AAD_SU21_042

HAO-YEH LU Infrastructure Architecture COLUMBIA GSAPP AAD PORTFOLIO

2o2o-2o21

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HAO-YEH LU 325 Riverside Drive, New York, NY 10025 ｜ HL3415@columbia.edu ｜ 347-420-4503

EDUCATION Columbia Univeristy GSAPP, New York, U.S.

Master of Science in Advanced Architectural Design (M.S.AAD) ｜ Sep.2020 - Aug. 2021

Tunghai University, Taichung, Taiwan

Master in Architecture with Distinction (M.Arch), GPA: 3.81/4.0, Rank: 1/20 ｜ Sep.2011 - Jan.2015

National Cheng Kung University, Tainan, Taiwan

Bachelor of Science in Materials Science and Engineering (B.S) ｜ Sep.2007- Jun.2011

Profession Kaohsiung City Government Department of Buildings, Kaohsiung, Taiwan Plan Examiner of Permit ｜ May.2016- Aug.2020

Plan Reviews of building codes, authorized building permits of 620 cases, 2,108,824 m2 in gross floor area. Executive Officer for organization of of Urban Design Committee.

adv studio

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MEASURING PENASQUITO MINE

Akihisa Hirata Architecture Office, Tokyo, Japan Architectural Intern ｜ Jul .2013- Aug.2013

Assisted the Taipei Roofs Resident Project, 5,881m2 in gross floor area.

Assisted physical modelmaking, Taiwan building code checking and translation.

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WATERFUN PALACE HYDRANT PLAYSCAPE elective

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CODING NYC

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FACADE OPIMIZATION

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ROW HOUSE W

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TILE Z

THE SHAPE OF SOUND

seminar

Integral art and Crafts Architecture, Taichung, Taiwan Architectural Intern ｜ Nov.2012- Feb.2013

Assisted Educational and Residental Project in Taichung, 3D concept design and 2D drawing.

Certification Taiwan Licensed Architect

Ministry of Examination, Senior Professional and Technical Examinations : No.7119 ｜ Feb.2017

HONORS Taiwan Government Fellowship for Studying Abroad

Taiwan Ministry of Education ($150,000 USD in total ) ｜ Dec.2019

Taiwan National Golden Award of Best New Architect Taiwan Architecture Magazine,Vol.241,p76-77 ｜ Oct.2015

ARCH2O ann Atlantis Magazine Publication

Atlantis Magazine, Volume 26, Number 3,TU Delft, p15-16 ｜ Apr.2016 ARCH2O Student Week 7 Selected Project ｜ Feb.2015

SKILL Rhinoceros Grasshopper AutoCAD Revit SketchUP

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Vray Lumion Photoshop Illustrator InDesign

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Chinese English Japanese Korean

NATIVE TOEFL iBT 98 JLPT Level 2 TOPIK Level 1

Refernece Dan Wood, FAIA, Co-founder of WORKac, dxwood@work.ac 2

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ADV STUDIO ARCHA4853 AAD Studio, Jorge Ambrosi, Gabriela Etchegaray : Measruing Penasquito Mine

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ARCHA4105 ADV V Studio, Dan Wood : Waterfun Palace 40 ARCHA4106 ADV VI Studio, Hilary Sample : Hydrant Playscape

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MEASRUING PENASQUITO MINE

LOCATION: Penasquito, Zacatecas Mexico CLIENT: Newmont Gold Corporation TUTOR: Jorge Ambrosi, Gabriela Etchegaray YEAR: 2021

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GSAPP AAD Studio Miners Memorial Park Mining Decommission 458,230,000m2 Rhino+AutoCAD+Map

Penasquito Mine is the world's largest Silver Mine, this project aiming to reveal the invisible driven force behind the scene, the colonial mining history in Mexico, the mechanism of predatory mining companies, and the scale of Machinery Extractive Taskscape.

Is it worth it for such devastating Extractive Taskscape? How could architects let people rethink about this critical issue, through the Architecture Design approach? If we rethink about the future of decommissioned mining site, reuse the existing Mega Instrument of mining, turn into as the Pilgrimage of Silver, which allow our offspring been able to explore the magnificent human made landscape, and most of all, when they stand in the center of the silver pit, reflecting the metaphor of New Imperialism Mining Industry.

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AAD Studio World of Silver From the timeline, the rise of silver can date back to Columbus discovering America, then, the Spanish conquering the Aztec Empire as well as the Inca Empire, established the colony called New Spain Viceroyalty. The most significant outcome is the silver trade, from Mexico to Europe and Asia.

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AAD Studio World of Silver The heritage of Imperialism still matters after five centuries till now, for instance, Mexico is still the world largest silver production country, Peru as second, Chile and Bolivia as 6th and 7th, all countries above are former colonies of Spanish Empire. Furthermore, Penasquito Mine as the world largest Silver mine, it’s production of Silver almost as much as of whole United State produced per year.

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AAD Studio So how does this Extractive Taskscape happen? This tradition dates back into the Mexican Colonial history, we can see there’s an historical silver trade route called “El Camino Real”, the Royal Road constructed by Spanish colonizers, connecting from Mexico City to the US Border.

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AAD Studio However, the role of Imperialism turned into a new form, the predatory Capitalism Mining company. The Canadian mining company called Gold Corp and its successor, US Mining company Newmont, has invested $5 billion at Penasquito, and take over charge of the colonists 's extraction privilege here.

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AAD Studio This magnificent site is Penasquito Mine, located in central Mexico, which is the world largest silver mine. As we can see, the measurement is about 10 kilometers in length by 6 kilometers in width. In comparison, we can barely see two small neighborhood communities nearby.

