Xiao Yin Portfolio

ORTFOLIO Master of Architecture ‘11 Harvard Graduate School of Design

殷霄

Xiao Yin

Xiao Yin 617.599.5842 xyin@gsd.harvard.edu Conant Hall 110 36 Oxford St. Cambridge, MA 02138

PREFACE

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The test of a first rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.

F. Scott Fitzgerald

Architecture is an organization of ideas and constraints. In testing of the potential of human behaviors and the limits of the physical world, designers manifest themselves as inventors and problem solvers. This way of working is adapted among not only architects but also broader design professions. I am equally passionate about architecture and other non-architectural design activities that emerge from the architectural thinking and the enthusiasm for creating. I believe this interlaced logic across professions help to perfect design quality.

The portfolio attempts to provide a scope of my interests in different design philosophies. On one hand, design thinking can be a spatial diagram of an organizational logic. The Terminal Wheel skyscraper is a prototype of a new airport under the background of globalization. The Encountering Neutra book rethinks our reading behavior and the value of paper books. On the other hand, design thinking can be a collection of parametric transformations. The Book Stacks Pavilion mutates from simple book stacks and creates rich but precisely defined spaces. The Parametric Tree is a computational representation of natural growing and branching. I think both approaches are valuable and useful in today’s design practice.

The portfolio also tries to illustrate my works in both professional and academic fields. The Beyond the Wall library is my first constructed work as an independent student/ architect in a minority community in China. I also published a book, Tagharma Library, a Student/Architect’s Journey and Design about the construction story. The Gone with the Wind portable classroom is a following up research about education facilities for nomadic minorities. These works push me to think across scales, professions and cultures.

In sum, I embrace the idea of holding multiple ideas, architectural or non-architectural, diagrammatic or parametrical, professional or academic, in the mind and function accordingly, and I wish to carry on this idea in my future career.

Xiao Yin

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CONTENTS

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ORTFOLIO

BEYOND THE WALL Library in Tagharma Village, China

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TERMINAL WHEEL Vertical Airport in Manhattan, New York

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BOOK STACKS PAVILION Students’ Pavilion in Harvard University, Massachusetts

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GONE WITH THE WIND Portable Classroom for Nomadic People

35

SUSPENDED NATURE Shopping Mall Roof in Brooklyn, New York

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WATER DROP Design Museum in Shenzhen, China

47

PARAMETRIC TREE Computational Scripting and Fabridcation

59

BOOK DESIGNS Architectural Editorial Design

65

OTHER SELECTED WORKS

71

RESUME

79

Architecture

Other Works

Diagrammatic

Parametric

Professional

Academic

Product

Building

Building

Complex

BEYOND THE WALL LIBRARY IN TAGHARMA VILLAGE, CHINA

Individual Student Work Gets Constructed 2006- 2009 Winner of RMJM China Award 2006 Type: Library Location: Xinjiang, China Architect in Record: Kashgar Design Institute

BEYOND THE WALL/ LIBRARY

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Tagharma Village and the Library Project Tagharma village is in Xinjiang Uigur Municipal, China. It is hidden in a valley with high and endless mountains on both sides. Even by today’s transportation tools, it still take two days to get there from Beijing: a six hours’ conncecting flight to Kashgar, the largest nearby city on the first day and another six hours’ drive from Kashgar to Tagharma on the second day. Although Tagharma Village shares the same latitude with San Francisco, it is cold and windy because of the 12,000 ft altitude.

In winter, the snow will stay for four months and the outside temperature drops below minus twenty degrees Fahrenheit. In summer the solar radiation is remarkably strong. Thanks to the glacier water, the village is wet and green enough for the Tajiks and their cattle to survive.

The idea of donating a library to the only primary school in Tagharma Village through student competition was initiated by Swire Beverage and RMJM Architects in 2006. In the following two years, I developed my winning entry with the help from RMJM Architects and local design institute. In the fall of 2008, the construction started, and because of the freezing climate in winter, it was not finished until a year later in 2009.

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BEYOND THE WALL/ LIBRARY

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UPPER-LEFT Natural setting and people in Tagharma Village LOWER-LEFT Site plan of the library in Tagharma Primary School RIGHT Finished Tagharam Library under the morning sun

BEYOND THE WALL/ LIBRARY

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The Idea of Beyond the Wall My first impression of the site was the thick wall that seperated it from the outside.

The wall reminded me of a jail. Personally, I was very nervous about going to primary school, and I persumed there are quite a lot of kids share the same emotions. The thick and tall wall enhanced this bad feelings about the school because one cannot see the village and the beautiful mountains.

In addition, there was no library in the village before. I thought it would be a pity if the library serves only the school instead of the entire community. Now there are many adults out there who did not have chances to go to school and want to be educated. The library can be a good resource keep thems linked and updated with the outside world. I also believed security is not a big issue in sharing the library: the villagers know each others’ kids well; they are friendly and there was not criminal records in history.

As for the two reasons above, I decided to remove a piece of existing wall and open the entire library to the outside. That is the idea of “Beyond The Wall”, which is like an acupuncture in the conjunction between the school and the village to stimulate interactions and broadcast knowledges.

UPPER-LEFT Site photos in the Tagharma primary school LOWER-LEFT Design study models RIGHT Competition presentation model showing the idea of beyond the wall

BEYOND THE WALL/ LIBRARY

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BEYOND THE WALL/ LIBRARY

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Learning from Vernacular I tried to learn from vernacular building and lifestyle and also carefully introduce new possibilities. The sunken courtyard is a traditional architectural element, now it is a space for public events, where the dancing talents of the Tajiks can be expressed. The inhabitable roof is originally for women to go outdoor without seeing by strangers, now it is a outdoor “movie theater”, where villagers can sit and enjoy outdoor movie in the summer time. Since donkey is the main transportation tool in Tagharma, I also provided “parking lot”, the donkey trough, for readers outside the library. The design idea is to respect locality in tems of both construction skills and architectural language but also be critical about them.

1 Entrance 2 Reading room 3 Compumter room 4 Storage/ Mechanics 5 Courtyard 6 Perform stage 7 Watching stage 8 Bell tower

1 Entrance 2 Reading room 3 Compumter room 4 Storage/ Mechanics 5 Courtyard 6 Perform stage 7 Guard house 8 School gate 9 Donkey trough

+28.500ft 8

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BEYOND THE WALL/ LIBRARY

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UPPER-LEFT Vernacular inspirations: donkey riding and Tajik Eagle Dance LOWER-LEFT Section and ground level plan RIGHT Design sketch shows the donkey trough, roof theater and sinking courtyard

BEYOND THE WALL/ LIBRARY

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Thick Wall and Natural light I was very interested in the thickness of the wall. Local houses usually have thick walls made of earth, gravel and mud. They are good thermal masses keep the interior from over-heat in the noon by storing it for the chilly night. Besides, the deep window reveals block the strong sun light washing down from top and allow it to come in at low angles. I saw opportunities of playing with light by thick walls, like Ronchamp, which may add some spice to the library and make it more adorable to the kids. Then the thick wall became the main language in shaping the spaces.

