Portfolio_Yangxunxun_Zhou by zhou.yxx

ZHOU YANGXUNXUN

Email: zhou.yxx@outlook.com Phone: 2676709040 Address: 2930 Chestnut Street, Philadelphia, Pennsylvania, USA. Postal Code: 19104

CONTENTS

01. MEMORY TOWER

01-04

CEMETERY DESIGN

02. POST-INDUSTRIAL GARDEN Achitecture, to me, is not simply about its function and space, nor is it just a discipline teaching us how to construct a building. Instead, it is boundaryless. Architecture is related to social, culture, religion, technique, and even our environment. Interdisciplinary architectural design is what makes architecture charming, uniuqe, and ecological. Architectural design is like game playing--it is f ree, interesting and flexible. With multiple possibilities, architecture never has its f ixed form. Kazuyo Sejima's works are representatives of freedom, and they provide me with a feeling of purity, f reedom, and comfort. Human-based experience in a building then becomes the priority of my design principles---what would people feel in a space. Architecture, without people, would lack its soul. In this portfolio, I'd like to express my idea o f a r c h i te c t u r a l d e s i g n t h r o u g h m u l t i p l e perspectives. Just as if you are roaming in the ocean of a game, lightly, freely, and pleasantly.

05-08

HYBRIDIZATION & "ODDKIN"

03. "CRISPY & ROUGH"

09-12

DESIGN INNOVATION: THE CONTEMPORARY DETAIL

04. ROAMIST LODGE

13-16

PROFESSIONAL PROJECT UNDER CONSTRUCTION

05. CYBORG PAREIDOLIA

17-19

ARCHITECTURAL DESIGN RESEARCH ON AI

06. CHILDHOOD & MEMORY

20-22

PRIMARY SCHOOL DESIGN

07. THE FUNCTION OF FASHION IN ARCHITECTURE

23-25

GARMENT DESIGN & ARCHITECTURE FACADE DESIGN

08. MUSIC KALEIDOSCOPE

26-28

PUBLIC SPACE DESIGN

09. GROWING CELL

29-32

EXHIBITION HALL DESIGN

10. OTHER WORKS

33-41

MEMORY TOWER A TOWER FOR PURE SOULS OF DECEASED AND PEOPLE WHO LOVE THEM TYPE: Academic ROLE: Individual work DATE: March, 2016 LOCATION: Xiamen, China DIRECTOR: Xie Shaoming

Cemetery, a place for burying the deceased. The cemetery, built with a grandeur that over shines the community of the living, can be simple or elaborate. It reflects geography, riligious beliefs, social attitudes, aesthetic and sanitary considerations. They may also be regarded as â&#x20AC;&#x153;holy fieldsâ&#x20AC;? or taboo areas. In countries such as Japan, cemeteries are fortuitous places located in the center of the city around the residential area, in memory of the dead. In other countries and among other religious groups, like China, cemeteries are stark and are generally shunned. However, I have a different opinion on Chinese traditional view of the dead. Cemeteries should not be considered as ominous places but pure and sacred ones. So this project is located on the sea and the surounding is a modern city with dense population and high-rises. Instead of a shunned place,this new style cemetery is a vibrant scenery and a grand landmark in this city.

4 200

2005

03 20

Area /km ² Population(Ten thousand) The number of crematories(unit)

2014

20 00

199 9

1998

20 10

3 201 2015

1997

20 09

12 20

2007 2 Nanning 22112 706 7 008 Lhasa 29518 56 3 Urumchi 14246 352 13 Yinchuan 9491 219 17 Hohhot 17224 308 20 Kunming 21473 668 30 Lanzhou 13085 369 16 Fuzhou 11968 757 21 Guiyang 8034 470 13 Haikou 2304 225 4 Xi'ning 7649 233 19 Taiyuan 6999 434 10 Xi'an 10108 870 24 Nanchang 7402 537 23 Changsha 11819 765 15 Wuhan 8594 1077 46 Zhengzhou 7446 957 38 Shijiazhuang 15848 1078 10 Hefei 11445 787 10 Ji'nan 8177 706 26 Shenyang 12948 829 37 Changchun 20565 779 16 Harbin 53100 1067 41 Chengdu 14605 1592 47 Hangzhou 16596 919 43 Nanjing 6597 827 45 Xiamen 1699 392 10 Macau 32.8 61 4 Taipei 271.8 270 8 Hongkong 1104 737 12 Shenzhen 1996 1191 31 Guangzhou 7434 1404 43 Chongqing 82402 3017 45 Shanghai 6340 2415 48 Tianjin 11946 1547 46 Beijing 16410 2171 48

11 20

20 01

02 20

2006

1996

Numbers of dis posal remains (Te n thousand) Cre The ratio of old peo mation Rate (%) ple(people over 65) (%)

Birth Rate(‰) Death Rate(‰) Natural Growth Rate(‰) The number of crem ators (unit)

1979

1995

198 0

4 199

198 1

93 19 19 82

19 92

19 91

83 19

199 0

4 198

1989

1988

1987

1986

5 198

DATA SOURCE: http://data.stats.gov.cn/index.htm http://blog.sina.com.cn/s/blog_416ba4c90102ebsf.html http://www.zhmu.com/

How to memory the deceased

The relationship between cities and cemeteries Urban center

Cemetery

SITE PLAN 1:10000

Put the bone ash into the poterry

BEIJING Far away from the city

NEWYORK Mix in the city

LONDON Mix in the city

MEXICO Mix in the city In China, cemeteries are far away from urban centers; however, they coexist with cities in other countries. This is related to traditional culture and also develops under the changing view of life and death. In the future, people, in China, might not treat cemeteries as a gloomy place but a place full of memories. Cemeteries are not far away from the center of a city any more. people would come and recall frequently, and deceased would be remembered forever.

