Yunxin Hu Portfolio Fall 2009 - Spr 2015
01 FACETED DISINTEGRATION A COPENHAGEN LIBRARY 2GAX | FALL 2014 | SCI-ARC INSTRUCTOR: MACELYN GOW PARTNER: MAJEDA ALHINAI
‘Faceted Disintegration’ refers to the fragmented element of the design that acted as a strong influence in determining the structure of the building as a whole. A mass that has a good balance between porosity and heavy weight is later developed into a more complex body by voxelization and texturalization. The interest in preserving the disintegrated aspects of the mass help to transform them into glazed elements in design process. These act as a display of the design concept, as well as help reflect light into the interior spaces. Overall, the project makes reference to a mixture of genres as well as the grotesque and illegible. It challenges the idea of figure and brings new meaning to a traditional setting.
Materiality and Color The voxels were derived from the Japanese painting “The Great Wave”; resulting in a pointillist quality. The aim was to blur the boundary between where the voxels end and the mass starts. In order to achieve this, the physical object (voxel) and the graphic (color) should be slightly misregistered. The neutral tones of the blue and beige harmonize together with the materiality of the main mass. Although the color scheme does not come from any of the adjacent buildings, it helps blur the threshold between the mass and the natural scene (the water and the sky).
Interior and Exterior Various “threshold” spaces are introduced within the project where there is not a definitive boundary between exterior and interior. In certain areas of the building, the exterior indexes the interior because they coherently exist in terms of colors, voxelization, and the scale of spaces. Voxelization is created specifically to not only appear on the exterior facade, but also to integrate into the internal building structure and to create habitable programmatic spaces.
Site & Context The project aims to address the larger context of the adjacent site. This relationship does not exist by literally imprinting the cityscapes onto the building facade, but rather by orienting the building according to the site. Formally, the building acts as a transition piece between the adjacent massive brick building on the north side and the open public park on the south. The building’s porous quality allows for a flux of human traffic adjacent to the promenade by the water and the public garden. The building addresses “weird contextualism” by keeping some degree of visual trace of the original adjacent building typologies, colors, or materials.
02 THE CLOUD
A NEW TOKYO OPERA HOUSE ADVANCED SYSTEMS FALL 2014 | SCI-ARC INSTRUCTOR: MARCELO SPINA PARTNERS: HONGYANG LIN | CUNHAO LI
John Nouvel’s Tokyo Opera House is constructed of a new ceramic tile system which learns from the Museum der Kulturen Basel. The tiles adopt original hexogonal geometry and color palette, composed of six colors varying from dark blue to reflective white. Besides variation in geometry and color, there is also rotation applying on the facade varying from negative 50 degrees to positive 50 degrees. Furthermore, the system has a “cloud-like“ relief pattern that is adopted from the original building facade gradient. Each hexongonal ceramic tile is either concave or convex in shape and it stands on a specially orientated stand/post, where the rotations happen. Varied rotations and reflectivity allow people to preceive different
Prototype
Concave
phenomenological effects on the building facade. From far, the front building facade is perceived to achieve a “cloud“ effect. The supporting structure of the new Tokyo Opera House is metal frame structure with oblique metal bracings. The metal bracings are constructed in a way to help firmly hold the ceramic tiles. The design challenges the technological application to achieve variation in a monolithic system. Different from the traditional panel system where panels are constructed in a repetitious way, no two panels look the same/similar. The design pushes a new way of making architectural system using new softwares and technology.