Radiance and Ecotect were used for natural lighting calculation.

1 2 3 4 5

Steel cap, 750mmx20mm Hollow brick, 600mmx300mmx150mm, filled with rock wool Opening, 500mm x 500mm Prefabricated concrete stair, 125mm Waterproof EPDM sheet Concrete floor slab, 120mm Interior thermal insulation XPS, 120mm 6 Concrete beam, 600mm x 750mm 7 Clay brick, 2 layer, 120mm 8 Concrete lintel, 300mm x 750mm 9 Thermal break aluminium reveal Thermal break aluminium window frame Triple glazing glass 10 Donkey trough, 1200mm x 800mm 11 Waterproof cement Concrete apron 12 Pebble apron, 12mm 13 Reinforced concrete interlayer Reinforced concrete strip foundation 14 Wooden skirt, 50mm x 10mm 15 Oak floor, 12mm Reserved pipe line for future floor radiation heating Concrete floor slab, 180mm Rigid basement insulation, 120mm Rammed earth 16 Drain pipe

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BEYOND THE WALL/ LIBRARY

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7:00 am

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4:00 pm

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LEFT Construction photo and section detail of the wall and the donkey trough RIGHT Radiance natural lighting simulation and interior rendering

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Construction In Tagharma Construction in Tagharma village is not an easy task to achieve. The high altitude, cold climate and the far away location from cities are natural conundrums. Everything became expensive and difficult. The construction workers also asked for a higher salary to work in high altitude. The freezing climate in winter paused construction from late September to the next April. The long travel also made frequent construction administration impossible.

Another problem is language, the client and consultants use English in Hongkong, the Kashgar Design Institutes, which is the architect-in-record uses Mandarin, but the construction workers and the school people only speak Tajik. Luckily the Tajik workers have architectural and artistic talents, they did work clean and carefully, sometimes beyond my expectations.

BEYOND THE WALL/ LIBRARY

BEYOND THE WALL/ LIBRARY

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BEYOND THE WALL/ LIBRARY

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A Wishful Gift If a building is an architect’s bady, then I guess I was not a well-prepared dad, like other new parents, for its birth. I had good intensions, I tried hard, sometimes in wrong directions, and I learned from those. However, I made my life easier by positioning myself as a volunteer who made a gift for his Tajik friends. The good thing about making a gift is that you design for your friends’ happiness, not only for your own, which is sometimes an architect’s trouble.

To be honest, in that natural setting, around those lovely people, all buildings become naturally monumental. I always believe it was them, not me, shaped the library, and I learned more than I offered. I wish the library is not a disturbance to the God Mountians and the descendants of eagles. If they could enjoy this wishful gift delivered from thousands of miles away, I will leave this place with joy.

SEPTEMBER 2006 DECEMBER 2006 competition first round competition third round 20 out of 90 entries advanced winning design selected

NOVEMBER 2006 competition second round 8 entries advanced

JUNE 2007 rammed earth experiment mock-up walls

JANUARY 2007 design study in RMJM the experimental skim

JULY 2007 facad study buildability study

AUGUST 2007 site visit I site survey

BEYOND THE WALL/ LIBRARY

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APRIL 2008 design modification alternative skim

SEPTEMBER 2007 design development modification after site visit

JANUARY 2008 construction document I first round CD finished

AUGUST 2008 construction started ground breaking and piling

JUNE 2008 construction document II second round CD finished

JUNE 2009 site visit II construction review

MAY 2009 interior design furniture and lighting

MAY 2010 openning ceremony book donation

OCTOBER 2009 construction finished turned into use

TERMINAL WHEEL VERTICAL AIRPORT IN MANHATTAN, NEW YORK

EVolo Skyscraper Competition 2011 Type: Supertall Location: New York, US Team: Au Fai, Jun Ke

TERMINAL WHEEL/ SUPERTALL

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Airport in Manhattan?!

The globe is shrinking; national borders are melting. The rapid development of air transportation and the increasing necessity and frequency of flying force us to rethink about an airport. To frequent flyer, like Ryan Bingham played by George Clooney in the movie Up in the Air, any anonymous airport is home; locations and identifications are not that important as efficiency and flexibility. He seeks for everything human beings want from a city- entertainment, social networks and romance- from an airport.

Although served by three airports, busy Big Apple is never satisfied. Businessmen fly to the city for a two hours’ conference or negotiation, but have to spend another two hour traveling between Manhattan and the airports. Manhattan is too dense to afford another traditional airport; however, the World Trade Center site can be a good option for a vertical airport, the Terminal Wheel. The twin towers fell with planes, but now they are coming back with planes.

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TERMINAL WHEEL/ SUPERTALL

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UPPER-LEFT View of lower Manhattan before and after 9-11 LOWER-LEFT Site plan, the building is located on the WTC site RIGHT Terminal Wheel looking from Lower Manhattan

TERMINAL WHEEL/ SUPERTALL

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IF AN AIRPORT BECOMES A MINI CITY, WHY NOT JUST BRING IT TO THE CITY?

Rethinking Airport and City A conventional airport is usually located away from the city because of the unbearable noise and the large area required for planes to function. When people expect more from an airport, it begins to grow into a multi-functional complex. In Generic City, Rem Koolhaas wrote, “the airport is a concentrate of both the hyper-local and hyper-global, hyper-global in the sense you can get goods there that are not available even in the city, hyper-local in the sense you can get things there that you get nowhere else.� However, there is always a paradox that how self-sustained should an airport be, if an airport becomes a mini city, why not just bring it to the city?

The project A380 2009/ Guggenheim Void by Neil Denari gives a rhetorical hint on how advanced technological products, like the largest plane in the world, can be married to our architectural and urban environment. Besides, the vertical space of the city has the potential in solving the noise and the space issues mentioned above. If planes stay high above the city, then the citizens below will not suffer from the noise they generate. If the terminal itself becomes a skyscraper where the planes circulate in a loop like a Ferris wheel, then much less space is required for constructing an airport in the city.

UP Still of Up in the Air, a story of two frequent flyers DOWN Rendering, A380 2009/ Guggenheim Void, by Neil Denari

TERMINAL WHEEL/ SUPERTALL

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1 MINUTE 60 MINUTES

Traditional Location

New Location

LOOPED LINEAR

Traditional Circulation

CUSTOM

New Circulation

WORLD CITIZEN

Traditional Policy

New Policy

New Skyline

TERMINAL WHEEL/ SUPERTALL

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Plane Loop and Program Arrangement Thanks to its location, Terminal Wheel reduces the transit time from the airport to the city significantly: it only takes one minute by elevator to get down to downtown, which also helps to reduce the urban traffic. Since planes are circulating in a closed loop, passengers have more time and freedom to go up and down and enjoy the amenities while waiting for departure. In addition, global travelers can stay, work and entertain in the “in between� zones provided by Terminal Wheel right above the city without worrying about custom check.

