ZECHARIAH S FUNG PORTFOLIO
ZECHARIAH S FUNG
Phoenix/Tucson, AZ zechariahsfung@gmail.com 602-471-0097 @zsfphoto
EDUCATION
WORK EXPERIENCE
University of Arizona: {2014-2019}
Spring Fling: {2018}
Bachelors of Architecture: -CAPLA Minor in Spanish -College of Humanities
LANGUAGES English - native
-largest student run carnival in the United States -event marketer, graphics, photographer, customer relations
Architecture Research Assistant: {2017-} “GEMS bench” -spatial application of digital fabrication + active evaporative cooling -eggcrate CNC bench design + fabrication
Gould Evans Associates: {2018}
Spanish - advanced/fluent Cantonese - heritage
AWARDS ARA Student Housing Competition: {2016-2017} Archon Prize: {May 2017} Richard + Bauer Architects Prize: {Dec. 2017} Design Excellence: {May 2018}
Phoenix, Arizona -summer internship -conceptual rendering, site model design, furniture takeoffs, detailing, marketing materials, BIM modeling,
Critical Complexity: {2018} “AMPS Conference: Critical Practice in an Age of Complexity -Student Tech Assistant + Event Photographer
Teaching Assistant: {2018-} ARC 321: building envelopes ARC 223: environmental active systems -Attendance, grading, lab sections, office hours
SKILLSET
OUTREACH EXPERIENCE
fabrication:
AIAS + Freedom by Design: {2017-2019}
-3 years of wood shop, metal shop, casting -3d printing, laser cutter, 4 axis CNC mill file writing and execution
software: advanced: -autodesk revit, adobe photoshop, adobe illustrator, adobe indesign, adobe lightroom, rhino 5, maxwell 4 render intermediate: -autodesk autocad, microsoft word/excel/ powerpoint, grasshopper, ladybug/honeybee for rhino, sketchup
photography: six years experience -portraiture, event photography, landscapes, cityscapes
Eboard Member: 4th Year Representative -Grassroots 2017 + Forum 2017 Freedom by Design Development Manager {2017-2018} -managing funds, client contract negotiations, fundraising through private donations + public grants -volunteered as a welder, painter, floor installer on previous project -Hasan School Shade pavilion: design, drawings, and build Freedom by Design Director: {2018-} -finding new client, managing relations
Youth Summer Mission Project: {2009-2016} volunteering on the White Mountain Apache Reservation -community outreach, building maintenance, cooking, cleaning, working with children
Segovia Study Abroad: {2015} six weeks in Segovia, Spain -IE University in Spanish culture and literature -Segovia, Cordoba, Granada, Madrid, Barcelona, Avila, Salamanca, Leon, London, Bath, Cardiff
TABLE OF CONTENTS
i
capstone: mexico city
4-17
ii
tucson cultural center
18-27
iii
american academy in tucson
28-41
iv
garfield bungalow
42-47
v
GEMS bench
48
vi
freedom by design
49
vii
photography
50-51
3
CAPSTONE: MÉXICO CITY
CITY Tenochtitlan was not lone metropolis in the valley, it was simply the largest of all the settlements in the region. In the two-hundred years between the settlement of the Aztecs in 1325 to the Spanish conquest in 1521, the Valle de Mexico area was a morass (literally and metaphorically) of shifting alliances and constant fighting. Tenochtitlan was the simply the dominant settlement and tribe in the area. As it became the center of New Spain and subsequently Ciudad de México after independence, it retained its title as the prominent settlement of the region; the peripheral settlement grew and faded with the drainage of the lake and subsequent development. By the end of the 19th century, infrastructure development and urban growth created to a center and periphery condition. The smaller settlements, many as older than Tenochtitlan like Xochimilco, Coyoacan, and Atzcapozalco soon became part of an interconnected valley network. When the city’s population exploded in the 20th century, these towns became absorbed and encased in the urbanism around it. These once individual settlements in the swamps and lake of the Valley of Mexico are now historic neighborhoods surrounded by numerous others in Mexico City’s urban fabric.
