

STAND

AGGRESSIVE E E IV ESSIV AGGR RESS IVE AGG RESSAGGRESS AGGAGGRESSIVE IVE

BOOMERANG

EXTRACT

03_Section PRIME _Elevation

STAND

CONTAINED CONTAINED CONTAINED CONTAINED CONTAINED CONTAINED

M

WEDGE

AR

RY

REPLANT

+3.00 +2.00 +0.50

03_SEC A

+6.00 +5.00 +4.00 +3.00 +2.00 +0.50

03_SEC B

27

Right: from top to bottom 1) Parking Entrance and Drop-offs 2) Plazas 3) B1 markets connect ciculation from two major plaza 4) Shared Residence Courtyard

28

HOTEL ROOMS

E QUINOX 160,000 sqf

- Equinox hotel has a gesture that overlooks the whole site/project.

- Outlook platform on midlevel allows hotel tenants to have great views.

- Active internal social spaces.

AYRES AVE

[ PEDESTRIAN/CAR POROCITY ] - high porosity - highly accessible plaza shared with residents [ COMERTIAL PROGRAM] - cafe/affordable shopping - socializing/bonding oriented - galleries to support local artists

DROP OFF

COMMERCE

TR FA AM CI L

SI IT TO Y N

AL

H

O U

SI N

G

25,000 sqf

TUBE I TRANS FAM - width permits 2BR/3BR family housing units - single-loaded corridor

TUBE II

ST AU

RA

N

T

- Courtyards are on both sides - Accomodate micro units&units with extended balconies.

RE

- Two major plazas are connected at B1

TUBE III

GA

LL

- Accomodate units with 3+ BR or extended balconies

ER

Y

H OUSING

- Interntionally mixing unit types to avoid segregation - Tube typology allowsresidents have multiple access points to different plazas and other programs - Social space and extended balconies are inserted into tubes to allow differentiated facades and interior space.

O FFICE 600,000 sqf - GOOGLE campus sits along W Pico BLVD and uses plazas as buffer zone between housings.

- Major conference rooms are at the intersection of different arms of boomerang.

- A central lightwell surrounded by staircases is the transitional space connecting four arms of boomerang.

EMA

IN XC

IMA

W PICO BLVD SH

O

P

[ PEDESTRIAN/CAR POROSITY ] - low porosity - drop-off plaza for Google office is the focal point

FL

AG

SH

IP

- create attractive point at site corner - transit into inner plaza

[ COMERTIAL PROGRAM] - high-end shopping - streetfront windows for display - cinema & flagship store

DROP OFF

COMMERCE

PEDESTRIAN PATH TO PLAZA DROP OFF G

KIN

G

R PA

U

EV

EN

TS

PA C

E&

OF

RE

C

EP

TI

O

N

DR O

SP A

P

C

F

EV

EN

T

SP AC

E

E

GY M

O OH CH

OC

OC H

C

Left: Boomarang Urbanism Explanation

29

RESIDENTIAL COMPLEX

C-5

R-7

1BR units 2BR units 3BR units 4BR units

R-1 R-2 R-3 R-4

C-6 C-6

Micro-units R-5 R-6 Community room R-7 Daycare facility Social space R-8

C-6 C-6

C-6

R-10

C-4

C-4

R-8

9

R-

R-3

C-5 R-8

R-8

R-6

R-2

R-5

R-6

R-6

C-2 G-6

G-5 G-2

G-1

G-2

G-7

G-3 G-5

G-8

G-8

G-1

C-1

RESIDENTIAL COMPLEX R-1 R-2 R-3 R-4

1BR units 2BR units 3BR units 4BR units

Micro-units R-5 R-6 Community room R-7 Daycare facility Social space R-8

CHUNK

9

R-

R-6

R-8

R-10

G-6

G-1 G-1 G-10

G-3 G-9 G-7

G-1

30

G-1

G-6

G-1 G-7

Commertial 2-stor units R-9 R-10 Residence gallery

GOOGLE OFFICE

C-1 Uniqlo Flagship C-5 C-6 IMAX cinema C-2 We-work C-3 Art gallery/workshop C-4

Restaurant Local shop

Open office Cafeteria Exhibition We-work

G-1 G-2 G-3 G-4

G-5 Reception/Lobby G-6 Single office room G-7 Group study room Shop G-8

EUINOX HOTEL E-1 Event space E-2 Cafeteria E-3 Kitchen E-4 Gallgery E-5 Reception/Lobby Sauna E-6 Shop E-7 E-8 Service/loading