Wheel Unit The Terminal Wheel runs like a Ferris Wheel, the outer ring is flexible and the inner floor remains stable as the unit comes to the top.

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Control Center

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It is located in the conjection part of the two towers, oversees the situation on the runway.

Departure/Arrival Deck Planes come out of the loop to the runway from the departure deck.

Rotation Pan Planes are rotated on the rotation pan before going to or after returning from the runway.

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Elevator Cores

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Elevator cores carry passengers, they run much faster than the Terminal Wheel for passengers to catch their flights and go around. They allow quick and direct access to and from the plane decks whereever the plane decks are located along the loop.

TERMINAL WHEEL/ SUPERTALL

ARRIVAL TOWER +467.50 LOOP TOP PLANE LOOP

+392.50 ROOF TOP +385.00 CONTROL CENTER BUSINESS CENTER

+350.00 BUSINESS CENTER

+325.00 ARRIVAL DECK

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DEPARTURE TOWER +467.50 LOOP TOP PLANE LOOP

+392.50 ROOF TOP +380.00 CONTROL CENTER ADMINISTRATION OFFICE

+350.00 SERVICE

+325.00 DEPARTURE DECK

SKY GARDEN RESORT +295.00 OFFICES CONFERENCE ROOMS EXHIBITION HALL GALLERY LIBRARY

+265.00 OFFICES

+235.00 OFFICES SKY GARDEN RESORT +205.00 MUSEUM LOBBY HOTEL ROOMS

+165.00 HOTEL AMENITIES

+195.00 SKY GARDEN SHOPPING MALL SUPERMARKET CINEMA RESTAURANT

HOTEL ROOMS

+115.00 HOTEL AMENITIES HOTEL ROOMS

+65.00 HOTEL AMENITIES

+105.00 SHOPPING MALL

+70.00 MALL LOBBY ADMINISTRATION OFFICE

+40.00 HOTEL LOBBY ADMINISTRATION OFFICE +20.00 OFFICE ±0.00 GROUND -10.00 CHECK-OUT

-35.00 PLANE GARAGE

-10.00 CHECK-IN

-35.00 PLANE GARAGE

PARKING, TAXI & SUBWAY -55.00 PARKING PLANE LOOP

-150.50 LOOP BOTTOM

PLANE LOOP

-150.50 LOOP BOTTOM

UPPER-LEFT Elevator lifting a plane on a aircraft carrier LOWER-LEFT Plane loop, the plane and passenger circulations are seperated and connected RIGHT Section, programs are distributed in the two towers along the plane loop

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Future Network In the future, new global airport connections can be established if Terminal Wheels are placed into major cities worldwide. The transit and custom-check time will be saved remarkably. A physical “internet” is created where national border and travel distance are no longer problems for communication. Frequent travelers become real “citizens of the world”.

TERMINAL WHEEL/ SUPERTALL

TERMINAL WHEEL/ SUPERTALL

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UPPER-LEFT World airlines routes map LOWER-LEFT Future network of Terminal Wheels, creating a new global connection from city to city RIGHT Night view of the Terminal Wheel in the urban context of Manhattan

BOOK STACKS PAVILION STUDENTS’ PAVILION IN HARVARD UNIVERSITY, MASSACHUSETTS

Harvard GSD Option Studio 2011 Type: Temporary Location: Cambrdige, Massachusetts Instructor: Ben van Berkel

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Book Stack Prototype The goal of this studio is using architecture as a tool to stimulate communication in today’s education. The first assignment is a student pavilion in Harvard University. The design starts from studying the prototype of book stacks. When browsing in a library, a reader gets a general idea from one direction and then gets more detailed information from another perpendicular direction. This behavior reveal an connection between information and directionality.

The DNA of a book stack prototype is a linear grid which is both hierarchical and numeral. However, this grid does not necessarily to be orthogonal and rigid as most book stacks do. Adding a series of mutation to the parameters of this prototype will create much more unexpected opportunities for communication.

BOOK STACKS PAVILION/ TEMPORARY

BOOK STACKS PAVILION/ TEMPORARY

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UPPER-LEFT Photos of book stacks in a library LOWER-LEFT Study of prototypical mutations and the affects to human behaviors RIGHT Rendering of the book stack pavilion in Harvard University

BOOK STACKS PAVILION/ TEMPORARY

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Spatical Formulas The parameters of the prototypical mutation includes period, offset, scale, scale center and rotation of a book stack. Each transformation step has its own architectural implications related to activity, circulation, publicity and privacy. By changing parameters the space between stacks can be precisely defined. Thus, the overal pavilion is a spatial result of a series of formulas. Grasshopper scripting was used to generate spatical formulas.

UPPER-LEFT Photos of 3D print model MIDDLE-LEFT Grasshopper program of a single stack mutation UPPER-RIGHT Space generation, from controlling parameters to final form BOTTOM Form-finding process of the pavilion through a series of parametrical mutations to generate rich and precisely defined spaces

GENERIC BOOK STACKS 7.0mx5.5mx0.3m stack @ 2.0m

CURVING BOUNDARIES The boundaries are curved to make better engagement with the surroundings

CUTTING THROUGH A passway is cut through to let people go into the pavilion

BOOK STACKS PAVILION/ TEMPORARY

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Space Identification Parameters

Linear Space Character

Control Curves

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TILTING GROUND The ground is lifted to for multiple functions and allow people to pass underneath

DISTORTING STACKS The stacks are distorted according to activities in the space

ROTATING AND SCALING The stacks are further rotated and scaled according to publicity and privacy

FINAL RESORT The flat roof is placed on the stacks are lining up to the same height

GONE WITH THE WIND PORTABLE CLASSROOM FOR NOMADIC PEOPLE

UIA Turin Student Competition 2008 Type: Temporary Location: Flexible Team: Jiayu Qin, Nan Yang

GONE WITH THE WIND/ TEMPORARY

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Hungry for Knowledge

Paradox: Knoledge or Grass?

The nomadic people drive their cattle along a big circle every year for the best grass. Usually they go up to the montains during summer because grass grew better there and drive their cattle back to the valley during winter because it is warmer there. The kids follow the parents. It is difficult to gather them together for education. Thus, a portable infomation center which can connect to the remote education network by satellite is needed.

Hungry for Grass

This portable classroom is designed for the education of nomadic children. The base part is build and left in one site along the travel circle, but the head part is carried with nomadic people and set up on other bases. Thus there would be a chain of bases and one portable head. The head is a pneumatic structure pre-fabricated in the factory. The base part is done by rammed earth with local materials and technique. It is a very eco-friendly and rigid structure. After the nomadic left, it can be used by wildlife as nests or gather place.