02
01 03 06 10
07
04 05 08
09 13
11 12
14
15 16
400,161 12,118 -33.5%
364,439 8,197 -32.9%
749,982 7,629 +17.3%
1,164,477 13,359 -23.1%
532,553 16,325 -34.7%
417,416 14,875 -23.4%
427,263 12,438 -38.3%
390,348 16,213 -31.6% 1,827,868 15,882 +44.8%
608,479 11,343 +1.9%
243,886 3,812 +40.9%
677,104 2,143 +83.5%
361,593 4,256 +146.1%
415,933 3,531 +91.3%
Population density /km2 population change 1980-2015
137,927 475 +157.2%
Delegations 01 02 03 04
6
Azcapotzalco Gustavo A. Madero Miguel Hidalgo Cuauhtémoc
05 06 07 08
Venustiano Carranza Cuajimalpa Álvaro Obregón Benito Juárez
09 10 11 12
Itzacalco La Magdalena Contreras Coyoacán Tlalpan
13 14 15 16
Iztapalapa Xochimilco Tláhuac Milpa Alta
axial roads + highways
199,224 2,715 +118.4%
metro system
7
DISTRICT Mexico City is a city of cities, with each neighborhood having its own unique character, as if each was a little town consumed by urbanization and separated by wide roads. The simple explanation states that the urbanization and industrialization of Mexico was an unplanned and disordered process. A more careful and through analysis reveals the city is a series of incongruent growths, where patterns and motifs repeat and recycle, creating cultural remnants. The site, Salto del Agua located at a prime location, near the Zocalo and Bellas Artes, at the intersection of industrial, commercial and historic neighborhoods.
Development High
Public space
Medium
Mixed
Low
Industrial
Development
Neighborhoods
Population density /km2 population change 1980-2015
8
Miguel Hidalgo
Cuauhtemoc
Venustiano Carranza
364,439 8,197 -32.9%
532,553 16,325 -34.7%
427,263 12,438 -38.3%
Four neighborhoods; Obrera, Doctores, Centro Historico I Centro Historico II
Colonia Centro: Zona Poniente 61,229
Colonia Centro: Centro Historico
Colonia Doctores
61,229
44,703
Colonia Obrera 35,224
9
MARKET CULTURE “This activity is illegal. It does not pay taxes, electricity, or a single official permit. Health authorities do not perform the necessary food-safety examinations on their merchandise. It does not offer employment benefits, vacations, or retirement savings to the people who attend these stands, but it is tolerated by the government due to their lack of ability to come up with solutions for a better economy” - (The Interstatal) The story of Mexico City’s public markets came about as a way to provide services and regulate informal markets known as tianguis and other informal vendors to escape the anarchistic capitalism that characterized the country after a long period of political strife and civil war. The administrations built simple large industrial structures to house the markets; these markets however have not been upgraded nor even maintained by federal authorities and are at risk of collapse.