C-3 C-3

C-3

E-7 E-4

Section

E-5 R-7

E-6

E-1 E-1

A

E-1 E-1

E-1

E-1

E-3 E-2 E-5

G-2

G-5

E-7

G-3

Commertial C-1 Uniqlo Flagship C-5 C-6 IMAX cinema C-2 We-work C-3 Art gallery/workshop C-4

2-stor units R-9 R-10 Residence gallery

GOOGLE OFFICE Restaurant Local shop

G-1 G-2 G-3 G-4

Open office Cafeteria Exhibition We-work

G-5 Reception/Lobby G-6 Single office room G-7 Group study room Shop G-8

EUINOX HOTEL E-1 Event space E-2 Cafeteria E-3 Kitchen E-4 Gallgery E-5 Reception/Lobby Sauna E-6 Shop E-7 E-8 Service/loading

E-13

E-12

G-11 E-10

G-1

E-11

E-9

31

Section A Google Campus - Equinox Hotel

F4 F3 F2 B1 B2

32

33

34

RSVP

35

Left: from top to bottom 1) Housing Segment Floor Plan 2) Plan Elevation 3) Front and Back Elevation of the chunk

36

Fix-point Glass Structure

LEVEL 5 FLOOR 48’-0”

LEVEL 4 FLOOR 36’-0”

LEVEL 3 FLOOR 24’-0”

LEVEL 2 FLOOR 12’-0”

Market

Right: from top to bottom 1) Section 2) Close-up view

37

Right: Wall detail section Photos: 1/8” = 1’ model

20% Perforation Aluminum screen

LEVEL 5 FLOOR 48’-0”

Fiber Reinforced Polymer (FRP) exterior panels

LEVEL 4 FLOOR 36’-0”

FRP Cap

2” Alluminum mullion Double glazing

LEVEL 3 FLOOR 24’-0”

LEVEL 2 FLOOR 12’-0”

LEVEL 1 FLOOR 0’-0” Rigid insulation Granular back fill Perforated drain Drainage gravel

0’

38

1’

5’

39

40

41

Undergraduate Thesis Instructor: Karen Lange

Media, Controversy, Empowerment

Media technology has shown to be a vain and glorious species, as technology advances, its users gain access to its power in a democratic manner where anyone can grab attention, economic gain, or political agency. However, the promise of democracy in the mediascape has only been abused by centralised political authority and tech companies to enforce censorship and restrict data accessibility. The society as a whole needs to be challenged through a lack of censorship and authoritarian jurisdiction to visualise and mobilise active forces in participation of social changes. This challenge is attempted by an architectural proposition located in Beijing that materializes the decentralisation of media

42

The Wall Beijing, China authority, demarcation of publicity and privacy, vulnerability of public ambience, symbolism, and a panoptical presence in an environment that is highly censored and charged with political and cultural attention. Without alluding in to any dramatic shift in political power, the Wall imagines a different reality where architecture exists in a disconnection with economy but draws inspiration from Chinese culture to contextualize a radical idea inspired by western literatures. However, it is the desire to push the possibility for architecture to initiate something outrageous evolving from the rapidly changing mediascape.

The interactive comic is available online at:

The interactive comic is available online at: https://walterwang.cargo.site/

in an alternative world...

The Chinese government has launched a social and political experiment 30 years after the tiananmen square protests.