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Floor Plan 1 Base 2 Top 3 Watching Stair 4 Projector 5 Ramp

Spring

STEP 1 Build the base with earth and local rammed earth technique

Summer Winter

Summer

Winter

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GONE WITH THE WIND/ TEMPORARY

STEP 2 Install the folded prefabricated head to the base

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STEP 3 Aerate the head with solarenergy air blower

STEP 4 Complete construciton and enjoy the space!

STEP 5 Leave the eco-friendly base to the wild for returning

LOWER-LEFT Migration map of nomadic people along seasons UPPER-RIGHT Rendering of the portable classroom on a grassland LOWER-RIGHT Installation procedure of the portable classroom

GONE WITH THE WIND/ TEMPORARY

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Shaped by the Wind The inflatable top is tested under wind tunnel to determine the shape which has maximum stability under a given wind enviroment. This form finding program can also generate forms according to environmental conditions all over the world.

Phoenics is used for wind tunnel simulation.

PROGRAM 1 From Mongolian yurt to new building in the site by wind tunnel experiment under local wind condition

PROGRAM 2 From one site to 4 typical climate zones. Reshaping according to wind conditions & wind tunnel experiments

Tundra

Shaping side according to wind speed

Inupt Mongolian Yurt

Prototype

Temperate

Shaping top according to wind speed

Desert

Shaping side according to wind pressure

Monsoon

Tagharma

Shaping top according to wind pressure Output New Building

Wind data: wind frequency, humidy, temperature & pressure

Reshaping side & top according to wind speed and pressure

GONE WITH THE WIND/ TEMPORARY

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PROGRAM 3 Spread the building prototypes worldwide, the building techique and materials of the base part varies accroding to local conditions. The head part is prefrabricated by digital shaping machine in factory

OUTPUT The head part with control lines

Tundra type

Temperate type

Desert type

DUCATION NETWORK STEP 1 Children in the remote area raise their questions to the website in the portable classroom STEP 2 Internet citizens all uploaded their answers, in the form of videos or pictures voluntarily STEP 3 Children see these answers together in the portable classroom

Monsoon type CROSS-PAGE Form-finding matrix for different climates UPPER- RIGHT Photo of portable top’s mock-up

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SUSPENDED NATURE SHOPPING MALL ROOF IN BROOKLYN, NEW YORK

Harvard GSD Option Studio: Function of The Roof 2010 Type: Commercial Location: Brooklyn, New York Instructor: Farshid Moussavi

SUSPENDED NATURE/ COMMERCIAL

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Organic Food from Organic Roof There is a growing trend of organic food culture advocated by retailers such as the Whole Foods in metropolis like the New York city. Part of the reason people are long for “greener” product is that the urban area they live in are isolated from the nature, like Michael Hough described in City Form and Nature Process, “the frozen and heremetically sealed plastic package one finds in the meat section of the local supermarket bears not the slightest resemblance to the animal from which it came.” The city is a gigantic consumer, just like a market.

Nowadays advanced technologies in machanical and equipment engineering have released the roof of a urban mall from carrying big cooling towers and other machines on top of it. The roof does not necessarily to be a solid cap that prevent shoppers from seeing the outside. Instead, the roof can be an urban allotment where citizens grow tomatos and grapes and sell them in the market below. The delight of seeing suspended nature overhead, like the sensation created by landscape architect Claude Cormier, can also increase people’s willingness to shop.

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UPPER-LEFT Photos of Whole Foods market, urban allotment and Cormier’s work LOWER-LEFT Site plan of the shopping mall with urban allotment arrangement RIGHT Interior view from the shopping mall

SUSPENDED NATURE/ COMMERCIAL

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Base Unit and Tessellation The design approach is a bottom-up strategy that starts from a base unit, and the overal mall will be a tessellation of repeated and mutated units according to different functions. The base unit I chose to start with is suspended structure like the EXPO pavilion by Alvaro Siza and the exhibition hall by Thomas Herzog. I think the lightness, variaion of span and the unique parabola curve are suitable for both greenhoue overhead and the mall function inside.

The innovation I made to this prototype is to use two layers of suspended struture and let vinery plants to grow inbetween. The geometry of the suspended structure enhances rain water collection and natural ventilation. The glass panels allow the plants to receive sun light and shoppers to see the plants. The solid panels allow people to walk on for gardening. The variation of span, height and plants arrangement creates different interior effects.

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7.5m 15m, normal span for a mall, shopfront on the first floor is pushed outwards

15m Rotate, one side of the structure is rotated by 15 degress for corner condition

9m 7.5m 9m, the narrow span situation, the circulation on the second floor is overhung

Triple Suspension to create a large space for entrance lobby and market

Flat Part is also for public allotment that is splitted according to structure Rotated Suspension to fit the corner situation for anchor stores Single Suspension for linear situation with shopfronts on both sides

Double Suspension for a large sapce in front of the main anchor store

22.5m 7.5m 22.5m, wide span situation, accommodates larger column free areas

SUSPENDED NATURE/ COMMERCIAL

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The upper surface is tilted towards south to let in sun light for photosynthesis

The combination of solid and transparent strip achieve maximum visibility

The pipe wire inbetween allows vinery to grow towards the sun, it also brings down rain water for plant irrigation

The sturcture is set back and hidden behind shopfront, so the roof looks a floating overhead +15.000m

The lower surface is flat to let people to walk on the solid strips for gardening, shoppers can see the plants from transparent strips

+14.000m

+12.000m

+5.000m

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7.500m

15.000m

7.500m

UPPER-LEFT Photos of suspension structure by Alvaro Siza and Thomas Herzog LOWER-LEFTBase unit variations and tessellation UPPER-RIGHT Section perspective of the base unit LOWER-RIGHT Interior renderings

WATER DROP DESIGN MUSEUM IN SHENZHEN, CHINA

Intern Work in Studio Pei Zhu 2008 Type: Cultural Location: Shenzhen, China Supervisor: Pei Zhu Team: Xiaoming Zeng, Fan He

WATER DROP/ CULTURAL

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Inspiration from Water Drop The city of Shenzhen has been encountering rapid growth over the past 10 years.

Now this young and energetic international city is the context for a new cultural recreation district. Nestled along the gulf next to Shenzhen’s high rise buildings and crowded streets, the ‘Happy Harbor’ development is a relaxing destination.

The OCT design museum is the gateway in this entertainment district. The building is inspired from the connection that Happy Harbor has with the water. The fluid and powerful ‘water drop’ form of the museum invites people into the site and stands as a landmark object. The overhang allows people to pass underneath and around the building to experience the structure from a unique perspective.

