ZHANG YU UC BERKELEY PORTFOLIO
Content Project 1 :
Collective Living: The Awkward Privacy in Public Space
Project 2 :
Spaces of Observation, Translation & Transmission
Project 3 :
The (Anomalous) Dwelling
Project 4 :
Disappearing Mountain
Other :
Professional Work Descriptive Geometry
2
3
Independent Project Teammate: Yi Feng WANG
Collective Living: The Awkward Privacy in Public Space
F
our walls and a roof, the architecture today still responses to a basic problem—providing a shelter, where the indoor and the outdoor, the nature and the artificial space, the public and privacy, and all other different environment can be insulated, distinguished but connected. If the intension of the shelter is about hiding from nature, is the privacy an essential demand in architecture? However, the cities, as a most representative artificial environment, have become places where individual’s private demand is compressed to minimum. This project begin with a research in public toilet—a typical private space in urban. By looking through its history, we try to analyze how people using, sharing, response in this special space. With the growth of population in the city, public toilets not only reflect the concept about gender, but also the conflict between the need of privacy and the expand of sharing space. We try to find some information through the toilet space to understand the situation in the urbanism. Sharing or isolating? The domestic space is the best locus to measure and exhibit this dilemma in the city. From Spotify to Uber, Airbnb to WeWork, the people are divided into more and more extraordinary individuals with more and more specific demand. Sharing rather than occupying, these services get people together to new communities. Hence, the co-living building in this sharing background, try to inspect the new relationship in the domestic space: How the public and privacy will be respond in this era?
4
5
6
7
GLORY HOLE • The glory hole provides a public setting that allows people to have physical interaction with others without being identified or exposed more of their bodies than their genitals. • The stall space is private comparing with the space outside, thus keeps the private feeling for participants. • The holes can be sealed and opend for many times before they are fixed. • An almost political expression against the rules of sex in the society • Anonymous, allow temporary escape from the roles they played in society.
8
GRAP
• In short time, the stall is occupied e while drawing on the stall • In long term, the graffiti can be se thus formed a public communication • Marking the territory. A form of publ • Anonymous can insert themselves in • An unobtrusive measure to reveal society
PHITTI
exclusively, people can keep anonymous
een by other people who uses the stall, n lic declaration and discourse. nto a wider conversation. patterns of customs and attitudes of a
RIBBON-SHAPED WALL • It is a private space with fully enclosed brushed-steel wall • When you entering the restroom, you have spatial connection to your side, and you have expectation of who is in those space. • The space from the other side is totally unknown and out of your expectation. This creates and tension between two spaces. • Men’s and women’s facilities nested into alternating undulations of a ribbon-shaped wall • The clear physical seperation creates a blurry boundary between public and private which can stimulate people's sexual desires
9
10
Adjustable Privacy
L
iving in public area but sometimes keep alone. Based on the analysis before, the residential unit in here try to create an adjustable space, which will lead to different feeling about privacy--totally exposing to public, sharing space with friends, staying alone in own room. The movable floor platform and adjustable wall will change the height of the room,which create connection to different area and then chaging the privacy condition of the room. However, in any conditions, the room still maintain the connection with the public space. The ceiling of the room is double height, which keeps a opening between individual rooms and the public area. The people go through the public area may have the chance to see the private room.
11
12
13
14
15
16
17
Cooper Union: Design II /Spring 2018 Instructor : Michael Yound, Yasmin Vobis, David Gersten Greenland
Spaces of Observation, Translation & Transmission
S
ame as observatory, contemporary astronomy is so professional that people without relating background are hard to understand. On one hand, this distance between people and astronomy comes from the development in this displine. Astronomers would like to spend more time on those professional problem rather than explain the basic knowledge to people who may be not interested in arstronomy. On another hand, observatories or other orgnizations have to use many resources to educate public and promote the relationship between future of human and astronomy. By drawing attention from public, astronomy get the surpport from people. This seemly controdictory relationship is the begining of my design. In architectural wat, this observatory is vehicle to translate the relationship between astronomers and pubulic. An open and transparent environment is a best reaction to the enthusiasm of public. However, they would like to keep their impression of astronomy in a way which they can understand. Therefore, those spaces for professional work are hidden from public visiting area and compose another close working flow.
18
Just like a black box, different people understand and experience this observatory in different way.