Convex
Multi
Void
03 NEW CAMPUS FOR EL BULLI
A CAMPUS FOR RESTAURANT AND RESEARCH 2GBX STUDIO|INSTRUCTOR|MARCELO SPINA PARTNER | ANTHONY STROFFELLA
original
roof types 1A
2A
1A 2A
1A 2A 3A
3A
1B
2B
mutation 01 1A 1A 1B
1A 2B
2A 3A
mutation 04 add roof line
mutation 02 compile
mutation 04 add roof line
mutation 03 outline
mutation 05 outcome
04 TENSEGRITY 2.0 A MEMBRANE STRUCTURE
ADVANCED SYSTEM|SCI-ARC| SPR 2015 PARTNER | CUNHAO LI | HONGYANG LIN MAJEDA ALHINAI | JUNJIE GUO
05 TOWARDS A NEW TRANSPARENCY A SCHOOL OF ARCHITECTURE SENIOR STUDIO|GEOGIA TECH INSTRUCTOR|Jennifer Bonner
Deriving from the literal definition of transparency and phenomenal transparency, the new transparency means neither the visibility in building material, nor the layering or simultaneous perception of space, it implies an exoteric and responsive character of an architecture that reacts to humans’ activities – both habitants and viewers. This School of Architecture project explores to reconcile the relationships between architecture and media; architecture and architectural pedagogy. It tries to represent the general public a true healthy, provocative, and diverse image architects through a new definition of transparency. How responsive the building performs immediately reflects how interactive the school’s pedagogy is. Redefining the boundaries of architectural school, Cymry School of Architecture is an experimental non-profitable education organization that not only influences the Nashville riverfront, but also ambitiously projects its ideology towards the world. Students and faculty create ideas, at the same time publicizing synchronically to the world. The output of the institution is multi-dimensional: local newspaper, periodical publications, the open galleries, and the Greenpix Zero Energy Media Wall. The energy wall updates lighting patterns based on daily energy generation through photovoltaic cells. It signifies the instancy of information and frequent use of multi-media and technology in nowadays world; it introduces a new digital transparency. per, and the Greenpix Zero Energy Media Wall. The profit from the publications goes to support the education expense.
Cymry School of Architecture
PUBLICIZE
DESIGN
+96’ 5”
+96’ 5”
16
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+43’ 0” 2
+25’ 8”
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13 11
S ection a 2 Main Studio
Designers require to complete certain studio courses and seminars Each student should conduct one design project or a “design-built” in the large community of Nashville
4 Pin-up Space 16 Library
I N H O L L Y W O O D AMERICA 1934-2010 45
IT
41 WHITE MEN 3 WHITE WOMEN 1 BLACK MEN
TAKES
62 YEARS 19 MOVIES TO HAVE
P O R T R A T E D ARCHITECTS
1ST
FEMALE A R C H I T E C T
IN 782
S
NYC
6.7% FEMALE
ONLY
BOOK E S
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TURE
&
DESIGN
1 FOR ARCHITEC-
44 ARCHITECTURAL MAGAZINE 0 SELLS ON SHELF
F acade R ender
S ection b
1 2 4 5 9 11 13 15
Reception Main Studio Pin-up Space Public Gallery Courtyard Office Classroom Auditorium
Publishers present daily creative productions and news from school through social and digital media Each student need to take at least three of following media courses: Newspaper and Journalism Film Production Social Media and Broadcasting Gallery Art and Exhibit
OUTREACH
RESEARCH
+96’ 5”
+96’ 5”
16
17
+43’ 0”
+43’ 0”
10
6
2
15
+25’ 8” 4
7
+25’ 8”
+15’ 0”
8
3
+15’ 0”
5
+2’ 6”
Outreach is a sub-department under either the Design or Pulicizing Departments Three courses and two “design-built” projects (one in the city, one outside the city) must be conducted
2
Main Studio 3 Workshop 4 Pin-up Space 7 Exterior Gallery 10 Cafe 17. Roof Garden
S ection c
+2’ 6”
Research mainly opens to the faculty of the school Researchers are required to conduct lectures once per school semester on self- related research topics to the general public
5 8
Public Gallery 6 Publication Workshop Student Bar/Club 15 Auditorium 16 Library
input
ORDER
input
ACTION feedback
CREATE
L iteral T ansparency
P henomenal T ansparency
R esponsive T ansparency
S kin @ D ay/Night
W all A ssembly
S ectional I nstallation
S ection d
feedback
MEDIA
P hotovoltaic P anel
EFFECT
PUBLICIZE
PROJECT
PROJECT
PROJECT
EXTRUDE
EXTRUDE
EXTRUDE
CARVE
CONNECT
CARVE
SUBTRACT
TR AN SIT
TR AF F
IC
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E
TR AF FIC
PLAN
C irculation D iagram
C AT RE N IO
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IC BL PU
ENCLOSE
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IO AT G S TIN G IS IN EX ILD BU
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A TR UB TH SI N
P rogram D iagram
S ite
L anguage S yntax
MASS VOID
A rchitectural S yntax
MASS
