G
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GEORGE LIU ARCHITECTURAL | DESIGNER
G L
GEORGE LIU ARC HITEC TURAL
310 N Whitney Way Mad i s o n , W I 5 3 7 0 5 + 1 608-698-8728 liuxx638@gmail.com |
DESIGN E R
BIOGRAPHY I am an architectural intern with 2 years of experience from Pre-Design to Design Development of various types of building in East Asia and the United State. I believe that design is an interdisciplinary and collective effort to respond to contemporary needs and future issues. I believe great design is the result of collaborative work combined with passionate, innovative, and sensitive values that transforms a place or object into a unique solution that responds to human needs. I am passionate, self-driven, hardworking and willing to go above and beyond to design spaces or objects that best fit our lifestyle.
EXPERIENCE
EDUCATION
ARCHITECTURAL INTERN - MINNEAPOLIS, MN
M.S SUSTAINABLE DESIGN
PDI Design Group | May 15 - Aug 17
University of Minnesota Twin City |Sep 16 - Present
- Assists in development of design concepts and prepare documents from Pre-design to Design Development in commercial, residential, and other types of building in East Asia countries.
M.S ARCHITECTURE
- Production of physical and 3D models for office study and presentation
University of Minnesota Twin City |Sep 14 - May 16
- Produce and organize documentation for presentation - Make changes to documents based on lead architects revision
B.S ARCHITECTURE
ARCHITECTURAL INTERN - TAINAN, TAIWAN
University of Wisconsin Milwaukee | Sep 07 - Dec 13
Tsai-Yi Chung Architecture Firm | June 12 - Aug 12 - Assisted in 3D and physical modeling of various projects, and also participated in design reviews and revision. - Translate and communicate with English speaking client/consultant. - Participated in construction site walk through and check up
ACCOMPLISHMENTS STUDENT DESIGN AND SCHOLARSHIP EXCELLENCE
2017 RACE TO ZERO ATTACHED HOUSING 2ND PLACE
Award from College of Design M.S in Architecture Sustainable Design
Award for 2017 Race to Zero attached housing competition
LEED GREEN ASSOCIATE Received March 22, 2019
LANGUAGE SKILLS
ENGLISH 100%
MANDARIN 100%
TAIWANESE HOKKIEN 50%
SKILLS Illustrator
AutoCAD
Photoshop
Rhino
InDesign
SketchUp
Word
Revit
Powerpoint
Lumion
IES VE
VRay
Sefaira
Grasshopper
TABLE OF CONTENT 01
THE VR HUB
02
SOCIAL CUBE
03
TRIANGULATION
04
JAZZ CENTER
PROGRAM + USER EXPERIENCE
DAYLIGHTING + SOCIAL ACTIVITY
FORM TO FUNCTION
PROGRAM + CULTURAL CONTEXT
THE VR HUB PROJECT LOCATION DATE
The VR Hub, 330 N 1st Ave, Minneapolis, MN 55401 Fall 2014
01 The future of visual entertainment is Virtual reality (VR) and Augmented reality (AR). They offer new ways of seeing our world and experiencing reality. With a huge market potential for both AR and VR, creating a place where people can experience, learn, and socialize is the key to the future of this technology.
Project 01 / 1
01 Project 01 / 2
CONTEXT CONDITION Historic Warehouse District The Minneapolis warehouse historic district is historically significant as an area of commercial development during the early growth of the city and the region. The area developed during the late nineteenth and early twentieth centuries when Minneapolis became a major distribution and jobbing center for the upper Midwest.
Site Area The evolution of the district over the period of significance has resulted in development patterns that share a discrete geographic boundary. These geographic areas have their own character base on the development pattern and scale of the buildings. The areas are nineteenth-century Warehouse Area, Twentieth Century Warehouse Area, and the Trail Yards Area.
Building Characteristic Most buildings of the twentieth-century warehouse area were large rectilinear boxes built for warehousing and manufacturing. The footprints of the building and the height grew significantly and the scale of these new structure creates a different feeling that the character of the nineteenth-century warehouse area.
