Portfolio

Portfolio of works from 2013 to 2020

by Yining He

ยง1 Studio Design Projects 02

RECURRING MELODY

18

THE WRAPPING LAYER

46

MINING THE CITY

66

WHITE SPACE

84

URBAN CORE

96

LOGGIA SOCIETY

ยง2

Electives and Professional Works

MSAAD, 2020, Columbia University B.Arch, 2018, Tongji University yining.h@columbia.edu

112

FACADE DETAILING

118

ULTRAREAL ORIENTAL

122

INTERIM URBANISM

126

MINSHENG FERRY TERMINAL

130

WEST BUND TOURIST CENTER

134

GAMUDA TOWN CENTER

138

NOT ARCHITECTURE

142

18TH ANNIVESARY

Instead of being passive consumers of trendy ideas, architecture can cultivate alternative ways of being in the world as a guardian of its context. I see potential for an architecture that could reflect, criticize and propose an exit from the prevailing spatial models. In this portfolio, each project is an alternative existence to its ‘hype’ counterpart.

ยง1

Studio Design Projects

0 1. T H E W R A P P I N G L AY E R

A hypothetical art museum wrapping the front of house with back of house spaces, treating both as galleries in their own right. A museum with only galleries.

SUMMER 2019

ADV ARCH DESIGN STUDIO

CRIT: MIMI HOANG, ERIC BUNGE

PARTNER: YANXI FU

Precedents Study ˄ Whitney Museum ˅ Sir John Soane’s Museum

4

Gallery as big as a block - Whitney Museum of American Art

Gallery as small as a recess - Sir John Soane’s Museum

ONLY GALLERIES- WHITNEY MUSEUM INSTRUCTOR: ERIC BUNGE & MIMI HOANG ANALYSIS DRAWING YANXI FU 6/17/2019

Could spaces for production, support, services, education, and circulation serve as an armature for art?

In the world of museums, as more portions of non-gallery space are becoming galleries, we envision a museum with only galleries, an architectural device that downplay such binary program distinction, an alternative type of museum.

From two precedents, the poché with diverse scales in Sir John Soane’s Museum and the transparency of workspaces in the Whitney Museum suggest more and more flexibility of galleries/museums.

As a response to the brief - museum with only galleries, we designed a hypothetical art museum composed of units hosting both art and its armature, space with a wide range of scales to flexibly exhibite the back of house as part of the exhibition, providing an alternative experience for artists, museum-goers, and curators.

5

The wrapping layer acts as the armature for art. Art exists both in a de-contextualized white core and in a contextual wrapping.

A combination as such brings awareness to how art is processed, stored, repaired, etc.

6

office as gallery

library as gallery

storage as gallery

gallery with gallery

reception as gallery

lounge as gallery

reception as gallery

lab as gallery

7

9

0

1st floor plan

1

10m

B

4

2

A

A

3

B

10

With a decline in philanthropic support, museums in the last two decades have turned their attention from constructing iconic new buildings, to focusing on assets at hand. The wrapping layer acts as the armature for art. The spatial quality of the wrapping layer is complex, contextual, and raw, which is on the contrary to the neatness of the wrapped layer. Art exists not only in a de-contextualized white box, but in a contextual world of how it is processed, preserved, and stored.

The operation of paring introduces a third spatial type – the crack. The crack brings light to the wrapped layer in a moderated way, both on plan and section. The crack brings a sense of position to human bodies. It also creates a gallery type that is interactive with the city: visitor positioning themselves in the city and pedestrians spectating the inside of the building from the street.

1: First floor axon 2: The crack 3: Crack surface 4. Atrium volume

1

2

3

4

11

13

Section-AA

2

5m

0

+15.0

+10.5

4 +3.5

0

-5.0

15

Section-BB

1

0

5m

+15.0

+10.5

3 +3.5

0

-5.0

17

02. RECURRING MELODY

Based on a piece of music, an exploration of alternative architectural language, materiality, and urban presence for a concert hall.

SPRING2020

ADV STUDIO VI

CRIT: STEVEN HOLL & DIMITRA TSACHRELIA

PARTNER: YUXIN HU

prologue

epilogue reappear

middle

beginning cnt

tonality A♭

D♭

A♭

c♯

What would a space with recurring melody be like?

In the New World Symphony by Antonín Dvořák, a theme melody reappears in a classical Sonata format. The melody was based on black soul music, which constructs the overall nostalgic expression for the chapter. The melody was composed in different instrumentations and configurations throughout the whole score.

C♯-A

A♭-D♭

expressed with multiple fashions. In architectural language, what would a space with recurring melody be like?

When extruding rectangle patterns vertically and boolean extracting it from a cube, there is an irregular void in a nondescript volume. Through section from x and y-axis. A series of new patterns are generated, showing the duality of irregularity and classical framework.

It is an irregular space carved from a classical framework. One melody is

20

A1

B4 A2

B3 A3

A4

B1

B2

1 2 3 4

Ë„ Spatial prototype of recurring melody Ë‚ Classical structure and theme melody in a score

21

(a)

(b)

22

The section series change when operating the extrusion differently.

Through the series, shapes interact with each other in a nuanced way: separating, connecting, growing, diminishing, evolving. Each section is unique in its configuration and expression, yet there is a continuum when for different series.

From digital to physical model, layers of each section are made into thick materials. The smoothness of the volume transforms into a different materialized language: crude, opaque, terraced. From music to architecture, the recurring melody becomes a way of form-finding. The results are thick wall blocks with vastly different expressions.

˂ Section series ˃ ˄ Study model of result (a) ˃ ˅ Study model of result (b)

23

The blocks are thick walls with a public appearance. A frontality with language from music.

