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ARCHITECTURE PORTFOLIO

DE QIAN HUANG M.ARCH 2021 SELECTED WORKS | HARVARD GSD | UC BERKELEY | 2016-2019


COASTAL PA

Arch 100D | Fundamentals of De Instructor

GARAG

Core III | Integrate | Fall 2018 Instructor

FILM IN SI

Core II | Situate | Spring 2018 Instructor Je

BOSTON AUC

Core II | Situate| Spring 2018 Instructor Je

HIDDEN

Core I | Project | Fall 2017 | G Instructor Zei

CALCULATED

Core II | Situate | Spring 2018 Instructor Je


ALIMPSEST

esign | Spring 2017 | UC Berkeley Maria Paz

GE SALE

| Graduate School of Design r Jon Lott

ITUATION

8 | Graduate School of Design enny French

CTION HOUSE

| Graduate School of Design enny French

N ROOM

Graduate School of Design ina Koreitem

D ACCIDENTS

8 | Graduate School of Design enny French


C OA S TA L PA

REGISTRATION OF NATURAL WEATH

UC BER INSTRUCTOR MARIA

The studio proposes a new center for the O California. The avian center provides a largerecreation. Due to its unique location and his resilience will be at the center of this design ch


ALIMPSEST

HERING TRIGGERED BY TIDAL FLOWS

RKELEY A PAZ | SPRING 2017

Ohlone humane society, located at Newark, -scale hub for bird refuge, rehabilitation, and storical background, phased degradability and hallenge.


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Tidal Fluctuation

The site is in a wetland off the coast of Don Edwards National Park, which houses different species of raptors, singing birds, and aquatic birds. The new center has an anchor on built ground and an extension on water. The mapping illustrates the daily tidal fluctuation of 8 feet and the soil erosion K value ranging from twenty percent to forty percent.

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Material Resilience Industrial residuals on the site sheds light onto the whole life-span of material. Instead of seeing weathering solely as a linear, subtractive process, the project sees nature as a cyclical process

Phased Degradability Inspired by the two types of degredation, lamination (top) and surface texture (bottom) created by wind erosion, the avian center incorporates natural weathering as part of the design.


1:100 Soil Taxonomies

6” x 6” x 8” Salt, Water, Soil, Sand, Redwood, Rockite

1:1 Torque Test

6” x 6” x 12” Redwood, Silicone While decayed wood has its social values, it needs to be strengthened through lamination and synthetic use of silicone. Oak is chosen as structural members and Wester Red Cedar as the facade.


1:50 Section Model

12” x 30” x 60” Redwood, Birch, Basswood, Plywood When Red Cedar’s weak summer ring is weathered away by wind, its strong fall growth ring remains. Through time, the avian center is granted a new façade by nature, one that unveils the beauty of decay and resilience.


Diagonal Planes

Anchor & Extention

Circulation

Song Bird & Prey Bird

Water Bird

Structural System

High Tide

Low Tide

Weathering Registration On a daily basis, the architecture documents the tidal variation; in 100 years, the linear footprint of the center will become a measurement of rising sea levels as it allows for future development along the cycleway.


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Responsive Platforms Low tides form a terrace configuration, separating the gallery from the auditorium. High tides merge different programs, allowing for direct engagement.


Dynamic Engagement When the cycleway pierces through the building, it provides direct visual access to bird cages that are suspended from the ceiling.

1: 200 Site Model 6” x 6” x 72” Redwood, Basswood

Techniques such as sandblasting are used in the construction of the model in order to simulate natural weathering.


Public Ramp The ramp connects to the existing hiking trail in the Don Edwards National park so that cyclists can traverse through different soil types.

Bird Habitat Building cores are placed along the shorter edges, providing maximum surface area for natural ventilation.


Manuscript

Across scales of time, the building registers the weat interaction with diffe


t of Nature

thering of nature while people can enjoy their close erent species of birds.


The Vending Machine above Rudolph Buildings are designed to provide instant satisfaction just like a vending machine does. As soon as we put in the coins, the machine, with its contents all compressed onto a flat screen, will fulfill our desires.

Transience in New Haven Of the 14,000 faculty and staff that Yale employed, only 4000 lived in the city proper. The rest commuted from neighboring towns, even as far as New York City. Only 28% of New Haven occupants own their home, while the national average is 63%. Transient living styles create a ghost-town when the school ends.