VOID MASS VOID
MASS
E levation S yntax
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P lan @ + 6’-0” 1 Reception 2 Main Publication Studio 3 Workshop
4 Pin-up Space 5 Public Gallery 6 Publish Workshop
7 Exterior Gallery 8 Student Bar/Club
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P lan @ + 50’-0” 9 Courtyard 10 Cafe 11 Stairs + Elevators
12 Meeting Room 13 Classroom 14 Digital Lab
15 Auditorium 16 Main Studio 17 Bike Racks
06 ACUPUNCTURE AN
ECOLOGICAL
CASINO
SENIOR STUDIO |GEOGIA TECH INSTRUCTOR | Stuart Romm URBAN DESIGN | Shannon Barrett Jessica Higgins University of GA
Situated at Biloxi’s North-east coast, the future development of the site faces two key conditions -- the gradually recovering tourist industry and the revitalization of its indigenous eco-social habitats. Therefore the project’s challenge is how to create opportunities for a casino resorts and hotel that responds to the urban master plan and the city’s needs for restoring its natural ecology. The design responds with three major operations at three various scales: 1. (Urban + Ecological scale) a living-machine water filtration system, contributing to the building’s water supply, that integrates into the framework of the surrounding ecological marsh restoration. 2. (Site + Historical scale) a subtle, prismatic existence that responds to adjacent human constructs (including a renewed railway system, existing buildings, and site constructions. 3. (Building + Conceptual scale) a “doubling” machine that phenomenologically intertwines the viewer’s perceptions of the authentic world and the projected world. The scheme “punctuates“ at Biloxi’s mash natural resort, welcoming tourists’ traffic from the other side of the water and it interconnects the downtown area with the city’s “energy circulates“, - the railroad.
ecol ogy
authentic
palimp
theat
er
projected
sest
imag e
C ore space D ialectics
casi no tic authen
A rchitectural D ialectics
N ight V iew
P espectives S ections
ain entert proj e
cted
- dream world; - tourist; - peripheral;
Marina
Projected
Water Taxi
Boat
Stability
- non-moving; - existed;
Rent
Image
Theater
Flux
Palimpsest
Ecology
- in motion; - changing;
Existing Condition
Two Worlds Intertwin
Green + World 1 + World 2
Scheme: Two Worlds Intertwin
Wetland Corridor
Hotel Existing
Casino
Pierscape Park Railway Living Machine Train Station
Authentic
D ouble D ialectics P ool V iew
- real condition; - local residence; - core;
S cheme
S ite
PIERSCAPE PARK
Utilizes the existing piers left from former rail line, - has been re-developed into an active social gathering space with amazing view towards sea;
RAILWAY
The site incorporates existing (worn-down) rail track and re-vitalize it for the convenience of locals;
LIVING MACHINE
A large water filtration system that stores/gathers water from adjacent wetlands and supplies the casino pool and other uses;
WETLAND
Re-developement of natural wetlands based on 100-yearflood line;
MARINA
New tourist attraction providing water taxi service, boat rent and fishing;
2. DREAM SCAPE BOUNDARY
1. SUNRISE OVER PIERSCAPE PIER SCAPE PARK DIRECTORY
GENERAL MAP CASINO DIRECTORY
10 POOL 1 RECEPTION 11 POOL BAR 2 BISTRO/DINING 12 REQUEST 3 KITCHEN 13 OVERLOOK SEATING 4 OPEN CAFE 14 OUTDOOR SOCIAL 5 THEATER/CINEMA 15 HOTEL CHECK-IN 6 CASINO/GAME 16 HOTEL SOCIAL SPACE 7 OPEN BAR 8 RESTROOMS 9 GROUND LEVEL ESCALATOR
a ENTRANCE LANDCAPE b LIVING MACHINE c WATER DECK d PIER-SCAPE PARK e OPEN PLATFORM f ONSITE PARKING
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F irst Floor P lan
4. CINEMAS
3. LIVING MACHINE PIER SCAPE PARK DIRECTORY
a ENTRANCE LANDCAPE b LIVING MACHINE c WATER DECK d PIER-SCAPE PARK e OPEN PLATFORM f ONSITE PARKING
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CASINO DIRECTORY
10 POOL 1 RECEPTION 11 POOL BAR 2 BISTRO/DINING 12 REQUEST 3 KITCHEN 13 OVERLOOK SEATING 4 OPEN CAFE 14 OUTDOOR SOCIAL 5 THEATER/CINEMA 15 HOTEL CHECK-IN 6 CASINO/GAME 16 HOTEL SOCIAL SPACE 7 OPEN BAR 8 RESTROOMS 9 GROUND LEVEL ESCALATOR
a
b 14
S econd Floor P lan
07
PIVOT
LANDART THAT GENERATES ENERGY LAND ART GENERATOR INITIATIVE (2012) 3rd PRIZE WINNER JUNIOR STUDIO | GEORGIA TECH INSTRUCTOR | Fred Pearsall PARTNER | Ben Smith
Central to Freshkills’ future is the fluctuating nature of its two key conditions --- the gradual sinking of its landfill and rising of its surrounding sea level --- making our challenge how to transform these potential problems into opportunities for land art. PIVOT answers with two intertwining operations: a floating ‘terra nova’ constructed at the moving line between these conditions that frame it while replacing lost terrain; and a gathering of the human and wind energies flowing along ‘the Kill/Confluence.’