25

Connecting chapters A space in-between two walls ˂ Isometric model view ˃ The in-between space

Blocks are independent elements translated from music into architecture. A piece of music is never fragmented.

What would be the connecting elements when placing different blocks together?

Analysis diagram 1.porosity 2.shape 3.frontality 4.in-between elements

Through analyzing, blocks differ from each other in terms of porosity and spatial quality. Juxtaposing two together, linear and planar elements are extracted from the shapes and used to connect the two blocks, creating an in-between space. Solid, planes, and lines construct the whole space. The shape of each element are interconnected. Together, blocks and the in-between space become the language for this project.

26

?

27

The site plan attempts to show that the four blocks enclose the site in a typical European courtyard context. Yet, from an aerial view, the building stood out with its original language.

28

3

2

1

4

5 6 7

1. Vltava, longest river in Czech Republic 2. Štvanice, island between Holešovice and Karlín 3.Letná Park, overviewing the Prague Old Town 4. Petrska, historical street 5. Na Poříčí, historical street

6.Wilsonoma, overpass 7. Praha Masarykovo Nádraží, terminal railway station

29

The language of the block has a public appearance on an urban scale. The voids suggest space of public gathering. The frontality of the building stems from the nature of music. Ë„ Study model: the void Ë‚ View from historical street Petrska

33

Plan Ground Floor

3

6

5 +0.000m

2

8

1

9 +4.200m

7

1. South park 2. Side entrance 3. Main entrance 4. Staff entrance

5. Main lobby 6. Gift shop 7. CafĂŠ 8. Reception

10

1

0

10m

13 +2.400m

14 +4.200m

4 12 +0.000m

+3.600m

15

11 -1.200m

16

9. Cloak room 10. Storage 11. Loading 12. Music foyer

13. Main seating 14.Wing seating 15. Back seating 16. Office

35

0

Level 02 Plan

10m

B

+8.400m

4 2

4

4

+6.800m

A

A 7 +5.400m

6

+7.400m

4

+8.400m

3

+10.000m

5 +8.400m

B

1.Main foyer 2. CafĂŠ 3. Roof Garden 4. Balcony

5. Pipe organ BOH 6. Music foyer 7.Rehearsal Room

36

1

2

3

Between two blocks, the in-between space becomes the auditorium. Planar and linear elements become areas for seating and stage equipments. The elements of the in-between space come from two blocks. Together, they form an integral whole.

The vineyard arrangement is transformed into new hybrid types of seating when connected to the voids. Seating in and from the voids has a connection to the city and special acoustic experience.

Voids of the blocks can be adapted as spaces for pipe organ, acoustic panels, reflector, and performer entrance. The experience of music evolves from static to fluid, close to open. A space of music becomes musical when the language of architecture comes from the music itself. ˂ ˂ Eye-level view ˂ Progression of the in-between space 1. two block 2.hybrid of seating 3. language matching 4. materiality

4

37

0

Section BB

10m

+27.500m

+23.000m 30° sight line

4 20° sight line

+13.000m

1 6

+10.000m

+8.400m

5

3 2

+2.400m

7

7

-3.800m

BB Section 1.Balcony 2. Stage 3. Main seating

4. Reflector/Projection panel 5.Wing seating 6. Pipe organ 7. Storage

38

40

The voids also have a public appearance from the interior of the building. A space connecting the auditorium to the city of Prague.

41

Section AA

+27.500m

+20.000m

4 8

7

3 +4.200m

1

2 12

13

-3.600m

AA Section 1. Main entrance 2. Main foyer 3. CafĂŠ

5

4. Roof garden 5. Stage back of house 6. Stage 7. Balcony

0

5m

+27.500m

+22.500m

15 +18.500m

14

11 +8.000m

9 10

5

6

13

12 -3.600m

8. Reflector 9. Music foryer 10. Staff entrance 11. Rehearsal room

12. Parking 13. Storage 14. Office 15. Rig

43

03. MINNING

THE

CITY

A non-extractive strategy to relocate New York’s material excess to radically decarbonize its environmental impact by improving the building envelope.

FALL 2019

ADV STUDIO V

CRIT: ANDRES JAQUE

PARTNER: XINNING HUA

DE

A

ION

T EN

V

ON

C OR F T

O LM

◊The mine-to-landfill mode keeps requests material from nature to buildings, ◊causing the shrinkage of 75 to 90% of the beaches. ◊Embodied energy would rise from 32% to 67% if we upgrade our building in conventional mine-to-landfill mode by 2050.

IN

R TP OO F N

BO

R CA

ITY

TO D(

RE

GT

IN

N MI

)

FIT

O TR

C HE

E

NE

◊According to 80x50 by Bill de Blasio ◊33 paths to retrofit 8 types of NewYork City’s buildings ◊1/3 include envelope upgrade ◊contributing 17% of the 2030 target

)

OM

FR

Y( PL

SS CE EX

P

SU

S

TIC

W

NE

HE ST E A

◊New York City is imbued with available materials: ◊26 billion tons of excessive steel on Skyscrapers in the 60s; ◊93 million tons of excessive stone on postmodern buildings; ◊7800 tons of excessive glass on modern glass towers.

◊With reused materials, we are proposing new aesthetics for the view, ◊new aesthetics for the frame, ◊new aesthetics for the light, ◊new aesthetics for the city,

48

What if the materials we need is already in our city?

