EoYS21_MArch_30

j a c o b hu

COLUMBIA GSAPP master

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architecture

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studio work

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JACOB HU yao.hu@columbia.edu www.jacobhu.com

EDUCATION

COLUMBIA UNIVERSITY GSAPP Master of Architecture, advanced placement 2019 - 2021 UNIVERSITY OF COLORADO BOULDER Bachelor of Environmental Design 2006 - 2011

EXPERIENCE

CUI KAI STUDIO, CHINA ARCHITECTURAL DESIGN & RESEARCH GROUP, Beijing, China LEAD DESIGNER, March 2018 - August 2019 Responsible for the schematic development of numerous architectural and urban design schemes as well as leading the design team in the detail design of a major hospitality project in Zhejiang, Jinhua.

Notable Projects: Huzhou Urban Center Scheme Zhejiang Jinhua Resort

lead designer lead designer and project leader

WARNER ARCHITECTURE STUDIO, Beijing, China LEAD DESIGNER, August 2017 - February 2018 Responsible for leading competition and schematic design team, as well as leading development of numerous healthcare projects. Work also included setting up office-wide BIM standards as well as leading Revit training for employees.

Notable Projects: Guilin Fuhui Maternity Hospital, Design Development / Construction Documents Guilin Medical Technology Industrial Park Urban Scheme Shenzhen Women’s and Children’s Hospital Competition Jinan Healthcare Plaza Competition

project leader lead designer lead designer lead designer

MAD ARCHITECTS, Beijing, China DESIGNER, August 2014 - August 2017 Involved as a core team member in the Lucas Museum and the China Philharmonic Hall projects, both from schematic design to the end of design development. Participated in numerous design competitions and led the design team for the Montparnasse Tower renovation. Lead lunch hour tutorials on Revit and Vray.

Notable Projects: Montparnasse Tower Competition Lucas Museum of Narrative Art, Schematic Design / Design Development China Philharmonic Hall, Schematic Design / Design Development Faraday Future Zeus Campus Competition Xiamen Wedding Chapel Scheme

team leader and designer designer designer designer team leader and designer

HUNAN ARCHITECTURAL DESIGN INSTITUTE, Changsha, China DESIGNER & BIM LEADER, February 2012 - August 2014 Responsible for execution of BIM project workflow and Revit training for architecture, structure, and MEP teams. Lead numerous Revit training classes. Coordinated with BIM team on Revit modeling. Participated in numerous schematic design and design competitions.

Notable Projects: Changde Xiangya Hospital Campus, Design Development Changsha World Trade Center, Design Development Second Xiangya Hospital, Design Development Jin Qiao Convention Center Scheme

SKILLS

SOFTWARE Revit, Dynamo Rhino, Grasshopper AutoCAD Maya Sketchup

Vray, Maxwell, Lumion, Enscape Photoshop, Illustrator, Indesign HTML/CSS/Javascript Python

BIM leader BIM leader BIM leader designer

PROFESSIONAL U.S. Citizen English, native fluency Mandarin Chinese, professional fluency

STUDIO WORK 01 PARTICIPATORY HOUSING Core Studio III Critic: Adam Frampton Fall 2019

02 CAVE-SCAPE

Advanced Studio IV Critic: Nahyun Hwang Spring 2020

03 ACADEMY OF SOUND

Advanced Studio V Critics: Dominic Leong, Chris Leong Fall 2020

04 SYNC CONSTRUCT Advanced Studio VI Critic: Michael Bell Spring 2021

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GSAPP Core III

Participatory Housing

Jacob Hu

01 PARTICIPATORY HOUSING Columbia GSAPP Core III Studio Partner: Joey Xu Critic: Adam Frampton Fall 2019

In the latter half of the 20th Century, modern architects like Alison and Peter Smithson sought new typologies using new brutalist techniques to house low-income families.

These experiments ultimately failed due to numerous socioeconomic reasons that were out of their control, yet their wisdom in creating common spaces for communication and collaboration left their mark on future generations of apartment building design.

In this studio, we designed with communal living in mind.