PIVOT 01. as landscape relations (adj, turning on as if on a pivot) At Freshkills Park the edge between land and water is significant as the ‘pivot’ on which these two environments hinge. The edge is home to many plant and animal species which adapt to life both in water and on land. Not unlike these species, PIVOT resides at the edge. It links with the proposed trail system on land, and opens to the water through boat launches.
PIVOT 02. as movement relations (verb, to cause to pivot/to turn on or as if on a pivot) Visitors discover PIVOT to be a series of moving orders within a landscape that in turn cause reciprocal pivoting movements. The body is activated as the engaged visitor moves beneath the billowing, orange canopy, down one of the gangplanks, and along the series of floating docks. The up and down movements of visitors oscillate with the ebb and flow of the river.
P arti D iagram
T idal Movement + S cheme
N atural R hythms
E vents
P P
Slow Wind Vegetation Current Fast wind
This series of site mappings of New York Staten Island illustrates the relationships between nature naturans on site and humans’ circadian rhythms through the processes of rhythmic patterns by natural forces and humans moving between active and inactive phases. These are mapped primarily into the medium space-time scale (natural spectacles dissipative structures = dynamic open systems) and secondarily in the largest scale (eco-social systems) and smallest scale (complex systems with irreversibility “events/moments”). This mapping helps us to decide the type of natural resources to apply in generating renewable energy (environmental/physical) and also provides the possible formal/visual solutions of the new art installation.
P V
P
F
P
V
P V P V P
V
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P V
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F Ferry Stop P Pedestrian Entrance V Vehicle Entrance
Human Activity Level Ferry Route Walking Path Road Highway
S cene U nder Canopy A wareness L evel Single moment of consciousness
L unar + Tidal 1: 04 a.m. C ycle
fully conscious
time phases; intuitive; reasonable; focusing
holistic zone
D ouble D ialectics
+9 +8
10.55 a.m.
7:08 p.m.
+7
4:50 p.m.
6:42 a.m.
6:42 a.m.
+6
usn
ess
continuum
scio
information
way
path
mental information
con
continuum
+4 +3 +2
heart
+1
emotional information
0 -1
meaning
head
-2
the pool of understanding
-3
full moon/new moon
6:42 a.m.
-5
X-axis: information continuum -9 Y-axis: meaning continuum -7
dissonance -
inter-phase
5:37 p.m.
6:42a.m
humans’ activities level
6:34 a.m.
7:08 p.m.
state of distraction
dead zone
awareness level
1:04 p.m.
separation- of hu man from nature
5:44 p.m.
energy consumption level
11:08 p.m.
10:55a.m.
unconsciousness
-8
12:32 a.m.
consonance +
freshkill landfill
Height
Height
-4
-6
coma; shocked; unawareness; “zoned out”
human as -the “ob server of nature”
recycling
+5
the pool of experience
consciousness +
sea level/water volume
Time fishing availability
4:49 a.m.
4:50 p.m.