19
Representation
T
o astronomers, a moon is about the data and information, but to other people, the more straightforward way is the image representation of that moon. It is not only different way of representation, but also different way to understand. All the parts in this drawing is a way to represenr one thing. None of them is a result or true. It is only about waht is the
20
information we try to obtain. or try to show. The observatory also is not only one meanings. Different time and path to visit it, the experience will be different. Therefore, differnt people use it in different way. The experience of a building just like a representation, changing with different condition.
21
22
23
Building as A Black Box
T
he observatory is like a black box from the viewpoint of visitors. The pathway for public is go through the whole building. However, this seemly onpen space only provide the scene people can understand. The professional job are hidden from the pathway that public can go. At the same time, The service facilities are divided from working area and form a space share with public.
24
25
Ramp and Connection
T 26
he ramps compse the whole building. They connect and divide different working areas. The major offices and those equipment, such as super compters, all connect with the space under the the dome. This space includes the control room and meeting rooms. other service programs are divided by the ramp to different level. Forming as different loops, the program are arranged to different ciculation.
Library
el ev
L try
CafĂŠ
n oE pt
m
Ra
Auditorium
Ramp f
o to Ro
Radio Telescope
mp
Ra yL
ntr
E to l eve Office
Ramp to Roof
27
28
29
30
POSITION PLAN
-20°
0°
20°
Rotating Telescope
I
n the early of this semester, I analyzed the dome example "Palazzetto Dello Sport", by Luigi Nervi. During this analysis, I try to use different projection distances to form the pattern on the dome. SHADOW
-20°
0°
20°
In the observatory design, the receiptor of telescopre moves through the circle that tangents to the dome. Both structures with complex patterns. During the motion of the telescope, the structure of receiptor and the dome will casting a dynamic shadow on the building.
31
32
33
34
35
Cooper Union: Aechitectonics /Spring 2017 Instructor : Sean Canty, Julian Palacio, Tamar Zinguer Orange County, New York
The (Anomalous) Dwelling
T
his project is concentrating on the anomalous in architecture. Through analyzing a house designed in 20th century, the final design—an artists’ studio—is a house that incorporates the type from precedent with the conditions from the site. The design begins with the analysis of The Torus House. Designed by Preston Scott Cohen in 1998, The Torus House is a combination of traditional courtyard house and the torus shape. By elevating the courtyard house to the second floor, the roof and the first floor connect by courtyard in the center. The center in the house becomes a special corridor, so that the outdoor area and indoor area becomes two interlocking circulation, which corresponds shape of torus and creates an obscure relationship between center and perimeter. The Terminal line goes through all surfaces in the house and connects them to the one, which makes the torus shape clearer.
36
In the Artists’ studio design, the center courtyard becomes an outdoor area insert to the studio, the two studios and the common area become a circulation around the center. The hillside in the Storm King Art Center makes the entrance to the center from the below of the studio. The roof and walls are connected by curve surfaces come from cones. The curve surfaces and plane surfaces combine together and become a completed continue surface.
37
50 x 50 House Mies van der Rohe
Villa La Rotonda Andrea Palladio
Fredensborg Houses Jørn Utzon
ANALYSIS OF CENTER AND PREMITER In here, the center is classified as solid, between solid and void and void. The category is based on the condition of the centers and their relationship with the perimeters.
38
Terminal Line
T
erminal line is the line generated by connecting the points, where the rates of slope in a series curves is zero. By using terminal go through all the surfaces, these surfaces are connecting together and formed the torus shape.
ANALYSIS OF TERMINAL LINE These drawings are trying to find how the terminal line go through the house continuly and how it orgnizes the surfaces in the house.
39
Continuous Surface
T
he final design is a house with two studios for two artists— photographer and painter. The house is located in a small hillside of Storm King Art Center. There are two independent studios and the common area for socialization in the house. Beside the relationship between center and perimeter, the walls and the roof in the house are connected together by curve surfaces generated by cones. Those curve surfaces can connect with plan surfaces and then form a continuous surface. There are three types way to connect in the design.
40
COMPSITION OF THE SUURFACES The surfaces come from the ground of perimeter and then rise up to become the roof. In the center, the roof falls down to create the boundary between center and perimeter spaces.