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100m UPPER-LEFT Site photos LOWER-LEFT Site plan in the Happy Harbor UPPER-RIGHT Form-finding studies LOWER-RIGHT The design museum as a landmark

WATER DROP/ CULTURAL

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MODELS

NATURAL INSPIRATIONS

PRECEDENTS

OPTIONS

Crystal

LBO single crystal

Canadian Museum of Human Rights

Accessible roof platform

Gravel

Water drop on the leave

Spaceship House

Recognizable entrance

Gravel

Gravel collected on the site

Cloud Gate

Large overhang area

WATER DROP/ CULTURAL

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Form-finding Study The complexity of the site conditions in terms of both boundaries of various districts with respective programs and circulation streams from multiple directions pushes and pulls the shape of architecture. The museum responses to its context and accommodates visitors by its unique organic form.

The location of the museum does not allow it to have a “back face”; the read of building should be different but contiguous from all directions.

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POINT A Entrance of Happy Harbor

POINT B Central Sqaure

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POINT D Nearby Road

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WATER DROP/ CULTURAL

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LEFT The museum seen from four major view points RIGHT Form study model and form-finding factors

WATER DROP/ CULTURAL

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Fluid Exhibition Circulation From German Pavilion by Mies van der Rohe to Guggeinheim Museum by Frank Lloyd Wright, there is a legacy of fluit space in the exhibition typology in modern architecture. Here the interior fluidity also hints the inspiration of this museum, the water drop. All the exhibition open spaces are connected with continuous ramps from the basement to the top level, which provides maximum possiblities in hosting all kinds of modern exhibitions and activities. The cores contain vertical funtions and act as the main load barriers.

+59.000ft

1 Auditorium 2 Lobby 3 Kitchen 4 Office

+39.400ft +19.700ft +4.900ft Âą0.000ft 1

-16.400ft

1

2

3

+59.000ft

4

4

1 Storage 2 Office 3 Mechanics

+39.400ft +19.700ft +4.900ft Âą0.000ft -16.400ft

1

2

2

3

3

LEFT Two cross sections show the cores RIGHT Exploded diagram of the interior circulation

WATER DROP/ CULTURAL

53

+39.700ft

THIRD FLOOR Floor area:9322ft a single height exibition space for smaller exhibition

+19.700ft

SECOND FLOOR Floor area:11669ft a double height exibition space with height of 36 ft

+4.900ft

GROUND FLOOR Floor area: 6265ft a ramp rising from zero level, a reception counter, a vip room and a cafe area

±0.000ft

Zero Level Entrance space

-16.400ft

BASEMENT Floor area:15371ft a ramp directly from the outside, an audiotium for 120 people and a service zone

MAIN STREAN

SERVICE

ELEVATOR

EMERGENNCY

EXHIBITION

MAIN STREAN

SERVICE

ELEVATOR

EMERGENNCY

EXHIBITION

VIP

ENTRANCE

SERVICE

ELEVATOR

EMERGENNCY

CAFE

CARGO ENTRANCE

AUDITORIUM

ENTRANCE FROM PARKING

SERVICE & MECHANICS

WATER DROP/ CULTURAL

54

Program Arrangement The basement holds most of the functional programs including auditorium, office and MEP rooms, the ground level is considered as an extension of the urban context, a ramp takes visitors naturally to the reception desk and the lobby. The skin of the museum also wraps up from the ground level like a urban carpet, inviting people to sit on and to explore the exhibition open spaces.

UPPER-LEFT interior views of the main exhibition space LOWER-LEFT Two interior views from the ground and the second floor RIGHT Plans from the basement to the third floor

WATER DROP/ CULTURAL

55

7

3

1

5

4 2

5 5 1 Auditorium 2 Lobby 3 Storage 4 Kitchen 5 Office 6 Mechanics 7 Entrance from parking 8 Service entrance

3

up

2

5

3

6

1

6

5

8

6

Basement Plan

1 Reception desk 2 Cloak room 3 Cafe 4 Vip room 5 Main entrance 6 Entrance to Auditorium

6 Ground Floor Plan

2

2

3

3

1

1

1

1 Exhibition 2 Open to below 3 Storage

Load Distribution The load of the floors passes down through the core tube to the basement. The non-structural nullious shell help to resist over-turn force.

2nd Floor Plan

1 Exhibition 2 Open to below 3 Storage

Triangulated Surface The organic surface is broken up into pieces of triangle panel. The windows of the building is also embedded as triangle panels

3rd Floor Plan

WATER DROP/ CULTURAL

56

Building Skin Study The museum shows a gentle gesture to the context by disappearing itself with its reflective skin. The organic skin form is divided into triangular units cladded with zinc panels. The non-structural mullion holds the claddings from the inside. Some triangle panels are replaced with skylights, which are also responded by the lighting units on the plaza.

Interior surface Non-structural mullion Insulation and water proof layer Zinc cladding

Silver Arowana scale

Tile Garden, Venice

Scale tile surface

Shell on the site

Ingalls Arena, Yale Univ.

Shell structure surface

Jellyfish in the ocean

Water Cube, Beijing

ETFE Membrane surface

WATER DROP/ CULTURAL

57

UPPER-LEFT Skin construction detail LOWER-LEFT Skin cladding alternative study LEFT Night view of the museum with its unique triangular lightings

58

PARAMETRIC TREE COMPUTATIONAL SCRIPTING AND FABRIDCATION

Harvard GSD Seminar: Inorganic Assemblies 2010 Type: Installation Location: Boston, US Instructor: Marc Forne Team: Fai Au, Karthik Dondeti, Evangelos Kotsioris, Jeremy Keagy