XIAMEN, CHINA Far away from the city

JAPAN Mix in the city

NEW DELHI Mix in the city

Put the bone ash into the pot plant

COEXISTENCE BETWEEN LIFE AND DEATH

Trow the bone ash into the ocean

A tower in the ocean--space efficiently

15 15 11

5 13 14

5 11

5 17

5 11

Ground Floor Plan 1:400

2 4

0 1 Entrance square 5 Elevator room 2 Service counter

6 Vigil room

9 Cremation room

3 Toilet

7 Accessory room 10 Operation room

4 Office

8 Service counter 11 Memory tower A

12 Memory tower B

16 Circulation ramp

13 Garden tower

17 Cremains bottle

14 Central sculpture

18 Circular corridor

15 Planting terrace

19 Cremains scattering pier

CIRCULATION OF VERTICAL GARDEN TOWER 8-3

8-2

15 8-1

Soil

5 7 16

14 14

Bone ash

8-1

8 Plan Level 4 (h=13200mm) 0 5 10 15m

Plan Level 2 (h=4200mm) 0 5 10 15m

14 2

17 Plan Level 12

Entering into The Cemetery

DETAILS OF THE VERTICAL GARDEN

8-1 Placing a golden bone ash bottle in the wall 8-2 Putting the bone ash into a pot and adding some soil to grow a plant 8-3 Take a boat and then throwing the bone ash into the sea 7 Sending The Deceased to

Plan (h=12000mm) 0 5 10 15m

Standard Plan

Soil

Bone ash

Crematory Room Walking to The Farewell Lobby

Entering into The Vigil Room

Arriving at The Lobby

Arriving at The Entrance Square

Taking Boats

Taking boats is the only way to get the crematory.

Plan (h=15200mm)

The Pier

People park their cars and take boats on the pier. 1

Core yard

CIRCULATION OF THE MEMORY TOWER A

SPIRAL RAMP

CIRCULATION OF THE MEMORY TOWER B

ANALYSIS OF TRANSPORTATION

TOP VIEW OF TOWER A

INSIDE VIEW OF THE CREMATION URN IN THE CREMATION TOWER

OUTSIDE VIEW OF THE CREMATION URN IN THE CREMATION TOWER

Each tower has its own vertical transportation system and each f oor has a circular passageway offering people a free and convenient e x p e r i e n c e i n t h e to w e r building. The spiral ramp connects the these tower building, which offers people opportunities to shuttle back and forth among the three.

Central circulation system Starting at the 2nd f oor, the spiral ramp ends every 3 f loors Outward spiral ramp Inward spiral ramp Stairs Elevator

This passageway starts at the 4th floor and appears every 3 f oors Circulation system in each cremation tower

Stair Elevator

Post-industrial Garden HYBRIDIZATION & "ODDKIN" TYPE: Academic ROLE: Individual work DATE: February-May, 2019 LOCATION: Istanbul, Turkey DIRECTOR: Ferda Kolatan

This project seeks to define new concepts for both the architectural folly and the garden in the postindustrial age. In architecture history the folly has occupied a curious niche as a seemingly non-essential or decorative element chiefly designed for pleasure. As such it was commonly placed into landscapes and gardens to heighten a sense of the picturesque and to evoke idle fantasies without the burden of progmatic use. Characteristically, the folly was a blend not only between garden and architecture but also of different stylistic forms and images, which were decontextualized and re-contextualized and re-constructed in order to provoke new kinds of associations and imaginations.

Hybridizing the existing trend of the walls into the design, f rom border to center and at the same time, introducing water into the basin.

This abandoned shipyard is hidden in this city, nobody knows or cares about it and it is this situation that creates a feeling of mystery onsite. The high wall around the site separates the shipyard from the city as if this is an isolated place, which I think is the most interesting part on site. The sea nearby strengthens the feeling of insulation, but it is the feeling makes this place a quiet land in this impetuous and noisy city.

When a garden is hybridized into the abandoned shipyard, this place won't be a dead silence anymore. Flowers with faint scent swaying in the gentle breeze, and near it is the rushing waterfall and meandering sightseeing ramp. Post-industrial garden, for me, is not just about those industrial elements, but more about the "hybridization" of nature and industrial which ,to some extent, are the opposite. (The exsistence of industry is a threat of our nature.)

The height difference in this basin allows different waterfalls forming.

Hybridizing with Ebru Painting Ebru painting is a distinctive genre of aqueous art used to produce mesmerizing works. Particularly popular in Turkey and Central Asia, Ebru paintings are produced using dyes, a waterbased solution, and a set of unique tools. Hybridizing Ebru Painting into this garden is another way to energize spaces. In this case, Ebru Painting is mixted with plants and waterfall and also used as the guide to lead people exploring in this garden.

