Y I R A N Z H A N G Ar c h i t e c t u r e P o r t f o l i o 2 0 1 9
Y I R A N CZu rH ANG riculum Vitae Curriculum Vitae
Education 2017-2021 Har vard Graduate S cho ol of Design, Master of Architecture 1 Candidate 2 0 1 3 - 2 0 1 7 Wa s h i n g t o n Un i v e r s i t y i n S t . L o u i s , Bachelor of Science in Architecture Minor in Art 2 0 1 0 - 2 0 1 3 B e i j i n g No. 8 0 H i g h S c h o o l
Recognition 2017
" D r a m a B o x " ( C h i n e s e ) Na t i o n a l C onstruction C ompetition First Prize 2017 Wi d m a n n P r i z e o f S a m F o x S c h o o l ( S e n i o r Aw a r d w i t h $ 2 , 4 0 0 ) 2 0 1 5 - 2 0 1 6 F i t z g i b b o n C h a r r e t t e H o n o r a b l e Me n t i o n of Sam Fox S chool 2 0 1 4 - 2 0 1 7 Th e D e a n’s L i s t o f Wa s h i n g t o n Un i v e r s i t y in St.Louis
Experience 2018 2016
Tr a c e A r c h i t e c t u r e O ffi c e ( TAO ) , I n t e r n China Architecture Design & Research G r o u p, U D A r c h i t e c t s , I n t e r n 2016 A R C H 2 1 1 ( Wa s h U S o p h o m o r e S t u d i o ) , Te a c h i n g A s s i s t a n t 2015 Wa s h U F l o r e n c e s u m m e r p r o g r a m 2 0 1 4 - 2 0 1 6 S e n s a s i a n s ( Wa s h U A c a p p e l l a g r o u p ) , Design chair 2 0 1 4 - 2 0 1 5 We c h a t Pe r i o d i c a l p l a t f o r m , A l l t h i n g s B r i g h t a n d B e a u t i f u l , Wr i t e r
S o ft w a r e P r o fi c i e n c y i n R h i n o c e r o s , Au t o C A D, M a x w e l l R e n d e r e r, Vr a y, P h o t o s h o p, I l l u s t r a t o r a n d I n D e s i g n K n o w l e d g e o f A r c G I S , S k e t c h - u p, G r a s s h o p p e r, C # coding, FloVENT and DesignBuilder yiran.zhang@gsd.harvard.edu (+1) 617-417-0415 (+86) 13521054081
Language
24 | Female | Chinese Citizen
Fluenc y in Eng lish, Chines e and Korean. I n t e r m e d i a t e l e v e l i n Ja p a n e s e a n d F r e n c h .
Contents S o ft
2
C l u b o f Ne g a t i v e E m o t i o n s
Mis-aligned
12
Ju m p C u t
Interrupted
18
C a m p u s In fi l l
Vo i d
24
Film Studio
Inversed
30
Ho t e l C o m p l e x
Personal
38
P i l g r i m a g e Ne s t
Deceptive
46
D e s a l i n a t i o n C a s i n o To w e r s
Restless
56
Ti m e In s t i t u t e
Disconnected
62
Art Practices
66
Encounter in the Cloud
1
Club of the Negative Emotions Urban Club | Boston, US, 2019 | GSD CORE2 | Jenny French
Un d e r t h e p r e s s i n g i s s u e s o f e m o t i o n a l distress among the urban millennials, it is proposed an urban club that shelters all individuals with sadness, a n x i e t y, d e p r e s s i o n a n d m a n y o t h e r n e g a t i v e e m o t i o n s . Wi t h o u t e n f o r c i n g any judgmental criticism or moral guidance, the club instead protects these sentiments and neutrally beholds activities under this state. A s a r e s e r v o i r, t h e a r c h i t e c t u r e attempts to contain what it can hardly c o n t a i n . It s u s p e n d s , p r e s e r v e s , tolerates, embraces, holds and beholds. As if life is a book and at times you fi n d y o u r s e l f r e a d i n g i t s l o w l y, s o s l o w that the spaces between the words are a l m o s t i n fi n i t e . It i s i n t h i s e n d l e s s s p a c e b e t w e e n t h e w o r d s t h a t y o u fi n d y o u r s e l f w i t h t h e u r b a n c l u b.