While the separation of public and private spaces was respected, the singular hallway that wound its way up to the roof brought a new dynamic to the community. Its essence is felt between the public domains of the courtyard neighborhood while allowing for ample privacy when needed. The interactivity of semi-public and semi-private spheres of influence allows for a quintessential element of humanity, which is the sociability of the community.

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GSAPP Core III

Participatory Housing

Jacob Hu

Before our design project, our studio embarked on an exploration of Kazuyo Sejima’s Gifu Kitagata housing project in order to facilitate a clearer understanding of the depths of structure that can create lived in spaces...

Creation of this 1:500 structural flat plate and slab system establishes a foundational logic for the modular elements researched later on.

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GSAPP Core III

Participatory Housing

Jacob Hu

A

B

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a. flat plate voided slabs, reinforced cast in-situ concrete b. load bearing walls, reinforced cast in-situ concrete c. base slab, reinforced cast in-situ concrete d. deep strip foundation and foundation strap, reinforced cast in-situ concrete

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GSAPP Core III

Participatory Housing

Jacob Hu

Exploratory drawings that unravel the hidden structural elements within Gifu Kitagata.

Moment resistance

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GSAPP Core III

Participatory Housing

Jacob Hu

Base Slab - Reinforced Concrete Transversal Reinforcement Longitudinal Reinforcement Deep Strip Foundation Strap

Wall/slab connection details

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GSAPP Core III

Participatory Housing

Jacob Hu

A main element of the design is the winding hallway that reaches the top uninterrupted.

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GSAPP Core III

Participatory Housing

Jacob Hu 10

This design establishes a connection between the public hallway sequence and the private/ semi-private foyer and kitchens of the modular units. By establishing the winding corridor, the segregation of levels is broken apart. A singular mechanism for the livelihood of hundreds of families are congregated and celebrated.

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19 60ft

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GSAPP Core III

Participatory Housing

Jacob Hu

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6 7

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15 8 12 10

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Ground Floor (-12.5) 10

1. Corridor 2. Units 3. Entrance Plaza 4. Cafeteria 5. Leisure Center

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40ft

6. Gym 7. Elevator Lobbies 8. Retail 9. Museum 10. Courtyard

11. Pool 12. Central Meadow 13. Multi-purpose Room 14. Laundry Corridor 15. Shared Space

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Ground Floor (+0.0)

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GSAPP Core III

Participatory Housing

Jacob Hu

Upper level atriums support collaborative activities among the residents.

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GSAPP Core III

Participatory Housing

Jacob Hu

South Elevation

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West Elevation

RIGID INSULATION

Participatory Housing

Jacob Hu

5" PRECAST CONCRETE PANEL

GYP. BOARD

5"

8"

Wall Section Details 5/8"

FACE OF FACADE

1 5"

8"

5/8"

GYP. BOARD

5" PRECAST CONCRETE PANEL

FIRESTOP RIGID INSULATION

EXTRUDED STEEL CHANNEL MINERAL WOOL INSULATION

WOOD BLOCKING

INTERIOR FINISH

Level 3 23' - 6'

STEEL ANGLE HOOK

8"

1'-0"

1 5/8"

1/2"

STEEL EMBED ANGLE

SILICONE SEAL AND BACKER ROD SETTING BED

SILICONE BLOCKING

HOLLOW-CORE SLAB

REFLECTIVE SILVER FRIT

WELDED STEEL ANGLE SPRAY-ON FIREPROOFING ALUMINUM LIP

GLASS

10 5/8"

FACE OF FACADE

3"

1 10 5/8"

3"

EXTRUDED ALUM. BAR, SILICONE SEALED TO GLASS WOOD BLOCKING

Hallway activities include dining and communal gatherings. Openings along the unit walls facing the corridor allow spontaneous action between public and private spaces.