"CRISPY & ROUGH" Design Innovation: The Contemporary Detail TYPE: Academic ROLE: Team Work DATE: 2018.09 - 2018.12 DIRECTOR: Ali Rahim

PARTNER: Yutian Tang

The aim of this program is to extract some interesting qualities from a painting which is merged from two masterpieces of painting on the "Ostagram" (an images processing website collaborates with AI)and then develop these qualities to apply on the facade of a building. In the process of delving into this project, we hope to combine those new cutting techniques in the field of architecture and then jumping out of the traditional technology. Finally, we will find how far architecture could go with these new technologies in the furture. Through excavating our qualities of "crispy" and "rough", we found the milling technique has the most potential.

feathery

AI, as a collaborator, is a new way to design. The drawings created by convolutional neural networks with the algorithm are good ways to stimulate our imagination.

At beginning, our design is based on twodimensional images. Then we extracted the most dominant qualities from the result and see it as three-dimensional pieces.

Original Paintings 1

Original Paintings 2

Crispy Rough

feathery

Crispy Rough

"CRISPY and ROUGH" FABRICATION Crispy is a quality in objects that has a firm, dry, and brittle surface or texture. This word is usually used in food, such as fried chicken, chips, and cookie. Rough is a quality in objects having an uneven or irregular surface. There are a number of techniques to achieve crispiness and roughness in objects. For example, frying food can make food crispy when cooking; chiseling and carving are easy to make objects rough. However, it is difficult to create this kind of crispy and rough quality in architecture. Hard materials, such as metal, concrete, plastic, can be used to achieve crispiness. Concrete and metal have the most potential to apply in the facade of this high-rise. Therefore, a developement of crispiness in concrete and metal can be used in the technique of CNC Milling. The two ways we can achieve the idea of "Crispy" in CNC milling is to: (1) Controling the intensity and stiffiness of the concrete; (2) Controling the geometries in the facade to fit the limitation angle of CNC milling

Extracted qualities:

Rough

Crispy

Rough

Crispy

The way we can achieve the idea of "rough" in CNC milling is to use the cutters to mill deep "ravines" on our materials.

③

①

⑥

⑦

Elevation Render ① ②

③

⑧

⑨

④ ⑤ ⑥ ⑦ ⑧ ⑨

⑤

④

②

Perspective Render

"CNC" MILLING TECHNIQUE

Different Effects of Cutters

Angle Limitation of 5-Axis Milling Machine C-Axis Rotation: 360° B-Axis Tilt: -35° to +110° Spindle Nose to Table(~min.) 4”102mm Spindle Nose to Table(~max.) 24”610mm

Flat head

Slot cutter

Bull head

Ball head

Threading tap

Drill

Face cutter

Milling Cutters

Carbide Machine Reamers

Carbide Helical End Mills

Angle Milling Cutter with Shank

T-Slot Milling Cutters-Staggered Teeth

Detail Render

Carbide T-Slot Milling Cutters

Angle Milling Cutter

Chamfering

Carbide Side Milling Cutter

Radius Milling Cutter

Face Milling Cutter

Milling is the process of machining using rotary cutters to remove material by advancing a cutter into a workpiece. This may be done varying direction on one or several axes, cuter head speed, and pressure. Milling covers a wide variety of different operations and machines, on scales from small individual parts to large, heavy-duty gang milling operations. It is one of the most commonly used processes for machining custom parts to precise tolerances. Milling can be done with a wide range of machine tools. The original class of machine tools for milling was the milling machine. After the advent of computer numerical control (CNC), milling machines evolved into machining centers: milling machines augmented by automatic tool changers, tool magazines or carousels, CNC capability, coolant systems, and enclosures. Milling centers are generally classified as vertical machining centers (VMCs) or horizontal machining centers (HMCs). The integration of milling into turning environments, and vice versa, began with live tooling for lathes and the occasional use of mills for turning operations. This led to a new class of machine tools, multitasking machines (MTMs), which are purpose-built to facilitate milling and turning within the same work envelope. 12

ROAMIST LODGE

When people are traveling, the lodge has become a popular travelers' choice now. Compared with traditional hotels, lodges are much more attractive and comfortable because of its unique room design and fascinating location, but not stereotyped and nature isolated style.

TYPE: Professional Project under construction DATE: May, 2017 LOCATION: Garze Tibetan Autonomous Prefecture, Sichuan ROLE: Team work, Chief Designer INVOLVED: CAD plan & section drawing/analysis graphics drawing/ rendering PARTNER: Li Hang

My partner and I combined the element of snow mountains around the site and designed a double-deck house with m-type roofs that mimic the shape of snow-capped mountains behind. This site is so pure that starry night sky usually appears. In order to create an opportunity for every guests to enjoy the beautiful night sky, skylights were designed in each room to provide guests with the perfect opportunities to enjoy the starry night sky. Wandering in the beautiful scene, lying down and watching the starry night sky. What an enviable life.

