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CONTENTS 01 TRANSPARENT SPATIAL DESIGN Self Design Work & Essay, Spring, 2018 02 WATER PAVILION Cooper Union Summer School, Summer, 2018 03 A DAY Graphic Novel, Fall, 2018 04 MODERN EVOLUTION Watercolor, Fall 2018 05 OTHER WORKS Project from Fall, 2014 - Fall, 2017
01 TRANSPARENT SPATIAL DESIGN Self Design Work & Essay Spring, 2018 “In art, transparency opened avenues to radical, critical, and pessimistic social discourse, while in architecture, transparency was propagated as an expression of a new and open society in harmony with nature” (Herzog, Jacques and Pierre de Meuron. Treacherous Transparencies. 2016). Today the excitement in architecture derives from the tension between the need for privacy and the impulse toward community. Transparent architecture has become one of the significant characteristics in the 20th century. Triggered by this trend, I did some researches to study the relationship between architectural meaning and transparent architectures. During the studies, I designed 12 transparent prototypes to represent 6 pairs of binary opposite symbolic meanings, as blur - clear, maximal - minimal, heavy - light, solid - fluid, contaminated - purified and private - public.
BLUR - CLEAR These two designs demonstrate a blur cube and a clear cube. Arrays of lines segment the space and make it less distinct but still transparent enough for understanding the surrounding area. In contrast, by reassembling those lines to align with different axes and interspersing with blocks, it delivers an even more clear transparent visual understanding of the whole space.
MAXIMAL - MINIMAL These two designs demonstrate a maximal cube and a minimal cube. With blocks and planes piled up from the lower and closer corner to the higher and further corner, it aims to maximize the complexity of the space but allows people understand all the layers at the same time. On the other hand, minimal space is created with only a couple of simple lines.
HEAVY - LIGHT These two designs demonstrate a heavy cube and a light cube. The design of large blocks supported and held by thin planes makes the upper part more noticeable and conveys a feeling of great weight. But when blocks are deconstructed into an open space, the upper portion gets slim and graceful. Both show their spatial layout phenomenon transparency with interlaced planes.
SOLID - FLUID These two designs demonstrate a solid cube and a fluid cube. Arrays of planes form solid blocks but also leave space to see through which helps deliver a solid meaning. While when the planes are arranged into a curved shape, it transforms this solid feeling into a fluid experience.
CONTAMINATED - PURIFIED These two designs demonstrate a contaminated cube and a purified cube. A twisted and interspersed loop agitate the space into a maze and contaminate the spatial flow inside the cube. Contrast to the contaminated cube, purified cube uses eight tetrahedrons with four upside-down tetrahedrons on top, and four on the bottom gives a symbolic meaning as an hourglass and pyramids. As the spatial flow goes through the tetrahedron, the contaminants are removed from the space.
PRIVATE - PUBLIC These two designs demonstrate a private cube and a public cube. A fence constructed with an array of planes gives inside activities more privacy while leaving enough gap for transparency. In contrast, by turning the angle and scaling down the size of the cube frame, all the space layers are exposed to the outside, which demonstrates an open and public space.
Physical Models
Physical Models Detail
TRANSPARENT SPATIAL DESIGNS AND THEIR SYMBOLIC MEANINGS I. INTRODUCTION Nowadays, the usage of transparent material in architecture, specifically in public buildings, has increased during the recent few decades, and this trend is continuing. However, besides the functional benefits brought by the transparent architecture, the relationship between architectural meaning and transparent architecture has never been well presented by architecture themselves. Therefore, looking for the meaning conveyed into our environment by those transparent architectures is one of the essential factors that need to be investigated. The purpose of this study is to find the link between transparent architecture and symbolic meaning to recognize how it is possible to bring these two together. To achieve this aim, I designed 12 transparent prototypes to represent six pairs of binary opposite symbolic meanings, as blur - clear, maximal – minimal, heavy – light, solid – fluid, contaminated – purified and private - public. II. DESIGN METHOD ON REPRESENTING TRANSPARENCY Literal Transparency vs Phenomenal Transparency Through Colin Rowe and Robert Slutzky’s exploration of the common basis of modern art and architecture, they identified and elaborated on the concept of transparency as a fundamental principle of spatial organization, beyond the curtain wall. They single out two types of transparencies: the literal and the phenomenal. A literal transparency is a quality inherent to substance or matter, such as in mesh screens, translucent walls, etc. and a phenomenal transparency, that is, a conceptual transparency, a quality inherent in the spatial or volumetric organization (Rowe & Slutzky, 1982). In my designs, I use those two types of transparency to represent symbolized cube space. III. DESIGN METHOD ON REPRESENTING ARCHITECTURAL MEANING Binary Opposition Transparency, as a physical property of allowing