Project 01 / 3
TR UC K
AC CE
SS
HISTORIC WAREHOUSE DISTRICT DESIGN GUIDELINE
LOADIN
STREET WALL PLACEMENT The building shall be built to the property line adjacent to the public right of way with zero setbacks. Side courtyards, seating areas, and spaces that support pedestrian activities cannot interrupt the historic rhythm of the block face.
10 - 14
PEDESTRIAN ACCESS Buildings shall be oriented such that principal facades and entrances face public streets. Primary building entrances shall be located along commercial or mixed Streets.
TR
ONEWAY
STREET
OW AY S
VEHICUL AR ACCESS
TW
ST LIC
REET
E
VEHICULAR ACCESS Vehicular access to a site shall be obtained using existing alleys
LOADING AREAS Loading areas shall be located to the rear of the property, accessed through alleys or by freight streets.
MASSING Buildings shall have a singular rectangular shape and volume. Building facades or portions of facades that are stepped back along the street facing facades are not allowed.
ft
2 - 10 14 - 21
PUBLIC ST
PU B
BA CK ZE RO
SE T
ACK
EE T
RE ET
G ZON
ZERO SETB
FLOO
RS
ft
SCALE Building located in the Twentieth Century Warehouse areas shall be between two (2) and ten (10) stories. The first-floor height shall be between 14 and 21 feet and upper story height between 10 and 14 feet. Design should consider the scale of the surrounding buildings.
35 - 60
TOP MIDDL BASE
% TOTA
E
RHYTHM Building facades shall display a defined base, top and middle portions, differentiated by variations in architectural treatment, materials or details. Fenestration shall be grouped into vertical bays and buildings shall have flat roofs.
50 - 75
% 1st
L AREA
ONE PR
INCIPL
E MAT
ERIAL
FLOOR
BUILDING ENVELOPE The total first-floor street facing facade glazed fenestration shall range between 50% and 75% of first-floor facade area. The total facade fenestration shall range between 35% and 60% of the total facade area.
FENESTRATION Windows shall be compatible with the surrounding historic buildings in their alignment, type, and proportion. Window frames and mullions shall match the scale of the window opening and glazed area and be compatible with the color and materials of the facade.
MATERIAL Facades that face a public street shall have one principal material, and one additional material for trims and details. Permitted materials include brick, stone, terracotta, painted metal, hardy board panels, poured concrete and precast concrete. Base facade colors that match standard brick colors such as terracotta red, grey, brown and tan are appropriate. Trim colors for door frames, window frames handrails and external metal features, are black, and dark tones of blue, red, brown, or green.
Project 01 / 4
TYPE OF VIRTUAL REALITY LEAST STIMULATED In none-immersive virtual reality, only a subset of the user’s senses is stimulated, allowing for peripheral awareness of the reality outside the virtual reality simulation. Viewed through a window by utilizing a standard high-resolution monitor. Also called augmented reality.
Non-Immersive
The user of Semi-Immersive virtual reality is partly but not fully immersed in a virtual environment. Semi-Immersive simulations closely resemble and utilize many of the same technologies found in flight simulation.
Semi-Immersive
In a Fully-Immersive simulation, hardware such as head-mounted displays and motion detecting devices are used to stimulate all of a user’s senses. The experience is more of a personal journey into the realm of the virtual world. Needs a large open space for the setup and physical activity. Fully-Immersive
MOST STIMULATED
Project 01 / 5
Non-Immersive: The use of space range from small to large and it is easy and fast to setup and take down.
Semi-Immersive: Space requirements range from small to medium. Most installation is permanent because setup has multiple components and is heavy.
Fully-Immersive: Requires medium to large space and installation is permanent. A certain space size is required for sensor and physical movements.