Roaming in the mist&Appreciating gorgeous scenery&Resting in a homelike lodge

Laundry

Guest Room

Staff Room

Gym Staff Room Staff Room

Location

Garden

Ground Floor Plan

Canyon

Alfalfa land

Garden

Service area: kitchen, storeroom, toilet, lounge Public area1: staircase, landscape platform, tree

Snow mountains

Swimming pool

Alfalfa land

Public area: 2 lobby, balcony, gym

Entrance

Foreyards

Guests area: 8 rooms for guests

Function division is explicit and non-interfering 1. Arranging the service area, the public area and the guest room area from the north to south. 2. In order to avoid disturbance from public area, service area is at the most north. 3. In order to reduce the noice from the public area, an outdoor landscape platform between the public area and the guest room area is established.

Maximizing the beautiful scenery around

1. Guests in each room could see a wonderful view of snow mountains 2. Guests could appreciate the beautiful scenery before going into rooms by passing by the public landscape platform. 3. French windows designed in the lobby provide a broad vision. 4. Since there are corridors in both west and east sides, guests could appreciate the view of snow mountains in the west and the view of cliff in the east.

Organization

1. Both inside and outside of the building could provide expanded outdoor activity areas.(the platform under the eave or the outdoor platform) 2. The building is blend in the environment, the strip-type of the building divides the site into 3 parts----the foreyards, the swimming pool, alfalfa land. 3. To make a good use of the advantages of the ground floor, foreyards in front of the guests room were designed. It is not only a good place to appreciate the cliff but an independent entrance to create a quiet environment around the guest rooms.

Form Generation

The idea of the formation is from the outline of snow mountains around

Createing a courtyard and then expanding the eave

Forming a two storey building

Completing the stairs and other transportation in the building

2-2 Section 14

2F Terrace

Balcony Balcony

Balcony

2F Terrace Kitchen

Guest Room

2F Terrace

Eave

2F Terrace

Darkroom

Guest Room

Hall

Guest Room

Terrace

Light well

Video Hall

2F Terrace

Corridor

Second Floor Plan

Eave

2F Terrace

Third Floor Plan

1-1 Section

ROOF DETAILS

WALL DETAILS

4 4

5 9

8 13

North elevation

South elevation

01. Troweling 02. Concrete panel 03. 100mm insulating layer 04. 20mm cement mortar 05. 4mm waterproof layer 06. 30mm fine stone concrete cover

Step 1

07. 20*30mm counter batten 08. Tile roofing 09. Aluminium sheet gutter 10. Burned cedar boards 11. Nail

12. Polymeric cement mortar 13. Polystyrene insulating layer 14. 20mm 1:3 cement mortar 15. 200mm aerated concrete 16. 20mm Troweling

Step 2

West elevation

Step 3

Step 5

Step 4

DIY Burned cedar boards process:

(We chose the burned cedar boards as the material of the lodge's facade) Step 1: Preparing liquefied gas, Blowtorch Carbonization, and lighter Step 2: Blowtorch Carbonization Step 3: Preparing Tung Oil, bursh, gloves. Step 4: Using heated Tung Oil to bursh the carbonized cedar boards Step 5: Washing the treated cedar boards Step 6: Airing

Construction on site

This project started being constructed at the end o f N ove m b e r , 2 0 1 7. M o s t of the materials are f rom local resources and also are processing in local.

East elevation 16

CYBORG PAREIDOLIA THROUGH THE MACHINE’S THIRD EYE: Architectural design research on AI TYPE: Academic ROLE: Individual work DATE: 2019.09 - 2019.12 DIRECTOR: Karel Klein

Though some are panicking that AI is eventually going to replace human judgment, the more likely scenario is that human judgment will simply be altered and modified by the presence of AI “partners”. As potential collaborators, AI stimulate our imaginations and capabilities. By using a new class of AI software, this studio experiments with how this new automated process of “seeing“ began to suggest both new architectural forms and expressions as well as new grounds upon which these new architectures would occupy. AI networks must be trained with images in order to learn how to “see“, they can be introduced to architecture much in the same way that we study architecture, that is through images, drawings, photographs, etc. In other words, precedents.

AI image iterations

A translation from image to digital model

Drawing style of AI image

An image generated through me and AI. The repetitive linear language is the dominance in the whole image, which could be used as a new style of architectural elements.(A new architectural aesthetic )

Our brain is a filter. Tons of information goes into it and gets filtered when it comes out. Our worldview is generated based on our experiences, which is somehow filtered by our emotions. Machines, at one point, are like humans. They think differently, see things differently based on their own consciousness. The only difference between human and machines, maybe, is that machines would not be controlled by emotions. The machine can mimic, but what generated from it is not exact the same as the original one anymore. It is the misreading that causes the â&#x20AC;&#x153;unlike mimicryâ&#x20AC;&#x153;. But they do have similar qualities which allows the mimicry one simulating into the environment and merging in the surrounding.

The transition from 2D images to 3D digital model

Site Plan(Located near “E Bloom St“, Los Angeles)

The project is growing and it’s hard to tell where it starts and where it ends. The mimicry of machine allows the site “enfolds, penetrates, and even passes through“ what it contains. Eventually assimilated into the background. Continuously, infinitely. I’m also misreading what the machine has misread before. Is this misreading really useless? Is this really meaningless to the machines consciousness? It seems useless, but it’s not. The back and forth misreading, respond, and feedback generate what I want and narrow the difference between me and the machine. Exploring the possibility from AI images and then using it to architecture design

Eventually, we receive the feedback from each other, both of us could read the same thing. Collaborating through elaborating the misreading of the same content, this process includes a long back and forth conversation.

