王彥焜
焜彥王
G N AW N U K N AY
YA N KU N WA N G
PORTFOLIO
SPATIAL IDENTITY 空間身份
Contents
SPACE OF AMBIVALENCE
MARGINS OF SPACE
Studio of camera obscuras photographer
New Wing of architecture school
Oct. 2015 - Arch 312 Design Studio
Dec. 2015 - Arch 312 Design Studio
CITY BAC Riverside theater
Dec. 2016 - Arch 4
CONTEXT REVERSION
SEEING-THROUGH SPACES OF MARGINALITY
in Pittsburgh city
Ann Arbor train station with nature museum
Undergraduate Thesis
412 Design Studio
Apr. 2016 - Arch 322 Design Studio
Apr. 2017 - Arch 442 Design Studio
CKSTAGE
Wire frame model
01 SPACE OF AMBIVALENCE
T
his project starts from a drawing from Josef Albers's Structural Constellations. Constellations worked to develop a dynamic relationship with the viewer in that the drawings he produced created internal contradictions made from ambiguously assigned planes within space. By generating simple rules, infinite possibilities were created. Rigorous attention to detail and consistency within his work produced a robust body of work for which he is known.
“...the exercises are not, in themselves, art-making but preparation for the freedom to follow later� Josef Albers
Structural Constellations
Working process
Patterns on photosensitive material
Axo
onometric drawing
T
he drawing indicates couple spaces cross in a mysterious core with uncertainty. Spaces spread into different directions, escaping from the control of the core. The drawing was first translated into wire models a n d t h ey w e re p l a ce d ov e r p h o to s e n s i t i v e to re co rd t h e s h a d ow. Light and shadow provide another possibility to imagine the space relationship within Albers’s drawing and this stacked model concretizes this relationship - the spaces connect to each other through the core but the relationship between each space is a secret to the outside world.
Stacked model
W
ith the using of concert, the abstract space is conveyed into solider object. When the space is materialized without its enclose, the shape and the quality of the space present and start to influence the context. The space itself becomes part of the envieronment.
Casting process
Concrete model
Photographs with camera obscuras
The rest of the project is based on an abstract context. The abstract rockite model is transferred into a studio for a photographer obsessed with camera obscuras. Latin for “dark chamber,� the camera obscura exists paradoxically with bright space, a tiny pinhole demarcates the threshold between.
Wire frame model
T
his is a studio where the photographer works and a gallery where the work is displayed for a small gathering of friends. The “core� is transformed into the circulation core, connecting d i ffe re n t p a r t s of t h e s t u d i o . Wi t h o u t a p hy s i ca l s i t e , t h e architecture itself generate an atmosphere of creativity through the unique space experience for the photographer and the guests.
Studio model
People walking through the alley behind the site
02 MARGINS OF SPACE
T
he proposal is an outpost of the architecture scho ol in downtown Ann Arbor. This project is about the boundary between the architecture and the city. In retrospect of the traditional architecture institute, this architecture as an environment provide new spatial experience to inspire students to raise questions about architecture. The open institute is a place education both the students and the community. Communication happens between people and space, the architecture and the city, the institution and the public.
“The intellectual armature of a poem hides and remains - take place - in the space that isolates the stanzas and amid the margins of the paper: such a significant science that it is no less critical to compose than the verses themselves.” S.Mallarme, ‘Proses diverse, responses a des enquetes’
Site plan
T
he site is at the boundary betwe en the downtown Ann Arbor and t h e U of M ca m p u s , w hi ch a ll ow s t h e b uild in g to b e b o t h s o ci a l and academic. The architecture institution is responsible for the public education of architecture, not only though visual signal expressing new tectonic concepts, but also the exchange of information within the institution.
Parti 1
Space for required program like studio or office is elevated from the ground within the enclose, challenging the gravity. The double-layers structure creates a third layer, the in-between space with countless possibilities.
Parti 2
Different groups are separated for privacy. The positions indicat their relationship. The lower spaces are more open to public while the upper ones create a peaceful environment for academic activities.
Parti models
A rchi t e c t u re s h o uld b e m o re accessible to the public, fighting against the marginalization in culture and the lose of authority in professions. The opening of the architecture enclose allows the space of city to flow in. Function model
Th e exch a n g e of a t m o s p h e re creates communication between the public and architecture knowledge. Students and professors get chance to observe the city life and get feedback from the public about architecture. Massing model
Apartment
Equipement
Studio Storage
Office
Relaxing Terrace
Auditorium
Gallery Cafe
Axonometric drawing
Ground floor
View to the auditorium
Horizontal sections
Public gathering space
"Enjoy a grander sight By climbing to a greater heigh."
03 CITY BACKSTAGE
T
he site is located on a divided lot on the Allegheny River in downtown Pittsburgh. Starting with two separate masses, my theater program contains the backstage functions in one volume and the auditorium and stage in the other. One thin skin envelopes the two figures. Visitors are invited to circulate and inhabit in this area fre ely, placing them in betwe en the city and the architecture. This in between zone is understood as public space, free and open to all, not just to the theater audience, making it the “backstage� of city life.