San Juan 78
San Juan 77
San Juan 86
Tradicional
Especializado
Artesanías
Neo-indigenous / Rural Neo-liberal / Colonial
Pre-Colombian ~1519
Post-Conquest
1519 - 1910
The conquest of Tenochtitlán
10
Pre-Revolution
1890-1910
Revolution of 19
910
Markets: Centro Historico 08
07 05
06
10 09
04
03
02
01
Registered Public Markets 01 02 03 04 05 06 07 08 09 10 11 12 13
78 San Juan Belén 86 San Juan Curiosidades 77 San Juan Pugibert 74 Palacio de las Flores La Ciudadela 8 Juarez 10 Dos de Abril 4 Lagunilla San Camilito 3 Lagunilla Varios 1 Lagunilla Ropa y Telas 2 Lagunilla Zona 66 Pequeno Comercio 9 San Lucas
399 vend 177 vend 361 vend 133 vend 350 vend 454 vend 128 vend 075 vend 344 vend 1043 vend 573 vend 128 vend 254 vend
13
12
Market Stall Progression
Public Markets
Neo-Liberalism + NAFTA
1950’s
Ernesto P. Uruchurtu
1980’s
Gourmet
Supermercado
Publico
Tiangui
Carrito
Torero
2019
Earthquake of 1985
11
11
SITE: SALTO DEL AGUA The tradition of the market as a place of social gathering in Mexico City has been around since the beginning. The space in which a market inhabits is not one that is sited nor formalized, it simply exists where it needs to be. The San Juan 78 market is not an impermeable boundary of market functions, it is simply the center from which the activity is based. Outside the market, street vendors crowd up the limited sidewalk space around it. There is little remarkable about the architectural presence of Salto del Agua to mark it as an important cultural intersection in the city like Insurgentes or Angel de La Revoluciรณn. The clear center of life in the district is of course the market and therefore the most potential in revitalizing the intersection. There is a clear lack of public space to mark the site. There are plenty of potential sites from parking lots, to industrial sheds, to low-rise functionalist retail.
Existing Conditions
Site Character
12
Infill + Infrastructure
Parking Infill Social Housing
Potential Sites
A
B
F
C
D E
D
Cultural + Civil Context 03 G
F F
11
02 04
E
05
D 01
D
06
10 C
08 09 07 A
Plazas Culture Civil
Av. Chapultepec
B
Roads Eje Central
1300’
13
DESIGN:
Experimental Kitchen + Restaurant
innovation 32’0” Noma Copenhagen
Culture
Communal
Community 16’0”
Commercial
Name
Green Wall
Quantity
Flexibility
Food Stand 110 ft2
x7
Mostly Enclosed
Kiosk 40 ft2
x10
Mostly Enclosed
Street 0’0” Name
Open Cafe Corner
Quantity
Flexibility
Food Stand 110 ft2
x27
Mostly Enclosed
Torero 65 ft2
x38
Mostly Enclosed
Half-built Home Elemental
Quantity
Name Salto del Agua North
Flexibility
Stall A 114 ft2
x27
Mostly Enclosed
Stall A2 128 ft2
x8
Mostly Open
Stall B 98 ft2
x48
Mostly Open
Stall C 50 ft2
x34
Locker
Stall A 113 ft²
Salto del Agua South
to
Ob
se
rv
Existing Shopping Mezzanine
at
Market -16’0”
or
io
Half-built Stall with Utilities
Existing Parking Garage
Connection to Pink Line
to
i
ld
ba
ri
Ga
Salto del Agua Green
Connection to Green Line
-16’0”
-16’0”
to
on
ci
tu
ti
ns
Co
Salto del Agua Green Boarding
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19
to
Pa
nt
it
la
n
-32’0”
The pilot project, the redevelopment and expansion of the Mercado San Juan Arcos de Belén into a mixed use cultural center focused around food, is part of a larger masterplan for the district. The goal is to improve connectivity in underground network to the surface, create public space and destination for pedestrian leisure and to address the long standing infrastructural needs of the public markets. The project challenges cultural norms of market programming utilizing “shamelessly infrastructural” mixed use programming as a framework for a 21st century Mexico City.
14
Mercado San Juan
Fountain
Chapel
Abandoned Dept. Store
Colegio Vizcaínas
Plaza Vizcaínas
Phase II: Plaza Vizcaínas 250’
Plaza Vizcaínas: Expansion - The existing plaza will connect to a new crosswalk and the new plaza of the market, creating a continual pedestrian element
Phase I: MErcado San Juan
Existing New
New Public Market
Courtyard Infill
This new public market drops underground to the metro mezzanine level, creating a continuous commercial experience and giving it “space” to breathe
- Public courtyard typologies to replace parking garages and underutilized spaces to create connection between areas.
