Portfolio Catherine Zhu B'Arch 27'

ARCHITECTURE PORTFOLIO CATHERINE ZHU CORNELL UNIVERISTY BACHELOR OF ARCHITECTURE 27’

TABLE OF CONTENTS

1

POCKET PAVILION

2

THE AVANT GARDEN COOKHOUSE

3

UTENSIL SET DESIGN

4

THE WEARABLE CHAIR

FALL 22’

SPRING 23’

SPRING 23’

FALL 23’

5

HOUSE INTERCEPTED

6

EMBT NAPLES STATION STRUCTURES MODEL

FALL 23’

FALL 23’

1

POCKET PAVILION FALL 22’

THE POCKET PAVILION, A VISITOR CENTER AND VEWING SPACE, IS LOCATED ON THE WHITE POCKETS OF ARIZONA. THE GEOLOGY, CREATED BY AN INITIAL EARTHQUKE FOLLOWED BY WIND EROSION OF THE SANDSTONE, BECAME THE STARTING POINT FOR THE DESIGN OF THE PAVILION AFTER DEVELOPING AN INITAL HANDRAWING TO ENCAPSULATE THE ESSENCE OF THE GEOLOGY, PAPER AND WOODEN MODELS WERE PRODUCED TO TEST OUT POSSIBLE SPATIAL AND FORMAL CONDITIONS. FINALIZED DESIGNS OF THE VISITOR PAVILION WERE THEN REPRESENTED THROUGH VARIOUS SITE PLANS, SECTIONS, AXONOMETRICS, VIGNETTES, AND A SECTIONAL MODEL

WHITE POCKET PAVILION: PAPER FOLDING TESTS

WHITE POCKET PAVILION: WOOD CHISELINGESTS

WHITE POCKET PAVILION

WHITE POCKET PAVILION

WHITE POCKET PAVILION

WHITE POCKET PAVILION

WHITE POCKET PAVILION

2

THE AVANT GARDEN COOKHOUSE SPRING 23’ THE AVANT GARDEN TOOK THE PRECENT OF THE JAPANESE RAILWAY SLEEPER HOUSE IN MIYAKE ISLAND AND EXTRACTED THE SPATIAL LOGIC OF A RHYTHMIC ALLOCATION OF SPACES THROUGH A REGULAR PLACEMENT OF BEAMS AND COLUMNS. THE FOOD STYPE OF MOLECULAR GASTRONOMY WAS THEN CHOSEN TO BECOME THE THEME OF THE COOKHOUSE DUE ITS SIMILAR SEQUENCE DRIVEN CREATION STYLE WHICH ALLUDED TO THE SEQUENCE DRIVEN SPATIAL DESIGN OF THE COOKHOUSE. FOUR MAIN MODULES WERE ALLOCATED TO FOUR UNIQUE MOLECULAR GASTRONOMY TECHNIQUES, SPHERIFICATION, FLASH FREEZING, AERATION, AND AROMAFICATION, AND ASSEMBLED THROUGH A FRAMING NETWORK OF VARIOUS BEAMS AND COLUMNS TO ELEVATE ABOVE GROUND. IN DOING SO, THE GROUND FLOOR WAS OPENED UP FOR A GARDEN WHICH WOULD BE ACCESSIBLE TO THE MODULES THROUGH SKYLIGHTS AND BALCONIES. AS THE INDIVIDUAL MOVED UP THROUGH THE SPACES, THEY WOULD RISE FROM THE NATURAL GREENSPACE AND GRADUALLY ENTIRE AN ENTIRE FOREST OF MANMADE BEAMS, AN ALLEGORY FOR NATURE’S GARDEN WHICH ALWAYS IS A PREREQUISITE FOR ANY CULINARY EXPERIENCE.

THE AVANT GARDEN COOKHOUSE

THE AVANT GARDEN COOKHOUSE

THE AVANT GARDEN COOKHOUSE

THE AVANT GARDEN COOKHOUSE

THE AVANT GARDEN COOKHOUSE

THE AVANT GARDEN COOKHOUSE

THE AVANT GARDEN COOKHOUSE

3

UTENSIL SET DESIGN SPRING 23’ THROUGH THE FORMAL CONCPET OF “TWISTING”, A SERIES OF UTENSILS AND FLATWARE WAS DESIGNED IN ADDITION TO A CONTAINING VESSEL TO PLACE ALL THE INDIVIDUAL ELEMENTS WITHIN. CONSIDERING ERGONOMIC DESIGN, USABILITY, AND COHENSION IN MATERIALITY, EACH PIECE WAS DESIGNED THEN PRINTED AND DOCUMENTED, ALONG WITH RENDERINGS TO REPRESENT THEM IN HIGHER DETAIL