Under the Paris Agreement, a series of documents in different fields and scales are set in place to mitigate global warming. Among those documents. We look closely at the building sector at the start of our discourse. The Green New Deal resolves to upgrade all existing buildings to achieve maximum energy efficiency, which corresponds with Bill de Blasio’s 80x50 plan. A plan by the New York City Mayor’s Office of Sustainability. In New York City, Around 14,000 buildings need to improve energy performance to achieve the 2050 target. 17% of that improvement comes from envelope upgrade.

transfer stations, multiple waste processing facilities, more than half of them end up in landfills. According to research, embodied energy would rise from 32% to 67% if we upgrade our building in conventional mode.

Even Buildings using recycled materials has an 80-year carbon debt to be paid.

So instead of mining the nature, what if the materials we need is already in our city? There is an abundance of materials that could be stripped down to update our buildings in New York City. Decorative steel of skyscrapers in the 60s, stone panels on postmodern buildings, partition walls in post-war commercial buildings, and glass on glass towers could all be stripped as raw materials.

Upgrading with traditional construction methods contains massive embodied energy which comes from mining, transportation, bulk manufacturing, storage, and constructing. In the meantime, replaced materials would go through

49

SUPPLY

Steel Excess

Glass Excess

Stone Excess

Brick Excess

1.One Worldwide Plaza (1986-1989) Height: 237.14 m (778.0 ft) Type: Postmodernism Commercial offices Floor area: 1,706,187 sq ft 50f Location: 825 8th Avenue

Partition Excess

◊The drawing illustrates a vignette composed of real blocks in NYC.

2.Crowne Plaza Hotel (1990) Height: 480 feet, 46f Type:Commercial, Hotel Floor area:204,700 sq ft Location:1601 broadway 3.One Penn Plaza (1970-1972) Height: 229 m 57f Type:Commercial Office Floor area:2,586,525 sq ft (240,296.0 m2) Location:250 West 34th Street 4. 5 Times Square (1970-1972) Height: 175.3 m / 575 ft, 40f Type: office Floor area: 95,000 m² / 1,022,571 ft² Location:250 West 34th Street 5. Americas Tower (1992) Height: 692 feet (211 m) 50f Type:Commercial Office Floor area:933,995 sq ft (86,771.0 m2) Location:1177 Avenue of the Americas 6:550 West 43 Street (2000) Type:Residential 22f Location:550 West 43 Street 7. Penn South (1956) Type:Residential 22f Location:between 8th and Ninth Avenues and West 23rd and 29th Streets 8. 250 West 34th Street (1970-1972) Height: 229 m (751 ft) 57f Type:Commercial Office Floor area:2,586,525 sq ft (240,296.0 m2) 9. Seagram Building (1958) Height: 515 feet (157 m) 38f Type:International Style office Floor area:849,014 sq ft (78,876.0 m2) Location:375 Park Avenue 10.Height: 229 m (751 ft) 57f Type:Commercial Office Floor area:2,586,525 sq ft (240,296.0 m2) Location:250 West 34th Street 11. One Astor Plaza (1968-1972) Height: 227 m (745 ft) 54f Type:Office Floor area:179,487 m2 (1,931,980 sq ft) Location:1515 Broadwa

◊Building elements fabricated with used (mined) materials can be adopted to achieve building retrofit targets.

12. Height: 229 m (751 ft) 57f Type:Commercial Office Floor area:2,586,525 sq ft (240,296.0 m2) Location:250 West 34th Street y

NEED

Insulation Improvement

Well Insulated Glass

Wall Insulation

Brise Soleil

Facade Reclad

A just-in-time system for the city To treat our city as a production system, different building types provide different material supplies, and at the same time require materials to retrofit. The supply and the need exist right next to each other or even overlaps in some buildings. Therefore, we can create a just-in-time material mobilization system that transforms excessive and inefficient materials from existing buildings to highperformance sustainable materials in real-time, The material exchange and upgrade could happen within the city instead of the whole globe, reducing

its carbon footprint. Multiple retrofit projects would happen simultaneously. Materials would be dismantled, transported, fabricated, and remounted as a common scene in our future city.

In a moment like this when so many people make efforts intervening on reconfiguring the building environment. We try to invent the next exchange platform of material transformation due to the necessary replacement of materials for reducing carbon emissions.