Time
lunar + tidal cycle
X axis: ‘reality/conditions functioning/performing’ Y axis: ‘reality/conditions producing states of’
R elation with W ater + Land
PIVOT 03. as mechanical relations (noun, a shaft or pin on which something turns) PIVOT consists of a floating metal mesh platform on aluminum pontoons and a piezoelectric canopy structure. Both systems tie into the land through small concrete foundations and pivot around wooden piles sunken into the river bed. The canopy is a prototype for clean energy generation which captures wind energy through fluttering piezoelectric fabric and flexing piezoelectric support rib. These technologies do exist, but are nascent in their development. We predict that with more development it would be possible to generate 1,200 MWh of clean electricity annually to be used in surrounding homes.
PIVOT 04. as temporal relations (adj, pivotal, vitally important) PIVOT engages people poetically by illuminating the canopy through tidal detectors at dawn and twilight. Also, it enhances people’s environmental awareness through tick-marks on the wooden piers which highlight the global issue of rising sea levels. PIVOT situates itself between past and future paradigms and proposes a shift in this critical time in history.
T idal T ickmark
P iezoelectric F abric
P iezoelectric R od
08
REVEAL OR CONCEAL
JUNIOR STUDIO | GEOGIA TECH INSTRUCTOR | Charles Rudolph
The project is exploring the dialectical relationship between conceal and reveal. With the building’s ironic program as a media center, the design tries to put forward the question to the public: whether our “media world” has revealed or actually concealed the reality, the true beauty of the world? Two major design moves try to convey the idea: The site locates behind an existing building and can be partially seen from the major circulation axis of the campus. The scheme has long overhang on the east side that can be revealed when someone approaches, while most of the building is “hiding” behind the existing building. The programs in the media center are spreaded into two levels, - one above; one below ground. Again, echoes the dual characterisctics of “reveal“ and “conceal“.
UP
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-9 UP UP
Section A
UP
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UP
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Section B
-10
UP
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-13
Section C 1. LOBBY 2. MAIN GALLERY 3. CHANGING GALLERY 4. ANALOG STUDIO 5. WORKSHOP
-14.0
Section D
6. CLASSROOMS 7. LIBRARY 8. EXTERIOR SOCIAL SPACE 9. OFFICES
C ollage C eveal Or Conceal
UP
-14
14. MECHANICAL 15. DIGITAL STUDIO 16. WORKING COURTYARD 17. CAFE
10. FOYER SOCIAL SPACE 11. AUDITORIUM 12. SCREENING ROOMS 13. STORAGES
U nderground Level F loor Plan
P erspectives
V ariations
UP
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13.
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14.
15. 17.
UP
UP
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-18.0
UP
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F irst Level F loor Plan
UP
16. -14.0
+36.0 +22.0 +14.0 +0.0 -14.0 -18.0
B uilding S ections Section A
Section B
C ollage C eveal Or Conceal E xploded A xon
Section C
Section D
Picture yourself in this live/work courtyard unit, suspended in a “freezeframe“ moment with the expansion horizon to a flourishing garden and city beyond brimming with sunshine - the perfect place to escape the stress of urban life. The “floating world“ enables a best horizon of the city skyline from the back facade by its two story’s wideopen glazing, and an acoustic peacefulness by its natural floating garden. The house is designed to frame and support everyday life in two halves: one a machine of public, perspectival display and extension to the city, and the other, one of intimate compartments for private life away from the city.
“To the mind that is still, the whole universe surrenders.” By Lao Tzu Taoist in Chinese Philosophy
The main diagonal promenade marks the extension of solar path, which guarantees the maximum sunlight. It also joins the two halves through layers of glass curtain wall and shade to promote an active “picturing“ and understanding of everyday life by its inhabitants as observers and a heightened sense of theater.
G round Level F loor Plan
F irst Level F loor Plan
09
HOUSE OF A FLOATING WORLD
RESIDENCE ON MARIATTA ST. ATLANTA, GA
S econd Level F loor Plan
SOPHOMORE STUDIO | GEORGIA TECH INSTRUCTOR | Fred Pearsall
L ongitudinal S ection
V iew to the House
V iew to the House O n the Street
V iew to the House T hrough Garden
N
Yin Privacy Coldness Pictorial Space Warmth Publicity Yang
P ictorial Space D iagram Series
P hisical M odel
D iagrams
Non-Pictorial Space