2
â–ś
Illustrated Narrative
â–ś
â–ś
Sectioin
R o o m s a r e g e s t u r e d i n s o ft , s w e l l i n g or scooping cur vatures, like cells, e m b r y o o r c l o u d . Th e s e a r e s p a c e s where you fail to register any global grid or familiar room corners, thus fi n d y o u r s e l f a fl o a t i n o r w i t h i n s o ft l y l i t c a v i t i e s . S l a n t e d fl o o r p l a t e s that manipulates compression and expansion further distorts your normal sense of scalable spaces, meanwhile enhancing circulational fl u i d i t y w i t h i n f o r c e s o f g r a v i t y. F r o m the façade to the mediate threshold to the most inner shell, each layer ser ves to be more protective and exclusive.
3
Study models
4
â—€
F r a c t i o n a l m o d e l , a t 1 /4 " = 1 '
53
â—€
F r a c t i o n a l m o d e l , a t 1 /4 " = 1 '
6
vast vast
( p u b l i c , a fl o a t )
imtimate imtimate
( p u b l i c , a fl o a t )
lucid lucid
(private, suspended) (private, suspended)
fuzzy fuzzy
(bright, focused) (bright, focused)
reading
eating
staying
talking
gathering
crying
light
reading
eating
staying
talking
gathering
crying
O n a d i ff e r e n t s c a l e o f s e n s o r i a l lucidness and fuzziness (where input spaces demand more light and sober focus, while output spaces require dim and obs cure environment for releasing), situates a whole catalog of programs from reading, eating, staying, gathering, talking and cr ying. O n a n o t h e r d i ff e r e n t s c a l e f r o m vast to intimate, situates gathering, eating(L), talking, reading, eating (S), staying and cr ying. Circulational chamber take a neutral stance on both spectrum. vast
( p u b l i c , c l o u d , a fl o a t )
CORE II_3_Reservoir of Sadness
program diagrams
vast
( p u b l i c , c l o u d , a fl o a t )
vast
fuzzy
lucid
intimate PLAN i
PLAN ii
PLAN iii
PLAN iv
PLAN v
program stack (abstracted)
cted)
fl o o r s s t a c k
lucid
fl o o r s s t a c k
fuzzy
(bright, focused)
(dim, obscure)
imtimate
fuzzy
PLAN vi
(dim, obscure)
light
D i a g r a m o f Ty p e s
ess
(dim, obscure)
PLAN vii
(private, cell, suspended)
(dim, obscure)
imtimate
l i g h t( p r i v a t e , c e l l ,r seuasdpienngd e d )
eating
staying
talking
gathering
crying
7
CORE II_3_Reservoir of Sadness
program diagrams vast
fuzzy
lucid
intimate PLAN i
PLAN ii
PLAN iii
PLAN iv
PLAN v
program stack (abstracted)
lucid
â–¶
PLAN vi
8
Diagram
PLAN vii
(bright, focused)
light
reading
eating
CORE II_3_Reservoir of Sadness
CORE II_3_Reservoir of Sadness
CORE II_3_Reservoir of Sadness
CORE II_3_Reservoir of Sadness
plan iii
plan iv
plan i
plan ii
Plan iii
Plan vi
Plan i
Plan ii
9
" E nv e l o p e d s k y a s a o r g a n o f s e n t i m e n t s "
s out h
â—€
Unrolled Elevation
12
e ast
nor t h
we st
1 13
Jump Cut Building from two given sections | GSD CORE1 | Andrew Plumb
Th i s t h r e e - w e e k p r o j e c t b e g i n s w i t h two given sections cut from any possible buildings. The sections are jump cuts – they may appear incompatible w i t h r e s p e c t t o g e o m e t r y, a x e s , structure, location of circulation, and volumetric distribution. We w e r e a s k e d t o r e a d , r e v e a l , and reinvent buildings from the available clues. The sections a r t i c u l a t e v a r i e d s p a t i a l fi g u r a t i o n s within the three-dimensional volume they describe.
SECTION A
SCALE: 1/16” = 1’-0”
SECTION B
SCALE: 1/16” = 1’-0”
12
13
14
Plan on mylar My i n t e r v e n t i o n c o n s t r u c t s a m a t r i x of contrast between compressed, discrete spaces and expanded, bright spaces. Through drafting volumetric projection of the sections onto plans, the spaces are gradually sculpted out and derived from the broken clues.