FIRESTOP MINERAL WOOL INSULATION

GLASS

INTERIOR FINISH

8"

SILICONE SEAL AND BACKER ROD

Level 2 12' - 6' 1 5/8"

SILICONE BLOCKING

2 7/8"

HOLLOW-CORE SLAB REFLECTIVE SILVER FRIT

1/2"

SETTING BED

3 7/8"

GSAPP Core III

ALIGN

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STEEL ANGLE BOLTED TO BEAM WELDED STEEL ANGLE 5" PRECAST CONCRETE PANEL SPRAY-ON FIREPROOFING WOOD BLOCKING RIGID INSULATION

BOLTED STEEL HANDLE, ATTACHED TO HOOK WELDED STEEL HOOK GYP. BOARD

5"

8"

5/8"

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GSAPP Core III

Participatory Housing

Jacob Hu

Wall Section Details

FACE OF FACADE

Wall Section Details

1 10 5/8"

3"

EXTRUDED ALUM. BAR, SILICONE SEALED TO GLASS WOOD BLOCKING FIRESTOP

1

MINERAL WOOL INSULATION

GLASS

INTERIOR FINISH

1 5/8"

3 7/8"

Level 4 34' - 6'

8"

SILICONE SEAL AND BACKER ROD

ALIGN

SILICONE BLOCKING

2 7/8"

HOLLOW-CORE SLAB REFLECTIVE SILVER FRIT

1/2"

SETTING BED

STEEL ANGLE BOLTED TO BEAM

10 5/8"

3"

WELDED STEEL ANGLE 5" PRECAST CONCRETE PANEL SPRAY-ON FIREPROOFING

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WELDED STEEL HOOK BOLTED STEEL HANDLE, ATTACHED TO HOOK AWNING WINDOW

2 10 5/8"

FACE OF FACADE

3"

8

4

1 10 5/8"

3"

5 3

6 AWNING WINDOW

WOOD BLOCKING

ALIGN

3"

WOOD WINDOW SILL

3/4"

STEEL PLATE RIGID INSULATION

1. Exterior terrace 2. 2 x 3/8” Double pane argon filled insulated window wall 3. Cantilevered reinforced concrete floor slab (cast in-situ) 4. Raised floor system 5. Thermal insulator along exterior edge of concrete wall, 6” mineral insulation 6. Voided biaxial flat plate, reinforced concrete cast in-situ 7. Suspended ceiling system hides air ducts, heating and water pipes, lighting and 8. sprinkler system Separation wall between corridor and unit, insulated with a double layer of 6” mineral fiber, contains operable clerestory window

5" PRECAST CONCRETE PANEL

GYP. BOARD

5"

FACE OF FACADE

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5" PRECAST CONCRETE PANEL

8"

5/8"

1 5"

8"

5/8"

GYP. BOARD FIRESTOP

RIGID INSULATION STEEL EMBED ANGLE

EXTRUDED STEEL CHANNEL MINERAL WOOL INSULATION

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GSAPP Core III

Participatory Housing

Jacob Hu

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32

GSAPP Advanced Studio IV

Cave-Scape

Jacob Hu

02 CAVE - SCAPE Columbia GSAPP Advanced Studio IV Partner: Cherry Qu Critic: Nahyun Hwang Spring 2020

Kingston is dotted with the scars of its industrial past. Below the city’s first urban park sits an abandoned limestone mine called the Kingston Cave. Hidden and disused, this subterranean network represents an uncomfortable dichotomy between Kingston’s past prosperity and present ennui. Co-opted at least once in its history as a home for a wonderfully strange mushroom farm, the Kingston Cave can once again be engaged by the community.

This proposal attempts to establish a communal school yard within the Kingston Cave that publicizes both its unique setting as well as its marred history.

At the center of this proposal stems an interest in remediating the abuses rampant in the creation of these mines and on the exploitation of child labor during that period of extraction. Specifically, intergenerational programs such as a camp, an aeroponic farm and communal kitchen, a playground and a subterranean research lab attempts to recontextualize the human activity with this site. Besides accommodating for the arts and sciences, children are free to engage with the site in numerous ways. Through community programs that merge education, science, farming and play, the underground site attempts to foster the imaginations and creativity of the young through active learning and engagement.

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GSAPP Advanced Studio IV

Cave-Scape

Jacob Hu

We began this studio reading and synthesizing a series of essays in order to propel our critical analysis of a site and typology based on historical discourse...