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AAD Studio Besides, we can compare Penasquito to other significant silver mine of the world, Penasquito is not only the largest silver mine in production and also in scale. Such gigantic Extractive Taskscape definitely has a devastating impact on this site. Since 2007, Penasquito Mine has continuously ruining this environment, bring up blasting, micro-earthquake, polluted air, underground water and noise, and this torture is estimated long lasting until 2040.

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AAD Studio Zoom in closer into the Penasquito Mine, the silver extraction process is from the east to the west, from the very beginning of the open pit, transportation to the ore mill factory, and the last to the tailing dump. On the other hand, the extraction machinery includes about 15 drillers, 9 Shovels, 9 excavators, 83 transportation trucks, Feed Conveyor, Crusher and Milling Machine. All these heavy machines are imported from U.S., Germany, Sweden and Japan, none of them are made in Mexico.

Last but not least, there’re almost 6500 employees who work and live in the worker camp as a mining city, to operate all the facilities.

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AAD Studio In order to better understand the massiveness of the site, it’s crucial to take measures across the Penasquito Mine. We can use the 5 meter height mining truck as a basic scale, to better understand the bigness of the site From the magnificent Penasquito Open Pit, it’s 2 kilometers in length and 1 kilometer in width, it’s almost as long as the Golden Gate Bridge, and 400 meters in depth, as deep as the World Trade Center Skyscraper.

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AAD Studio In comparison, the mining truck and other extractive machines look tiny, however, these giant machines are about 5 to 15 meters in height, as tall as a building. There are 15 Swedish Epiroc drillers, 9 U.S. Caterpillar Shovels, 9 Japanese Komatsu excavators.

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AAD Studio Among them, there’re up to 83 Japanese Komatsu transportation trucks, to transport all these silver ore. In order to feed those oil monsters.

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AAD Studio Those trucks unload those ore into these Germany TAKARF Feed Conveyor, transmit 1.5 kilometer long, delivered into the Ore Milling Factory.

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AAD Studio The Germany Thyssenkrupp Crusher and Milling Machine are turning Silver Ore into ponder and the final product.

This factory also consumes about 90MW of electricity, as much as a small city.

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AAD Studio In the end, all that waste and non-valuable material will be dumped into the Tailing dam. The Tailing Dam 4 kilometers in length by 1.5km in width, 90 meters heights as a high-rise building.

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AAD Studio I can’t help but wonder, is it worth it for such Extractive Taskscape? How could Architect let people to rethink about the cost, through the Architecture Design approach? Is there no better way of extraction of silver? What if we question about the scale of Extractive Machinery, reuse the existing Mega Instrument of Mining?

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AAD Studio The Pilgrimage of Silver allow our offspring been able to explore the magnificent human made Extractive Taskscape, and most of all, becoming the symbol and metaphor of New Imperialism Mining Industry.

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AAD Studio This project is not aiming to play judge with right or wrong, instead, is intending to reveal the fact the human made nature Extractive Taskscape. Is it worth for such devastating new colonialism? People could rethink about these critical issues, stand in the center of the silver pit.

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ADV V Studio 40

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WATERFUN PALACE

LOCATION: CLIENT: TUTOR: YEAR: COURSE: PROGRAM: ISSUE: AREA: SKILL:

Randall's Island, New York NYC Parks Dan Wood 2020 GSAPP ADV V Studio Aquatic Center Sport Diplomacy 3,716 m2 Revit+ Lumion

Randall's Island is the paradise of lost, the darkside of New York City. Behind the joyful scene of sports park nowadays, people are not aware of the hidden history of the house of refuges, sheltor of poors, insane asylum, psychiatric hospital, potter's field, and most recently, the morgues of COVID-19 victims.

The Waterfun Palace is aim to serve as aqutic center, water park and hydrotherapy for the TriBorough community. Meanwhile, reveal the entangled relationship between the city and the island, turn the architecture into the device of " Sports Diplomacy ", demonstrate the contrast between the normal and abnormal, segregation and desegregation, lastly, reconsinder the mechnisam of land use policy.

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ADV V Studio 42

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ADV V Studio 44

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ADV V Studio ARCHITECTURE AS POLITICS MEDIUM David Adjaye, 2009-2016, Smithsonian National Museum of African American History

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ADV V Studio 48

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ADV V Studio FLOOR LEVEL 200

FLOOR LEVEL 700

FLOOR LEVEL 1200

FLOOR LEVEL 1700

FLOOR LEVEL 2500

“The Big Ten restart : Is it worth to play sport during pandemic ? “ - WSJ,2020.10.24, The Pandemic change everything.

People are isolated, Death are buried, like hundrad years ago.in the Randall's Island. The dystopia of poor, mad house, burial ground since the very begining. Metaphorically, this Water Fun Palace intend to be an architeucral cure for the pandemic, mental health and the city.

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ADV V Studio 52

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ADV V Studio 54

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ADV VI Studio 03

HYDRANT PLAYSCAPE

LOCATION: CLIENT: TUTOR: YEAR: COURSE : PROGRAM:

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New York, US

NYC Office of Neighborhood

Hilary Sample 2021 GSAPP ADV VI Studio Community Park

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Summer Cooling Center 1,384 m2 Rhono+AutoCAD Design Research, Concept Design Plan Section Drawing Benjy Akhavan, Cong Diao

McKenna Square Park has rich urban context in infrastructure. Located next to historical Croton Street and Croton Aquaduct, this water main supply the usage of New York City. This discovery of Croton Aquaduct intriger our interest to study existing infrastructure, especially the fire hydrant system.