Sited between the ancient seat of power in the form of the forbidden city and the modern capitalistic world of tiananmen square, the Wall materializes the divide between two worlds. The Wall is a world free of governmental interference and media intervention. 13,200 feet long, the Wall is a closed circuit network where media production is circulated within and without through livestream video. open to the public for viewing, the Wall offers visitors glimpses into the media lives of the residents who produce media content to be consumed by the public, engaging the world through its skin of gigantic digital screens and digitalized public space. The Wall materializes the idea of polarised desires of people to see and to be seen, challenging the public with unregulated mediated realities that otherwise cannot exist in the outside world.

43

Experience Age

The past twentieth century is the information age, when computers and the Internet give people instant access to information across the globe. The accumulated amount of data has benefitted companies such as Google as well as alerted some threatening aspects of information technologies. While people cannot make sense of all the data collected by algorithms on computers, we are actually in the transition into another age, the experience age. Arguably this era has started when the computer interface and the Internet allow two-way communications to happen between users because individual values are expressed for others as well as for oneself [1]. The experience age doesn’t

mean the end of the information age. Just as agricultural and industrial products have existed along with the information age, the experience age is a continuation of the information age from a historic perspective.

A comparison could be made between the two eras. If in the information age the data is the main capital, and knowledge ( of the information) is traded for money, then in the experience age creativity is the main capital and innovation is the product [2].

Here are two points to be noted.

First, creativity is not a direct result of the accumulated amount of data/information, and innovations are not equivalent to machines in both industrial and information age. Paralysis through analysis can be observed in daily life: we always feel the urge for more information before coming to a decision or conclusion because of the ubiquity of information (Birkinishaw, 2018).

“Knowledge born innovativeness hastens the pace of problem-solving and facilitates our transformation from mere consumers of knowledge into creative users and prolific producers of knowledge. It’s not anymore

simply what you know and how much you know, but also how well you can use what you know to create something that produces values for others...”[3]

Commodification of Experiences via Media

The point is, in the experience age, individual experiences have the value to be turned into products for consumption. In the industrial age, mass production turned art into a commodity, and the process of commodification also underlies a process of aestheticization.[4]

“Just when art works become commodities, the commodity itself in consumer society has become an image, representation, spectacle.

Use value has been replaced by packaging and advertising. The commodification of art ends up in the aestheticization of the commodity.” (Huyssen, 1986, p21)

When individual experiences become commodities, the commodity itself in consumer society has become a situation, perspective, and participation. In the past two decades, developments in various industries

LED mesh panels project regularly the contents made by the residents. These screens are the major destinations of videos for sponsorship to the residents. This is the most direct means to identify residents. Screens conveys certain intimacy with the audience via contents. The consumption of contents preceeds experiencing physical domestic space as house recedes to the back of screens.

Right and above: selected comic graphics

44

have confirmed this commodification of experiences in markets, from social media such as Snapchat to VR in gaming, from self-driving cars to smart cities. Business and tech companies have been exploring the boundaries of technologies to capitalise on experiential innovations . An example would be the rapid evolution of cameras on smartphones. Half of the century ago when the idea of taking photos with a small mechanical eye can only be seen in spy films.

Nowadays people are walking with those devices that are updated to match, even surpass, the capacity of human eyes. The ability to take and share these aestheticised situations of each of us is a product in this commodification in the experience age. In another article named Facebook struggles to stop decline in ‘original’ sharing, it said that the original status updates by Facebook users were down 21 percent .[5] People care about the reality that they can see, hear, and experience more than a reality said on the digital profile. The notion that I maybe the result of everything I’ve done, but I’m not the accumulation of it means a shift in people from a desire to leave some traces of

life in the digital world to a desire to capture a visual, instantaneous, fast-paced clip of their experiences for others. You are not your profile, you are simply you

What does this shift from the information age to the experience age inform us as architects? Maybe despite all the efforts to push the technological boundaries to follow the trend, we should be critical about how these desires will affect us internally. In other words, we might be able to live in an environment ultimately run by AI in all good ways, but the social desires stimulated by the media accustomed us to exposing, broadcasting, and eventually profiting on our own experiences. The prevalence of surveillance causes the fear of losing one’s freedom and identity, but as social beings we are controlled to be less resistant to sharing our experiences with others via media for consumption. We will eventually enter “a kind of exhibitionist regime that locates the individual within a polarized desiring structure, ‘to be seen’ and ‘to see’ thus always also has ‘to be controlled’ and to ‘control’.” [6] In other words, the commodification of our personal experience

can collaborate with advanced information technologies to create a panopticon of the media, which led to a public life filled with staged “experiences” from individuals in a non-coordinated way, resulting a theatricalization of public life.