Jacob Hu A4104-4 Advanced Studio IV Nahyun Studio Part 0 Summary

Jacob Hu A4104-4 Advanced Studio IV Nahyun Studio Assignment 3 Summary

Morton relates to the reader an idea of critical thinking without expounding the synthesis of the title, which is the be critical. Instead, he relates to the ecological thought and grounds his explanation of such thought in various meta references in order to capitalize on the zeitgeist.

Much of the article refers to leftover areas, in particular when utilizing theories of stim-dross and in the architectural sense of the word “exaptation”, in wholly physical and geospatial context. In a sense, this subduing of the socio-economic in favor of the visual can be explained away as being an architecture focused essay. However, answers to questions asked can be given thought through other mediums, as Solà-Morales aptly explained, “architects always design to remove this type of condition or to solve a place’s problems through design.” (p.34) This deference to design and the importance of purposeful and planned building can become mired in controversy, as shown in le Corbusier’s modernist dream of the Radiant City, or the failed urban experiment of the Pruitt Igoe apartments.

In introducing the image of a ruined future, the author leads the reader from their preconceived anxiety of current events to the discovery of some future invention. Establishing time as a component, the ecological thought is then introduced to be existential and conscious of the biases of modern humans. The ecological thought is in the coexistence of society with all its faults, to become enmeshed in the rich fabric of community, and to come to an ironic conclusion that we know less as we discover more, to be in attendance of the strange strangers.

Morton’s idea of the ecological thought relates to the pandora’s box, discomforting as it may be to understand that for all we have accomplished, we may never reach an end. This may be a reason for society’s construction of artificial wilderness, to compartmentalize what is controllable. Capital N Nature in essence is an artifact of our evolutionary history, as we survived in “world of mutation and uncertainty.” (Morton, p.18) The ecological thought is the polar opposite, as it is understood by Morton to be wholly democratic. However, I contend that this thought is rather more anarchy. If the reader is to understand chaos theory to be the unbinding of control, then the anarchist can be seen as the revolutionary catalyst to understanding the ecological thought. Fighting the dualism in theories such as environmentalism, the anarchist is then free of constraints. Like Nolan’s Inception (2010, right), the deepest levels of dreaming in chaotic limbo are “places we can go to keep our dreams undisturbed.” (Morton, p.9) Still, as we contend with the ecological thought as the antithesis of the restrictive and small, the other issue Morton explains is the expansive nature of such thought. The collage of human emotions come to the fore in a fashion unbecoming of the civilized society. Intimate though reality may be, nothing hits me more than the escapism of film. In Lars Von Trier’s Melancholia (2011, below), the lead character fights depression as the Earth travels on a path towards planetary collision. The juxtaposition between the personal discovery the protagonist experiences and the world’s ending cast a stark reference to melancholy. The director places great emphasis on allowing the feelings of the protagonist to show in the other characters all the while keeping herself composed throughout the ordeal. The barrier to ecological thought then is shown by emoting characters, with the varied voices drowning out the singular non-entity the lead character plays, which ultimately finds balance.

The ecological thought denounces conformity in favor of skepticism, but rather than compound the issue of these extreme bounds, Morton expresses an affirmative, that “the ecological thought is intrinsically open.” (Morton, p.12) Openness in and of itself is not depressing or jubilant. It is a tabula-rasa onto which all colors and creed can append to.

My thoughts on Morton’s “Ecological Thought”

As the neglected portions of so many cities are referred to as “dross”, so too would have been said of those mid-21st century complexes dreamt up through the power of design. Countering the narrative of cardinal order and symmetry are the influences above the tactile such as gender, equality and good old human emotion. Above even those are the greater extra-personal communities, those conglomerate forces that the modern world thrives viciously on. One can answer Berger when he questions architects’ refusal of the “terrain vague” with one term: market economy. The drivers of the cities are increasingly the developers and financiers who swim in the above-world. Exemplified in the last great recession, without this political and financial will, the architectural world breaks.