This reminded us of New York City’s rich history of opening fire hydrants and playing in the water, often illegally, wasting 1,000 gallons per minute. Nonetheless, the FDNY are programs to provide sprinkler caps currently.

In the spirit of “As little as possible”, the minimum interruption approch, we propose the innovative use the fire hydrant and hoses to create an infrastructure of play in the park, as an outdoor cooling center during the summer, transforming the street into a new public play space HAO-YEH LU PORTFOLIO

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The site in question, McKenna Square Park, is situated on 165th street in Washington Heights, and its odd geometry, is the result of its urban history. First property lines - then Croton Street bisected the block as early as 1865. Mckenna is neither a square nor a park, but rather a triangle surrounded by streets, with no sidewalk as a buffer.

The park is surrounded mostly by institutional buildings, such as the US Post office, the Gregorio Luperon High School, the Saint Rose Lima Church, and the Word-Up Community Bookshop. The park was renovated in 1985 and is in need of desperate intervention, as today, only a few people enter the park each day perhaps to eat a sandwich, feed pigeons, or read the newspaper.

Our interest in infrastructure, partly prompted by the discovery of Croton Street - which ironically has no real relation to the aqueduct - led us to study existing infrastructure on the site, including the water main, electricity, and gas line services, but more specifically, water pipes beneath the site.

On the West end of the site, where most pedestrians access the site, we noticed only one fire hydrant in the park.This reminded us of New York City’s rich history of opening fire hydrants and playing in the water - often illegally, wasting 1,000 gallons per minute. Currently, the FDNY and DEP have programs to provide sprinkler caps and open the fire hydrants to reduce the amount of flow to 25 gallons per minute.

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Similarly, Eco-artists in the 70s were interested in reclaiming the street, and positioned that, “city streets, being public land, and if freed from traffic, are the last remaining open spaces available in N.Y.C.” Anita Margrill, one such artist also wrote that the “work must be participatory, used by people. … these ... designed play constructions are approaching a new urban 'art form.”

Anita Margrill, with the cooperation of the Mayor’s Office of Neighborhood Government produced many water-street elements. Her copper pipe interventions were hooked up to existing fire hydrants throughout the day, transforming the street into a new public playspace.

Instead of using the streets, which are necessary for residents to park their cars as Veronica Liu, a manager of the Word Up Community Bookshop, has told us - we propose to use McKenna Square Park as the last public space in the city of New York.

In the spirit of “as little as possible,” we propose the use of only four elements: the fire hydrant, Play Sculptures, hoses, and sandbags to create an infrastructure of play in the park.As there are no cooling centers within a five block walk from McKenna Square, during the summer, we pose the park as an outdoor cooling center,

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ADV VI Studio 64

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ELECTIVE ARCHA4715 Re-thinking BIM , Jared Friedm : Coding NY

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ARCHA4845 Generative Design, Danil Nagy : Facade Optimization 72 ARCHA4534 Techniques Of The Ultrareal , Joseph Brennan, Phillip Crupi: Row House W

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ARCHA4856 Transitional Geometries, Joshua Jordan : Tile Z 86 ARCHA4427 Architecture Apropos Art, Steven Holl : The Shape of Sound 82

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Re-thinking BIM 04

CODING NYC

LOCATION: CLIENT: TUTOR: YEAR: COURSE: PROGRAM: ISSUE: SKILL: ROLE: TEAM:

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Manhattan, New York, US NYC Department of Buildings Jared Fried 2021 Spring Re-thinking BIM Commercial Office Addition Zoning Code Driven Method Revit+Rhino+ Grasshipper Coding Research, Concept Design Fengyi Zhang

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Re-thinking BIM 70

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Generative Design

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FACADE OPTIMIZATION

LOCATION: CLIENT: TUTOR: YEAR: COURSE: PROGRAM: ISSUE: SKILL: ROLE: TEAM:

New York, US Private Danil Nagy 2021 Spring Generative Design Education Optimization for Heating, Cooling and Lighting Rhino+Grasshopper+Discover Heat Simulation Jonathan Chester, Brian Turner, Daniel Joshua Vanderhorst, Andy Chia-Jun Wen

Parametric designs struggle to advance beyond the bifurcation of optimizing plans (for circulation) or elevation (for energy and lighting). This separation is often disregarded in offices because of the lengthy design processes and the ample amounts of labor that allow for a slow integration of work. The challenge lies in the inefficiencies that come with this disconnect in the process. Design approaches that lack optimization remain slow and inefficient compared to newer generative techniques. Yet within the newer systems, the amount of time and energy lost in the back and forth effort to integrate separately optimized design creations of plan and section would be better spent on other characteristics of the project. Additionally, these inefficiencies may force unnecessary surrender of the very things that were meant to be enhanced (such as sustainability, efficiency, and overall good design).

Our project goals can be articulated as the effective integration of plan and elevation optimization, while retaining the most successful performative benchmarks of core circulation, energy consumption, and programmatic daylighting that provide enjoyable and easily navigable spaces for users that are sustainable and economical. Our methodology allows for a seamless process for creating.