PARAMETRIC TREE/ INSTALLATION

60

Complexity and Simplicity

� R 2-3-2-2-2� � R 2-3-2-2-3�

� R 2-3-3-3�

� R 2-2-1-2-3� � R 2-3-2-2-1�

� R 2-2-2-3-2� � R 2-2-1-2-1�

� R 2-2-1-2-2�

� R 2-3-3-2� � Joint 3 � R 2-2-1-3�

� R 1-2-3-1-3-3�

� R 2-3-2-2

� R 2-3-2-1�

� R 2-3-3-1�

� R 2-2-1-1�

� R 2-2-1-2 � R 1-2-3-1-3-2� � R 1-2-3-1-3-1�

� Joint 2

� R 1-2-3-1-1�

� R 2-1-1-2�

� R 1-1-2-3-3�

� R 2-1-3-1-3�

� R 2-1-3-1-2� � R 2-1-3-3�

� R 2-2-2-2�

� R 1-2-3-1-3

� R 1-2-3-1-2�

� R 2-3-2

� R 2-2-1

� R 2-2-2-1�

� R 2-1-3-2�

� R 2-1-3-1-1�

� R 2-1-3-1

� R 2-2-1 � R 2-2-2

� R 1-2-3-3� � R 1-2-3-2�

� R 2-1-3

� R 1-1-2-3-2� � R 2-1-2�

� R 1-2-2-2-3�

� R 1-1-2-3-1�

� R 2-1-1

� R 1-1-2-3

� R 1-2-3-1 � R 1-2-2-3�

� R 2-1-1-1� � R 1-1-3-3-3� � R 2-2

� R 1-1-2-2�

� R 2-1 � R 1-2-2-2-1�

� R 1-2-3

� R 1-2-2-2-2�

� Joint 1

� R 1-1-2-1�

� R 1-2-2-1�

� R 1-1-3-3-1-2�

� R1-1-3-3-2�

� R 1-2-1�

� R1-2-2-2

� R 1-1-3-3-1

� R1-1-3-3-1-1�

� R 1-1-3-3

� R 1-2-2 � R 1-1-2

� R1-1-3-2�

� R 1-2

� R 1-1-3-1�

� R 1-1-3

� R 1-1-1�

� R 1-1

� Base Trunk 2

This installation approaches the relation between those two opposite vectors. It will start by exploring Rhinoceros Script techniques and different algorithmic processes, such as recursion, to explore and generate complex aggregated systems while on the same time keep record/track of every parts/elements in relation to the whole but also to its local neighboring. The “branches” grow and split according to given guide curves, when more than one “trees” growing together, they recognize other’s presence and connect to neighbors without stabbing into them.

� Base Trunk 1

Tree 3 Branch 3-c Tree 2 Branch 3-c

Tree 2 Branch 2-a

Tree 2 Branch 1-c

Intersect Intersect Tree 2 Branch 1-a Tree 2 Branch 3-a Tree 3 Branch 1-c Tree 3 Branch 2-c Tree 2 Branch 2-c

Tree 2 Intersect 1-3-c Tree 3 Branch 1-a

Tree 1 Intersect 1-3-c

Intersect Tree 2 Tree 1 Branch 3-b Intersect 1-3-aTree 2 Branch 3-b Intersect Tree 1 Branch 2-a Tree 3 Branch 3-b

Tree 2 Intersect 1-2-c

Tree 1 Intersect 1-2-c

Tree 2 Intersect 1-2-a

Tree 2 Intersect 1-2-b Intersect 1-3-b

Tree 2 Branch 2-b

Tree 3 Intersect 1-2-b Intersect 1-3-b

Intersect Tree 1 Branch 1-b Tree 2 Branch 1-b

Tree 2 Branch 0

Tree 3 Branch 2-b

Tree 3 Branch 0 Intersect Tree 1 Branch 1-a Tree 3 Branch 1-b

Tree 1 Intersect 1-3-b

Tree 1 Branch 3-a

Tree 1 Branch 2-b

Tree 1 Intersect 1-2-b Tree 1 Intersect 1-2-a

Tree 1 Branch 1-c

Tree 1 Branch 0

Tree 3 Branch 1-a

Tree 3 Branch 3-c

Tree 3 Branch 2-b

Tree 3 Branch 0 Tree 3 Intersect 1-2-b Tree 3 Intersect 1-2-c Tree 3 Intersect 1-3-b

Tree 3 Intersect 1-3-c

Intersect Tree 1 Branch 1-a Tree 3 Branch 1-b

Intersect Tree 2 Branch 1-a Tree 3 Branch 1-c

Tree 1 Branch 3-a

Intersect Tree 2 Branch 3-a Tree 3 Branch 2-c Intersect Tree 1 Branch 2-a Tree 3 Branch 3-b

Tree 2 Branch 2-a

Tree 1 Intersect 1-3-a

Tree 2 Intersect 1-3-a

Intersect Tree 1 Branch 3-b Tree 2 Branch 2-b

Tree 2 Intersect 1-2-a

Tree 2 Branch 3-c

Tree 1 Intersect 1-2-a

Tree 1 Branch 0 Tree 2 Branch 0 Tree 2 Intersect 1-2-c Tree 2 Intersect 1-3-c

Tree 2 Intersect 1-2-b

Tree 1 Intersect 1-2-b

Tree 2 Intersect 1-3-b

Tree 1 Intersect 1-3-b

Tree 1 Branch 1-c

Intersect Tree 1 Branch 1-b Tree 2 Branch 1-b

Tree 2 Branch 1-c

Tree 2 Branch 2-c

Tree 1 Branch 2-b Tree 2 Branch 3-b

Computing allows to generate complexity extremely fast. Scripted protocols can now produce with a very limited number of lines of code complex systems such as non linear order/arrangements or simply as a large number of unique parts.

On another end physical realization requires most often simplicity or efficiency.

Logics of (re)assembling are pushing toward limited amount of diversity or linear sequence of description.

PARAMETRIC TREE/ INSTALLATION

61

End-point

End-point

Generation X End-point All lines follow 30 degress branch

End-point

End-point End-point

Generation X End-point

End-point

Mid-point

All lines follow 30 degress branch

End-point

End-point

Generation X+1 The others follow 30 degress branch

Mid-point

One line follows the first branch

Generation X

3/4 dividing point of the first branch

4/4 dividing point of the first branch

End-point

End-point

End-point All lines follow 30 degress branch

End-point

End-point End-point End-point

All lines follow 30 degress branch

End-point

4/4 dividing point of the second branch

Mid-point End-point

End-point

3/4 dividing point of the second branch

End-point

2/4 dividing point of the second branch

The others follow 30 degress branch

End-point

The others follow 30 degress branch One line follows the first branch

3/4 dividing point of the first branch

One line follows the first branch

Mid-point

End-point End-point

Mid-point

Mid-point

End-point

4/4 dividing point of the first branch

2/4 dividing point of the first branch

All lines follow 30 degress branch The others follow 30 degress branch

End-point

1/4 dividing point of the second branch

End-point

One line follows the first branch Mid-point

1/4 dividing point of the first branch

End-point Mid-point The others follow The other follows 30 degress branch 30 degress branch

Mid-point One line follows the second branch

3,4/5 dividing points of the main branch 5/5 dividing point of the main branch

The other follows 30 degress branch One line follows the first branch

One line follows the main branch Mid-point

Mid-point

2/5 dividing point of the main branch

1/5 dividing point of the main branch

Two triangles make the trunk surface

Centroid of the base circle Base triangle of the trunk

Base circle radius = 400 mm Triple dividing points of the base the circle

UPPER-LEFT Situations od multiple “trees” growing together LOWER-LEFT Rhinoceros Script model, tessellation unit and the final installation RIGHT Principals of the “tree” growing along given curves

PARAMETRIC TREE/ INSTALLATION

62

Disassemble and Assemble The overal structure is disassembled into branches and then further into six pieces of triangular parts for each branch with 4 digit identification number along each side marking the generation of branching and the infomation of neighbouring side.