"If you look at the Earth without architecture, it's sometimes a little bit unpleasant. So there is this basic human need to do shelter in the broadest sense of the word, whether it's a movie theater or a simple log cabin in the mountains. This is the core of architecture: To provide a space for human beings." Peter Zumthor
T
wo separate masses respond to two separate buildings on the site. Actors perform in the theater and the theater displays itself on the city stage. The architecture now is characterized to express the spirt of the Pittsburgh city. These two masses echoed each other. They are different but there are a lot of connections between them. The main theater, including the back of house and the front of house, serves as a prominent element that connects two volumes, reinforcing the theatricality of the architecture. Site plan
Sketch model 1
Sketch model 2
Massing study
Sketch model 3
Sketch model 4
T
h e a t t e m p t to e s ca p e t h e “ s h ow - b ox � theater results in a redefining the relationship betwe en the back of house and the front of house. They are elevated and create a space betwe en the theater and the skin envelops. This in betwe en zone becomes part of the city public space, free and open.The general public are welcomed to walk in this zone and enjoy view of city landscape with chance to see the back of house activities and rehearsals.
Top floor plan
Theater level plan
Second floor plan
Ground floor plan
Running along the rail way in Ann Arbor
04 CONTEXT REVERSION
T
he project is a combination of the new train station of Ann Arbor and a natural museum. Ann Arbor became a regional transportation hub in 1839 with the arrival of the Michigan Central Railroad. The railway witnessed the development of the city with human’s conquer of the nature. The memory of the bygone nature will recall through the items in the nature museum. Meanwhile, the nature museum becomes a symbol of the resistance of the conquer, competing with the train station. Two institutions have contradictory forms, both seeking the harmony between the artifact city and the nature.
Concept model
P
eople used orthogonal structure to build the city and the new train station represents this history. The nature museum with organic form twined around the orthogonal structure, draws people into the site with walkable roof to break. The railway, the bridge and the river together form the boundaries keep people away from the area. The complex stretches to break these boundary in order to create a place both for public acuity and transportation. Site plan
Upper level plan
Lower level plan
T
he train station and the nature museum together create an artificial landscape for the public. The people from different direction can jog, ride a bike or walk their dog both on the site and on the roof of the building. The passengers can visit the museum when waiting for the train. The boards on the central cube mass provides time table for the departure passenger. The cube is also an icon of arrival that people can see on the train. When the train getting closer, the more organic part of the complex appears. The process represents hope of returning to nature.
Section 1-1
Section 2-1
1. Connect to the park
2. Across the river
3. Across the rail way
4. Connect to the bridge
05 POSITIVE/NEGATIVE The project applies a folding technique to generate the relationship between the ground and the architecture.The land is folded and becomes the central mass for rock-climbing. The area with removed earth creates negative space for skateboarding. A “bridge� connects these two part and become the reception for the park.
06 Seeing-Through Spaces of Marginality
T
h e p ro j e c t i s a re s p o n s e to cu r re n t s o ci a l d i s r u p t i o n a n d the neglect of those marginalized by structures of power. This proposal is an attempt to find relationships that stage new s o ci a l p ra c t i ce s a n d a wa re n e s s in t h e s p a ce s a n d p e o p l e of t h e ci t y t h a t a re inv i s i bl e a n d s il e n t , b u t in d i s p e n s a bl e .
Wall-Street
Trump Hotel in Washington, D.C
The Pentagon
W
all Street, Trump Hotel in Washington, D.C., and the Pentagon are well-known sites of power where the elite class is served and supported by this silent population while their rights are neglected. When defined and given presence, marginal spaces provide autonomy to those that serve through enabling communal practices that build identity. In this first role of this proposal, architecture creates spaces for conversation, organization, education and realizing common values of those without a voice in society.
Seeing-Through
Installation
I
n this first role of this proposal, architecture creates spaces for conversation, organization, education and realizing common values of those without a voice in society. In the second role, architecture acts on both the marginalized spaces and the spaces of power to stage proximities and adjacencies that give presence and awareness to the role this ever-expanding group of people play in our society. Demanding notice of its presence, the red non-spaces are attached to sites of power producing a threshold of obscurity and existence. In seeing through the practices of power and the labor of the marginalized awareness is built and exchanges are staged.
Installation
Spaces of Marginality
Acts of Improvisation
1 When closed, the dumb boxes are without presence, waiting to serve. When opened, a provocative relationship is constructed through the act of staging the seeing-through, the juxtaposition of the marginalized and the powerful.
2
3
4 Acts of improvisation play out in this architectural threshold as identity is built through definition, autonomy, and presence of everyday practices of the marginalized.
Wall Street
Trump Hot
tel in D.C
The Pentagon
07 SHAN/MOUNTAIN å±± Acrylic Lamp Design
OTHER PROJECTS
Tea House Design Nov. 2014 - Arch Design I Studio
Abstarct Ground Design Aug. 2015 - Arch 302 Design Studio
Extreme Sports Park Design Jan. 2016 - Arch 322 Design Studio