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Generative Design 74

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Techniques of Ultrareal

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ROW HOUSE W

LOCATION: CLIENT: TUTOR: YEAR: COURSE: PROGRAM: ISSUE: AREA: SKILL:

Taichung , Taiwan Private Joseph Brennan, Phillip Crupi 2020 Fall Techniques Of The Ultrareal Residential Representation storytelling 1,451 m2 Revit+3DsMax+Vray+Lumion

Hosuing is the basic need of dwelling, and the prototype of every Architectrue. The contradictory between tradition and mordern architecture seem to be a paradigm in our discipline, bring the urban scape into chaos and disorder. This project is intend to bridge the gap betweem now and then, inspired by the research of row house typology in Taiwan, those residential precedent featired with sensational design, such as the patio for the sunlight and ventilation, as well as the courtyard for the hierarchy of space.

The Row House W intend to combine the advantage of vernacular architectural elements, such as patio and courtyard in between the volumns, in order to create a sustainable dwelling environment for human and other spicies, all in all, to composed a W-Shaped rowhouse.

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Techniques of Ultrareal 78

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Techniques of Ultrareal 80

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Transitional Geometries 82

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TILE Z

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Joshua Jordan 2021 Spring Transitional Geometries Installation Tile System Rhino+Casting

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Transitional Geometries 84

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Architecture Apropos Art 86

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THE SHAPE OF SOUND

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Steven Holl, Dimitra Tsachrelia 2020 Fall Architecture Apropos Art Art Design Research Photoshop + Drawing

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Architecture Apropos Art 88

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SEMINAR ARCHA4402 Transscalarities, Andrés Jaque, Benedict Clouette: Wolff Architecture 92 ARCHA4402 Transscalarities, Andrés Jaque, Benedict Clouette: Home for All

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ARCHA4402 Transscalarities, Andrés Jaque, Benedict Clouette: Huoshenshan Hospital

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ARCHA4618 Contemporary Concepts, Bernard Tschumi : The United Architects’ unrealized imagining 98 ARCHA4488 Arguments, Andres Jaque, Samuel Stewart-Halevy : Vo Trong Nghia Architects’ New Tropical Modernism 100

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Transscalarities

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Watershed, Wolff Architecture, Cape Town, South Africa Andrés Jaque, Benedict Clouette 2020 Fall ARCHA4402 Transscalarities

Cape Town, the harbor city in South Africa, where two ocean meets and the former frontier in Age of Discover.

There’re plenty of warehouse renovations sat next to the Victoria & Alfred Waterfront, and the Watershed is the newest one of them.

Like many other port cities, the regeneration of harbor Industrial Heritage is the main issue for the administrative landowner Victoria & Alfred V&A Waterfront Holdings. There is a former attempt that transformed the grain silo into Zeitz Museum of Contemporary Art Africa which designed by Thomas Heatherwick in 2011. Furthermore, there is another request for proposal demand reprogramming the existing electrical repair workshop of the drydock, turn into an innovative commercial center.

As a begin for reusage in 2013, the electrical repair workshop served as the V&A Craft Market & Wellness Centre.

Lately in 2014, it was totally re-design and rename as Watershed V&A waterfront. Firstly the design strategy is to keep the original steel truss structure as one single giant rooftop, then remove the existing façade in order to open to crow and tourist in the street, since there’re considerable pedestrian flow in this popular spot in Cape Town.

The most challenging re-program of this site is to separate into many individual separate shop units, instead of one or two giant tenants market. Therefore, as a new market typological style, the shopping experience in the Watershed would be like on the street in Cape Town, rather than in an ordinary mall. On the ground floor, there’re 150 tenants such as Craft & Design Institute (CDI), are all well-arranged by Trevyn McGowan1, the founder of the Source, which bridging between the South Africa design and craft industry and the local and international exposure, and made the watershed as the biggest single craft and design market in South Africa.

Up stair to the first floor, which become a new home for startup and innovation enterprise working space, which managed by co-work firm Workshop 17 and University of Cape Town's Graduate School of Business.

The design architects in charge are Heinrich Wolff (1972-) and Ilze Wolff (1975-), the founders of a Cape Town based firm Wolff Architect. Their efforts not only showing in architecture practice setting for years, but also contributed in academics field, such as being visiting professor in IUAV , ETH and Washington University in St. Louis , and has been an adjunct professor at University of Cape Town. They participated in international exhibitions the Venice Architecture Biennale, the Chicago Architectural Biennale, etc. This project has been honored by the South African Institution of Architect (SAIA) for 2016 Award of merit 2, as a demonstration of contemporary South African architecture practice3 .

Note 1. Design Indaba, (2014), "Window shopping at the Watershed" ,Nov.9,2014 2. South African Institute of Architects, (2016), "South African Institute of Architects Awards for Excellence, Awards of Merit, Regional Awards for Architecture", 2015/2016, Cape Town: Picasso for SAIA, pg 38-39 3. Mpho Matsipa, Pedro Rivera, Heinrich Wolff and Ilze Wolff, (2016), "Architecture Practice and the City Cape Town", Dec.9,2016, Columbia GSAPP Event

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Transscalarities

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Home for All, KISYN Group, Tohoku Coast, Japan Andrés Jaque, Benedict Clouette 2020 Fall ARCHA4402 Transscalarities

How can architects do after catastrophe ? When Japan are heavily damaged by 2011 Great Earthquake and Tsunami, architects are wondered the fundamental question about the purpose of Architecture, after more than 15,000 people lost their lives, hundreds of thousands of families losing their homes, since the catastrophic disaster savaged the Pacific coastline of Japan, wiped out half of cities and towns, left the devastated land need to be rebuild in Rikuzentakata, Shizugawa, Kamaishi, Onagawa and rest of East Japan.

Just as the title, “Home for all” is the Japanese Architects’ involvement to reconstruct their homeland, which not only demonstrated the participation in society, but also interpreted the Architecture as an infrastructural medium, rethinking the social responsibility.

