PORTFOLIO XINHONGW
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Art of Daylighting: Exquisite Rooms 2
Knot Architecture 3
Subterranean Sublime 4
Card Cantilever 5
Water Color in A Box
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ROCK BALANCING ART IN A MUSEUM Art of Daylighting: Exquisite Rooms
8 weeks Design WorkShop Instructor: Mary Guzowski Spring 2015
During the first half of the workshop, we work as a team for one case study room. The second half of the workshop, Each student explores daylighting in an “exquisite room” of choice, experimenting with the poetic and programmatic luminous effects of altering strategic design variables for the section, envelope, windows, structure, materials, color, and design details. During the second half of the workshop, I have redesigned the lighting strategy from a room of University of Michigan Museum of Art. The artist I have choosed is Michael Grab who creates rock balancing art professionally since 2008. Usually, his art of rock balancing art is showed in the nature and close to water or above. His arts seem to be very quiet and “untouchable”.The light in this space is not only for illumination of room but also is a feeling of water with calm and dripping.
Physical Model of Exquisite Room
Latitude/Longitude: 42.2752° N, 83.7405° W
Perspective View of the Room
Elevation View of the Room
Plan View of the Room
March/September 9:00 am
June 9:00 am
March/September 12:00 pm
June 12:00 pm
December 12:00 pm
March/September 3:00 pm
June 3:00 pm
December 3:00 pm
December 9:00 am
Photos in Time with Different Months
Final Model
June
March
December March
Sun Angle (March/June/December) The reason of sideling tube is sun angle. The idea of roof design is base on sun angle. Different angle of transparent tube is to represent the sun angle on different months such as March, June and December. The sunlight can get into room when the sun angle meets the tube angle.
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Study Model
June
Noon 1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12
December
Noon 1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12
Final Model
Elevation East View
The luminous exhibition stand is the idea of “borrowing light�. I have used the acrylic material as the exhibition. This material can bring the light into the room with its special attribute. Each exhibition stand reveals outside walls that can receive the sun light.
Noon 1
Study Model
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South View
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Noon 12 1
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West View
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Noon 12 1
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THIS IS K(NOT) ARCHITECTURE Design Fundamentals Instructors: Adam Jarvi & Andrea Johnson SPRING 2014
a. First, I choose the knot of Sheepshank and draw amounts of sketches to study and discover the feature of Sheepshank. Finally, I realize the key feature of Sheepshank is Axial Symmetry. I reinterpret the knot’s spatial and prepositional relationships using exactly 36”of wire and define an implied volume with the overall dimensions of 5”H x 4”L x 3”W to represent the axial symmetry idea.
b. Next step for this project, I use volume interpretations of the wire frame which shows the idea of axial symmetry. The volume model is not only represent the wire frame but also shows the Sheepshank knot with axial symmetry idea. c. Finally, I will transform from investigating the object as a volume to an object with mass and void, and explore how this mass is created through a series of stacked layers, or thickened sections. Thinking through section will allow me to start creating drawings similar to architectural plans and sections, and how the space could be inhabited through axonometrics and programming.
Wire Frame Model
Axonometric
Locate the vertical lines base on ideas of axial symmetry
Front View
Locate the horizontal lines base on ideas of axial symmetry
Right View
Locate the horizontal lines on side base on ideas of axial symmetry
Axonometric
Connect to two lines on same plane
b THIS IS K(NOT) ARCHITECTURE
Vertical Volume
Horizontal Volume
Process for volume model
Top Plan
Plan Above
Wireframe&Volume
Plan Below
Bottom Plan
Volume Model
c THIS IS K(NOT) ARCHITECTURE
Two Parts of Layer Model
Stacked Layers
Layer Model with Figures
Fallingwater Perspective
Fallingwater Elevation
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SUBTERRANEAN SUBLIME Design Fundamentals Instructors: Adam Jarvi & Andrea Johnson SPRING 2014 Collaboration with Chushi Liu
In this project, we will expand upon the spatial discoveries that emerged over the course of this is K(not) architecture. Instead of simply reacting to the set of spatial conditions that were left over as a result of translations, I and my partner will assume more active roles in deliberately creating and shaping these spaces to accommodate the human figure. The space and natural light have the power to impact people’s interior world. We design chambers as one process: feeling, thinking, feeling, and thinking which meant the paths are very important. The paths are not only the way to connect spaces but also part of the way to impact people’s emotion. At the same time, We also wanted to represent the time. We design several skylights to create “light paths”. One of eight chambers has light at each specific of time to represent the idea of time and lead people to follow the process to feel and think.