“In the age of globalisation, the panopticon of the media becomes the new disciplining authority, In the context of this development, the theatricalisation of all spheres of public and private life has proven one of the most striking features of our everyday experiences in contemporary culture.” [7]

This new disciplining authority, however, creates a society closer to Deleuze’s societies of control rather than Foucault’s disciplinary societies. On one hand, the platform where the various media operate is not a fixed enclosure.

The internet allows the instantaneous exchange of these experiential commodities in “a free-floating control” instead of a regulated time frame in an architecture of a closed system. [8] At the same time, the consumption of others’ experiences

45

[program

projects inward only]

[program projects outward only] [program projects both in and out]

is strengthened by the cycle of feedback.

Feedbacks deliver values and participate, which in turn encourage creativity and products. It is similar to societies of control that “imposes a modulation of each salary, in states of perpetual metastability that operate through challenges, contests” and “perpetual training” [9]. The producers of experiences will eventually receive visibility, influence, and capitals. In conclusion, the experience age will produce a decentralised media authority that exploits desires and creativity for controls in this society whose background will be rapidly advancing technologies to enhance, replicate, and archive experiences.

[ Folly ]

[ Unleash your words]

[ Gallery for IG and more ]

[ Mainstream media ribbon]

[ Folly ]

[ Your new front yard]

[ Long video projection ]

[ VR compatible showroom ]

[ Gallery for IG and more ]

[ Your new front yard ] [ Folly ]

[ Rushmore of the Wall]

[ Neo Silk Road ]

Right: Main Section and Elevation Composite Drawing

[1] [2 ] [3] Doria, Mike. (2014) If You Think We’re Still in the Age of Information, Think Again.

[4] Benjamin,W (1968), “The Work of Art in the Age of Mechanical Reproduction.“ [5] Effrati, Amir (2016) Facebook Struggles to Stop Decline in ‘Original‘ Sharing [6] Mattsson, Helena Real TV: Architecture as Social Media [7] Frohne, U.(2002) “Screen Tests: Media Narcissim, Theatreicality, and the Iternalised Observer“ [8] Deleuze, G. (1992) “Postscript on the Societies of Control.“ p3-p7 46

[ Post-digital Temple ]

[ Data archive ]

[ Lightrail track]

[ Media park ]

[program projects inward only] [program projects outward only] [program projects both in and out]

links to other pages of the website

text bubbles appear when hovering over the images on the left

shortcut links to each sections

of reading comics online, which led to acquiring certain interactiveness to keep the

a Comic and an Architectural Novel experimenting with re-deconstruction of pages audience into the comic without losing the

To conceive a piece of architecture through traditional methods of architectural drawings, renders, and diagrams in this project is limiting and not powerful. Its intent is to provoke imagination and questions via a fictional reality. A very influential precedent is Jimenez Lai’s Citizens of No Space, and here I quote:

“Cartoon is an enticing way to convey complexity; it is more than just a rendering technique...Dancing between the line of narrative and representation, cartooning is a medium that facilitates experimentations in proportion, composition, scale, sensibility, character plasticity, and the part-to-whole relationship as the page becomes an object.