It’s not about architectural heroism for the participation of reconstruction, it’s about architectural activism. The KISYN GROUP is one of the reconstruct architects’ group, which short for Kengo Kuma, Toyo Ito, Kazuyo Sejima, Riken Yamamoto and Hiroshi Naito, those famed architects are responded and devoted into the career.

Enormous efforts have been down by numbers of professionals, including bureaucracy, local administrative, landowners, urban planners, architects, and contractors. The issue is much complicated than normal architecture practice, faced economic, political obstacles problems. After the endless negotiation and participated in local community, architects built temporarily shelters, gathering space, civic center, playground for people and children who lost their home.

Google Map, 2020, Rikuzentaka

It’s worth to mentioned the “Home for All in Rikuzentakata” project, which Toyo Ito collaborated with Kumiko Inui, Sou Fujimoto and Akihisa Hirata. They build a home as civic center for Mikiko Sugawara, the community representative who have just lost her mother and sisters due to the disaster. This little house is just sitting on the site next the vast wasteland by destroyed by the tsunami, as a remembrance for the never forgotten tragedy. Toyo Ito desperately intend to provide home for all, people who live in disaster-stricken area are suffering from uncomfortable refugee camp, experienced dwelling for minimal existence. This new place can hold mini concert, social events, provided them physically and mentally shelter.

As a result, the whole efforts are well documented as a project exhibited in the 13th Venice Architecture Biennale Japanese Pavilion in 2012, and won the Golden Lion for Best National Participation without doubly, the social participation and ideology are essential for architects.

It’s always good to know how can architects do more for better world, especially in the post-catastrophe pandemic era. Beyond the architectural theory in the academy, the critics on magazines, the stararchitects who won pritzker prize, there’re still many other ways architects can do more than just commercial buildings and Capital A Architecture.

Note 1. Julian Worrall, (2013), "Rebuilding communities", Domus 969, May 2013 2. Wochi Kochi Magazine, (2012), "Home-for-All in Rikuzentakata", Venice Biennale Architecture Exhibition

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Transscalarities

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Huoshenshan Hospital, CITIC General Institute of Architectural Design, China,Wuhan,2020

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Andrés Jaqu, Benedict Clouette 2020 Fall ARCHA4402 Transscalarities

The greatest impact of Covid-19 has totally changed the civilization nowadays. According to Johns Hopkins University, there’re more than 50 million global cases, and 1.3 million globe death are recorded until Nov.17, 2020. Retrospect to the very beginning of this outbreak, Wuhan has confirmed over 7,700 confirmed case with over 170 death after a while of this century catastrophe outbreak on January 27,2020. Facing the severe situation, China administrative decided to build a 1000 beds hospital to treat coronavirus patients in mere 10 days, as well as it would be the first hospital for COVID-19 pandemic in 2020.

While all the mass media are applause and amazed by the construction efficiency of China government. Ironically, the top down authoritarian political system is also need to be held accountable for cover up the unrevealed COVID-19 at the very first beginning, which lead to global outbreak. Meanwhile, history is repeating itself that China has facing the very similar SARS pandemic outbreak in 2003, and has built a Xiaotangshan Hospital for SARS hospital before. Based on experience sharing of precedent SARS hospital design firm IPPR International Engineering Co., now the Wuhan based state owned enterprises- CITIC General Institute of Architectural Design - could design the Houshenshan Hospital at full speed.

Beyond the efforts of contractors, bulldozers and diggers works day and night. One of the key factors to build speedy is prefabricated construction materials. The building components and modules are also designed as small as workers could carried by their bare hands, which allow them to assemble more quickly without the help of machinery. Meanwhile, instead of a hospital in conventional sense, Huoshenshan hospital is designed as quarantine shelter to isolate patients who suspected of contracting coronavirus.

Meanwhile, avoiding the pollution is another consideration for this facility. CITIC worked together with China’s Ministry of Health to deal with the airflow and waste water, preventing the neighborhood from be polluted by the hospital. The circulation and ventilation system of medical staff and patients are also be separated, to ensure no cluster infection happened.

On the other hand, the labors’ working condition are another aspect to be considered. Due to the expose to the extreme condition, the workers are gathering together at relatively limited resident area. Meanwhile, even though those prevention above, there’re still at least 9 workers be infected.

The pandemic has challenged every field, including Architecture. How could architects help for innovation for postpandemic Architecture design, instead of waiting for the vaccine to save the day and solve the pandemic? Through retrospect of Houshenshan Hospital, architects rethink of the advantage of prefabrication construction, as well as the importance of ventilation system for clean air, last but not least, to provide a safety architectural environment for all constructors, users, and all human kind.

Note 1. Nick Mafi, (2020), "China’s Building a Hospital in 10 Days", Architectural Digest 2. Tom Ravenscroft, (2020), "China building 1,000-bed hospital in 10 days to treat coronavirus", Dezeen 3. Nathan Bahadursingh, (2020), "China Is Building a 1,000-Bed Hospital in 6 Days to Combat the Coronavirus", Architizer 4. Matt Alderton, (2020), "How Heroes Worldwide Built Modular and Prefab COVID-19 Hospitals in Mere Days", Autodesk Redshift 5. Donglian Gu, (2020), "High-Efficiency Simulation Framework to Analyze the Impact of Exhaust Air from COVID-19" 6. Zhang Wanqing, (2020),"The Blood, Sweat, and Fears Behind", Six Tone

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The United Architects’ unrealized imagining of Ground Zero: Iconic, Monumentality and Innovation

TUTOR: YEAR: COURSE:

Bernard Tschumi 2021 Spring ARCHA4618 Contemporary Concepts from 1968

Introduction At the beginning of the new millennium came along with the 9/11 catastrophe, it’s definitely a watershed moment of architecture world. The World Trade Center, once the world’s tallest iconic twin towers collapse less than an hour after sudden strike. It is physically and psychology the architect’s nightmare. Consequently, the rebuild master plan would be much complicated than just Architect’s aesthetics realm, such as some critique about the final winner Daniel Libeskind and David Child’s design were arguably failed to do so. Thus, there’re three reason why it’s worth to re-evaluate the unrealized proposal by United Architect. First, it would be more about Iconic, the notion introduced

by Charles Jencks and well demonstrated by United Architect’s impressive proposal, combined with the complex of Nationalism and Symbolism of New York City. Secondly, it should be more about Monumentality, including, but not limited to what Daniel Libeskind did for Jewish. Lastly, it would be more about Innovation, especially the breakthrough building Typology contributed by Digital technology. Above those three approach, the unbuild proposal should have been yield a new branch of High-rise Typology.

The Nationalism and Symbolism Back to the beginning of millennium after 9/11, the patriotic need of Nationalism was essential and reasonable, after the fall of the symbol for Pax Americana. The state power longing for rebuild the confidence through the tower itself, under such political atmosphere , the New York State Government owned stakeholder, Lower Manhattan Development Corporation (LMDC) hosted the New World Trade Center Master Plan competition during Jan.17 to Oct.31, 2002. Meanwhile, the mass media and press were framing this rebuild plan as an attempt to “Build Hope” and “Rebuilding Confidence” for “A new American Icon” .

The Iconic and Generic From the very beginning of the New World Trade Center competition, the goal would always and crucial about “To provide a significant, identifiable symbol, and a new icon for New York”. and somewhere between “The real estate industry’s thirst for profit and architects’ outsize egos. ” The term Iconic was widely use to describe this ambitious reconstruction plan, which might come up with The Bilbao Effect and so-called star-architects , or more directly Charles Jencks, the luminary and advocator for Iconic Building , the definition would be “Reflect the dominance of powerful force, bring together conflicting metaphors, enigmatic signifiers, weirder forms. “. As we can see, the key shot of final list of seven groups architects’ proposal, all including Statue of Liberty, Empire State Building and the skyline of Manhattan skyline (Fig.1), reveal the landmark image of the city, or to say, the clarity of Icon for New York City.

The final list of seven groups including the New York Five team - Richard Meier, Peter Eisenman, Charles Gwathmey Steven Holl, the others are United Architects, THINK Team, Norman Foster, Skidmore, Owings & Merrill, Peterson Littenberg, last but not least, the final winner, Daniel Libeskind. The winning mater plan proposal has an insight into the monumentality, urban context and other great feature, nevertheless, the final result the David Child’s modification of One World Trade Center was considered “A fairly generic office building.” and nothing but just a “Meh” . In terms of the criteria of Iconic, the mediocre outcome was unacceptable.

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United Architect’s Unrealized Imagining What if other imagining of World Trade Center come true? In terms of Iconic, Monument and Innovation, it’s worth to re-evaluate the United Architect, the proposal by these innovative architects. The connection and similarity among these young protagonists at that time, would be the GSAPP Paperless Studio . During 1993-1998, Greg Lynn, Jesse Reiser (93’ Spring), Ben van Berkel (94’ Spring), Alejandro Zaera Polo, Farshid Moussavi (98’ Spring), all of them were once the Columbia GSAPP faculty members of design studio, namely “Paperless Studio”. Their works were distinct and identifiable, tested digital technology without limitation, explore the new possibility of imagination.

These younger generation of architects trained as architects under dissimilar pedagogy, prefer divergent aesthetics, theorized their practice opposed to their ancestors, such as New York Five team. Facing the challenge of the WTC competition, the United Architect come together by “A series of phone calls in four hours…put in for the competition in one day, it was the last day to apply, Terry Riley called a bunch of us and said you should all come to do it together. “, and started their scheme design through "The connected towers were something that most of us had already been thinking about."

As we can see, instead of the rebuilt generic spire shape of One World Trade Center, the United Architect’s innovative Iconic connected towers (Fig.2) not only created the uniqueness and identity of the proposed landmark, also bring up the connected tower motif. This unprecedented high-rise typology motif was further developed in Rem Koolhaas’s CCTV Headquarter, as well as Steven Holl’s Linked Hybrid (Fig.3) .. Both of these two descendants were located in Beijing, and soon became new landmark of the capital of China. Interestingly enough, Rem Koolhaas even described that “Chose CCTV commission rather than working on a proposal for the World Trade Center in New York…(since) China’s openness to experimentation “ . Which is to say, New York City once had the chance to reshape the image of city, unfortunately it just never come true.

World Tallest Building Another Iconic battle front for reconstruction plan was the height. The championship of World Tallest Building is an issue in New York City, dated back to century ago World Building (1890), succeed by Manhattan Life Insurance Building (1894), Park Row Building (1899), Singer Building (1908), Metropolitan Life Tower (1909), Woolworth Building (1913), Chrysler Building (1930), Empire State Building (1931), and our tragic hero, First World Trade Center (1971). All above without exception, were located in New York City, the city of Skyscraper. The Winning streak was stop in 1998, the honor was taken by Petronas Towers in Kuala Lumpur, then Taipei 101 in Taipei (2004), for now the champion is Burj Khalifa in Dubai (2010).