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C onstraints: - The composition of the given sections may not be altered. No walls or other elements may be added to or subtracted. - The sections must align at either one perimeter edge or at an internal point, but must overlap by at least 5 0 ’ - 0 ”. T h e d i s t a n c e b e t w e e n the two selected sections at the a l i g n m e n t p o i n t m u s t b e 4 0 ’ – 0 .” - The overall building footprint must fit within a bounding box of 1 2 0 ’x 9 0 ’ - The height of the building is approximately 55’ above street level and sits on grade. - Th e t o t a l b u i l d i n g a r e a i s a p p r o x . 2 0 , 0 0 0 ft 2 – 3 0 , 0 0 0 ft 2 . Exceptions: Th i c k n e s s o f w a l l s m a y b e e x p a n d e d . Lines defining apertures may be added. Stairs and ramps may be added.
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Campus Infill Makerspace between two campus buildings | GSD CORE1 | Andrew Plumb
This infill project serves to host the significant expansion and consolidation of a makerspace for an academic department at a medium-sized arts and technical
The design proposal not only links the two buildings at all floors but also celebrates a primar y pedestrian t h o r o u g h f a r e i n t h e g a p b e t w e e n . It is a new entrance, connective tissue
college. The site in which the new building operates is the interstitial space between two existing campus buildings of contrasting structural g r a i n s , o n e “ f r e e - p l a n� a n d t h e other with vertical walls system. The growing department requires expansion and consolidation of additional programs including fabrication labs, studio spaces and lecture halls.
a n d s y m b o l i c c e n t e r. My intervention particularly introduces a large architectural promenade, densely populated with programatic spaces by their p u b l i c i t y h i a r c h y, t h a t t r a v e r s e s through the existing buildings. Th r o u g h m a n i p u l a t i o n o f p o l a r a n d rectilinear system, the building becomes a third thing that reconditions the existing grains.
Unrolled Sections
FABLAB
CLASS
plan 4
STUDIO
plan 3
CONFERENCE
plan 2
STUDY LECTURE LOUNGE
OFFICE
CAFE
plan 1
building B
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central promenade
building A
study c ar rels fabr ic at ion l ab
â—€
cl assro oms
â—€
Site Plan
Programmatic Diagram
cont rol le d access
var i able access
publi c access
studio le c ture sp ace
addit iona l office
c afe
exhibit ion sp ace
lounge
administ rat ive office
conference
Building A
Building B
Th e c o m p l e x p r o g r a m s a r e a r r a n g e d in accordance to their level of publicity : Study carrels, classrooms and makerspaces that recquires controlled access are located at the center of the promenade strip, elevated from the ground level access and generating an signature overview of the campus variable access like administrative offices situate on the twisting corner of the strip; public access including cafe and lecture hall gets grand entrances directly from campus walkways. The strip starts and ends on the c e n t r a l c a m p u s a x i s a n d p e e l s o ff t o intrude two existing buildings. 19
◀
Demolition
◀
Addition
20
Plan iii
Plan vi
Plan i
Plan ii
21
â—€
Final model, at 1'=1/8"
22
23
Film Studio
â—€
Site Plan Model
â—€
Independent Film Studio | Boston, US, 2018 | GSD CORE2 | Jenny French
Sectional Model at 1'=1/8"
24
Th e fi l m s t u d i o i s a p r o j e c t t h a t develops around the motif of the shed and calibrates spaces of creature c o m f o r t s f o r m o v i e p r o d u c t i o n . Th i s project focuses on the study of the s t u d i o, t h e s t u d y o f t h e s h e d a n d t h e study of the site. It i s a c o m p l e x o f b u i l d i n g s i n w h i c h productive-engaging spaces are surrounded by comfortable-engaging spaces, and comfortable moving spaces of smaller scale are seperated from productive-moving spaces on the ground level. Th e g i v e n p r o g r a m c o m p r i s e s g e n e r i c human activities including gathering, working and performance, which are transient from outdoors-in and at various scales. C onfrontation with known human activity and architectural precedent are to be condensed into type and rethought once again.
Pro g ram D iag ram s
Circ ulation sy stem for people
S E CT I ON
Circ ulation sy stem for vehicle
â—€
"Shed as an allegorical type."