Subterranean Section(Photoshop Hybrid Drawing)
Subterranean Section(Photoshop Hybrid Drawing)
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CARD CANTILEVER Design Fundamentals II Instructors: Adam Jarvi & Andrea Johnson SPRING 2014 Collaboration with Chushi Liu
Build an 18�card cantilever without staples. It must support/hold a tennis ball at the end of the cantilever. Use no more than one deck of cards. We can cut, notch, bend, fold, crease, roll the cards, etc, but we cannot remove any material. We have used 18 cards to build the cantilever. The idea of this cantilever is combination of tension and pressure.
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Xinhong Wang Project 01B - FINAL DRAWING
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Cutting
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Folding
Connecting
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Connecting
Combining
The Axonometric Drawing, 2013 Pencil on paper,14 x 17 inches
Elevation&Section, 2013 Pencil on paper,14 x 17 inches
5 COLOR AND WATER IN A BOX 8 weeks Design WorkShop Instructor: Dzenita Hadziomerovic Fall 2014
Each student will be asked to research one designer/artist/innovator who has made significant contribution to our profession. This project will exist on the borderline between art and architecture, and it will allow students to take liberties with reinterpreting a “Master’s” work. The Wunderkammer is seen as an ancestor of today’s museums, will become a device that will embody spirit of the “Master’’. The masters which I have choose is Charles and Ray Eames. My Wunderkammer is an intensified form of experience. The idea of this design is to mix three primary color(Red, Yellow, Blue) and create to secondary color(Orange, Green, Purple). This design can help people to be curious about the color mixed with others and help people understand how color can be mixed to make different color.
Orange
Yellow
Red
Water
Green
Purple Blue
Poster
Instruction
Squeeze Painting
Putting Cups on Bottom
Process of The Box
Getting Water and connecting
Pushing At Same Time
Color of Nature, 2013. Oil on Canva,16 x 20 inches
A middle aged man, 2009. Pencil on paper,18 x 24 inches
6 Frenzied Lines Design WorkShop_Design Game Instructor: Aaron Westre Fall 2014
Today, designers have used the software as a design tool in many areas such as product design, interior design, architecture, etc. Drawing as an inspiration is always first primary for design. In this course, I have designed a game of drawing a line. The ideas of this game is from Adobe Illustrator and bases on collaboration of hand drawing and computer drawing. It helps people to realize how a single beautiful line transforms to a complex shape. The most exciting part in this design is that you draw a line and let computer to transform to a unknown complex shape. The base idea is simply combination of “move”, “scale” and “rotate” and copy. In this design, there are something that I still need to work on: the reason drawing a line and how to transform a line.
Collaboration Drawing of Hand and Computer
Transformation = Move There are two orientations to move the drawing line: horizontal and vertical. Move right and left in horizontal direction and Move up and down in vertical direction.
Number of Copies: 30
Original Drawing Line
Move and copy to Right 0.1 Inch
Horizontal
Move and Copy to Left 0.1 Inch
Number of Copies: 30
Move and Copy to Down 0.1 inch
Vertical
Move and copy to Up 0.1 inch
Transformation = Scale There are two orientations to scale the drawing line: horizontal and vertical. Scale up and down in horizontal direction and scale up and down in vertical direction.
Original Drawing Line
Number of Copies: 30
Scale(110%)
Horizontal
Scale(90%)
Number of Copies: 30
Scale(110%)
Vertical
Scale(90%)
Transformation
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Rotate
There are two orientations to Rotate the drawing line: Anticlockwise and Clockwise.
Original Drawing Line
Number of Copies: 30
Anticlockwise
Rotate and copy 10 degrees
Clockwise
Rotate and copy 10 degrees
Transformation = Move + Scale + Rotate Move + Scale + Rotate at same time to create a complex shape
Original Drawing Line
Scale Horizontal Vertical
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Move Horizontal Vertical
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Rotate Angle:
3
Number of Copies:
100 An Example of Transformation
Final Drawing
Analyse the Path of Transformation And Make a Surface
Original Drawing Line
Final Drawing
Connection of start and end
This line drawing extracts from final drawing
This surface is base on original line and the path of transformation.
Original Drawing Line
The contour drawing from the surface
Other Possibilities In Different Drawing And Transformation
XINHONG WANG 612-836-3359 WANG4002@UMN.EDU