41
PLAN
ROOF
Artist's Studio
T
he painter’s studio is composed by a curve wall in the right, which conducts the indirect skylight and fits the tendency of contemporary arts to create a more dynamic space. In contrast, the photographer’s studio is surrounding by plane walls in the left. The photograph still focuses on graphic works; thus, a space could hang up the works and setting equipment is necessary. The common area connects two studios and forms a circulation surrounding the center, where a contemplation area locates lower than studio spaces.
42
43
44
45
46
ELEVATION
47
48
49
Arch Out Loud Competition/July 2015 Teammate : Yifeng Wang
Disappearing Mountain
T
o survive 10,000 years, a marker system for nuclear waste should remind people of the situation underground and have flexible structures that change along with the site. Based on this, the marker system in our design will include three parts: a power station above the ground to construct a connection between the marker system and the communities, which will assure the information of WIPP is continuly understandable; the steel cables that connect the ground with the power station to locate the site; and the cracks in the ground to indicate the condition of radioactive materials.
50
51
52
S
ituating a marker in different cultural contexts means people will understand it in different ways. Based on Lasswell’s communication model, communicators in the present can only control the media they use. But it’s hard to predict who will receive the message in the future and the effect of this message, because cultural and economic transformations will significantly affect the way that people receive the information and how they understand it. Based On this premise, it will be necessary that people’s perception of a marker updates along with those transformation. The nuclear power station at the center above the site will build a connection between WIPP and the community around it. The reactor in this power station will be class of generation IV nuclear fission reactors. The Molten Salt Reactor (MSR) uses its fuels as the nuclear reactor coolant. The reactor will acclimatize to the dry and saline-alkali land of the site. The energy, produced by this nuclear power station, will be used
by the marker system and the communities around it. Through continually providing energy, the site will always be a functional component of human life. Therefore, people’s understanding to the information about WIPP will update throughout time Because it is hard to predict if these radioactive materials will be recyclable in the future, the design refrains from the assumption that these radioactive materials are dangerous and useless. Therefore, the other components of the marker system- the cracks in the ground and the steel cables in the air- will only suggest that there is some “energy” under the ground and it is decaying over time.
The Marker
53
PLAN GROUND CRACKS EQUITION
54
55
Under Ground Above Ground
S
preading the whole site, the cracks in the ground will locate the radioactive materials and their energy. Due to the obvious artificial geometry, the cracks will distinguish the site from surrounding area. The light installed inside the cracks will suggest the radioactive energy under the ground and its devastating potentiality, which will retard the unintentional intruders. The soils brought by the wind, and the “salt creep” effect will gradually fill these cracks during 10,000 years. Since the depth of the cracks will gradually increase from the perimeters 2 meters to the center 80 meters, the cracks will gradually disappear from the perimeter. This transformation will correspond to the decaying of the radioactive energy. As a transitional figure in the landscape scale, the steel cables above the ground will suggest various meanings in different time and from different distances. The height and the density of these steel cables will make them appear as a mountain on the basin area, which will highlight the site from far away. The journey to the site will be a process that the “mountain“, as a figure, gradually dissolves into individual lines. This uncommon effect will encourage people to look at the site from far away to see a clearer figure. After the cracks disappear in 10,000 years, the “mountain” will continue to mark the distance will represent the length of time. The “mountain” existed in long time ago, but disappear in recently.
56
CRACKS CHANGE THROUGH THE TIME
57
58
59
60
61
62
63
Professional Work /Winter 2017, Summer 2018 Office III, Aranda\Lasch
Professional Work
64
OFFICE III MODEL: MOMA PS1
65
66
ARANDA\LASCH
ARANDA\LASCH
67
68
GXNL: SYDNEY FISH MARKET WATER SYSTEM
GXN: FACADE ANALYSIS
69
2016-2018
OTHERS DESIGN
Double-Ruled Surface
T 72
his assignment is the experiment with the Hyperbolic Paraboloid. The design is composed by different hyperbolic surfaces, which are generated from the arcs in the different faces of a cube.
Tangent Intersections
T
h i s d e s i g n t r y to ex p lo re t h e re l a t i o n s h i p b e t w e e n t w o t o r i . Through placed two tori in different locations, they got different intersections a n d t h e re m a i n s , w h i c h co u l d b e regarded as positive space and negative space. In this case, the two tori intersect in 45 degrees and tangent in inner surfaces.
73
74