transmission of light to pass through a material, always linked with characters such as clear, light, public, purified, minimal and fluid. However, instead of just representing those inherent meaning with transparent spatial design, I also demonstrate their opposite meanings. Using binary opposition to investigate the boundary of meanings linked with transparency. A binary opposition is a pair of related terms of concepts that are ideological opposite in meaning. It is the contrast between two mutually exclusive terms, such as clear and blur, light and heavy, public and private, purified and contaminated, minimal and maximal and fluid and solid shown in my designs. Binary opposition is an essential concept of structuralism, which sees such distinctions as fundamental to all language and thoughts. Designing 12 transparent cubes to represent six pairs of binary opposite meanings, on one side, is to demonstrate the broadness and abundance that transparency, as a design method, can bring up. On the other hand, even though I design them for opposite meanings, there is no clear boundary between those visual presentations. It is an introspection of the absolute in structuralism. Geometric Primitives To achieve harmony and simplicity in the prototype design, I use geometric primitives to segment and construct the cubic space. There are three types of primitives in my models: dot (represented as a large or small cube), line and plan. Theoretically, dot, line, and plan are the essential elements constructing our spatial environment, so I simplify all the space into those simple elements and use them to recreate every meaningful prototype cube. In practice,
those primitives are the primary and simplest geometric elements in computer graphics and vector graphics system as well. The computer has been aided in every aspect of today’s design. With a background in computer graphics, how can I use those basic graphics primitives to reconstruct meaningful cubic space becomes an exciting and challenging problem for me. Therefore, I design my 12 prototypes with three types of geometric primitives. Modernism Representation In the 20th century, modern architecture emerged in led by a group of notable architects such as Walter Gropius, Le Corbusier, Ludwig Mies van Der Rohe. This group of styles is associated with an analytical approach to the function of buildings, strictly rational use of new materials, an openness to structural innovation and the elimination of ornament. The style is characterized by: rectangular or cubist shapes, a tendency for white or cream, asymmetrical compositions, flat roofs, minimal or no ornamentation, steel and or reinforced concrete, large windows, and open plan. The development of modern architecture is based on the new technology of construction. Glass, as a particular material primarily used at that time, has been well related its physical appearance with modernism style. Therefore, in my designs, I apply modern styles like white walls, flat roof, asymmetric spatial design and minimal shapes on representing a transparent cube. IV. TRANSPARENT ARCHITECTURE IN TODAY AND FUTURE MEANING With a background in the technology industry, I have a long observation that transparent glass architecture has been a favorite for many tech companies and today’s working environment. When we step forward from modern time and rethink the symbolic meaning that transparency has been brought up in this digital economy time, we notice the emphasis on spaces of cooperation and creativity are all marshaled towards the future company and economic growth. For a while the institutions and technologies may have changed, transparent architecture has long served the purpose of making brutal stratifications of class, race and gender appears transparently natural.
02 WATER PAVILION Cooper Union Summer School Summer, 2018 This is a summer project under the advisory of Cooper Union. Starting with an umbrella as an object to study, it creates a minimal and mobile shelter for the body. I do a series of analytical drawings exploring its assembly, membrane and operation aspects within the umbrella. Then I study the spatial and dynamic relationships between the umbrella and the body examined through the tactile, the visual and the kinetic. Expanding the conceptual discoveries made in umbrella and umbrella + body, I continue my investigation by framing an exploration of the relationship of the object to context. I study the spatial and reciprocal interactions between the frame structure and water, such as the interactive impact of water forming exterior visual patterns to the transparent structure. Finally, I transform my conceptual inquiries from previous researches into a proposal for a water pavilion. By creating a twisted tunnel pavilion which allows water to interact with, it aims to blur the boundary of inside and outside and deliver a more playful space.
Stage 01 - Fully Close Tactile: Folded Membrane Visual: Structure
Stage 02 - Before Bend Tactile: Spine + Ribs Visual: Transparency
Stage 03 - Halfway Bend Tactile: Tension Visual: Raindrops
Stage 04 - Fully Open Tactile: Cover + Seal Visual: Outside
Moving forward from the relationship between the umbrella and human sensations, I focus the It becomes a study between the folded structure and water pattern formed on it. I
consciousness on the visual pattern and abstract the umbrella as a transparent folded structure. did ten different structure designs and recorded the water patterns of each of them.