The triangular panels are fabricated out of alumimum sheet by robotic water jet, holes and dash lines are perforated to make the bending and the rivet connection possible.

UPPER-LEFT Robotic water jet LOWER-LEFT Connecting panels together according to id numbers UPPER-RIGHT Panel connection details and panel examples LOWER-RIGHT Connection alternative study

PARAMETRIC TREE/ INSTALLATION

63

End-point

Mid-point Pull out by rivet gun

The tab starts from the mid-point of the edge

The tab stops within certain distance from the end point or another tab End-point

Rivet, Ø = 1.45 mm

Bending dash line, 6 mm@5 mm

End-point Rivet hole, Ø = 1.45 mm � Rivet tab, 7.5 mm@40 mm Aluminium sheet, d= 0.6 mm

Tab, d = 6 mm

158

149

242

194

170

148

150

260

174

162

156

193

154

195

175 261 257

167

171

240

237

159

163

168

166

319

316

256

207

204

322

254

164

203

161

146

205

252 202

197

244

204

210

258

271

206

178 233

155

208

243

227

205

241

257

230

152

257 241

145

148

150

151

254

186

240

188

249

177

179

143

139

220

222

299

147 224

255

187

253

181

64

BOOK DESIGNS ARCHITECTURAL EDITORIAL DESIGNS

Harvard GSD Seminar: Architects as Authors and Editors 2010 Type: Architectural Editorial Location: Boston, US Instructor: Lars Muller

BOOK DESIGNS/ ARCHITECTURAL EDITORIAL

66

Iwan Baan: Encountering Neutra Architectural photographer is usually considered as an objective reader of a building, or a loyal servant to the architect. Thus, the invisible emotion and reason behind taking a photo, which is equally important in perceiving architecture, is sqeeuzed out by the visually predominant image. However, in this album of Neutra’s three houses by Iwan Baan, the photographer is self-commissioned. He has the freedom of simply being a guest or visitor to those houses and express his feeling and thinking. The readers of the book are invited to read Iwan Baan’s photography notes, which converse with neutra’s own writing, before preoccupied by his breath-taking photos.

The good thing about a paper book is the editor can direct readers’ behavior like an architect. The portrait layout works for words better than images while the landscape layout does the opposite. Readers read the story in the portrait layout first before being fascinated by the photo, then they rotate the book and look at the photo. There is a think-and-look experience like what photographer had taking photos.

MARGIN Top= Side= 2cm Comfortable to put finger on

BAAN’S NOTE AND NEUTRA’S WRITING Helvetica 10pt @ 18pt Like the photographer and the architect are talking to each other

BOOK SIZE 12.5 cm x 18cm Can be easily hold and rotate in both direction according to the test

ROTATED PHOTO Size of a 6-inch standard photo The corner is cut to hint that it is an album

Grid line

Grid line PHOTOGRAPHY DATA Helvetica 8pt Technical infomation of the photo PLAN WITH MARK OF THE VIEWPOINT To show where the photo is taken

BOOK DESIGNS/ ARCHITECTURAL EDITORIAL

67

READ LOOK

UPPER-LEFT Scale test comparing to a Blackberry cell phone LOWER-LEFT Typical layout with dimensions and font styles RGIHT The rotation process in reading the book

BOOK DESIGNS/ ARCHITECTURAL EDITORIAL

68

Tagharma Library A Student/Architect’s Journey and Design While the kid builds the toy, the toy builds the kid.

I find this American advertisement in the 1960s fits my story of Tagharma Village Primary School Library perfectly well. Naive as a third year college student at that time, I was a lucky dog to win an opportunity to really build this small 3,000 square feet library through a competition. To be honest, I was equally excited about the travel and the construction. I would not consider it as a well-done piece of architecture. However, I would say that the visiting, learning and volunteering experience in this unique world is something that worth sharing.

This book is not all about architecture. It begins with my observation of the context and the people, which I believe are the true stage and the actors of this “play”.

Then it follows by my naive but enthusiastic approaches. The whole story is about getting to know a group of people, trying understand them, and hopefully, leaving them a good gift after three years’ work. I studied the dimensions of both brick and paper stack in designing the book, the idea is to produce a “brick” book which also implicates the grass root practice of this library.

BOOK PAPER WEIGHT AND THICKNESS

BRICK FACE BRICK DIMENSIONS Standard Modular King Queen Engineer Economy Utility Jumbo Norman Norwegian

Nominal Size 4" x 2 2/3" x 8" 4" x 2 2/3" x 8" 3 3/8" x 3" x 10" 2 ¾" x 3" x 10" 4" x 3 1/5" x 8" 4" x 4" x 8" 4" x 4" x 12" 4" x 3" x 8" 4" x 2 2/3" x 12" 3 ½" x 3" x 12"

Actual Size 3 5/8" x 2 ¼" x 8" 3 5/8" x 2 ¼" x 7 5/8" 3" x 2 5/8" x 9 5/8" 3 1/8" x 2 ¾" x 9 5/8" 3 5/8" x 2 13/16" x 7 5/8" 3 5/8" x 3 5/8" x 7 5/8" 3 5/8" x 3 5/8" x 11 ½" 3 5/8" x 2 ¾" x 8" 3 5/8" x 2 ¼" x 11 5/8" 3 ½" x 2 ¾" x 11 5/8"

No. per sqft 6.27 6.86 4.8 4.61 5.65 4.5 3.03 5.5 4.57 3.84

Bond Lbs 16 18 20 24 28 29 31 35 36 39 40 43 44 47 53 54 58 65 67 72 76 82 87 105

Offset Lbs 40 45 50 60 70 73 81 90 90 100 100 110 110 120 135 137 146 165 170 183 192 208 220 267

Points 3.2 3.6 3.8 4.8 5.8 6 6.1 6.2 6.8 7.2 7.3 7.4 7.6 8 9 9 9.5 10 10.5 11 13 14 15 18

Thickness 0.0032 0.0036 0.0038 0.0048 0.0058 0.006 0.0061 0.0062 0.0068 0.0072 0.0073 0.0074 0.0076 0.0078 0.0085 0.009 0.0092 0.0095 0.01 0.011 0.013 0.014 0.015 0.0175

BOOK DESIGNS/ ARCHITECTURAL EDITORIAL

69

Pg. 2-3 Preface: My Journey and Design

Pg. 6-7 Geography: Among the Moutains/ Introduction

Pg. 36-37 Geography: Among the Moutains/ Mountain Lake

Pg. 58-59 Geography: Among the Moutains/ School Yard

Pg. 66-67 People: A Charming Minority/ Introduction

Pg. 74-75 People: A Charming Minority/ Donkey Riders

Pg. 100-101 People: A Charming Minority/ Students

Pg. 102-103 Design: Beyond the Wall/ Introduction

Pg. 136-137 Design: Beyond the Wall/ Design Discussions

Pg. 156-157 Design: Beyond the Wall/ Final Design

Pg. 158-159 Experiment: Building on Earth/ Introduction

Pg. 186-187 Construction: Surprise and Pity/ Introduction

Pg. 224-225 Completion: A Wishful Gift/ Introduction

Pg. 243-244 Completion: A Wishful Gift/ Kids and the Library

UPPER-LEFT Photo of the published book LOWER-LEFT Dimensional study of bricks and paper RIGHT Selected pages from seven chapters of the book