Pulling away from the physical, the German philosopher Hannah Arendt coined the term “space of appearance” in her explication on the polis, a western notion known to us of the polity underlying our democratic society. To Arendt, the polis rises above this human construct and extends to all gatherings of human behavior, in which we inevitably proceed from speaking and thinking, into ultimately doing and achieving. This communal accomplishment is the polis within each of us, and it’s this thought that drives Arendt to the concept of the ‘space of appearance’.

“Where I appear to others as others appear to me, where men exist not merely like other living or inanimate things, but to make their appearance explicitly” – Hannah Arendt, The Human Condition, 1958 Arendt also distinguishes between ‘labor’ and ‘work’, in which ‘labor’ produces for production while ‘work’ can create something wholly dissimilar and memorable (thus durable). Her original synthesis bridges the gap into ‘architecture’, and in particular on its dual properties of both a built work and the act of building. Kenneth Frampton in particular focuses on this hierarchical framework within Arendt’s theories, and that the, “[Space of appearance] allows the subject to come into being in this sense…so that the articulation of hierarchy of space is itself significant…in the sense that the space is an availability which may be consummated fully by the being.”

– Kenneth Frampton, 2016 Not that the space will prescribe behavior, but the person would latch onto the possibilities of such “spaces of appearance”. Frampton assesses the commodification of the environment today as the result of sustainability in architecture in the form of reliance on advancing technology, which supposes a world not overrun by meaningless buildings, void of spatial hierarchy and the inherent possibilities of private and public order. To Arendt and Frampton, the dross-scape is a deep psychological wound which we continually triage with band-aids, all the while not comprehending the need for a psychologist.

My thoughts on Drosscape

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GSAPP Advanced Studio IV

Cave-Scape

Jacob Hu

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Focusing on our area of study, Kingston, we further delineated the historical infrastructure laced within the fabric of the urban and rural landscape.

Course: Oblivion

When in Rome

“It”

Fertilizer

Human infrastructure is layered by time. In this developed world, very little of our structure are built on the tabula rasa of nature, and the above example is no different. Shown here is two periods of human ingenuity, one of the eras of the railroad and rampant industrialization, while paved over it is the era representing urban expansion and decline. Evidence to these succeeding time periods dot the hundreds of ports and industrial towns, and nothing manmade can be completely extinguished from the urban fabric.

Happening upon these ruins sparks some familiarity with the ancient Greco-Roman structures. The resemblance to the ruins of arches and domes of antiquity is frightening.

This ruined kiln along Rondout Creek betrays the waste and hubris of man as it strides across the unfamiliar wilderness seeking profit and glory, the momentum of manifest destiny ends not in the cardinal west, but in these abandoned creations. Speciation of the built environment causes much abuse, yet the leftover rot provides ample scenery for the whims of photographers and worshippers of urban decay.

The figurative “monster” in the depths of wells attracts much wonder in adventurers of these abandoned structures. While this smoke stack lies in bliss among the trees it towers over, the monstrous girth protrudes in stark contrast with its context. Incorporating the historical framework from whence this came, the smoke stack becomes the monument of our evolution.

Modern life with its exigencies and pleasures stem from the arduous manhours among and deep within these hills.

This wetland at the mouth of the intersection of Rondout Creek and the Hudson River lays claim to long abandoned barges. Broken yet preserved, these human instruments of industrialization find equal ground among the elements. Refurnished as homes for the biomes of the river, these barges breath new life into the area while attracting new wildlife.

The cycle of life churns on as birds find new prey among this dilapidated reef while the fish co-opts these stained ruins for life and play.

Paved railroad tracks Kingston, NY City of Kingston Unknown year Russ Nelson, 2010

Abandoned lime kiln along Abeel Street Kingston, NY Unknown owner Unknown year of decommissioning Richard (rchrdcnnnghm), 2017

Abandoned smoke stack Port Ewen, Esopus, NY Unknown owner Unknown year of decommissioning Andy Milford, 2018

Sleightsburgh Park Port Ewen, Esopus, NY Esopus Town Unknown year - Present Andy Milford, 2017

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GSAPP Advanced Studio IV

Cave-Scape

Jacob Hu

Pre-history Antiquity

Antiquity Modern

Human 300,000 BC: Homo sapiens evolve from their primitive ancestors, taking over domination of the Earth from the Neanderthals.