Collapsed Facade as an Urban Billboard

A residential complex is purposed to be built above Paul Rudolph’s parking garage because no more vacant lots were available. The air rights above the garage were originally purchased by Yale to serve the future growth of the university and its pedagogical mission. Yet, Yale reconsidered its original intention after realizing that monetization of campus land (more for commercial use than pedagogy itself ) could reap benefits for both the university and New Haven. The proposal is to build a giant billboard for the city as a welcoming sign for visitors, boosting the economy through tourism. In the era of the ‘money shot’. Buildings are no longer just living spaces; they are images, theories, and ideas, meant to be viewed, published and posted by others.


Architecture as a Synthetic Act A careful calibration of program, structure, and circulation is carried out through a series of model studies, which are spatially compressed into a single image.


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Program Transience Program sharing is made available given the transient nature of New Haven. For instance, student dormitory can be taken over by AirBnb during breaks. Since each program requires its own access, circulation is separated by individual cores and corresponding entrances at the ground floor.

Billboard as Structure The placement of new structural cores considers the preservation of parking lot circulation, location to sidewalks and max. distance from fire codes (120 ft). The billboard with its support tucked behind Rudolph’s columns supports the ends of residential towers.

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Billboard as Temptation The orthogonal billboard is juxtaposed against slanted boxes, showing a flat projection of threedimensional objects. Whenever a living space touches the faรงade, a hole is produced on the screen to give a fragmented image of the inside. Only incompleteness sparks curiosity and desire.

Deconstructed Stacked Boxes Decision about accumulation or dispersion is tested in the context. Towers compile in the middle to accentuate the negative space created by the tunnel underneath. Low-rises scatter to cover the top parking level, creating intimate courtyard spaces.


Urban Manifesto While the compression of data satisfies our needs for immediacy, it also fosters misunderstanding and lost of integrity. In celebration of misrepresentation, models wrapped in 2d images show how an unifying faรงade betrays the separated residential towers behind.


Screen

Stair

Cubicle

Kitchen

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1m

1m

2m

Bathroom

Bedroom

Elevator

ADA Bathroom

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+16.0m - Single Room Occupancy Floor Plan A wall is both the facade and the content of the building. The first floor is a blank page filled with bands of living vocabularies.

Ground Floor Plan Standing on the plaza, one can’t help but find himself trapped inside a series of never-ending planes that seamlessly blend private and public activities.


Face behind the Face Living behind a billboard means to be seen, rather to watch others. Misplaced windows reveal unexpected aspects of private lives.


Reality Digital Under the bombardment of images, beauty exists in adaptation. The degree in which architecture alters itself to represent its environment is a measure of sophistication. There is nothing more thrilling to live in a world where images are literally translated into reality.


+25.0m - Student Dormitory Floor Plan Residents become willing prisoners of images and sacrifice their comfort for appearances. They live between the poche of walls where minimal natural daylight can penetrate.

Collision of Flatten Planes Flattening is not distilling. While the latter yields essence, the former erases information and brings forth self-contradiction just like the content and the way it is represented.


Hyper-Proximity The open spaces are left behind for the public so that tourists can enjoy the total freedom to roam about only at the cost of the residents’ comfort.

Deep as a Plane of a Wall When private activities turn into live-performances, the hotel, made of the shallow emptiness of plain walls, becomes a giant monitor that entertains the voyeurs of the new generation.


FILM IN S

INDEPENDENT

HARVAR INSTRUCTOR JENNY F

The project, which has an assembly of heteroge degrees of flexibility. The program includes so construction shops and common amenities su break the distance between different departmen the production and consumption of films.


I T UAT I O N

T FILM STUDIO

RD GSD FRENCH | SPRING 2018

eneous space and program, deals with different ound stages, dressing and holding rooms, set uch as kitchen and lounges. The challenge is to nts in a film crew and to close the gap between


Isolated Working Environment Interaction across different departments is very rarely; only directors communicate to each other on a daily basis. Creating random encounters can become a source of unexpected discoveries that promote collaboration between departments.

Dynamic Film Studio Upper level movement provide horizontal and vertical expansion to sound stages, allowing film crews to access water tanks or taller spaces based on their needs. Radial movement at the bottom reduces distance between sound stages and preping rooms.


Public Engagement Inspired by Bernard Tshumi’s shed in Le Fresnoy Art Center, the film studio aims to provide a space for the public where people can engage with the production the films while enjoying the ocean view at the Boston harbor.


HORIZONTAL HORIZONTAL EXPANSION EXPANSION

VERTICAL VERTICAL EXPANSION EXPANSION

FLEXIBILITY FLEXIBILITY

NATURAL NATURAL ENCOUNTER ENCOUNTER

COURTYARD COURTYARD V.S. OPEN V.S.FIELD OPEN FIELD

Massing Overview The film studio is comprised of different activities including gather, working and performance, which are transient form outdoors-in and at various scales.