Video link: https://youtu.be/PUTpf27YdGM

CHILDHOOD & MEMORY Studying in a fun-filled world: Primary School Design TYPE: Academic ROLE: Individual work DATE: 2014.09 - 2015.01 DIRECTOR: Nianming Yang

The site is located at Binshui Community in Xiamen. Considering the road network nearby is dense and the traffic jam will happen when students go to school and after school, a square was designed to solve this problem. The east side of the site is close to a highway, to avoid the noise, the classroom area is far away from the east side and close to the west side. The intersected classrooms were designed to create a sense of fun for students to communicate without obstruction. Itâ&#x20AC;&#x2122;s a pleasant atmosphere to see and to be seen.

Timeline 0

Sleep Consumption Study Consumption

5 7:0

6:5

Meal Consumption

8:0

0 7:3

8:4

0 8:5

9:3

0 10:0

Entertainment Consumption

Commute Consumption

10:4 5 11:0

11:4

Wash Consumption

16:5 5

0 12:1

16:1

1 Most of students in primary school usually play in corridors during the class break and the corridors are vertically paralleled organization.

16:0

15:2

5 16:5 17:1 0

2 Some students living far away from the school may walk around and have no place to go. This would cause some potential safety problems.

15:1

14:0

14:3

17:4

18:0

2 19:0

0 19:3

21:3

0 22:

8:3 0

9:3

8:0

7:3 5

5 9:4

7:2 0

5 10:4

6:5

1:00

1 0

12:0

1 13:0

0 13:3

0 0

17:3

14:3

0 14:4 5

5 15:4

17:3

0 0 18:0

:00

19 0

19:3 0

21:0 0 21:3

Timeline Sleep Consumption Study Consumption Entertainment Consumption Meal Consumption Commute Consumption Wash Consumption

0 7:2

Interlaced corridors giving students an opportunity to communicate both in vertical and horizontal direction. More enjoyment would be found by running through the design of the corridors.

Shortening the time after morning class and keep student at school at noon could offer those who live far away places to have a rest. Reducing classes in a day could make the time for students to take outdoor activities which is good for health.

1. Classroom 2. Office 3. Music Room 4. Clinic 5. Security Room 6. Locker Room 7. Switching Room 8. Meeting Room

Classroom Area

Office & Gym Area

07 06

The Function of Fashion in Architecture TYPE: Academic DATE: February-May, 2019 ROLE: Team work INVOLVED: Garment design, Garment making, Rendering, Physical Model PARTNER: Hang Zhang, Wenlu Guo

Current fashion design and couture methods are converging with architectural digital technics. This is an opportunity that provides fertile ground for architects to re-examine the "digital" in a variety of scales in relation to the human body. These techniques of pattern, texture tactility, shape, profile, color, kinetics and augmentation found in fashion can be closely read and translated into new architectural elements and details.

GARMENT TECHNIQUE RESEARCH

MODULE DETAILS

Top View Macrame

Boning

Draping

Connection part

Structure

Pattern

The main knitting technique extrac ted f rom Macrame was used as the connection part between the structure of the garment.

Boning helps a garment maintain its shape and stay wrinkle-free. We keep this feature in our garment, but the differentce is that the structure in our garment is flexible.

Draping is a process of positioning and pinning fabric on a dress form to develop the structure of a garment. We d i d n ' t f o l l o w t h e t r a d i t i o n draping process but just pick up the graceful curve happened on the draping technique and then using it as the whole pattern design.

Front Flat Pattern

Back Flat Pattern

Side View1

Side View2

TRANSITION FROM FA S H I O N D E S I G N T O ARCHITECTURE The most essential features extracted f rom "Mecrame", "Boning" and "Drapping" are intersection, frame and smooth curves. By following these features, "Mecrame" becomes a continuous module intersecting between the "Boning system". Each of the "Boning"(frame in between those modules) consists a whole surface. This is a new type of facade design.

TESTS ON MATERIALS

A. Flexible TPU Filament (Thermoplastic Polyurethane)

B. Traditional Aluminum Veneer

TPU is a subclass of thermoplastics which prints strong parts that are also flexible.

Construction Aluminum veneers are divided into two types according to specif ications: aluminum veneers with a thickness of less than 1.2mm are called aluminum gussets (also called aluminum square plates), and aluminum veneers with a thickness of 1.5mm or more are called aluminum veneers (also called Aluminum curtain wall).

Features Flexible and Soft: TPU is flexible, shape can be changed by external force and bounce back when the force disappears. This feature is perfect to fit any shape of the facade we need.

Features Compared to TPU, Aluminum veneers are rigid and light. It also has good corrosion resistance, and fluorocarbon paint can not fade for 25 years. Aluminum veneers are also easy to bend which means it can fit any shape we want. The aluminum veneer is not easy to be stained, which is easy to clean and maintain. Aluminum veneers can be recycled and reused, which is beneficial to environmental protection. The aluminum plate can be recycled 100%, and the recycling value is higher.

Strong Toughness: Manufactured to very tight tolerances and a wide extruder(an extruder in 3D Printer)temperature range, high hardness. Healthy: All of products have passed the RoHS Directive, made by 100% polylactic acid. It's a new attempt on architectural materials.