5000 BC: Early civilizations discovered exposed regions of limestone and proceed to build quarries and use these stones as building materials.

1825-50 AD: Kingston and Rosendale mines start up operation as the Newark Lime and Cement Company excavate into the mountainside.

1661 AD: Kingston founded by the dutch. The nearby Rondout district also rises in importance the the Rondout Creek and the Hudson River becomes heavily trafficked.

Geology

450 million BC: Evolution of corral and molluscs during the Silurian and Devonian period. Vast areas of shallow ocean floor covered in these organisms.

450 million BC

1880 AD: Limestone excavated from the Kingston and Rosendale mines are used to create hydraulic cement, or natural cement, which were used to build lasting monuments such as the Brooklyn Bridge, the U.S. Capitol building, and the Washington Monument.

300,000 BC

5,000 BC

1,000 AD

1,700 AD

1,825 AD

1,850 AD

1,900AD

1,925 AD

1935 AD: Horse manure shipped from racetracks across America is used as fertilizer for the trays of mushroom seeds.

3000 BC: Horses domesticated and bred for labor and transportation.

Flora & Fauna Knaust brothers installed air conditioner units and air ducts in order to keep consistent cool air and air flow inside the vast caves of the old limestone mines.

Extended archaeological survey of the ecology of Kingston, NY.

1,950 AD

1935-1960 AD: Mushrooms grown by the Knaust brothers are sent to large scale supplies like the Heinz and Campbell companies, which used these mushrooms in their canned soup products.

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UT E

GSAPP Advanced Studio IV

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Cave-Scape

Jacob Hu

GREENE

COUNTY

Regional Map COXSACKIE

Knaust Cavern Mushroom company’s Compost Factory and Packaging Plant

Kingston Hudson River

Manhattan

TE 9W

94.5 miles away

ULSTER COUN

RO U

TY

Kingston Cave

eek ut Cr ndo Ro

r ill R i v e llk

Wa

Limestone Deposits

HUDSON RI

VER

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ORANGE COUNTY

RO UT E

NEWBURGH

ROUTE 9W

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Legend

Our site lies in slumber beneath the town of Kingston. It’s history and logistical importance at the turn of the 19th Century lay forgotten.

Mushroom Caves Mines Cities Manure Freight U.S. Routes County Lines State Lines

NY

ST AT EL

IN

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GSAPP Advanced Studio IV

Cave-Scape

Jacob Hu

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GSAPP Advanced Studio IV

1. CAVE LAB 2. Excavation 3. Side Entrance 4. Archive / Library 5. Excavation 6. Storage 7. PLAYGROUND 8. Chairlift 9. Zipline 10. Nets 11. Adventure Course 12. Stage 13. Trail 14. Fauna House 15. Climbing Wall 16. Main Entrance 17. Trail Exit 18. FARM 19. Aeroponic Garden 20. Communal Kitchen 21. Moss Farm 22. Watchtower 23. Side Entrance 24. Subterranean Lake 25. CAMP 26. Shared Studios 27. Living Quarters 28. Exhibition Hall 29. Bathhouse

Cave-Scape

Jacob Hu

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GSAPP Advanced Studio IV

Cave-Scape

Jacob Hu

An eye into the historical ecology

Playground Area

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GSAPP Advanced Studio IV

Cave-Scape

Jacob Hu

Cave Lab

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GSAPP Advanced Studio V

Academy of Sound

Jacob Hu

03 ACADEMY OF SOUND Columbia GSAPP Advanced Studio V Partner: Charlotte Ho Critic: Dominic Leong, Chris Leong Fall 2020

The native Hawaiian practice of mo’olelo, or storytelling, is the product of a culture that celebrated their heritage and knowledge in song and dance. communal and spiritual activities. The ancient voices of the past generations are recalled through these communal and spiritual traditions that have stayed consistent following more than a century of repression and submission.