Situations The catwalk system not only provides opportunities for ground floor and roof filming, but also allows visitors to see the filming environment without interfering the work flow.

Rhythm for Navigation The installation of a static, repetitive modular catwalk system introduces rhythm and visual access, thus allowing people to navigate with a sense of where they are in an environment of moving parts.


1:25 Section Model Dressing rooms follow turntable constuction, whereas sound stages utilize the truss system for horizontal movements.

1:50 Section Model An objective view demonstrating how the catwalk system interacts with the structure below.


Ground Floor Plan Collage of two plans showing the shift from a courtyard plan to an open field arrangement.


Split Section Collage of two sections demonstrating flexibility for vertical expansion


+6.0m - Sound Stage Floor Plan Collage of two plans demonstrating flexibility for horizontal expansion.


1: 50 Section Model Public engagment with the waterfront and


1: 50 Section Model Suspended viewing platforms floating above film sheds


T H E B O S T O N AU PRETENTION IN

HARVAR INSTRUCTOR JENNY F

The project aims to investigate the nature when a building is service of a pretent being fragmented and cropped.


UCTION HOUSE ARCHITECTURE

RD GSD FRENCH | SPRING 2018

e of pretention in architecture, specifically tious image while the architecture itself


Artificiality in Built Environment

In Boston, artificial land highlighted in gold is constructed to elevate the city’s status. Designers are willful prisoners of images; their only duty is to constantly keep up the established images as janitors would a house. However, these grandiose appearances reveal nothing other than the predicament of the ordinary. Thus, the Boston Auction House suspends the mystery of pretension, making it the motivator for the project. By doing so, we ask: does architecture have room to make the drive for the pretentious extraordinary explicit?


Boston Architectural College

False Front

Danker Garage

With a brutalist front, the Boston Architectural College has a grandiose section on its back wall. Danker parking garage puts on a shopping mall faรงade to blend in with its neighbors.

Transition of Facades The Boston Auction House has a well-behaved neo-classical faรงade on the street front, which gradually flattens, becoming a 2D graphic. A thin sheet of faรงade is eventually pried up by an emerged column.


MALLET STUDY Mallet Study MALLET STUDY MALLET STUDY

UNROLLED FACADE UNROLLED FACADE UNROLLED FACADE Unrolled Facade

WIZARD OF OZ WIZARD OF OZ WIZARD OZ The logic behind the curvature, whichOF is inspired by the Wizard of Oz, is

merely thebehind enlarged of Wizard a mallet, symbolicby piece of the auction of Oz The logic theprofiles curvature, which isainspired the Wizard of Oz, is The logic behind the curvature, which is inspired by the Wizard of Oz, is house. The formal approach speaks to the absurd discrepancy between merely the enlarged profiles of a mallet, a symbolic piece of the auction The logicthe behind the curvature is merely the enlarged profiles of a mallet, a symbolic piece of the merely enlarged profiles of a mallet, a symbolic piece of the auction ahouse. grandiose appearance andspeaks its meaningless origin. TheThe formal to the absurd discrepancy auction house. formal approach approach speaks to the absurd discrepancy between a grandiosebetween appearance house. The formal approach speaks to the absurd discrepancy between its its meaningless origin. origin. a grandiose appearance and and meaningless a grandiose appearance and its meaningless origin.


Duck

Symbolilc | Desire

SHED

FUNCTIONAL

Fragmented Duck Phony Symbolilc

Shed

Pretense | Constraint

Disguised Duck A pile of mallets will be unseemly to its neighbors just like the Danker Parking Garage. Inversion and rearrangement are carried out to mask the content.


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Ground Level Plan Separate entrances are designed so that members and visitors enter SCOTplaces. through different IA ST .

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SITE PLAN

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SCALE: 1/512” = 1’ - 0”

1:100 Section Model

30cm x 30cm x 30cm Mirror, PLA, Museum Board, Acrylic

Architecture is a game of economy. The essential challenge is how to maximize effect with minimum cost. Mirrors are used to provide infinite expansion.

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1:50 Section Model

50cm x 50cm x 15cm Mirror, PLA, Museum Board, Acrylic

A five-story building is disguised behind a lofty three-level facade. The Boston Auction House functions like a typical club house, which is based on a membership system. The Auction House holds public tours for those who wish to witness the accumulation of grandeur. Along the public tour, one gets to pass by the two main halls that host a variety of private events that are exclusive to members. The Auction House never allows visitors to trully experience the gold rooms as they are directed to a stair that connects to the doorway. Caliberated exposure to the public increases the demand for membership becasuse desire is an issue of distance.