Multiple Layer Structure Model Shadow
The structure and water interaction study brings out an idea about how to make architecture as a media to allow the external environment to talk to people who are inside or using the architecture. In most cases, architecture separates the external environment to create internal spaces for people’s activities. But can it not only create internal spatial environment but also allow outside environment interact with people inside as well? Or more than that, it will enable outside environment delivers more information to indoors.
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Section 1~17 Starting from this question, I design a water pavilion that nearby the water landscape to allow water to interact with the people using it. It is a twisted tunnel structure with multiple opening as different locations to allow water and people to enter and exit.
Physical Model
Come unto these yellow sands, And then take hands: Curtsied when you have, and kiss'd The wild waves whist, Foot it featly here and there; And, sweet sprites, the burthen bear. Hark, hark! Bow-wow. The watch-dogs bark. Bow-wow. Hark, hark! I hear The strain of strutting chanticleer Cry, Cock-a-diddle-dow.
Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Ding-dong. Hark! now I hear them—Ding-dong, bell.
— William Shakespeare “Ariel’s Song”
03 A DAY
Graphic Novel, Fall, 2018
It was the 10065th day in citizen 58333’s life. He got his daily supply from drone delivery and started working as responding “YES” or “NO” to all the questions the robot asked. At the end of the day, he got his daily reviews from the system. His compensation is positive or negative points based on his performance. He used those points to purchase emotion signals for entertainment.
The whole city consists of two major parts. One part as shown in the story is where people are living and working. Another one is an automatic system that helps the city to run the cycles which mainly work with robots’ assistance and people’s signal inputs. People’s job in the city is answering “YES” or “NO” to all the questions the robots ask since their role in this system is to perform as digital binary electronics. Their answers will provide either high (1) voltage or low (0) voltage into the system. There is an evaluation system rewarding people points based on the outcome of the system. The points can be used to purchase the emotion signals. Ideally, everyone should always try to keep the point balance as zero, no matter it is positive or negative.
04 MODERN EVOLUTION Watercolor Fall, 2018 “The reality of evolution is no longer in doubt these days. Every species - animal, plant, or microorganism - change over time. Worms and microbes are not generated spontaneously from organic matter. All creatures alive today are descended from a population of single cell organisms that lived some billions of years ago” (De Panafieu, Jean-Baptiste and Patrick Gries. Evolution. 2011). Most creatures we are familiar with today are our contemporaries. We saw them as driven by life. Each has its beauty, grace, and complexity to adapt the nature, in the meantime, enrich the world. But when we are speculatively looking into the future, how will they evolve hundreds or thousands of years later? As Darwin described his theory with the summary phrase “descent with modification”, continuous variation within species, natural and sexual selection used to be the main composites of the modification. Human beings start to play a more critical role in the selection, both in the way of shaping the living environment and in the form of human selection and domestication. I did a series of drawings to demonstrate what animals may descend in the future. I used the modern and our contemporary environment as the context, then modify the animals. One series is about insects. Insects evolve some new organs and structure to catch the preys, hide in the cities or adapt to live in the current environment. Another series is about chairs. Different animals are bred into various shapes of the chair which symbolize people selecting animals for their purposes.
RESPIRATOR BEETLE The Respirator Beetle is a species of rhinoceros beetle native to Northern China. It is typically characterized by the respirator used for living under smog and haze. These beetles live in big cities, like Beijing. They are grey-colored on their back with a light-to-dark gradient. The male's wing cases are shiny, while those of the female are finely grooved. They seem to prefer living around roads and highways. Two spinning brushes on each side of the front legs allow them to move fast through the traffic. A voracious predator, this beetle hunts a wide variety of prey and eats garbage along the roadside. The middle pair of legs is equipped with numerous suction cups, enabling them to obtain a secure grip while mating, and on their prey. 1. A respirator is an organ evolved to protect the beetle from inhaling particulate matter, including airborne microorganisms, fumes, vapors, and gases. It forces contaminated air to go through a filtering element. It helps beetle purify the air before inhaling it into the body to survive under smog and haze. 2. Fog eyes provide a broad and low glare vision to increase the clarity to help beetle see things in conditions of poor visibility due to rain, fog, dust or smog. They are positions at a lower place of the beetle’s head and towards the road surface. 3. Filter shell prevents particulates such as dust, pollen, mold, and bacteria in the air from getting into beetle’s body. Its rough shell surface also contains an absorbent or catalyst such as charcoal which may also remove odors and gaseous pollutants such as volatile organic compounds or ozone. 4. Road shell is a thin and lightweight structure covering above the filter shell. It has a rough surface and grey color which matches the road color to helps beetles hide on the road. 5. The spinning brushes on front legs are consist of round bristles. It is used for cleaning, grooming and it even helps to speed up during moving, which gives beetles higher surviving chance because they can move faster among traffic. 6. Suckers are the organs of attachment to the host tissues. They act as adhesion devices. They are muscular structures for suction on a host or substrate. They serve as an attachment between the beetle and another smooth surface like glass, metal, and plastic, to help beetles move and climb on those surfaces. 7. Telescopic legs can provide an exceptionally long reaching distance out of very compact retracted limbs. Typically the collapsed length of a telescopic cylinder is 20% to 40% of the fully extended length. They help beetles extend the hook at the end further to catch preys and move faster. 8. The hook consists of a length of tissue that contains a curved part. It can be used to grab onto, connect, or otherwise attach itself onto another object. One end of the hook is pointed so that this end can pierce another object, which can be then held by the curved part. Hooks are on the rear legs of the beetle and help it catch preys or grab onto objects.