Within this renewed Waikiki Ahupua’a, the Academy of Sound intends to celebrate the richness of native Hawaiian culture through an immersive pedagogical framework.

Acting as the nexus for communities, class, and race despite segregation in this urban context, this academy invokes the spirit of past Hawaiian life in sound and atmosphere, and intends to cultivate and research native Hawaiian practices to remedy the past historical and social discrimination.

Seeking to build a cohesive vision using the multiplicity of timbres and creators, the academy will foster creativity of expression through craft and experiential pedagogy in order to collectively rebuild a foundation for the society of the future. Embracing the vast urbanism of Waikiki today, this academy will invite the community at large to invoke their voices and thoughts in a democratic forum, where stories, song and dance are given renewed voices. Varied in geometry and materiality, this academy combines historical building materials of rock and wood with the more urban concrete in order to create sound spaces of reflection, absorption and isolation.

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GSAPP Advanced Studio V

Academy of Sound

We started the studio reliving our own past, delving deep into our ancestral history to better understand the sociological connections that foster a living history within ourselves...

Jacob Hu

The family tree coupled with the personal collage brought forth a tangible and physical evidence of the cultural knowledge that created us.

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GSAPP Advanced Studio V

Academy of Sound

Jacob Hu

Jilin City settled

[-] [+]

Colonized territory

50,000,000

Xia Tribes (HAN) Sanmiao Tribal States (MIAO)

Xia States (HAN) Miao Tribes (MIAO)

2800 - 2000 BCE

Xiongnu Tribes

Xianbei Confederation (PROTO-MONGOL)

Chu State (HAN)

Han Dynasty (HAN) Hengyang settled

Shang Dynasty (HAN) Miao States (MIAO)

2060 - 1600 BCE

1600 - 1046 BCE

1030 - 220 BCE

ANCESTOR [ORIGIN]

220 BCE - 200 CE

ANCESTOR [ORIGIN]

1,000,000 500,000 [-]

[-]

200,000

300,000

[+]

[-]

[-]

[+] [-]

[-]

45,000,000

[+] [+] [-]

[+]

100,000,000

[+]

100,000,000

75,000,000

140,000,000

Balhae (KOREAN)

Khitan Liao (KHITAN)

Jurchen Jin (JURCHEN)

Tang Dynasty (HAN)

Song Dynasty (HAN)

Southern Song Dynasty (HAN)

Mongol Yuan Dynasty

698 - 926 CE

916 - 1125 CE

1115 - 1245 CE

(MONGOL)

(JURCHEN MAJORITY) Jurchen Nurgen RMC

(HAN MAJORITY)

(HAN) Ming Dynasty (HAN) Ancestor movement (JIANGXI -> HUNAN)

Ancestor migration (JIANGXI -> HUNAN)

Ancestor migration (SHANDONG -> HUNAN)

1271 - 1368 CE

1406 - 1619 CE

ANCESTOR [ORIGIN]

Colonial influence Russia Japan

TO

14,000,000

[-]

[-]

[+]

EDI

NBU

RGH

[+]

42,000,000

Ancestor migration (SHANDONG -> JILIN) MANCHU ORIGIN

400,000,000

[+]

[-]

500,000,000 470,000,000

[+]

(MANCHU) Qing Dynasty

[-]

(HAN MAJORITY)

Colonial influence Japan

(MANCHU) Qing Dynasty (HAN MAJORITY)

Ancestor migration (JIANGXI -> HUNAN)

1680 - 1850 CE

[+]

Republic of China

Tianjin City Father’s side >Merge<

Mother’s side

Colonial influence Portugal England France

1850 - 1910 CE

1931 - 1945 CE

Migration map of my ancestors

Layered Regions

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GSAPP Advanced Studio V

Academy of Sound

Jacob Hu

The representation of an ahupua’a of traditional Hawai’ian culture, a socio-political and ecological subidivision of the Hawaiian Islands.

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GSAPP Advanced Studio V

Academy of Sound

Jacob Hu

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The site’s adjacency to numerous ecological sites, namely the Taro Fields and the Kapahulu Wetland allows for synergies with existing and developing educational programs that benefit both the school children as well as the community at large.