Program Diagram: Organization of Scale, Organization of Creature Comforts
produc tion
Amenity
M TA NK
Acting
Acting
Storage
L
S
M Mov ing
M
Eng ag ing
Parking
S
shops
â—€
C omfor t
Projected Living Scene
25
F i n a l M o d e l a t 1 ' = 1 /4 " s c a l e
26
Second Floor Plan
27
28
29
H o t e l o f Ty p o l o g i c a l I n v e r s i a n s Hotel Complex | New Haven, US, 2019 | GSD CORE3 | Oana Stanescu
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Provocation
◀
◀
Provocational Models
Study model: test for ambiguity
Diagram: typological inversions SUMMER: “ON” SCENA RIO
Ro o m s ( L)
Hot el L obby
Re sta ura nt
L ect ure Hal l
Eve nt Lobby
The a te r
S ma ll Eve nts
SPRING / FA LL: “OFF” SCENARIO
M e e tin g
Club
Ba r
31
◀
Th e Ho t e l i s d e s i g n e d t o h a v e two lives: the on scenario during a c a d e m i c s e a s o n s a n d t h e o ff s c e n a r i o d u r i n g s u m m e r. S o m e h o t e l s p a c e s can be transformed into event spaces, which then generates a building with greater percentage of event p r o g r a m s , d u e t o s p e c i fi c s e a s o n a l n e e d s . Th i s t y p o l o g i c a l i n v e r s i o n i s t r i g g e r e d b y d i ff e r e n t p o i n t s o f activation and realized through the a m b i g u o u s n a t u r e o f fi v e u n i q u e l y c o n s t r u c t e d s p a t i a l c o n fi g u r a t i o n s . Th e s e s p a c e s a r e n e u t r a l y e t s p e c i fi c , rigorously manipulated to have two r e a d i n g s . Th e g a p o f u n d e r s t a n d i n g b e t w e e n w h a t’s b e e n e s t a b l i s h e d a n d employed is the mechanism that allows this inversion.
◀
Axons of the five: thick poche to allow storage
1
Plan vi
Plan v
Plan i 32
Pl ans
1’ = 1 / 1 6 ”
33
H OTEL LOB B Y
L A R GE H OTEL R OOM
L ECTUR E HAL L
MEETIN G R O O M
34
Hotel Lobby / Lecture Hall Large Hotel Room / Meeting Room
SMA L L EV EN T
T H EATER
R ESTA UR A N T
“ON ” SCE N ARI O
BAR
C LUB
EVEN T LO BBY
“OF F ” SCE N ARI O
Restaurant / Event Lobby
Theater / Club
Small Event / Bar
35
Massing models
36
Final model, at 1'=1/16"
37
Pilgrimage Nest S a c r e d S p a c e i n Tr a i n S t a t i o n | F l o r e n c e , I TA LY, 2 0 1 5 | I g o r M a r j a n o v i c
Th e s a c r e d s p a c e i s i n s p i r e d b y t h e c h a r a c t e r Yo n g a s a n o s t a l g i c a n d personal nest during his pilgrimage. Yo n g , a m i d d l e - a g e d C h i n e s e m a n , immigrated to Prato a decade ago and c u r r e n t l y w o r k s i n a f a b r i c f a c t o r y. “ P i l g r i m a g e� p e r h a p s b e s t d e s c r i b e s Yo n g ' s e n d e a v o r o f i m m i g r a t i o n and his hope of transformation. I n t h e s p a c e o f t h e F i r e n z e Tr a i n S t a t i o n , w h e r e fl o w s c o n v e r g e a n d d i s p e r s e r a p i d l y, t h e c o n t e x t o f s u c h a p i l g r i m a g e i s n o w c o n d e n s e d . It i s c o n d e n s e d i n t o a n e t o f fl o w s suggested by the most visited spots a n d t r a c e s o f p a s s e n g e r s’ m o v e s - a n d pauses.
As knots are tied in this inter weaving net, clouds of spaces are generated w h e r e a g g r e g a t i o n a n d i n t e n s i fi c a t i o n o c c u r s . Wi t h i n t h e s e f r a g m e n t e d , irrational geometries, multiple private c a v i t i e s a r e f o r m e d . Ac c e s s t o t h e m crawls and spreads all over the hall. Tr a n s l u c e n t g l a s s p a n e l s f r a m e d b y branching structures allow dim light into those spaces, resembling the quality of broken eggs or wombs. E v o k i n g r e fl e c t i o n o n f r a c t u r e d m e m o r y, t h e n e s t p r o v i d e s a p i e c e o f personal landscape, a temporal home. Yo n g s t a n d s f o r m i l l i o n s o f o t h e r pilgrims, and the nest is a miniature of all familiar landscapes.
h a n d d r a w i n g s , g r a p h i t e a n d p r i n t s o n m y l a r, 24 " x 3 6 "
39
In t h e s p a c e o f t h e F i r e n z e Tr a i n S t a t i o n , w h e r e fl o w s c o nv e r g e a n d d i s p e r s e r a p i d l y, the context of such a pilgr image is now c o n d e n s e d . It i s c o n d e n s e d i n t o a n e t o f fl o w s s u g g e s t e d b y t h e m o s t v i s i t e d s p o t s a n d t r a c e s o f p a s s e n g e r s’ m o v e s - a n d - p a u s e s .