TURE

BOSTON AUCTION HOUSE

e, MA 02138 7) 495 - 1000

ion

CHITECT

Sandwiched Levels The site is in a neighborhood where pretentious buildings are grappling with their pseudo-classical façade and dysfunctional interiors. Such phenomenon reflects the field of architecture practice. The section captures the fragmentation due to the two opposing needs. Not only floors are clipped away by the overpowering curvatures, but also service circulation is tucked behind the disembodied façade. Grand spaces are only accessible to members who rest in dark sandwiched floors. They voluntarily choose to sacrifice their comfort for the grandeur that could not have been achieved otherwise. limited budge, I have to play the game of economy. The

GAME OF ECONOMY

“With essential challenge for me is how to maximize the effect with minimum cost. My strategy involves sandwiching the living quarters, which won’t be seen during the public tour, designing a disembodied back façade and using false perspective to create an illusion of depth and grandeur.”


OPA OFFICE FOR PHONY ARCHITECTURE

48 Quincy St, Cambridge, MA 02138 www.opa.pro (617) 495 - 1000

Member Entrance

MEMBER ENTRANCE SCALE: 1/4” = 1’ - 0”

2

GROUND FLOOR WINDOW

Guest Room

SCALE: 1/4” = 1’ - 0”

2

GROUND FLOOR WINDOW SCALE: 1/4” = 1’ - 0”

Gloomy guest rooms are hidden behind the apparent three-level facade, receiving light only from the gaps of triglyphs. REVISIONS No. Date

Description

BOSTON AUCTION HOUSE

SCALE: 1/4” = 1’ - 0”

98 CAMBRIA ST. BOSTON, MA 02115

1

GROUND FLOOR WINDOW

BOSTON AUCTION HOUSE

2

98 CAMBRIA ST. BOSTON, MA 02115

Disguised as a window module, the real entrance is used by members who is responsible for the upkeep of the auction house.

OPA OFFICE FOR PHONY ARCHITECTURE

48 Quincy St, Cambridge, MA 02138 www.opa.pro (617) 495 - 1000

DATE: 4/26/2008 DRAWING BY: THE ARCHITECT

REVISIONS No. Date

SCALE :

SCALE: 1/2” = 1’ - 0”

While compromises are made for the grandeur SHEET of the auction room, the back side is hidden DATE: 4/26/2008 from visitors during the public tour.

A4

DRAWING BY: THE ARCHITECT SCALE :

SCALE: 1/2” = 1’ - 0”

4

GUEST ROOM SCALE: 1/2” = 1’ - 0”

OPA

4

GUEST ROOM SCALE: 1/2” = 1’ - 0”

OFFICE FOR PHONY ARCHITECTURE

48 Quincy St, Cambridge, MA 02138 www.opa.pro (617) 495 - 1000

SHEET

A4

REVISIONS No. Date

+ 8m Public Tour Level

Description

DATE: 4/26/2008 DRAWING BY: THE ARCHITECT SCALE : 1/8” = 1’

REVISIONS No. Date

Designers’ only duty is to constantly upkeep the established pretense. Compromised spaces regain its grandeur through the use of false perspective. BOSTON AUCTION HOUSE

FIREPLACE

98 CAMBRIA ST. BOSTON, MA 02115

3

BOSTON AUCTION HOUSE

+ 7m Guest Room Level

GUEST ROOM

98 CAMBRIA ST. BOSTON, MA 02115

4

Description

Description

DATE: 4/26/2008 DRAWING BY: THE ARCHITECT SCALE : 1/8” = 1’

2nd & 3rd FLOOR PLAN SHEET

A2


Visitor Entrance Appearance and grandeur are the priorities. Guests enter through a pond carved out by the curves of a mallet.

Janitor of Architecture Designers are willful prisoners of images; their only duty is to constantly keep up the established images as janitors would a house.


Truth in Reflection Pretention completes the realm of architecture just like the reflection in the pond finishes the Auction House. John Hejduk once said, “The pretention never fails one’s expectation, fixed and unchangeable. Only the real is indefinite and capricious.”


HIDDEN ROOM SPATIAL HINT & SEQUENCE PATTERN

HARVARD GSD INSTRUCTOR ZEINA KOREITEM | FALL 2017

The project involves designing a group of five rooms, one of which needs to be hidden from the other four. The program requires providing a means of access to the hidden while controlling the degree to which the room becomes vulnerable to disclosure. The strategy is to set up a circulation pattern so that when people encounter a new room, they will have the impression that they had visited it before, thus conceptually hiding the room.