PRODUCTION ORDER INFORMATION sequence

design

needs needs

TIMELY PRODUCTION

WIP

frame treatment assembly decon design treatment

supply supply

DECONSTRUCTION JOINT AND BRACKET SYSTEM

parts assembly

51

1-4 FAMILY HOME; MULTY FAMILY PRE-WAR BUILDING PERCENTAGE 41.5% GHG EMISSION 30% TARGET FULFILLMENT 6.08-9.12%

1

1

surface protection scaffold

se T

2

hermal Map

Ve r t i v al S

Gl a Fa ss Re bri pla cat ce ed IG U

Wi nd

ow

ha

COMMERCIAL PRE-WAR

security curtain cable for mateiral extension ladder

din

n Dia gra m

ou

Gla IG ss Re U W pla ind ce ow

g

BUILDING PERCENTAGE 6.1% GHG EMISSION 12.2% TARGET FULFILLMENT 2.17-2.78%

2

ti o

w To

nh

Wall I n

su

la

1

n

sio ten x e E its รงad g Un a F din a Sh

metal joint mobile frame frame rail 3

dry wall cart buck hoist construction barrier

3

Dest

am Faca agr de Se

n tio ion dia tilat a n R ce Ve du rove e R mp I &

Building st

m ste Sy

On Ins Site ula Fab tio ric n W ati all on

ail

HOB P rec a

COMMERCIAL VERY LARGE BUILDING PERCENTAGE 5.9% GHG EMISSION 11.7% TARGET FULFILLMENT 4.86-5.27%

COMMERCIAL PRE-WAR BUILDING PERCENTAGE 6.1% GHG EMISSION 12.2% TARGET FULFILLMENT 2.17-2.78%

ion

cat

2

robot arms assemble surface cherry picker 1

2

1

ing dd n l a ec tio e R nsula d a I รง Fa rove p m I

south facade shade west facade shade 1

Wi n d o w

1-4 FAMILY HOME; MULTY FAMILY PRE-WAR

3

ne

3

Fa

BUILDING PERCENTAGE 41.5% GHG EMISSION 30% TARGET FULFILLMENT 6.08-9.12%

bri

Pa

ri ab F e t w -Si do On Win U IG

cate d D o u b

le

ace epl er R y ass La Gl ble u Do

cherry picker forklift

Sun 1

2

metal joint existing window overlap window

2

i ff

e r e n t S e as

on

ce pla r e R ye ass La Gl ble u Do

3

li g h t M o t i o n i n

D

COMMERCIAL VERY LARGE BUILDING PERCENTAGE 5.9% GHG EMISSION 11.7% TARGET FULFILLMENT 4.86-5.27%

3

1

2

fabricated panel bracket system replacing wall unit insulation unit

Re d Ad uce R d B ad ris iat e S ion ole il

1

ace epl w R o ass d Gl Win U 2 IG

2

1

scaffold

sliding rail curtain wall window drywall cart scaffolding

New

M i e s I- B e a m

ew

o ati

ll R Wa l o e -t ow Ste nd tive i e W ora rov Dec p Im ove m Re

1

W i d ow n

Vi

1

Sin g l e P

an

e

scaffo l

d

2

1

brise soleil panels flexible frame system 2

1-4 FAMILY HOME; MULTY FAMILY PRE-WAR BUILDING PERCENTAGE 41.5% GHG EMISSION 30% TARGET FULFILLMENT 6.08-9.12%

eil

Brise S ol

fabricated IGU double window 2 1

Wall Insula tio n 1

T

2

do

1

wA

C

ion

cat

2 3

2

1

ouse Recla nh d ow

n Wi

safety fence scaffold platform

2

n tio dia il a R ole ce du rise S e R B d Ad

window improve wall recladding wall insulation

i abr F e t w -Si do On Win U IG

Gl a Fa ss Re bri pla cat ce ed IG U

Wi nd

ow Building target statistics by ONE BUILDING

54

55

Materials would be dismantled, transported, fabricated, and remounted as a common scene in our future city. A new aesthetic is introduced to citizens beyond existing building languages.

Photo by Miguel de Guzman, Courtesy of Columbia GSAPP.

56

Pre-war commercial building retrofit

Glass tower retrofit

Townhouse retrofit

57

02_Used Tiles various dimensions around 12 in. x 24 in, used for brisesoleil panels.

03_Used Steel Angle 1/2 in. x 72 in. with 1/8 in thick, used for brise-soleil frames

01_Used Stained Glass 60 in. H x 30 in. W x 1 in. D, with stained patterns, used for window glass.

04_Used Steel Angle 4 in x 4 in x 6ft, ASTM A36 Steel, Hot Rolled, used for brise-soleil frames.

07_Used Window 55 inx 30 inx 1 in, two panel wood window, used for window frame and glass.

06_ Used Glass Clear Ribbed Glass Luxfer Tile, 4 in. square x 0.125 in.

D, used for window glass.

08_Used Window 53.25 in. H x 35 in. W x 1.3 in. D, four panel wood window, used for window frame and glass.

05_IGU 1” (5” x 7”) Insulating units with black spacers and black silicone, used for window glass.

58

A new aesthetic for the city Mock-ups fabricated with used materials

03 02

i. Brise-Soleil

04

07 06 05

A brise-soleil unit fabricated with used stone panel and steel, introducing new tectonics of joints and brackets.

Copper foil repair 01

ii. Window

Used pallet

A window composed of insulated glass units and used materials, introducing new aesthetics on view frame and transparency.

59

Design as a method of conducting research and making political manifesto: The project was delivered in video form, a short film showing the process from research to design. To upgrade the city. It’s not about making one building with cutting edge technology. It’s about the whole process and its embodied energy, which comes from mining, transportation, bulk manufacturing, storage, and constructing.

All of the above contribute to the embodied energy of building materials. According to a research, embodied energy would rise from 32% to 67% if we upgrade our building in conventional mode by 2050. Even Buildings using recycled materials have an 80 year carbon debt to be paid. But we don’t have that much time left. The conventional mode keeps requests material from nature to buildings, causing the shrinkage of up to 90% of the beaches.

In 2100, the only place you can find a beach might be in a history book. So instead of mining the nature, what if the materials we need is already in our city?

As you can imagined. Materials in our city would be mitigated through such new materiality. A materiality based on mobility and energy efficiency.

Avenues, train rails, and ferry lines would be mobilized for material transportation.

Certain empty slots, vacant buildings would be appropriated temporarily for material fabrication.

As materials are being transformed from one building to other buildings, scaffold system, protection (from noise and toxicity) system, deconstruction system, settlement system would be implemented for the security of tenants, citizens, and workers.

1: Project Video https://vimeo.com/379396731 2: Digital Inventory for Material https://vimeo.com/369685379 3: Just-in-Time Design Solution https://vimeo.com/369689487

61

Buildings in the 60s use steel as decorative facade elements. They are beautiful as decorations but they can also be excessive when there are too many of them. These steel can be stripped down and reconfigured into other elements while the facade remains intact with much less materials;

Neo-classical buildings use a massive amount of stones for aesthetic purposes. However, with the problem we are facing, these materials can be seen as excessive. We can strip down some of the stone materials for other purposes while providing these buildings with better lighting.

Partition walls in post and pre-war commercial buildings were really popular and they are still in use today.