Single drawing above: collaborative work with Jewel Pei 40
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It ’s d i m , m u t e d a n d s a f e . . . t h e n e s t o ff e r s a c h a n c e o f n o s t a l g i a w h e r e Yo n g c a n b e temporally rooted in a personal landscape... 43
9
Memories of site in prints
Yo n g ’s s t o r y Yo n g c o m e s t o t h i s “p i l g r i m a g e n e s t ” as a retreat from his daily routines, fi l l e d w i t h t h e n o i s e s o f m a c h i n e s a n d m e c h a n i c a l w o r k . He c u r l s u p i n o n e o f those womb-like enclosed spaces. It ’s d i m , m u t e d a n d s a f e . He f e e l s l i k e a n u n b o r n . Yo n g s o m e t i m e s w o u l d even spend hours merely watching the trains and travelers come and go: it is l i k e o b s e r v i n g t h e fl o w o f t i m e f r o m a heavenly perspective.
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It f e e l s l i k e h o m e , h e t h o u g h t t o himself, whether that is home g e o g r a p h i c a l l y o r b i o l o g i c a l l y. 10 years, 5644 miles away f rom h o m e l a n d , Yo n g fi n d s h i m s e l f fl o a t i n g : his identity and memor y torn between t w o d i s t a n t p i e c e s o f l a n d . Th e n e s t o ff e r s a c h a n c e o f n o s t a l g i a w h e r e Yo n g c a n b e t e m p o r a l l y r o o t e d i n a personal landscape. Either to evoke memor y or to settle tranquility is a c h o i c e g i v e n . Na t i v e o r u n i v e r s a l , i t i s a landscape of his own.
D e s a l i n a t i o n C a s i n o To w e r s To w e r s i n R e p l e n i s h m e n t P o n d | P a l m S p r i n g s , U S , 2 0 1 7 | D e r e c k H o e f e r l i n
----In a desser t of other ness, the f rag i l e s u p p o r t s t h e h e av y, t h e dynamic freezes the static, the decayed preser ves the liv ing, scarcity supplies the abundance, and the desperation waters the hope.
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Archidam Mapping Research Group Research with studio section of 12 people, names listed on top of next page
FIELD NOTES
25. 50. 10. is is the breakdown of the water articially diverted from the C o l o r a d o R i v e r. The half-semester long group research leverages an intense effort on studying the water infrastructure o f C o a c h e l l a v a l l e y. M a p p i n g s u b j e c t s i n c lu d e s t e r r a i n a n d g e o l o g y, j e ff e r s o n i a n g r i d , w a t e r j u r i s d i c t i o n s , watersheds and sub-basins,
water infreastructure, canals and streams, highways and railways, city boundaries, tribal lands, local zoom-ins at replenishment facilities, agriculture and tourism structure, regional water trading system and historical outline. Only maps relevant to individual proposal have been selected for this p o r t f o l i o d i s p l a y. 47
1: 1 0 TO CV
De rek Hoe ferli n, Je s s Va n e cek ( TA )
A R C HIDA M II
H YDR A U LIC SY STE M COLORADO RIVER AQUEDUCT
[TUNNELS]
[CONDUITS]
COACHELLA CANAL MID VA LLE Y PIPE LINE CHANNELS CHANNELIZED RUNOFF PUBLIC WATER LINES
V C D
WELL
DELIVERY POINT
REPLENISH POND
TRE ATMENT FACILITY
H YDR OLOGIC SYSTE M LEGEND
WASHES STREAMS CONNECTORS SUB-BASINS BODIES OF WATER
JU R ISDICTI ONS JEFFERSONIAN GRID TOWNSHIPS CITY BOUNDARIES TRIBAL LAND WATER JURISDICTIONS
D M
S M
MYOMA DUNES W A T E R D I S T.
MISSION SPRINGS WAT E R
V C
V C
V C
C O A C H E L L A VA L L E Y W A T E R D I S T.