Spatial Hint The diagram shows the different iterations of a curvilinear form intersecting an orthogonal room. Their intersection is a corner that hints at the space behind, serving as the primary motif that moves people around.


Front Elevation The sequence starts with setting up the pattern. Corners suggest the presence of rooms. As one encounters a decoy, he will mistake it for the hidden room and miss the real one.

Side Elevation The little kid, hiding behind the building, reappears in the side elevation, suggesting that the technique of hiding a room is through coupling.


EXTERIOR HALLWAY Exterior Hallway

VOLUMETRIC VolumetricINTERSECTION Intersection

EXTERIOR HALLWAY

VOLUMETRIC INTERSECTION

1st Floor

Section A-A

2nd Floor

2nd Floor

Objective

Subjective

Section B-B

Section B-B

Objective

Subjective

Subjective v.s. Objective In the end, as he subconsciously visits the decoy, he will exit the As building the illusion that he had The sequence starts with setting up the pattern. onewith encounters a decoy, only visited four rooms. he will overlook the hidden room. In the end, as he subconsciously visits the The sequence starts with setting up the pattern. As one encounters a decoy, decoy, he will exit the building with the illusion that he had missed a room. he will overlook the hidden room. In the end, as he subconsciously visits the decoy, he will exit the building with the illusion that he had missed a room.


C A L C U L AT E D AC C I D E N T S ARCHITECTURE IN SPEED DATING

HARVARD GSD INSTRUCTOR JENNY FRENCH | SPRING 2018

The project involves designing three types of modular bays that manifest an analysis of speed dating. Speed dating is a ritual, in which the impression one gives away to the other party defines who he/she is. In a way, it is a test to see the alignment/misalignment between one’s true self and one’s image of self. And this aspect is represented in the design of three types of modular bays.

1:100 Site Model

100 cm x 100 cm x 30 cm Museum Board, Sand, PLA


Seam from Dense Packing Speed dating, a process of exchanging thoughts and emotions, which is demonstrated in the addition, subtraction, and intersection of the modules.

1:200 Modular Bay

10 cm x 10 cm x 10 cm PLA


Dual Sequence The sequence is divided in two types: one representing the process of speed dating and the other is the daily life.


Line of Visual Access At moments people on the prescribed path are provided with an illusion of freedom to make choices.

Openings as Barriers Deliberate arrangments of modules create an orthogonal plan on top and a diagonal plan below.


Ground Floor Plan Coming from the cliff, the route has a narrow prescribed single path and large expansive volumes for formal meeting.

Speed Dating / Prescibed Path Large expansive formal spaces reduce intimacy as number of connection grows.


+6m Terrace Plan The design for “daily life� is inspired by the 120 Door Pavilion, which involves with making choices that leads to the encounter of the other.

Life / Accidental Encounters The open field for circulation serves accidental encounters, and small rooms provides space for intimate talks.


PHOTOGRAPHY ICELAND

SONY A7III FE 55MM F1.8 ZA | FE 16-35MM F4 ZA

Architecture is the ordering of nature to encompass the need of humans. Any aspect we find beauty in architecture is rooted in our perception of nature, which provides inspiration for human creation. There is nothing more beautiful than the shape of mountains with naturally grown plants and the texture of moss. Many designers despise the imitation of nature, undermining it as a pure act of copying. In fact, we dream to be as close to nature as we can. Bad designs exist only because architects do not study nature close enough, only taking the face value. Documenting nature opens my eyes and allows me to understand how miniature humans are. No one dares to contest the power of waterfall. Similarly, architects are not shapers of environments, but negotiators of different interests.


Skogafoss | Iceland 1/80 sec f | 4.0 ISO 200


Katla | Iceland 1/800 sec f | 4.0 ISO 500


Blue Lagoon | Iceland 1/400 sec f | 4.0 ISO 100


Hof| Iceland 1/125 sec f | 8.0 ISO 100


Geysir | Iceland 1/80 sec f | 2.8 ISO 100


Hverarond | Iceland 1/250 sec f | 9.0 ISO 100


Vik | Iceland 1/100 sec f | 4.0 ISO 2500


Skaftafell Glacier | Iceland 1/160 sec f | 8.0 ISO 100


G RA D UAT E S C H O O L O F D E S I G N

DE QIAN HUANG 2016 - 2018

Profile for De Qian Huang

Architecture Portfolio 2019  

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