These materials can be stripped down while we introduce a more open working environment;

When we look into New York City, there is an abundance of materials that could be available to upgrade our buildings.

To treat our city as a production system.

Different buildings provide different material supplies. at the same time. They require materials to retrofit.

The supply and the need exist right next to each other or even overlaps in some buildings. The upgrade doesn’t need to cover the carbon footprint of the whole globe. Instead, it could happen within 2 miles.

Therefore we can create a market for reused materials.

Eventually the cost of carbon fines will come down to the tenants. A market as such will act as an incentive for building upgrades.

The modern glass towers contains a massive amount of glass. Do we need that much of glass for our towers?

Why don’t we replace some of the glass with solid panels so that we can improve the window-to-wall ratio while maintaining the needed light for interior? Those replaced glasses can then be reconfigured as raw materials.

According to 80*50, all NYC’s single pane windows need to be replaced to meet the requirement. And that means a massive amount of windows will be stripped down. And through digital fabrication, special treatment, These glasses have the potential to be used elsewhere.

63

The technological approach is still driving us apart from the reality that we live in. The scale of climate change is so large that no one can fully comprehend.

The gap is so huge between climate change as a symbol and climate change as a reality.

We designers can make the gap smaller by bringing the idea closer to people. Changing people’s aesthetic from the addiction to clearness to awareness for climate issues.

If mining the city is a common scene in our life and the idea becomes something we can see and touch. Then I think we are one step closer to tackle the crisis.

65

0 4 .

W H I T E

S P A C E

Study on Chinese classical landscape painting’s spatial experience, a resort complex with blurred boundaries.

SPRING 2018

CAUP GRADUATION DESIGN

INSTRUCTOR: YI DONG

INDIVIDUAL WORK

Time, frame and space: Analysis of the white space in Zao Chun Tu

5 scenario_1

scenario_2

4

2 scenario_3

3 1 scenario_4

scenario_5 ˄ Zao Chun Tu, Xi Guo, Song Dynasty. 《早春图》 ，郭熙， 宋 ˃ Clay and mesh suggest the space of viewing and imagining ˃ ˃ Project site: Ninghai, Ningbo Province, China

68

To recreate the space in Chinese classical landscape paintings through architecture, rather than translate each elements of nature into architectural forms, I felt curious about the common quality between space in nature and space in paintings, which is the blurred boundaries and how imagination plays a major part of the experience.

White space in Chinese classical painting is a compositional method and also a method to suggest cloud, water, etc. My design is composed of two parts: 1. a study on white space to and prototype design; 2. A resort complex design featuring such proto-space with intangible boundaries, creating the overlapping experience of viewing and imagining.

69

Space with different resolutions/ambiguities & corresponding architectural elements

scenario-iii

Solids suggest the painted space - the tangible

scenario-ii

scenario-1

s-6 low resolution - more ambiguous, less tangible

scenario-3

scenario-4

scenario-5

scenario-vi

scenario-iv

scenario-v

Resolution-a

A-b

A-c

A-d

A-e

A-f

scenario-2 scenario-1

70

Solid System

Solid

Tunnel

Cave

Slab

Frame

Wall System

Wall

Window

Path

Paths

No Path

Column System

Thick Wall

Passage

Colonnade

Square

Random

Material System

Black

Reflection

Diaphanous

Translucent

Wire-frame

The white space in Zao Chu Tu connects separate parts of the mountains with different sizes, angles and heights. Together they created a wholeness that viewers can dive into. The painted scenarios connects and creates the space.

the imagined space has varied ambiguities. Some are more ambiguous than others - different resolution. Architecture elements also have varied resolutions. Can architecture create a heterogeneous nature?

The landscape is constructed with the viewed and the imagined,

71

The space in the painting translated into the SOLID SYSTEM

These two experiments exemplify the goal of the study - to reveal the potential of forms that can create the juxtaposition of viewing and imagining. ˃ ˄ Landscape in the painting with different ambiguities ˃ Conceptual plan for the solid system ˃ ˃ Conceptual plan for the wall system

72

The space in the painting translated into the WALL SYSTEM

73

b+ a+

a+

a.

b.

c.

St

ep

1:

ST AC

KI

N

G

Viewing & imagining Building with blurred boundaries

step1:stacking

a+ b+

c+ d.

step2: bending

step3: morphing

Stacking is a method painters construct partial mountains. By stacking the dichotomous cubes, the mass’ boundaries become blurred. The ambiguity of spaces becomes layered.

74

mass #3: 3f

mass #3: 2f

mass #3: 1f

mass #2: 1f

mass #2: 0f

mass #1: 1f

mass #1: 0f

75

gallery rooms

top floor room

tourist center mass #1 tourist center mass #2 room without one corner

tourist center mass #2

room with a merging roof

cantilever room

room with another room

pavilion mass

the hall

room with a bridge

lake-view guest rooms

rooms in the woods

theater mass

room in the woods

room in a room

room with wavy floor

the ourdoor bar

hot spring room

hotel rooms top floor

platform to the lake

open stage

atrium

tourist center mass #3

hotel rooms with a view

theater

overlapping terrace

The views vary through different frames in different rooms, yet the experience feels like a whole.

77

78

The blurred boundaries are between floor and sky, inside and outside, the seen and the imagined.

79

0

50m

Viewing and imagining stands for a space that contains two parts, the viewed and the imagined. They differ in their ambiguity but together compose a wholeness.

The resort complex consists of five buildings which are tourist center, shopping center, theater, hotel, and hot spring pavilion. The site is connected by four open spaces:

˄ Master Plan ˃ Section AA

entrance park, central square, waterfall square, and villager’s park.

The prototype introduces transparency into buildings through materiality, tectonic, and in-between spaces, allowing alternative programs to transform from singular to complex ones.