CHARLES EAMES CHIMPANZEE LOUNGE CHAIR The Charles Eames Chimpanzee is a species of great ape, and it is cultivated for serving as a lounge chair. It was first introduced in 2965 after years of domestication by breeders. It was the first chimpanzee lounge chair that Eameses bred for the high-end market. The Charles Eames Chimpanzee is covered in plywood and black leather. It weighs between 75 and 85 lbs, and it is in the height of about 3ft. Its gestation period is eight months. It reaches puberty at the age of 2 to 3 which means they are ready for supporting the weight of an adult. Its lifespan is about 30 years. The Charles Eames Chimpanzee’s body is evolved into three major parts: the head functioning as the headrest, the chest and back functioning as backrest and buttocks and legs functioning as the seat and base. 1. The headrest is the head of the chimpanzee which evolved to a shape that able to support the sitter’s head. It was connected with the backrest by the spine. 2. The backrest is suspended on the seat via two connection points in the arms. This cushion piece supports sitter’s lower back. The angle supports sitter’s chest so that sitter can be comfortable. 3. The cushion will not flatten or clump over time. As Charles Eames described them, “The leather cushions do have built-in wrinkles to start with, but that is a clue that spells comfort to come, like the warm, receptive look of a well-used first baseman's mitt.” Each side used for the cushions possesses variations that are a natural occurrence in leather, and each will age to reveal its unique personality. 4. Plywood shell is seven layers of plywood covered by finishing veneers of cherry, walnut, Palisander rosewood. The seat is permanently tilted to take the weight off sitter’s lower spine and distribute it properly to the back of the chair. 5. The covered MCL leather is a kind of premium, semi-aniline, dyed leather with 100 percent natural full grain, which possesses a striking balance among softness, durability, and colorfastness. Color variations and surface marks are an inherent characteristic of chimpanzee’s skin, and it will get wrinkles and creases and develop a rich patina over time. 6. The armrests are screwed to shock mounts which can be connected only via gluing to the interior of the backrest shell, allowing the backrest and headrest to flex when the chair is in use. This is part of the chair's unusual design, as well as its weakest link. The shock mounts are used to prevent from causing catastrophic collapse and damage. 7. The shock mounts are resilient natural rubber. It connects the buttocks and legs which serves as the seat and the base respectively. 8. The legs are the chair base which has a swivel mechanism inside and a die-cast aluminum cover outside. It has stainless steel glides that are flanged and adjustable so that the chair can remain level.
05 OTHER WORKS Self-Work Projects Fall, 2014 - Fall 2017 What can a computer do? Besides solving math problems, can it create artwork? Yes, it can! Once I started my major in computer science, I am always curious about what kind of artwork can algorithms generated. Through the years studying computer science and working as a computer scientist, I explored and created many different forms of artwork using algorithms and code, including image manipulating, abstract art and motion graphics. Through computer graphics rendering I found the connection of imagination to the real physical world. My work is always trying to explore the boundary of virtual and real, artificial and natural. Here are showing the computer graphics art and photography work I have done during these years.
FIREWORKS when i look around my heart, i could only hope to find it. when i look around my heart, i whisper to the grass and focus. when i look around my heart, i only hope to grasp the most of it all. when i look around my heart, i only want to feel the flight before the fall. -- Tomemitsu "In Dreams"
REFRACTION When the roses bloom again Beside the river And the mockingbird has sung his sweet refrain In the days of auld lang syne - Wilco, Billy Bragg "When the Roses Bloom Again"
PLASTIC Who's in newspapers this month or week or year? My silent friend I can starve my life into a deeper sleep Remembering reflections after Jane -- The Clientele "Reflections After Jane"
CURVE You were free to leave But please remember when By searching for heaven I’ve built myself a home All night long with him Like a strong glory When you howled “I’m free” -- From Your Balcony "The Leaver and The Left"