LEAST FLEXIBLE USES OF SPACE
MOST FLEXIBLE USES OF SPACE
VIRTUAL REALITY SPACE USAGE
PROGRAM LAYOUT DIAGRAM
MOST STIMULATING & LEAST FLEXIABLE SOCIAL SPACE
LEAST STIMULATING & MOST FLEXIABLE
SOCIAL SPACE
VR SPACE
SOCIAL SPACE DEDICATED STAIR
CENTRAL STAIR
Project 01 / 6
1
Non-Immersive VR
6
Cafe
2
Backroom & Storage
7
Semi-Immersive VR
3
Restroom
8
Balcony
4
Garden
9
Fully-Immersive VR
5
Parking
9
Roof Terrace
4
Ground Floor
2
3
5 1
1
Project 01 / 5
Section A
10 9
Third Floor 6
8
7
Second Floor 6
39 ft Roof
27 ft Third Floor
15 ft Second Floor
0 ft Ground Floor
Project 01 / 6
Project 01 / 7
The site location contributed greatly to the aesthetic of the building. The design of the building mostly follows the design requirements for a new building in the Historic District with brick facade and black metal window frame
Project 01 / 8
02 Project 02 / 1
SOCIAL CUBE PROJECT LOCATION DATE
Social Cube The Cube (UMN Campus Union Entrance) Spring 2015
02
The pavilion is located at the heart of the UMN campus right next to Coffman Union. The space is design to be an informal performance space and also a social space. Its purpose is to foster dialogue across disciplines, to build new audiences and to attract students and visitor with a diverse range of interests and backgrounds. The pavilion is a place for the performance of music but also a place for the performance of light and shadow. The movement of the sun throughout the day will affect the lighting of the space and the shadow cast by screen creating a play of light and shadow.
Project 02 / 2
To Dinkytown
Northrop Memorial Auditorium
Mall Area
Bus Stops Site To West Bank
Weisman Art Museum
HIGH TRAFFIC PEDESTRIAN PATH POINT OF INTEREST
Project 02 / 3
Coffman Memorial Union
East Ban Rail Statio
3M
Are
na
Ma t Wil uri Pa liam vili sA o& ren a TCF Stadium
Recreation Center
McNamara Alumni Ctr
nk on
Located at the busiest part of the campus in front of the Coffman Memorial Union, bus stops, and within a short walking distance of the East Bank Rail Station the site is at the heart of many campus activities. With the Coffman Union as a large hub for the student to dine, socialize, and study having additional space that supports those space is a nice addition to the campus.
Project 02 / 4
June 21st 06:00 - 18:00
December 21st 09:00 - 15:00
SHADOWS Daylighting is one of the main design consideration for this project, so sunlight and shadow study is an important design factor. During the summertime, the sun sits high and prevent shadows from being cast from the surrounding building, whereas the low winter sun creates a period of time where shadows are covering the site. So there is more sunlight exposure during the summertime than that of winter.
Project 02 / 5
SUN LIGHT ANGLES Horizontal shading devices are required to block off excessive summer sun. Vertical shading devices are best used to block off morning and afternoon sun. The second-floor space is a flex space that can be used for performance or presentation, therefore, the ability to control the amount of daylighting throughout the day is important.
SUMMER
68.2
WINTER
21.5
Project 02 / 6
December 21st 09:00 am no shades
December 21st 09:00 am with shades
Project 02 / 7
June 21st 09:00 am no shades
June 21st 09:00 am with shades
Project 02 / 8
Project 02 / 9
Screen Structure
Perforated Screen
Finishes
Concrete
Mullion Metal Deck
Beam
W Flange Column
Foundation
Project 02 / 10
DOWN
Roof
UP
DOWN
UP
2nd Floor
UP
1st Floor 0
Project 02 / 11
5
10
20
50
Box of Light With the full glass facade, the building becomes a box of light that showcase the activities within the building, and with the perforated screen at different positions, it creates a play between the artificial light and the night.
Project 02 / 12
TRIANGULATION PROJECT LOCATION DATE
Triangulation Nicollet Island Minneapolis, MN 55401 Spring 2016
03 This project originally started as an exploration of geometry by using equilateral triangle plans to create different form and shapes. However, as the project progress, complicated forms was made without real logic. To further explore the study, a set of rule and pattern was created to make sense and simplify the forms into usable elements.