UTENSILS AND FLATWARE

EATING SET WITHIN VESSEL DESIGN

4

WEARABLE CHAIR FALL 23’ RATHER THAN CONSIDERING THE CHAIR AS A LIFELESS OBJECT, IT WAS INTERPRETED AS AN ORGANISM WAITING TO INTERACT WITH ANOTHER BODY, THIS MUTUALISM BETWEEN THE RECEPTACLE AND THE BODY CAN BE SEEN AS A SYMBIOTIC RELATIONSHIP, MUCH LIKE A BENIGN BENEFICIAL PARASITE AND ITS HOST. THE HUMAN BODY, WITHOUT AID, IS UNABLE TO SIT COMOFRTABLY. MEANWHILE, THE ORGANISM, WITH ITS HOLLOW CAVITY AND ITS THREE LEGS, APPEARS UNSTABLE AND UNFINISHED. TOGETHER, THE BODY OF THE HUMAN AND THE BODY OF THE RECEPTACLE INTERSECT AS ONE, RESULTING IN THE FORMAL THEME OF “INTERSECTING AXES”.

TO ACHIEVE THIS DESIGN CONCEPT, THE STREGY OF CREATING A WEARABLE WAS ADOPTED. WITH TWO OPENINGS WITHIN THE RECEPTACAL CREATING A HOLLOW AXIS, THERE EXISTS OPPORTUNITIES FOR DIFFERENT WEARING CONFIGURATIONS. ULTIMATELY, THE CHAIR IS NO LONGER A STAND ALONE OBJECT BUT RATHER AN AUGMENTATION OF THE BODY WHICH SUPPORTS NEW BODILY POSITIONS.

THE WEARABLE CHAIR

THE WEARABLE CHAIR

THE WEARABLE CHAIR

THE WEARABLE CHAIR

THE WEARABLE CHAIR

5

HOUSE INTERCEPTED FALL 23’ HOUSE INTERCEPTED CONTINUED THE DIALOGUE FROM THE WEARABLE CHAIR WITH THE CONCEPT OF A MUTUALLY BENEFICIAL RELATIONSHIP, THIS TIME BETWEEN A NEW DWELLING AND AN EXISTING BUIDLING ON THE ITHACA GUNFACTORY SITE. FORMALLY, THE NEW DWELLING LATCHES ON TO THE EXISTING STRUCTURE, SEEMINGLY HOLDING IT BACK FROM ITS IMMINENT TUMBLE DOWN THE GORGE NEARBY. THE HUMAN BODY TRANSCENDS THROUGH THE SLOWLY ENGULFING BODY OF THE ORGANSM AS IT ENVELOPS THE OLD BUILDING, OVERWHELMING IT AND CHANGING ITS IDENTITY. THE BODY THEN IS ABLE TO EXPEREINCE THE THRESHOLD BETWEEN HOST AND PARASITE BY MOVING DEEPER AND DEEPER INTO THE HOUSE..

HOUSE INTERCEPTED

HOUSE INTERCEPTED

HOUSE INTERCEPTED

HOUSE INTERCEPTED

HOUSE INTERCEPTED

HOUSE INTERCEPTED

HOUSE INTERCEPTED: WALL SECTION

HOUSE INTERCEPTED: WALL SECTION

HOUSE INTERCEPTED

HOUSE INTERCEPTED

HOUSE INTERCEPTED

HOUSE INTERCEPTED

6

EMBT NAPLES STATION STRUCTURES MODEL FALL 23’ EMBT’S TIMBER STATION IN NAPLES, ITALY, WAS REPRESENTED THROUGH A COMPREHENSIVE STRUCTURE’S MODEL DETAILING CURVED MEMBERS, STEEL AND BEAM CONNECTIONS, ROOF FRAMING SYSTEMS, AND CONNECTIONS TO FOUNDATION. THE STATION WAS MODELED TO SCALE THEN HAND CUT WITH BANDSAW FOR EACH INDIVIDUAL PART AS WELL AS STEEL CONNECTING PLATES. CONCRETE BASE WAS CASTED ACCORDING TO A SIMPLIFIED REPRESENTATION OF THE SITE CONIDTION AND TRAIN PLACEMENT. GLULAM FOR INDIVIDUAL PIECES WERE HANDMADE BY GLUING STACKE LAYERS OF PLYWOOD. FOR CURVED ROOF MEMBERS, GLULAM WAS SIMPLIFIED TO BE IN THE ORTHOGONAL DIRECTION AS OPPOSED TO THE CORRECT CURVED ORIENTATION DUE TO TIME CONSTRAINTS AND WORKABILITY.

EMBT NAPLES STATION: STRUCTURAL MODEL

EMBT NAPLES STATION: STRUCTURAL MODEL

EMBT NAPLES STATION: STRUCTURAL MODEL