Hawaiian indigenous practices using these native resources in a wide variety of lifestyles hold much importance to our nexus.

Access to the rejuvenated Ala Wai Canal and it’s adjacent wetlands allows for more experiential educational activities for the school and its programs.

What was once a solid segregation between canal and land now becomes a permeable parkland that aids in species recovery and ecological balance.

Opening the interior classrooms to the natural ecosystem solidifies the balance witihn the ecosystem.

The ‘voices’ of nature prolongs the nascent growth of stewardship of the land.

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Portions of the site muffles the neighboring urbanism, forming perfect venues for music and craft.

These ‘temples’ for storytelling and dance form the core of the academy.

Other areas of the site allow a more natural exchange between the rest of the city, thereby forming plazas and public forums that allow for more democratic speech.

This portion builds a corridor of parallel activities, that of the educational inside and of the exterior exhibition for visitors. This highway will also funnel tourism into the site as well as connect it with the Honolulu Zoo. Rather than a monument for historic indigeneity, this corridor celebrates the life and future of indigenous living and stewardship.

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Armed with an historical understanding of our site, we developed strategies for healing the land.

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GSAPP Advanced Studio V

Academy of Sound

Jacob Hu

The academy captures and interprets contextual qualities of sound

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GSAPP Advanced Studio V

Academy of Sound

1. City Receiver 2. City Room 3. Performance Space 4. In-between Space 5. Wind Horn 6. Gourd Room 7. Recording Space 8. Stairs 9. Ceremony Hall 10. Breakout Space 11. Hearing Stage 12. Wind Tunnel

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40ft

Jacob Hu

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GSAPP Advanced Studio V

Academy of Sound

Jacob Hu

Interiority and exteriority are questioned as spaces spread out into the landscape

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GSAPP Advanced Studio V

Academy of Sound

Jacob Hu

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04 SYNC CONSTRUCT Columbia GSAPP Advanced Studio VI Critic: Michael Bell Spring 2021

Early sociologists reflected that our society was a selfcontained and self-regulating semiotic system whose elements or actors are defined by relationships with other elements within that system. To them, the structure of the network they lived in (at the beginning of the industrial revolution) was imposed by the same actors participating in that system. Limitations that essentially made them cogs in the wheel of industrialization and densification. However, within this fate lies moments of synchrony and of the harmonious, along with the dynamic.

My intentions for a future truck stop is in the celebration of the progressive diachrony found in human made machines and tangentially, in the way those machines interact with human actors to make our world run the way it might tomorrow

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We began this semester looking into both an anachronic vision of America’s past, littered throughout the nation, paired with an analysis of how today’s gas stations and truck stops work. Looking deeper into the machinations of the pumps, the levers, the shops and the interactivity, I understood the gas station today as a vernacular consistent throughout the nation...

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The tectonics and the instruments are the same, a product inherent to our mass manufacturing and industrialized market. Those principles are found within the powerful machines that pull the trailers and allow for cross-country shipments.

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The gears and pistons that revolutionized the 20th century work in a rhythmic tempo, an unending procession of progress from point A to B. I was incredibly impressed by the diesel engine, and through drawing it in diagram, found this mathematic of parts that act in tandem within the overall machine.

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The only access points to the main highway I-80 from the Tahoe-Reno Industrial Center are two interchanges spaced about 4 miles apart.With the expansion of warehouses and manufacturing plants in this industrial center, the congestion becomes increasingly severe along those bottlenecks.

So it’s this along this main interchange that I believe can be a testing ground for a new prototype of the truck stop.

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The SYNC construct intends to be a 1500 ft long truck stop that is implanted onto the continuum of the highway system.

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Motions of movement

Trucks are expected to offload and load within this construct, which acts as both a nexus for the warehouses beyond as well as the final destination for incoming trucks.The platforms elevate or lower the trucks and the cargo onto 3 levels, a level for reloading, unloading, maintenance or recharging.

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As the modules move up and down, the individual units form an iterative space that will differ at any moment in time as it moves in elevation.

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