3D-Print model

Material rendering test

MUSIC KALEIDOSCOPE A SPACE FOR PEOPLE TO APPRECIATE MUSIC IN DIFFERENT WAYS TYPE: Academic ROLE: Individual work DATE: December, 2015 LOCATION: Crescent Spring, Jiuquan, China DIRECTOR: Bao Jing

Music is one of the most amazing things in the world, as it provides us with delightful feelings without any visibility. It is colorful, beautiful, delightful, peaceful. However, all of these description are abstract. If music could be seen in a real shape, people may experience its "mood" and something beyond expression. This project combines instrumental background music with nature patterns for creating a totally different experience of the musical perception. In this huge architectural equipment, people could relax their bodies, minds and souls! With harmonious, beautiful, quiet or even lively style, music can be used as music for visualization, music for relaxation, music for fascination. Here you would find a quiet and beautiful place for inspiration, healing, calming, creativity, fulfilled moments, and relaxation to inject new positive energy and strength to cope with the stress of everyday life. Relax together with these magical patterns from nature and instrumental music.

VIBRATION PROCESS 500

630

800 225 1k

400 315

500

800 1k

400 315

1.26k

590

1.26k

SANDS AND WATER VIBRATION EXPERIMENT 500

630

400 315

500

800

Doodads

Doodads #2

FM 1 X envelope

FM envelope

Harmor Bass

Harmor Bass #2

TRANSLATING THE EXPERIMENT INTO HUMAN SCALE RATHER THAN EXPERIENCING IT IN HAND

932 1k

315

1.26k

Doodad filter #2 envelope

800

400

Different frequency of sounds are generated from the phone FM 1

630

1.26k

Splashing fine sand Sand pattern came Different sand patterns came out on the metal panel into being

Harmor Bass #4

SEEING THE MUSIC WITH OUR EYES RATHER THAN LISTENING TO IT

Harmor Bass4 envelope

Water pattern came Water patterns into being

Different sounds are generated from the computer

-2F Plan

Instruments of the sand vibration Instruments of the water vibration experiment experiment Different from the computer analysis patterns, these patterns are much more intricacy and visualized. As if the gifts of the nature, extraodinary and amazing.

Computer

-1F Plan

DIFFERENT WATER PATTERNS 5

Acoustical signal

Metal plate

Amplifier

Metal panel

Banana plug

Speaker Enlarged acoustical signals

Vibrator

DIFFERENT SAND PATTERNS

Cone carton

225Hz

929Hz

1520Hz

2330Hz

Frame

1 403Hz

Magnet Voice coil Connector

1040Hz

1670Hz

Entrance

2 Sand vibrator

2580Hz

3 Seats 4 Water vibrator

Plug Cable Coil Vibrator

Screw

The process of water vibration experiment

The process of sand vibration experiment

Different sounds were produced through a software named FL Studio in the computer. These acoustical signal were amplified by the amplifier and finally arrived at the speaker. Eventaully, the plate was vibrated and generated different water patterns.

Different sounds f requency were generated by an App on the phone and these acoustical signal were amplified through the amplifier and finally entered into the vibrator. Eventually, different sand patterns were presented on the metal panel.

590Hz

1145Hz

2000Hz

3250Hz

SITE PLAN 1:3500 630Hz

1200Hz

2118Hz

5 Walkway 10

30m

GROUND FLOOR PLAN

3300Hz

Cable

Sand cyclic process

These cable usded to hold the transparent board is to make it much more stable

Spray-head

Sands are sprayed evenly on the panel and then form different patterns

Transparent Board

Sand patterns can be seen through the transparent board

Vibrator

Sands drop down f rom the transparent panel and then fall into the channel and f inally accumulate at the bottom. Sand collector can collect sands and sends them to the top and spray out again. In this case, sands can be used systematically.

This machine can viborate violently and then make the transparent board vibrate in the same way

Cable

T h e s e c a b l e s , s t a r t i n g f ro m the top of the column, used to support the transparent plate.

Cable

This cable is used to hold the central machine

Transparent plate

People could see different patterns the vibrator and the plate generate through the transparent plate.

Seating area

Amplifier

This area allows people lying down with any gesture they like and then they can appreciate those patterns changing randomly.

This instrument is used to amplify different acoustic signals and then the vibrator above can be triggered

Vibration machine

The transparent plate is vibrated by this machine in which some music signals are inputted.

Performance space

Sometimes bands can play music in this area and bring people who come to here different experiences of music appreciation.

Sand collector

Sands across through this machine and then are sent into the top of the spray

Entrance

This entrance is separated away f rom the main buding to increase a sense of mystique

Pipeline for sending sand

Passage -1F

Sands are sent into the top of the column and then sprayed out

Passage -2F Elevator

Ergonomic design for seating area

Sand collector

FOCUSING ON MUSIC ITSELF RATHER THAN WATCHING THE SHOW

People sitting or lying down on the seats are appreciate those changeable patterns, while a band is playing downstairs

SECTION OF CENTRAL MACHINES

This machine can produce powerful suction in order to collect sands from the bottom

Sand accumulation space

INTERIOR VIEW

People also can sanding on the seat appreciate patterns above and music show downstairs at the same time.