OTHER SELECTED WORKS ARCHITECTURAL AND CREATIVE WORKS

OTHER SELECTED WORKS

72

579 Fifth Avenue Office Renovation, New York Intern work in Kohn Pedersen Fox 2010 Participated in the Design Development and Construction Document of the entry lobby, tenant floors, facades and bathroom design Supervisor: Douglas Hocking, Gary Stluka

Interstitial Gallery, Beijing, China Intern work in Studio Pei Zhu 2008 Solely responsible for an interior renovation of a 3000 sqr. ft. gallery through Schematic Design, Design Development and Construction Document Supervisor: Pei Zhu

Rammed Earth Wall, Beijing, China Tectonic Studio in Tsinghua University 2008 Grat International Sustainable Design Competition: Special Jury Award 2007 Build a 2mx2mx2m structure in person, developing new rammed earth technique from traditional ones with recycled materials Instructor: Yong Jiang Team member: Wenao Liu, Li Liu

OTHER SELECTED WORKS

Shiliying Eco-Park Urban Design, China Thesis Project in Tsinghua University 2009 Solely responsible for the urban design of a four square kilometers central “water-town� district in Shiliying Eco-Park Advisor: Jian Liu, Wenqi Lin

Prefabricated Tuberculosis Clinic, Ethiopia Harvard GSD Option Studio 2009 Considering the local material, construction skill and ventilation requirements of a TB clinic, the design combines local and global fabrication Instructor: Peter Rose

73

74

OTHER SELECTED WORKS

[Exhibition] The Global Redesign Project, Cambridge Harvard GSD Seminar 2009 I coordinated the student exhibition for World Economic Forum at Harvard. Prepared the World Electronic Waste Trade section Instructor: Toshiko Mori

[Furniture] Pipe Chair, Beijing, China Student work in Tsinghua University 2007 I designed and built a chair with two plumbing materials, wire hose and PVC pipe and use rivet for the joints

OTHER SELECTED WORKS

75

[Display] Posters on the hangers, Student Exhibition, Cambridge SZ-HK Biennale Exhibition Design 2010 I designed a way of displaying posters from Shenzhen Hongkong Biennale, which enhances interactions with audience and also indicates the rapid construction growth like fashions

[Photography] KPF Mandarin Oriental Hotel in City Center, Las Vegas Case Study of Harvard Real Estate Class 2010 I visited the City Center in Las Vegas after studying related cases in Harvard Business School and evaluated the use of the project Instructor: A. Eugene Kohn, Johm Macomber

76

FREE-HAND DRAWINGS/ WATERCOLOR

FREE-HAND DRAWINGS/ PASTEL

77

LEFT MIT Stata Center, Watercolor, 23cm x 30.5cm RIGHT MIT Stata Center, Pastel, 28cm x 22cm

78

RESUME

79

Xiao Yin 採 霄 Room 110 Conant Hall 36 Oxford St. Cambridge, MA 02138 xyin@gsd.harvard.edu, 617-599-5842

EDUCATION Harvard University Graduate School of Design, Cambridge, MA, Master of Architecture '11 Completed coursework in architecture, urban design, real estate and economics.

Tsinghua University, Beijing, CHINA, Bachelor of Architecture '09 Thesis: Shiliying Wetland Eco-Park and Urban Design, Shandong, China.

AWARDS Grat International Sustainable Design Competition: Special Jury Award, Salzburg, AUSTRIA, August 2007 The rammed earth design was selected out of 30 international entries.

RMJM China Award: Winner, Beijing, CHINA Won first place out of 90 entries in the architecture competition in December 2006. Created design for a 3500 sq. ft sustainable library which was constructed in 2009 in Xinjiang, China.

WORK EXPERIENCE Kohn Pedersen Fox Associates (KPF), New York, NY, Intern Architect, June - August 2010 Participated in the DD and CD of the 579 Fifth Avenue Project, a 35,000 sq. ft office building renovation in Manhattan.

Contributed to the SD of the Haeundae Resort Project, a 600,000 sq. ft super tall complex in South Korea.

RMJM Beijing Office, Beijing, CHINA, Independent Project Architect, January 2007 - June 2009 Solely responsible for the winning design of the RMJM China Award through SD, DD, CD and supervised construction.

Studio Pei Zhu, Beijing, CHINA, Intern Architect, May - September 2008 Solely responsible for an interior renovation of a 3000 sqr. ft. gallery in Beijing through SD, DD and CD. Created the plan, section, detail and presentation document of a 40000 sqr. ft. exhibition center in Shenzhen.

Beijing Municipal Commission of Urban Planning, Beijing, CHINA, Intern Official, August 2006 Participated in 2006- 2010 Beijing Housing Planning study; handled analysis and organized meetings.

RESEARCH, EXHIBITION AND PUBLICATION Harvard Zofnass Infrastructure Rating Program, Cambridge, MA, Researcher, September- December 2010 Participated in the Charles River Stormwater Study. Organized interviews and prepared study reports.

'Tagharma Library: A Student/ Architect's Journey and Design In A Tajik Village', Author, November 2010 Published a book about the RMJM China Award library I designed in Xinjiang, China.

World Economics Forum at Harvard Student Exhibition, Cambridge, MA, Coordinator and Contributor, October 2010 Coordinated the student exhibition Global Redesign Project. Prepared the World Electronic Waste Trade section.

Harvard GSD On the Bri(n)ck Seminar, Cambridge, MA, Research Assistant, September- December 2009 Prepared illustrations and documents for a seminar on the architecture envelope.

ACTIVITIES Harvard University China GSD, Cambridge, MA, Academic Director, September 2009- September 2010 Organized Urban-Rural Issues in China panel discussion and coordinated the Shenzhen-Hongkong Biennale Exhibition.

Beijing Olympic Games, Beijing, CHINA, Technical Delegate Liaison, August 2008 Assisted with communication between International and Chinese Olympic officials.

Student Union of Tsinghua University School of Architecture, Beijing, CHINA, President, June 2006 - June 2007 Managed the official organization of 570 undergraduate students. Directed the 60th anniversary celebration of the school.

SKILLS Software: AutoCAD, Rhino and scripting, 3DS MAX, Ecotect, GIS, Adobe CS Series, Windows Office Series.

Language: Chinese (Native language), English.

Interests: Drawing, Flute, Basketball, Tennis and Badminton.