Project 03 / 1
03 Project 03 / 2
FOLDING PATTERN
The folding pattern started with one equilateral triangle(1). A second piece is taped to create a fold in both directions and this becomes a piece where the rest of the study is based(2). From here pieces are glued or taped together in different ways, however, no real shapes or forms is created that further study can be conducted.
Project 03 / 3
(1)
(2)
1 (1)
2
After the study from before with no real result, the project changes direction by using a set of rules and patterns for the pieces to be formed. The pattern starts off with just one piece (1) and adds one piece with an edge to edge connection(2), with each subsequent pieces to a total of eight pieces. The pattern is then tested with a fold directional condition, such as random, same direction, or opposite direction. With the 7 and 8 piece pattern able to create a form that has the potential for architecture application. The next step of the study is using a combination of the different number of piece patterns to create form and condition for architecture use.
(2)
3 7 pieces opposite folding direction
4
5
7 pieces same folding direction
6
7 8 Pieces same folding direction
8
Project 03 / 4
6 + 7 PIECES
Starting with the center as six sides and from there seven sides are added to it as it continues. Other six sides are added to create more surface or seven sides is added to create a change in direction.
Splitting By connection two seven sides together we are able to create a split within the array of surface and also a change of direction in the z-axis.
Z-axis shift By changing the opening direction of the two seven piece connection we are able to create two opening instead of one and it also creates a splitting condition that is different from the one above.
7 + 8 PIECES Ending When the angle of two surfaces exceeds that of a single piece (flat) then it creates a condition where the pieces end its continuation
Pinching/touching When three seven side pieces are connected right next to each other they create a condition where the faces touch together and become one surface
Project 03 / 5
Arching & enclosing When connecting seven and eight pieces right next to each other they create an arcing condition, and if it is continued they will eventually close on itself.
APPLICATIONS
Project 03 / 6
LAYERS OF DIFFERENT TYP OF NATURAL ROCK FILTER
WATER STORAGE
PUMP
WATER STORAGE
PUMP
Project 03 / 7
PE PLANTED FILTER
COVER SYSTEM THAT PROTECT AND CREATES NEW SPACE SUCH AS PATHWAY AND BEACH
LAYERS OF DIFFERENT TYPE OF NATURAL ROCK FILTER
PLANTED FILTER COVER SYSTEM THAT PROTECT AND CREATES NEW SPACE SUCH AS PATHWAY AND BEACH VIVACE HYDROELECTRIC SYSTEM
Project 03 / 8
JAZZ CENTER PROJECT LOCATION DATE
Jazz Center Bronzeville, Milwaukee Spring 2013
04 The site for this project is located in the Bronzeville Neighborhood, a historic neighborhood that was primarily populated by African-Americans. The neighborhood was known for it’s music, specifically jazz. For the assignment, we were to develop the Bronzeville Center for Jazz. This center would help bring the community together and help revitalize the area’s economy by bringing people back to the Neighborhood. The idea for the Jazz Center is to create a large open atrium that acts as the center of the building which people gather and also to bring in a large amount of natural daylight. The plan is divided into three zones. The solid block of rooms the circulation path and the performance hall and atrium. This design leaves the performance hall easy to access and create a separation between the room from the performance.
Project 04 / 1
04 Project 04 / 2
MAN PERFOR
CE
N LATIO CIRCU E ORTIV SUPP
Project 04 / 3
52’ 6” Performance Roof
39’ 6” Roof
25’ 6” Third Floor
15’ 6” Second Floor
0 ft Ground Floor
SECTION A
Project 04 / 4
A
B
B
A
Project 04 / 5
UP
UP
52’ 6” Performance Roof
39’ 6” Roof
25’ 6” Third Floor
15’ 6” Second Floor
0 ft Ground Floor
SECTION B
Project 04 / 6
G
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ARCHITECTURAL | DESIGNER