1-1 Section 1:700

SHADOW & LIGHT

ENTRANCE VIEW 28

GROWING CELL VARIETY&ADAPTABILITY TYPE: Academic ROLE: Individual work DATE: June, 2017 LOCATION: Zhangzhou, Fujian, China DIRECTOR: Shaoming Xie

Architecture could be considered as a “living” thing, as each part of the building is closely related to us-- our life, work, study, and even entertainment. In other words, architectural design should strive for ecological harmony, providing a space to make people feel comfortable and delightful. So many buildings are demolished although they are still in good condition; a great number of architectures may be assessed as out-of-date, because the function of buildings can’t meet users’ requirements. Many of those buildings could not satisfy the increasing need for varied functions. The development of a city would have no influence on existing buildings if they are designed systematically and each part could be reassembled.

START FROM A BUILDING, END WITH A CITY

GROWTH----HEXAGON IN THE NATURE

Residence

School

Phase 1

Commerce

Original Village

Phase 2

Phase 5

Hospital

Green Space

Phase 3

Phase 6

Phase 4

FUTURE MINI-CITY

50 Years

VARIETIES IN PLAN 40 Years

Farmland

Wasteland

Dry Land

Beach

Forest

Site

30 Years

20 Years

VARIETIES IN THREE-DIMENSIONAL 10 Years

CURRENT SITUATION

FORM GENERATION

MINI-CITY INFRASTRUCTURE To g e t h e r w i t h t h e s e f ive inf rastructures, the mini-city could be called healthy.

SITE PLAN Residence

Green space

Commerce

Education

Hospital

TRANSLATION

ATRIUM

Extracting some of the necessary parts from the f ive inf rastructures to adapt the development of the new mini-city

Park

Cinema

Gym

Chess Room

Library

Piano Room

Auditorium

100

200

300m

EXHIBITION HALL

EXHIBITION CENTER

Coffee

Office

Restaurant

MODULE STRUCTURE

Exhibition Area Auxiliary Area Office Area Public Area

3 5 4

8 7

15 9

Ancillary Facility

7 6

Transportation

Terrace 11

6 7 13

Wall Structure Details 1. Outer Wall Facing 2. Heat Preservation/ Insulation Layer/ Waterproof Layer 3. Concrete Slab 4. Steel Structure 5. Inner Wall Facing

14 12

01 Entrance square 02 Office entrance 03 Lobby 04 Temporary exhibition 05 Library 06 Exhibition hall

07 Exhibition area 08 Planning model 09 Office 10 Meeting room 11 Lecture hall 12 Air-conditioning control room

13 Fire control room 14 Distribution room 15 Screening area 16 Art Studio 17 Storage room 18 Vertical circulating parking

Pipeline Layout

GROUND FLOOR PLAN 0 5

100m

Electric wires are merged into one pipeline, and pass through holes on the I-steels.

Floor Detail

Each part of the structure is modular-simple operation, easy transportation.

CONSTRUCTION IN THE FUTURE

Exsisting Gallery to Remain

Exhibition&Auditorium

Phase1

Phase2

Phase3

Shop&Library

Entertainment

Gym

VARIETIES

Residence

Recreation

Exhibition

Shop 1F

Shop 2F

OHTER WORKS Type: Internship & Academic & Practice Role: Individual & Teamwork Date: 2013-2019

INTERNSHIP: AIRPORT LOUNGE INTERIOR DESIGN STUDY Company: Azusa Sekkei, Japan Supervisor: Keita Tamura, PHAM THI PHUONG DANH Date: 2016.07-2016.10

Sofa Area

High Table

Smoking Room Long Table

Sofa Area

Communication Area

Prechamber

Wheelchair Accessible Restroom Special Table Area High Table

Men's Room

Counter

Long Table

Storeroom

Bar Counter Ladies' Room Kitchen

B.O

Modification Range “L” Sofa

High Table

Multifunctional Shelf 1

Special Table

Sofa

Multifunctional Shelf 2

Long Table

Suspended Ceiling

Special Style of Suspended Ceiling and Range

Passenger Route Staff Route

INTERNSHIP: Architecture design & Rendering Company: CONTEMPORARY ARCHITECTURE PRACTICE, NYC Supervisor: Ali Rahim & Hina Jamelle Date: 2019.05-2019.08

RENOVATION OF TAIPA OLD CITY Type: Academic Role: Team work Director: Fei Yingqing

Date: June, 2016 Location: Macao, China Partner: Xu Bin, Chen Zhiqiang

Commercial Street

Market

Fireworks Factory---Labyrinth

Fireworks Factory---Community Studio

Lounge Bar

Community Library

Fireworks Factory---Memorial wall

Fireworks Factory---Community House

VISUAL LITERACY: Library Design Type: Academic Role: Individual work

PARAFICTIONAL OBJECT

Date: 2018.09-2018.12 Director: Kutan Ayata

Date: 2019.01-2019.05 Type: Academic Partner: Fangzhou Sun Role: Team work Director: Kutan Ayata

Second medium representation

Perspective Elevation View

Plan

Using "We Chat Group" as our second medium to tell the story. Through the chatting history, people could understand what we want to express and what this object is used for. What is the glass bottle used for in the original image? What if the function of the glass bottle changes? What could it be? What this image looks like when the new glass bottle is put back into the scene? It looks like that the environment doesn't change except the glass bottle, but actually everything has changed when the glass bottle appears. This is like the relationship between envrionment and architecture.