More importantly, this drawing medium affords the possibility of conflating representation, theory, criticism, stroytelling, and design.“ [1]

Most importantly, comics tolerate drawings at different resolutions to speak on their “pages“ contextually to the viewer. Our environment of the ongoing pandemic forced a rethinking to redefine the exerperience

and interactive comics. It demanded new intensity as an architectural novel. This comic workflows between digital and analog, and adapts by deconstructing each page into a reevaluating each architectural drawings set of graphics and a set of chat bubbles. By alternating what’s hidden and what’s revealed,

the audience gets different emphasises on Design the Experience either graphics or texts. Therefore, all the pages

Paper comics are products of pop collapse into a long scroll of one website page, culture and consumerism. Although there making the whole experience of reading this are different genres of comics, one similarity website comic different than on separate pages, among all comics throughout is the presence of although this interaction is only possible on both graphics and chat bubbles. Traditionally computers not on phones. a page on which the comic would be printed defines the boundary of the presentations.

However, when paper comics enter digital forms, there are generally two ways comics adapt to technologies: one is to turn comics into animations, and the other is to upgrade comics with the ability to interact with audiences.

In my case, the comic is an architectural graphic novel that focuses less (although still important to storytelling) on character building and depiction but more on presenting issues and solutions visually. Therefore, to adapt [1] Lei, Jimanez. (2012) Citizen of No Place. to an online format, this comic will focus on p7 47

48

Visit the website to see complete final comic https://walterwang.cargo.site/

left and up selected graphics from the comic right an early iteration

49

VoroSpace Parametric Luminaire Digital Fabrication Studio Instructor: Umut Toker

A grasshopper script is developed to generate a three dimensional projection of voronoi pattern onto a bounding box, from which vertice are selected in group of five.

These groups of vertice become the ends of a network of continuous three dimensional tube structure. By manipulating the density and the distribution of these vertice, the porocity for a desirable amount of light to emit and the number of parts to be fabricated are balanced to achieve a aesthetic, economic, and functional luminair.

1 2 3

the bounding box with original projected patterns structure is generated through connecting vertice bounding box is split into shells to create various opacity across the object

//////////// perspective exploded drawing ///////////// lens width 35 //////////// camera height 5â&#x20AC;&#x2122; //////////////////////////////////////////////////////////////////////////////////////////////////////////// elevations ///

50

South Facade

/////////

51

East Facade

North Facade

West Facse

52

53

54

55

Now you can see me Instructor: Karen Lange

The project has two major components: a physical model as a “screen” and digital projections of texts from Haruki Murakami’s 1Q84. The physical model is further divided into two parts: motherboard and plug-ins. The motherboard has a series of modular teeth onto which audience can fit the plug-ins. The motherboard and plug-ins are different in colors so that the projected texts will disappear on the motherboard but re-emerge when plug-ins are in position.

Installation become a formal participation in public space.

The projection includes texts from 1Q84 that describes sexual scenes from a first-pective perspective.

Users are invited to interact with it in a

The project argues that: first, spontaneous way. Unaware of what is hidden, a parallel physicality and virtuality can users contribute to the meaning of the objects affect the impression of an object and its by revealing different texts. relation to adjacent object in space. Areas where texts are projected receive more attention than others that are not. Second, through the action of revealing and reading,

Now You Can See users experience a conscious realization Me investigates in two primary questions: of the consequences of their actions 1) how can a parallel physicality and in the public space. The consequences virtuality change the experience of user; are texts revealed to different degrees.

2) how does the consequence of actions The device is a physical form of cencorship.

56

57

58

59

60

61

other space sketching

TWO MASSINGS

A series of sketches explores two [types of] massing solids that interact with each other in a three dimensional space yet only captured through compositional instincts at certain moments. There are tectonic ideas as well as the obsession with complexity emerging from confronting with lines in a two-point perspective drawing. Due to the limitation in analog drawings, the space stay open to interpretations and imaginations.

62

OPERATIONAL PERSPECTIVE

Taking similar formal languages from two massings, operational perspective explores the possibility of 2D drawings to inspire three dimensional relationship through operations that create false perspectives and continuously alter the relationship of foreground and background in order to confuse audience and the clarity in meanings. Another layer of information is offered through shadows and dashed lines to question the relations among lines and figures.

63