New Public Plaza The ground floor is incorporated into the existing sidewalk; the resultant plaza will be a mix of commercial and open leisure space.
Metro Connections The ground floor is incorporated into the existing sidewalk; the resultant plaza will be a mix of commercial and open leisure space.
“Chicken” street
Public Plaza - public plaza that connects the new Business Center, Dept. Store + church
Dept. Store Infill - Public courtyard typologies to replace parking garages and underutilized spaces to create connection between areas.
Small Business Center - business center + co-working to encourage entrepreneurship and business management in the neighborhood
Industrial Ecclecticism
Phase III: business + Entrepreneurship Existing New
Pink Line: South
Pink Line: North
Tunnels + Mezzanine
Green Line
15
16
Neo-indigenous / Rural Neo-liberal / Colonial
Pre-Colombian ~1519
Post-Conquest
1519 - 1910
The conquest of Tenochtitlán
Pre-Revolution
Public Markets
1890-1910
Neo-Liberalism + NAFTA
1950’s
Revolution of 1910
Ernesto P. Uruchurtu
1980’s
Gourmet
Supermercado
Publico
Tiangui
Carrito
Torero
2019
Earthquake of 1985
17
TUCSON CULTURE STATION A culture center must carry an understanding of the historical context of the city’s built environment, specifically the neighboring Tucson Station, which served as the city’s main economic nexus and connection point until the arrival of the I-10. The station celebrates local materiality, the economic legacy of the train, and the resounding presence of the Santa Catalinas in the sky. It does not act to serve as a displacement of the existing station and its program but as a complement. The proportion of the form is derived from existing site datums established by traffic flow and the arrangement of the Station’s masses.
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site plan
The Tucson Culture Station draws upon existing site datums and the existing linear palette to create an extension that celebrates the existing yet suggests contemporary applications within this framework. The frame and partition system allows for flexible layout in a rapidly changing downtown.
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2f plan
3f plan
21
A cultural center must embody the values of the place; Tucson, like most American Cities is built around a grid. There is ingenuity and potential within that grid framework and the ‘rivers’ of circulation that bisect them. The site meets at a critical intersection of freight, culture, and business.
urban analysis
section a
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ROOF 48' - 0"
LEVEL 3 33' - 0"
LEVEL 2 18' - 0"
LEVEL 1 0' - 0"
LEVEL -1 -15' - 0"
23
future possibilities - passenger train revival
in-slab drain
24
section b - passive strategies
summer solstice: 81° @ noon
equinox: 54° @ noon
winter solstice: 27° @ noon
SCREEN 58' - 0"
ROOF 48' - 0"
LEVEL 3 33' - 0" covered patio
lightshelf
lightshelf
lightshelf
covered patio
perforated copper facade
LEVEL 2 18' - 0"
stack effect
LEVEL 1 0' - 0" in-slab drain
LEVEL -1 -15' - 0"
25
26
water + landscape management
structure
ne
c sti
ou
ac
a dp
o
wo
g
ilin
e lc
te
ora
rf pe
er
pp
o dc
hts
lig
d
ze
gla
y sk
er
pp
e
rat
o erf
o dc
p enclosure applications
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AMERICAN ACADEMY IN ROME ARIZONA Mission Statement: “The American Academy in Rome Arizona supports innovative artists, writers, and scholars living and working together in a dynamic international community.” The richness of Rome’s Arizona’s artistic and cultural legacy timeless beauty, unique heritage, and its power to stimulate creative thinking served as the initial impetus for the Academy’s founding. The winners, announced in the spring, are invited to Rome Arizona to pursue their work in an atmosphere conducive to intellectual and artistic freedom, interdisciplinary exchange, and innovation.
The pretext behind the establishment of the American Academy of the Sonoran Desert is it intends to utilize the same rotating fellowship system behind the original American Academy in Rome. It’s establishment in Rome was to place the Academy in a central place of culture and history where environment of the city and campus is to bring about a creative catalyst for work. The same is to be said about the Sonoran Desert but as a place of phenomenology, of a wild timelessness; the architecture is to enhance and inform about the place. ‘Salve et carpe genius loci sonorensis’. Concept and context are to be reciprocal, where nature ends and where building begins becomes difficult to distinguish. Within this blending of nature comes the idea of macro and micro forces.