C O AC H E L L A WAT E R AUTHORITY
I N DI O WAT E R AUTHORITY
W D
D
DE S E RT WAT E R AGENC Y
A
D
OTH ER HIGHWAYS & RAILWAYS 1� = 3/4 MI
1 :1 0 TO CV
1MI
A R C HIDA M I I
Synthesis Brief
48
landscape. A variegated composition of verdant golf courses, sleek midcentury Modern homes, and the rugged Sonoran desert, the city has b e c o m e a l u s h a n o m a l y. Whether it is agriculture, golf courses, or residential development, water is inextricably linked to the economy and culture of Palm Springs itself. As a neces-sar y precondition, water shapes the cultural, social, and ecological landscap e of Palm Springs; the success and wealth of the region is dependent on an extreme amount o f w a t e r, w h i c h c o m e s a t a n d e v e n more extreme price.
FIELD NOTES
California lays claim to roughly a quarter of the water in the Colorado river and shuttles this precious resource throughout its borders. About half of this water journeys through the All-American and Coachella canals. e other half continues onward through the Colorado River Aqueduct to the c o a s t a n d L o s A n g e l e s . U l t i m a t e l y, t h e C o a c h e l l a Va l l e y r e c e i v e s r o u g h l y 10% of the water from the Colorado R i v e r. As a disproportionate recipient of d i v e r t e d w a t e r, P a l m S p r i n g s s t i c k s out in the arid southern California
FIELD NOTES
Colorado River Aqueduct The Colorado River Aqueduct or CRA is a 242 mile long water system that brings 1,600 cu ft/s of water from the Colorado River all the way to Los Angeles. The Colorado River Aqueduct begins near Parker Dam on the Colorado River and continues to the Coachella Valley. The CRA then continues until it reaches Lake Mathews where is it distributed to areas of Los Angeles.
Peak: 11,499 FT
DESERT HOT SPRINGS
PALM SPRINGS
CATH
FIELD NOTES
San Gorgonio Mountains
50 C on s oli d a te d B e dro ck
Tahquitz Creek
440 ft
600 ft
WHITEWATER GROUND WATER REPLENISHMENT FACILITY
Projected Su
Tr i b a l L a n d s P u m p i n g Fa c i l i t y S ta te Wa te r P ro j e ct A q u e d u ct L o ca l A q u e d u ct C e n t ra l Va l l e y P ro j e ct A q u e d u ct R i ve r R e s e r voi r U rb a n A re a
REGIO NAL M AP O F WATER SY S T E M A DN TRI BAL LAN D S
G rou n d Wa te r
UPPER C O LO RADO BA SIN
Mokelumne Aqueduct
Uinta h a nd Oura y Po p : 1 9 ,1 8 2 A rea : 4 ,3 3 2 ,1 6 0
Hetch Hetchy Aqueduct
California Aqueduct
Los Angeles Aqueducts
Ute Mo unta in Po p : 1 ,6 8 7 A rea : 5 7 ,8 7 8
Coastal Branch Aqueduct
So ut hern Ute Po p : 9 ,5 9 2 A rea : 6 7 7 ,7 6 0
N a va jo N a t io n Po p : 1 7 3 ,6 6 7 A rea : 1 7 ,5 4 4 ,3 2 0
Jica rilla A p a che N a t io n Po p : 2 ,7 5 5 A rea : 8 7 2 ,9 6 0
? Po p : ? A rea : ?
For t M oj ave Pop: 1, 100 Area: 41, 884
Colorado River Aqueduct Central Arizona Project
Palm Springs
San Diego Canal
C olorado R i ver I ndi an R es e rva t io n Pop: 9, 201 Area: 276, 480
All-American Canal
LOWER C O LO RADO BA SIN COLORADO AQUEDUCT: REGIONAL SECTION Distance above Sea Level (ft)
200
180
160
140
1000
0
Morris Resevoir
A R C H IDAM II
Cajalco Resevoir
80
60
40
20
0
Salton Sea
Intake Pump Lift
Tunneled Aqueduct
Pump Lift The Salton Sea was formed between 1905 and 1907 when the Colorado River burst through Water poorly built irrigation controls south of Yuma, Siphons Arizona. The 343.2 square mile lake is now fed by run-off from the Whitewater River which contains high amounts of dissolved salts. The salts deposited over time have raised the salinity of the Salton Sea enough to kill off most of the lake’s fish species.