80

skylight: sealed insulating glass

roof coating waterproofing layer hot insulation lagging concrete cold formed steel deck

sealed insulating glass pre-stress steel truss ceiling joist aluminum sash ceiling

aluminum sash sealed insulating glass trowel concrete waterfroof coating concrete cold formed steel deck rock wool insulation ceiling

trowel concrete concrete cold formed steel deck rock wool insulation ceiling

terrace

gallery atrium

gallery

aluminum sash wired glass clear glass

tourist center

concrete concrete sub-slab double dampproof sheet crushed stone

0 5 .

U R B A N

C O R E

An urban form that incorporates the energy of surroundings, channeling the various flows through one point before allowing them to diverge again.

SPRING 2016

CAUP, CORE STUDIO 3

INSTRUCTOR: PHILLIP F. YUAN, YOUCHAO ZHOU

PARTNER: YUNING CHEN

Line 8 (underground)

Line 3 (elevated)

Inner Ring Road (elevated)

86

How does architecture incorporate urban forms generated by the flow of people?

People, of different groups, during different periods of the day, are attracted by different destinations. Their movements can be simulated into vectors based on the rules of swarm intelligence (BOIDS code). The brief asks students to design an infrastructure building that connects the Hongkou Stadium, two hotels, one office building, and a shopping mall. A transportation hub functioning as a connection among several public transportation systems: two metro lines (one underground and one elevated)

and three road systems (elevated ring road, arterial road, and local roads).

I approach the design through the algorithm. First, I adopted the swarm intelligence to analyze the people flow. The research allows me to understand the pattern of the flow on the site.

When it comes to architecture that functions as a city, people are the primary research subject.

1 10

9 2

8 7 6

3 4 1: Crossroad A 2: Crossroad B 3: Metro line_8 exit2 4: Metro line_8 exit3 5: Metro line_8 exit1 6: Metro line_3 exit1&4 7: Hotel 2: Office 9: Line_3 exit2&3 10: Hongkou Stadium

5

87

Flows and Forms Study on Swarm Intelligence BOIDS code1: Flock movements are based on three rules: cohesion, separation, and alignment.

Separation

Cohesion

Alignment

Digram of agent behaviors of swarm intelligence2 Start Phase: Agents with different di-

1st Stage Parametric Optimization - single group

rections with no distinctive feature of grouping.

Optimized Phase: Agents can form distinctive groups that have multiple directions.

3rd Stage group simulation 2nd Stage Parametric Optimization - multiple groups 4 group_diagonal

4 group_triangle

4 group_diagonal clockwise

1: Craig Reynolds Rules (Source: http://www.red3d.com/cwr/boids/ Accessed: 14/08/10) 2: Roland Snooks, Digram of swarm intelligence

88

Public forms can be understood as strategic shapes that celebrate symbolically the aspiration to civilize their territory, which channels the various flows through one point before allowing them to diverge again.

89

Function Amalgam Based on BOIDS Simulation

90

ANALYSIS SIMULATION * 8 6. Line_3 Exit1&4, Mall—1 7. Line_3 Exit2&3, Mall_2

8. Line_8 Exit 1

3. Line_8 Exit 3

Combo_1

6-EW

8-EW

3-EW

Combo_2

7-EW

Gallery Core

6-NS

7-NS

8-NS

3-ES

Combo_3

Boids Code and Attractor: Based on field study. Each destination represents a group of people with different quantities.

4. Line_8 Exit1

1. Crossroad_1

5. Crossroad_2

2. Crossroad_3

Combo_4

4-EW

1-EW

5-EW

2-EW

Combo_5

Circulation Atrium

Ring-Road System

4-NS

1-NS

5-NS

2-ES

Combo_6

Simulation and Public Form: The shapes are generated through simulation and projection of the results. Each shape suggests a public form with vectors.

6. Line_3 Exit1&4, Mall—1 7. Line_3 Exit2&3, Mall_2

4. Line_8 Exit3

1. Crossroad_1

8. Line_8 Exit 1

3. Line_8 Exit 3

Combo_first row

5. Crossroad_2

2. Crossroad_3

Combo_all

Transfer Hall

Gallery Hall Planar Hotspots: The transparency is determined by the visitor flow rate of each destination. The black mass suggests the location and density of the crowd hotspots.

91

92

The building is an overlapping of private interests and also a place with its own birthright. Behind each form lurks another one.

Consequently, one’s view is always layered. The resulting interplay engages outdoor space, landscapes, infrastructure, etc.

Inside the core, vertical circulations between floors, transfer circulations between line3 & 8. Around the core, Ring-shape park connects shopping spaces and performing spaces. The core connects three walking systems providing circulation among shopping, working, and leisure.

93

1

2

3

4

3

4 a

5

6

16

7

7

8

7

9

10

11

12

1. Rooftop garden 2. Rooftop cafe 3. Gallery 4. Showroom 5. Cinema 6. City panorama hall 7. Transportation hub 8. Transfer hall 9. Transfer passage 10. Ice skating

b

15

14

13

13 c

11. Garage 12. Garden 13. Metro hall 14. Square 15. Ramp gallery 16. Shopping mall a. Hongkou stadium b. Line_3 station c. Line_8 station

0 6 .

LO G G I A

S O C I E T Y

A neighborhood of individuality and collectivity connected through horizontal and vertical loggia - a place between living space and the city.

SPRING 2015

CAUP, CORE STUDIO 2

INSTRUCTOR: ZHANG JIAJING, DONG YI

INDIVIDUAL WORK

D

C

B

A

98

How to bring out the creativity of young citizens in Shanghai by combining culture and living?