Original image

Architects do not make buildings but make representations that lead to buildings. Architecture has much in common with paraf ictional art practices. Architec ture is multimedium, it is the most "real" of any art, and it is a specific object or scenario that inserts itself into the constantly c h a n g i n g c o n d i t i o n s o f r e a l i t y. Through designing a paraf ictional object and telling a narrative by using another medium but not just images, architecture could use it for reference-each medium must be mastered not to rarify it towards self-critical abstraction, but in order to proactively position it in relation to complex of mediated relations.

Part Section View

Technology in Design: Immersive Kinematics/Physical Computing: Body As Site

TYPE: Academic ROLE: Team Work DATE: 2019.09 - 2019.12 DIRECTOR: Simon Kim

PA RT N E R S: R u i H u a n g , Liwei He

Furniture Design TYPE: Academic ROLE: Individual work DATE: 2019.01 - 2019.05 DIRECTOR: Mikael L Avery

The aim of this course is to understand the new medium of architecture within the format of a research seminar. The subject matter of new media is to be examined and placed in a disciplinary trajectory of building designed and construction technology that adapts to material and digital discoveries. We will also build prototype with the new media, and establish a disciplinary knowledge for ourselves. The seminar is interested in testing the architectureâ&#x20AC;?machine relationship, moving away from architecture that looks like machines into architecture that behaves like machines: An intelligence (based on the conceptual premise of a project and in the design of a system), as part of a process (related to the generative real of architecture) and as the object itself and its embedded intelligence.

Video link: https://youtu.be/xxS5EHiNC2k

Experiments in Structure TYPE: Academic ROLE: Team Work DATE: 2019.09 - 2019.12 DIRECTOR: Mohamad Al Khayer

PA RT N E R S: Yi fa n Ya n g , Cheng Kou

BLACK & WHITE FILM CAMERA PHOTOGRAPHY

Details

Designed holes for each component so that cables would stay in perfect place. Hid all cable ends and crimps inside the component.

Designed special component when two patterns meet, where cables come in the center or the component.

Physical Model

Video link: https://youtu.be/kq4WjYAuYyw

FUTURE AIRPORT Cargos = Profits

People = Cargos

TYPE: Academic ROLE: Team Work DATE: 2018.09 - 2018.12 DIRECTOR: Ali Rahim PARTNERS: Jintong Mao, Jiacheng Gu

A-A Section A

B Traditional PEOPLE > CARGO

Future PEOPLE = CARGO

Ground Floor Plan

This studio explores design techniques, the history of New York Cities architecture and combine it with an understanding of global capital markets to devlop a new Airport/ Distribution Center Hub for New York City. More specifically, this studio speculates that a new airport typology can help sustain New York City's financial global leadership in the world. To maintain its leadership, export opportunities to and in developing economies are more likely to fuel growth. In addition there are new opportunities driven by technology and growth opportunities in the emerging markets.

Logistic System

Void

Warehouse

Solid

Delivery system and storages are separated in traditional logistic systems. Conveyer belts in traditional logistic systems occupied in some space which we represent as the solids and the space between conveyer belts is represented as the voids which could used as warehouses. When warehouses are put into the voids, the relationship of the voids and the solids convert---the voids in traditional logistic systems now are deems as the solids. Similarly, the solids now are represented as the voids.

B-B Section The circulations of the cargos in conveyor belt system and the passengers in the airport are quite similar since they both have points to stop and bifurcations. So in our project, we place conveyor belts and passengers both into the void space to try to realize the equalization of the relationship of cargos and people. As well, in such kind of canyon-like space, the directions of the movements are easier to be noticed and felt. In those solid space, we place some fundamental functions for people and warehouses for cargos to highlight the concept of homogenization. At the same time, among those gaps, void spaces are generalized. Inside those void, we place fundamental functions for passengers as well as the warehouses for cargos to highlight the concept of homogenization.

Traditional airports focus on people rather than cargo.However, the transportation of cargos actually makes more profitable than the transportation of people. For that reason, this project equalizes the relationship between people and cargos in order to balance the maximization of prof its and the satisfying experiences of passengers. We attempt to enhance the concept of "Flowing together" and the feeling of movement--cargos and passengers move simultaneously, through the same system of conveyor belts. In that way, people can see their luggage moving around while they are walking in the airport. The conveyors intersect each other in order to create different spatial experiences for passengers and new system of cargo delivery.

HIGH-RISE DESIGN

RESIDENTIAL DISTRICT PLANNING

Type: Academic Role: Team work Partner: Liang Zitao Date: September, 2015 Location: Xiamen, Fujian, China Director: Lin Jindan

Type: Academic Role: Team work Partner: Bi Jingyi Date: November, 2015 Location: Xiamen, Fujian, China Director: Xie Shaoming

MUSEUM DESIGN

DRAWING

Type: Academic Role: Individual work Date: November, 2014 Location: Xiamen, Fujian, China Director: Yin Peiru

AIRPORT LOUNGE VISUALIZING Type: Internship & Practice Role: Intern Date: October, 2016 Location: Tokyo, Japan Director: Keita TAMURA