Cultural Production
Georgia O’keefe
Ted DeGrazia
Rick Joy
site context
30
San Xavier
Paolo Soleri
James Turell
Edward Curtis
Frank Lloyd Wright
sabino canyon
site axon
31
A
A
campus plan
32
C
A
A
C
33
3 sections
34
35
C
A
A
B
B
C
artists’ retreat
36
Intimacy + Light Levels
37
C
A
B
/(9
(/
C
artists’ studios
38
A
B
39
performance hall
studios
40
bath
gallery
exterior topographic condition
41
GARFIELD BUNGALOW The Garfield Bungalow was designed for a young couple looking to start their family. They have chosen to move into the historic Garfield neighborhood, a neighborhood that has seen better days economically but is beginning to see economic revival and rejuvenation. The lot is a Southwest facing corner lot on the intersection of Pierce St. and 9th St. The site due to its location provides an excellent view of the Phoenix skyline yet a demanding heat load. The neighborhood is historic and is home to few of the remaining pre-suburb era bungalows and pyramid cottages that sprung up because of American expansion into the Southwest.
4 90
t.
eS
ierc
E. P
the neighborhood
This home takes from the bungalow’s dominant roof as a giver of form as well and protection against the Sun. As the identity of this neighborhood begins to re-develop, so the family will as well. By building upon the influences of its context and to utilize technology does this house find an appropriate place in the 21st century. Resiliency in architecture is achieved here through flexibility and respect for its context.
Housing Typologies Garfield was developed between 1883 to 1955 as a ‘streetcar subdivision’ built around the establishment of the streetcar line. The neighborhood is one of the few central neighborhoods that holds pre-50’s historic vernacular architecture. The neighborhood is dominated by bungalows, period revival adobes, and the largest collection of pyramid cottages anywhere in Phoenix. It has seen better days, many of the lots have become vacant, the streets need maintenance and profit-driven design is making their way into the neighborhood.
bungalow
period revival
pyramid cottage
shed
townhome
retail
ID: 868
44
5
13
11
1 - living space 2 - bedroom 3 - bathroom 4 - bedroom loft 5 - master suite 6 - master loft 7 - guest living 8 - guest bed 9 - guest bath 10 - atrium 11 - patio
5
6
7
12 - carport 13 - sunken garden X
11
10
1
8 3
3
2
2
9
1
12
11
Y
45
The house is a blank canvas, large wooden CLT trusses with metal brackets provide an opportunity for expansion and inversion. The house’s other features continue along this theme: sliding partitions, lofts with ladder access, revolving screen exteriors, and canvas shades create a continually changing environment. This environment creates opportunities for creative expression integral to a satisfying childhood; the choice of material is designed to invoke comfort and familiarity.
the neighborhood
46
section x
section y
upstairs loft
living + flex space
sk
yli
gh
t
Bungalow Adaptation
+
large roof + dormers
+
t
tile roof
gh sk yli
ADAPTATION
VERNACULAR
plinth + covered porch
heavy timber framing
interior partitions
upper level lofts
operable screens
infill walls
heavy timber trusses
ID: 868
7
47
GEMS BENCH RESEARCH Digital Fabrication and Design of a framework for environmental experiments in passive cooling technologies. Responsible for the design of the framing + the fabrication, currently in progress Research Supervisor: Aletheia Ida
intent: framework for evaporative skin
in progress
48
FREEDOM BY DESIGN Freedom by Design is a design-build program of AIAS that is focused on community outreach. In 2017-18, a group of students fundraised, designed and built a shade pavilion for a native american charter high school in Tucson. process
result
49
PHOTOGRAPHY
50
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