Gene Wash Pump Lift
Copper Basin Gene Wash Basin Colorado River
Hayfield Resevoir
C a l i fo r nia D re a m i n’
HEDRAL CITY
RANCHO MIRAGE
PALM DESERT
INDIAN WELLS
LA QUINTA
INDIO
COACHELLA
Peak: 5,813 FT
Little San Bernadino Mountains
Projected Uplift
Whitewater River Unsaturated Zone
540 ft
485 ft
Coachella Canal
ubsidence
Colorado River Tunnel
Iron Mt Pump Lift
Eagle Mt Pump Lift
Copper Basin Tunnel
Cottonwood Tunnel
Mecca Pass Tunnels
Coachella Tunnels
Whitewater Tunnels
San Jacinto Tunnel
Bernasconi Tunnel
Valverde Tunnel
Monrovia Tunnels
Pasadena Tunnel
Ascot Tunnel
2000
100
Aqueduct
The Coachella Valley aquifer is an unconsolidated, moderately permeable aquifer that is naturally recharged through runoff from nearby mountain ranges. The aquifer is also artificially recharged from the Colorado River through man-made canals and is the main source of portable water for the surrounding desert area.
3000
120
Hayfield Pump Lift
Whipple Mt Tunnel
220
Iron Mt Tunnel
240
Coa chella Valle y A qui fer
Coxcomb Tunnel
260
Eagle Mt Tunnels
280
Hayfield Tunnels
Lateral Distance (mi)
4000
Surface: -234 FT
Saturated Aquifer Saturated Aquifer
Con s oli d a ted B edro ck
52 s e c t i o n , g r a p h i t e o n m y l a r, 24 " x 3 6 "
p l a n , g r a p h i t e o n m y l a r, 24 " x 3 6 "
With its water trading process actualized through complex infrastructural apparatus, the land o f C o a c h e l l a Va l l e y i s c h a r g e d w i t h “d e c e p t i o n s” ( i n n e u t r a l m e a n s ) . It unfolds itself with various levels of visibility upon careful examination: t h e r e’s d r a s t i c d i s c r e p a n c y b e t w e e n w h a t ’s t a n g i b l e , p e r c e p t i b l e t o t h e human minds and what materially exists at times within the walls and other times underneath the ground. Upon our group research, we speculate a drier future where the pressing issue of desalinating water from Colorado river aqueduct urges an architectural solution.
Po l i t i c a l / c i v i c / c r i t i c a l / a c q u i e s c e n t / t e c h n o l o g i c a l / a r t i fi c i a l / i n t e n s i v e / s u b l i m e / t e m p o r a l
53
Six casinos towers executing desalination process around the whitewater replenishment ponds region has been proposed. The proposal is an architectural c o m m e n t a r y, a c o n s t r u c t e d p o e m . The duality of the two major programs expands and builds on the m e a n i n g o f “ h e t e r o t o p i a ,” a p l a c e of otherness. Between Dystopia and Utopi a , t he l and of he te rotopi a i s a meticulously constructed place through which we register our w o r l d a s t h e m e s s y r e a l i t y. The towers each integrates a sixstoried casino center and huge infrastructure that executes both potable water treatment as well as w a t e r r e c y c l i n g t r e a t m e n t . Po w e r e d by wind turbines, each tower t a k e s w a t e r f r o m n e a r b y b a s i n’s outlet canal, pumps it through prec h l o r i n a t i o n , fl o c c u l a t i o n , s e t t l i n g , fi l t r a t i o n a n d d i s i n f e c t i o n f a c i l i t i e s . The unproportionate infrastructure (when activated) is preser ved and covered by enormous iridescent veil. 54
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Time Institute Hybrid Station on Quarry | MO, US, 2016 | Gia Daskalakis
T i m e I n s t i t u t e i s a fl e x i b l e , a d a p t a b l e and documentar y station focusing on curating connections and sequences. Situated on and around the north q u a r r y, t h e I n s t i t u t e c u r a t e s connections and sequences established by human occupation and other existing site conditions. When equipped with light mechanism, the institute can b e a s s e m b l e d i n d i ff e r e n t m o d e s , thus adapting to changes including occupation, seismic forces and light, as w e l l a s d o c u m e n t s t h e i r t r a j e c t o r y.
S er ving potentially a meteorologist, a historian and an artist, the station is a hy brid of instr umentation unit, planetarium, residence, galler y space a n d l i b r a r y. Th e p r o g r a m d i a g r a m i l l u s t r a t e s h o w t h i s fl e x i b l e p r o g r a m is activated dynamically in time and space. Th e s p a t i a l a r r a n g e m e n t p o s s e s s e s biological references to cardial tissues, which experientially informs the connection.