Since then, the New York City even the whole western world, seems has no longer share the spirit of enthusiast about the competition of top of the world. Take our case for instance, Libeskind and LMDC are unwilling to retake the crown of the world tallest building back to New York City. All they did was to clame that "Freedom Tower is 1776 feet tall. It's not important to be the highest tower, it's important that we remember that this is about independence."

Nonetheless, the UA team doesn’t give up the enterprise to be the top of the world. Instead, they are collaborated with structure consult firm ARUP, take the challenge of push the boundary of building height and construction technology forward. They intension was made “The UA proposal would have been the Tallest Building in the World. (Fig.4)”, as well as provide 112 stories and 10.4 million square feet of interior spaces.

Monumentality: Ground Zero Cathedral Ground Zero is the place where thousands of families lost their love in this tragedy. Seen the documentary photography of the casualties and debris, those Architects who were victims of a new type of war , would always trigger provocative thinking about the relationship about War and Architecture. Although there were some crits that Architects are too eager to design and build rather than mourn the ashes of ground zero , there were still insights about monumentality.

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Beyond Daniel Libeskind’s so-called “Architecture of Healing” symbolism of Memorial Slurry Wall, Fragment Scar elevation, United Architect wanted to “make a kind of Gothic cathedral around the footprints of the World Trade Center site.” The building mass were distributed into five towers (Fig.5), preserving the sunken footprints of the original World Trade Center, enclosure the Ground Zero urban space, meanwhile re-connecting the historic street-grid of Greenwich Street, made the pedestrians easy access across the site freely in all directions.

The Sky Memorial They come out with the idea of Sky Memorial (Fig.6), which was described as “A kind of Valhalla where the heroes lived.”14. This would be a 200,000 square foot Memorial at 800 feet in the air, accommodate with educational center and vertical sky gardens, as well as maximizing the daylight into the floors.”

Innovative High-rise Typology In terms of Innovation, Daniel Libeskind’s design scheme was “The least innovative of all “ On the contrary, among the final list, the United Architect might be the most innovative team. For United Architect, their intention is clear to establish a new tower typology. The "Tubes within tubes" structure system of each tower is designed as twenty-foot-square concrete core, which surrounded by the habitable spaces and exterior supporting framework skin with diagonally braced and celebrates the achievement of tall building as a technical and cultural artifact.” On the other hand, the most unique characteristic of United Architect’s proposal would be the sloped towers.

The motif has its precedent such as Philip Johnson and John Burgee’s Puerta de Europa in Madrid (1996), and further development in this case. (Fig.7). Their methodological approach is “The typology of the building, where we could build these five separate towers."

Form followed Safety Concerns Last but not least, the public's main concerns about the reconstruction plan would be the safety, after the tragedy of unexpected deliberately attack. The motif of connected towers not only intrigued the Iconic impression and Monumentality atmosphere, but also the sloping form provided the function “Multiple routes of escape and firefighting access following vertical and horizontal routes” , every 30 floors are connected for the escape routes in order to create more than one way (Fig.8) for people evacuate to a safe place. This sensational sloping tower design is not just playing with form, it would effectively solve the safety issue of traditional high-rise once and for all, avoiding the Falling Man tragedy in 9/11.

Inventive Digital Technology The most notable characteristic of United Architect would be their ground breaking contribute during GSAPP Paperless Studio. Greg Lynn, Jesse Reiser, Ben van Berkel, Alejandro Zaera Polo, Farshid Moussavi, as Columbia GSAPP faculty members of design studio, they were cutting edge frontier of advanced computer technology in design between 93’ Spring to 98’ Spring, tested digital technology without limitation, turned the digital technology into inventive tool, which made United Architect’s imaginary exploration of the radical forms and shapes possible. (Fig.9) There were no longer standard typical plan for the mediocre high-rise, instead, each tower and floors in United Architects proposal were so much different with gradual change sloping shapes. The final scheme of United Architects proposal, somehow recall the memory of the debris of building, distortion of steel beams and columns(Fig.10), fragment of façade , which might be another clue to understand the United Architects.

Conclusion For United Architect, although the Ground Zero is the place no one want to simply considered as a “project”, the need for development is still crucial for New York City and United States after the destruction of the World Trade Center site.

Even though the outcome was still controversial, and the United Architect’s proposal would still too radical to whom it may concern, maybe the best excerpt for their proposal would come from the LDMC review panel report for the final list teams. In summary, United Architect was considered as innovative architects, facing the daunting challenges of this complicated project, including architecture design, urban planning, infrastructure engineering, transportation, and landscape design. Their visionaries will bring forth the progressive ideals of contemporary society, such as the insights in Iconic, Monumentality and Innovation.