Young people desire a place where they enjoy their privacies yet have a sense of belonging in metropolitans like Shanghai. The duality lies in defining one’s individuality in collective living.

spaces to choose from, which corresponds with diverse lifestyles of young citizens. The loggia is somewhere in between of the two extremes. Through the polarity, this middle ground becomes a vibrant social mixer.

Such duality can be found in architecture where the individuality of each space is expressed under consistent formal language. My design focuses on exaggerating the contrast between the two where individuality and collectivity are both strong features of the form.

In the urban context, the buildings have a unified expression as a kind of collectivity. To each resident, they have multiple living and working

˂ A, Cultural center, B, Public housing; C,Original steel structure; D, Linear sports park ˃ Shanghai residential buildings, layer beyond the building

99

Square Enclosing the site

Street The consistency of the street surface

Frame Transition into the urban scale

The Serving and the Served Double-layer wall system

Counterweight The manifestation of power

Pilotis Response to the original structure

Subtraction Welcoming the people

Vertical The interaction in the void

Horizontal Between loggia and void

100

The design is developed through exaggerating the polarity between consistent formal rules in general and the unique identification of each space. The site sits on the corner of a rectangle space, the buildings are designed to complete the enclosure of the open space and create a new lively urban space for citizens.

101

5

4

1

2 5 3

1: Library 2: Gallery 3: Restaurant 4. Atrium_a 6: Connection

7: Maker’s space 8: Atrium_b 9: Office 10: Auditorium

102

0

20m

3

11 5

6 9

7

9

10

8

103

104

Layers of formal language act as game rules. Site elements are players who play the game. Each player would end up with different results, which leads to architectural variations. The language is a form of collectivity while the site elements is a form of individuality.

1: Ceiling structure 2: Floorplate 3. Envelope 4. Interior wall 1

2

3

4

105

0

10m

1 public garden,

3 bedrooms, private balcony

2

public garden, 2 bedrooms, 2 shared balconies

3

duplex skylight room 1 bedroom

4

walk-in closet 1 bedrooms private balcony

106

107

Duplex Apartment

Youth Housing Apartment interior

Cultural Center Connection of living and working

Youth Houisng balcony

Garden Void

Cultura Site e

Cultural The l

Cultural Art ga

al Center entrance

Youth Housing Loggia interior Loggia Void

l Center lobby

Youth Housing Apartment interior

l Center allery

Cultural Center ‘The arch’ Housing Facade

109

ยง2

Electives and Professiona

al Works

0 7. F A C A D E

DETAILING

Developing upon a previous design, the project is a detailed facade design of a greenhouse space of a childcare center.

The triangular volume is a combination of greenhouse for cultivation, protected playground for children, and semi-outdoor cavity. Its facade is integrated with operable windows, doors, planting modules, and drainage systems.

Easy access, clear views, and natural light are the characteristics of the space. The subject of this course is the detailed design of building cladding through an understanding of materials and their physical properties. By focusing on a proper understanding of everything involved at the interface between the interior and exterior environments and the other necessary building systems.

˂ Section persepective drawing ˃ Isometic explosion of the triangular space Drawing credit to Rui Wang

SPRING 2020

CRITIC: KEVIN SCHORN

TEAM: RUI WANG

TECH ELECTIVE

Curtain wall Isometric detail Layering of systems 01. Roof joint 02. Shading engine 03. Retractable window 04. Indoor floor plate 05. Steel beam 06. Planting module 07. Steel beam 08. Drainage gulf 09. Wood structure for plug-in shelf 10. Retail market

Tracking rail system Tracking rail system 01 02 03

Retractable window system Shading system 04 05 06 Plug-in system

Floor system

07 08 09 10

˂ Concept rendering ˃ System/Components isometric drawing

114

Frame system with sliding track

Motor for shading system

Retractable IGU window

Shading Wood beam Steel beam Mineral wool in steel stud Passage for maintenance Steel bar Nylon net Steel fixture

115

Curtain wall Sectional detail Layering of systems 01. Roof joint 02. Shading engine 03. Steel beam 04. Floor joint 05. Trampoline anchor 06. Tracking frame 07. Planting module 08. Wood structure 09. Drainage gutter

01 02 03

04 05 06 07

08 09

116

Roof joint detail

01. Retractable window system Insulation Aluminum cap 02. Steel window frame Wood beam

01 02

Floor joint detail

01. Steel stud 02. Steel window track 03. Mineral wool 04. Wood floor 05. 30*45 wood underlayment 06. Steel frame for trampoline 07. Trampoline 08. Wood beam 09. Shading system 10. Insulation cap 11. Steel beam

01 07

10

08 09

11

01. Drainage gulf slope 02. Waterproof 03. Insulation 04. Painted aluminum sheet cutter 05. Drainage 06. Waterproof 07. Insulation 08. Steel 09. IGU glass 10. 10mm bolt a. Top of the plate b. Cutter highest point c. Cutter lowest point d. Joint point

Floor joint detail

a b c d

01 08

09 10

117

0 8 . U LT R A R E A L O R I E N TA L Focusing on developing narrative through rendering, the project explores alternative realities for ‘Chinese style’ architecture.

The use of perspective and rendering is often an afterthought.

With the abundance of 3D modeling software and the ability to see every angle of a project instantaneously, renderings are often thought of as a last-minute tool for representation. This class challenges the participants to not only think of rendering as a method of presentation, but also a tool for design. The narrative focuses on color, light, material, context, reflection, and opacity throughout the entire design project.