program diagram
Library
Planetarium
Residence
Instrumentation Unit Gallery
51 62
51 73
Early conceptual sketch: kinetic system featuring movable pods on tracks
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Th e g e o l o g i c a l r e a l i t y o f E l e p h a n t R o c k s S t a t e Park can be dated back to the Proterozoic Eon and remains active today in various aspects. Th i s p r o j e c t i n v e s t i g a t e s t r a c i n g t h o s e e o n s to the recent histor y of quarr ying and to a p r o j e c t i o n o f n e a r f u t u r e . Th e s i t e i s h e n c e viewed as a restless landscape: a series of e v e n t s o c c u r a t d i ff e r e n t t i m e s c o p e ; s o m e appear at hourly inter vals such as human occupation, and some lasts for centur y such as geological activities. Th e “Q u a r r y Me m o r y ” s t u d i e s e x p l o r e s u c h restlessness of landscape through tracing changes and displacement across recent h i s t o r y. S t i l l i m a g e s ( s o m e c o n j e c t u r e d a n d a r t i fi c i a l ) a r e a b s t r a c t e d a n d g r o u p e d according to their time frame: one series s t u d i e s “s u n n y a n d c l o u d y c o n d i t i o n c h a n g e s” over a minute, another series looks at topographical changes over the quarr ying decades.
◀ Quarry Memory Series The site as a series of events 58
â—€
Quarry Memory Diagram: General description of [Restless Landscape], featuring traces of rock displacement in time and space.
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Site Map Th e m a p p i n g s t u d i e s e x t e n d t h e r e s t l e s s n e s s o f l a n d s c a p e t o d i ff e r e n t w a y s i n w h i c h t h e s i t e i s a c t i v a t e d . L i g h t a n d s h a d o w o n t h e t o p o g r a p h y, h u m a n aggregation and dispersion, as well as paths and progression are essential modes of activation.
60
◀
Drawing exercise, 16” x 24”, partially shown Inspirational drawing studying relationships and organizations
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Encounter in the Cloud " F a c e t o F a c e , w e g a z e i n t o t h e d i s t a n t o t h e r. " Pu b l i c I n s t a l l a t i o n | G ro u p p ro j e c t w i t h J ewe l Pe i a n d We i H u a n g Competition First Prize| Guangzhou, China, 2017
Conceptual model and sketch
La société du spectacle, Guy Debard, 1967 62
Wi t h a r o u g h p r o p o s a l o f " e n c o u n t e r in the cloud," we entered the "Drama Box" 2017 National construction competition hosted by Banghua (邦 华 ) a n d Yi c hu a n g s h e ( 一 创 设 ) . Us and two other groups have been selected into the final round and commissioned to construct with given f u n d s . E v e n t u a l l y, o u r i n s t a l l a t i o n won the first prize thanks to the critics and judges.
Th e i n s t a l l a t i o n f e a t u r e s a s u s p e n d e d black box covered with mirrors o n t h e i n t e r i o r. S t e p p i n g o n t o t h e stairs, the visitors are invited to plug their heads into the holed box. Each audience is separated from one another by mirrors, so that they see only infinitely reflected images of others, but never right into another's eyes. This actual space is then conver ted into a vir tual space. We w e r e i n s p i r e d b y t h o s e s c e n e s where interpersonal relationships are over-mediated by digital media— people physically gather in the same space, yet still communicate through d i g i t a l s c r e e n s . We t h u s b u i l t this work to dramatically present the interpersonal relationships reconfigured by cyber space—even w h e n o u r b o d i e s g a t h e r, w e o n l y s e e each other from a distance.
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Construction process
Critics experiencing our installation 64
65
Art Practices Rethinking Modernity through drawing, sculpture and other media
Ink sketches
66
Zen Monsters, Ink sketches
67
B o o k i s h n e s s Ar c h i v e Installation | 2016
Bookishness archive discusses the duration and preser vation of language i n s p a c e . Vu l n e r a b l e a n t i q u e b o o k pages are preser ved in plastic reser voirs, yet becoming more obscure and illegible due to the attempt to preser ve. Each reser voir bag is marked with page number in Chinese characters, hanging in space counter clock wise. Faded paper on the ground i n d i c a t e s a z o n e o f s i g n i fi c a n c e f o r the installation.
68
Librar y Oubliette Visionary proposal, with contract as artist statement | 2016
69
Look, what have they built. Installation | 2016 | Buzz Spector
Look, what have they built discusses intense relationship between architecture and time i n a m i n i a t u r e a s s e m b l a g e . Th e viewers, provided with both the artist statement and the papers with folding patterns, engage in fi g u r i n g o u t h o w t o c o n s t r u c t paper architecture without a manual.
70
71
Graphite drawings
72
Stacey, 35mm Black and White Film Photography Prints
73
Dystopia, Marker and Ink on paper
74
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