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Note 1. Lynne B. Sagalyn, (2004), "The Politics of Planning the World’s Most Visible Urban Redevelopment Project", Contentious City: The Politics of Recovery in New York City Russell Sage Foundation, pp.23-72 2. Mark C. Taylor, (2002), “Beyond Mourning, Building Hope on Ground Zero”, The New York Times 3. Gideon Fink Shapiro, (2014), “Rebuilding Confidence One World Trade Center”, Architect 4. Thomas Rogers, (2011), “Ground zero, a new American Icon”, Salon 5. Charles Jencks, (2005), “The Iconic Building”, Rizzoli 6. Witold Rynczynski, (2002), “The Bilbao Effect”, the Atlantic 7. Ricky Burdette, (2010), “The Death of star-architects”, News Week 8. Charles Jencks, (2011), “The Story of Post-Modernism: Five Decades of the Ironic, Iconic and Critical in Architecture”, Wiley 9. Aaron Betsky, (2012), “One World Trade Center's Descent into Meh”, Architect 10. Bernard Tschumi, (2013), ” GSAPP Paperless Studios”, Canadian Centre for Architecture Lecture 11. Tom Jennings, Greg Lynn, (2018), “The Architects: A Story of Loss, Memory and Real Estate”, Canadian Centre for Architecture Talks 12. Greg Allen, (2011), “Linked Hybrid, Steven Holl Rebuilds The World Trade Center “ 13. Elizabeth Pagliacolo, (2012), “OMA completes CCTV headquarters”, Azure 14. Lebbeus Woods, (2012), “September 11,2001-2011”, Lebbeus Woods Wordpress 15. Lebbeus Woods, (1997), “War and Architecture”, Princeton Architecture Press 16. Edward Robbins, (2002), “Architects sought work before the ashes of World Trade Center were even cold”, Architectural Review 17. Greg Lynn, (2005), “Organic algorithms in architecture”, TED Talk 18. Lebbeus Woods, (2011), “September 11, 2001-2011”, Lebbeus Woods Wordpress 19. Jesse Reiser, (2002), “World Trade Center”, RUR 20. Francesc Torres, (2011), "Memory Remains: 9/11 Artifacts at Hangar 17", National Geographic 21. Lower Manhattan Development Corporation, (2002), “Announcement teams of architects and planners to participate in design study of world trade center.”

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Argument

13 Vo Trong Nghia Architects’ New Tropical Modernism TUTOR: YEAR: COURSE:

Andres Jaque 2021 Summer ARCHA4488 Arguments

The Question: In terms of New Tropical Modernism It’s interesting to see Vo Trong Nghia named Bamboo as the “Steel of 21st Century, if 20th century is the time of Industrial Modernization, then the 21st Century would be the time of Green and Vernacular Architecture in VTN’s point of view, which is also his practice approach. In terms of tropical Vernacular Architecture, how would VTN Architecture evaluate themselves, see the similarity and difference Architecturally and spiritually, between other regionalism architecture in Southeast Asia, such as Geoffrey Bawa in Sri Lanka, Studio Mumbai in India?

The Reflection: The political scope of Global South Under the scope of social political spectrums, people are raised awareness of Global South, in the pedagogy of Architecture discipline, architects nowadays put more attention on those architecture beyond western world. As Pham Thyu Loadn mentioned , Vietnam has Socio-economic transformation in last two decades, the Gross national income risen from $100 to over $1000, this rapid growth come with Urbanization and the need of Architecture. The economic boom would be best practice setting for Vietnam Architecture, just like Netherland architects’ practice in 1990s, and Chinese Architects’ practice in 2000s. Correspondingly, it comes to the practical issue to deal with, which development paradigm should they obey? Should they follow the massive suburbanization such as U.S. had did in 1950s, or another vernacular Regionalism approach of Modernism, that is the question.

The Response: The Vernacular Architecture, and Critical Regionalism The dispute of globalization and regionalism in architecture discipline is a endless controversy, depends on the audiences’ taste. In this case of Vo Trong Nghia, definitely is the leading figure of contemporary regionalism Vietnam Architect without doubt. In his essay , Vo Trong Nghia describe his works in these few aspects: Green Architecture, Bamboo Architecture, and Buddhist Architecture.

To elaborate those notion, quoted form his own word , Vo Trong Nghia first conclude all the pollution, flood, overheat as the result of lack of green, and compare the average green park area per person to other East Asia country. As a response, all of his design came with the green. Furthermore, he considered the bamboo as “Inexpensive, easy to obtain, lightweight, durable and fast growing.”, and an substitute of wood, since the wood is no longer an easy excess material in Vietnam.

The Accountability However, during the Argument Lecture present by Vo Trong Nghia on Jul.21,2021, the question and response section is not so satisfied. There’re questions about his so called “Green Architecture” are mostly built by concrete, which is not so green in term of sustainability, only few of them such as single floor resort restaurant are built his iconic bamboo architecture. Does Vo Trong Nghia had ever intend to avoid use the unsustainable concreate material, in order to get a greener architecture approach? He avoided to answer, just mentioned it’s complicated.

Table 1: The Genealogy of Vo Trong Nghia and Contemporary Japanese Architect I doubt about this approach, would these Imitation be the best way to demonstrate the Vietnam “ New Tropical Modernism”? If we compare to other tropical architect, such as Gefferoy Bawa in Siri Lank, Studio Mumbai in India, their approach and insights might be more innovative than just a compilation of trendy design.

Note 1.Pham Thyu Loadn, (2016), “The meaning of creating architecture in Vietnam”, a+u, No.550, pp10-13 2.Vo Trong Nghia, (2016),” What can architect do in a age when nature us being destroyed”, a+u No.550 3.Vo Trong Nghia, (2015), “Green Our Earth”, Columbia GSAPP Architect Lecture

If VTN’s green architecture is only visually being green with those vigorously grown grass and plantation, what if VTN’s architecture without the green filter? Considering Vo Trong Nghia’s Japanese educational background in Nagoya Institute of Technology and Tokyo University during 1996-2004, it’s easy to notice and hard to ignore the similarity between VTN’s work and contemporary Japanese Architects (Table.1). In terms of Architecture Typology, program, plan and section, facade details, it looks like the Japanese Architecture come with green filters. Even in his iconic bamboo architecture, which would be an inspired by Naito Hiroshi, his mentor in Tokyo University, intended to use regional material such as bamboo, brick to demonstrate the Regionalism in Vietnam (Table 2).

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