Material palette for rendering

FALL2019

CRITIC: PHILLIP CRUPI, JOSEPH BRENNAN

TEAM: XINNING HUA, LU XU, MENGZHE ZHANG

GRAPHIC ELECTIVE

09. INTERIM URBANISM The materials assembled for the 2019 Seoul Biennale of Architecture and Urbanism “Collective City” present selected critical instances and projections set forth around the historical and contemporary conditions of youth dwelling in New York City, U.S.A. I mainly worked on one of the proposals - HQY. Reconfiguring a 560,000 sqft Department of Education warehouse building in Queens where Amazon planned its now-canceled headquarter HQ2, HQY is a new youth complex that combines a large number of youth housing and work units with a new public higher education institution.

Envisioned as an open campus alternative to highly privatized educational enclaves, the waterfront facility combined with the adjacent wetland integrates the legacy of art and industry of the area as well as new environmental and educational initiatives.

SUMMER 2019

EMPLOYER: N H D M

Project Title and Credit: Interim Urbanism: Youth, Dwelling, City (New York)

by N H D M Architecture + Urbanism Exhibition details : 2019 Seoul Biennale of Architecture and Urbanism “Collective City," Cities exhibit September 7 - November 10, 2019 Donuimun Museum Village, 14-3, Songwol-gil, Jongno-gu, Seoul

Copyright © 2019 N H D M Architects PLLC, All rights reserved.

TEAM: XINNING HUA, LU XU

INTERNSHIP

Photo © 2019 Hyo Sook Chin

124

125

10. MINSHENG FERRY TERMINAL Minsheng Ferry Terminal is a project affiliated to the Huangpu River East Bund Riverfront Open Space Design. I worked from concept design to construction drawing stage under principal architect. The work is constructed in 2018.

The design incorporates the curve elements of the site and explored construction details to achieve optimal visual lightness. The terminal, connecting to Xinhua Riverfront Green Space, links up with Yangjing Harbor Huihong Bridge in the east, while inserts Minsheng Ferry Terminal in the west. This project creates colorful slow-traffic space, and abundant touring experience by designing with various usage flows: cycling, jogging and walking. In the context of ecology, the project will become one of the most distinctive entertaining riverfront space of Huangpu River East Bund in the future.

FALL 2017

EMPLOYER: ATELIER LIU YUYANG ARCHITECTS

Photo credit to © Yong Zhang 章勇 ˅ Form-finding process based on site curves

TEAM: JUE WANG

INTERNSHIP

˂ Under the pavillion ˃ Aerial view, photo credit to © Yong Zhang 章勇 ˂ ˅Steel frame plan

128

129

11. WEST BUND TOURIST CENTER West Bund tourist center is a project that requires to transform a concrete barn building into a tourist center.

By inserting two courtyards to the existing structure, extending the roof structure, and reorganize the internal structure, the abandoned facility is transformed into a civic space that hosts many public programs. The dismantled material is also re-utilized for new facade design. I participated in the project from the beginning until the construction drawing stage, during which I was exposed to various stages of design. It was a team of three and we work closely on each stage of the design.

FALL 2017

EMPLOYER: ATELIER LIU YUYANG ARCHITECTS

TEAM: YAPING WU, SHUANG YAN

INTERNSHIP

Monitor Room

Equipment Room

Monitor Room

Restroom

Section & elevation (insert new elements into old structure)

Office

Courtyard

Office

Main Hall

Front Square

Detail section (AC placement)

133

12. GAMUDA TOWN CENTER Gamuda Town Center is an 8-acre proposal for a mixed-use town center at the heart of an exurban residential development. I Worked on developing the plan and building 3-d models. I also worked on section drawings and renderings which were later used for the AIA Awards submission.

It is an emerging though paradoxical trend is the millennial desire suburban roominess and downtown bustle—an urban middle at the center of nowhere.

The developers translate this market demand with a facile proposal of tract homes surrounding a new Instagram city. Our design embraces the artificiality of this contradiction by making what Aldo Rossi calls a “gigantic man-made object” with experiments in scalar drifting and radical adjacencies between exurban voids and mashed-up streetscapes.

SUMMER 2018

EMPLOYER: ALLTHATISSOLID, MAX KUO

TEAM: XINNING HUA

INTERNSHIP

137

13. NOT ARCHITECTURE Not Architecture aims to manifest a conceptual idea through spatial forms. The design intends to give viewers a vicarious thrill out of the awkward aesthestics that is ingrained in the whole process of design.

This project is developed in Andrew Zago’s article called ‘awkward position’. ‘The awkward stands in a peculiar relation to the correct. It doesn’t align with normative manners, but it doesn’t critique them either. It gains resonance by maintaining a clear relationship to larger cultural norms while constructing an alternate logic within them.’

The way awkward position can harness unpredictable effects can be illustrated through the images in the left, in which a traceur and contortionist are photographed during their movements. By their physical technique, the normative city is SUMMER 2018

experienced in a new way where the boundaries of buildings, walls, and grounds are blurred. At the same time, the activity is still dependent on the existing urban form.

‘The awkward require architects to perform contrary to his best judgment, to tactically undermine fine-tuned skills in an attempt to define new and unsettling aesthetic territories.’

˂ Form-finding process ˃ The contrast between XL and XS

EMPLOYER: ALLTHATISSOLID, MAX KUO

TEAM: MAX KUO

INTERNSHIP

140

141

142

14. 18TH

ANNIVERSARY

18th Anniversary is GOM’s retrospective exhibiton of the firm’s works during its 18 years of practice. The exhibition focused on the representation of built and unbuilt projects through physical models.

I worked on designing and making physical models that can bring out the features of each project.

In this process, I utilized different materials such as ABS, XPS, and plaster in physical model-making.

SUMMER 2014

EMPLOYER: ATELIER GOM

TEAM: JIARONG XIAO, QINGYU CAI

INTERNSHIP

144

145