Yu Qing Ma _ Full Portfolio _ 2020-2023

YU QING MA PORTFOLIO 2020-2023

CONTENTS 00A 00B

STATEMENT

Yu Qing (David) Ma is a developing architectural designer. He graduated from SCI-Arc with a Master of Architecture (M-Arch I) degree in 2021. Prior to joining SCI-Arc, he received an Honors Bachelor of Arts Degree in Architectural Studies from the University of Toronto.

David was born in Beijing and immigrated to Canada at the age of twelve. This experience has cultivated his quick adaptation to new environments and ability to overcome adversities, both living and working. This experience also encouraged him to embrace different cultures, as well as collaborating effectively with colleagues of different cultural and ethnic origin.

During his undergraduate studies, David was interested in how the urban environment and architecture shape and impact each other. During his education at SCIArc, David gradually became a versatile and curious architectural designer capable of operation on multiple scales. His graduate works encompass a wide range of approaches, including philosophy, religion, adaptive reuse, and from nearby urban fabric. Integrating his design thinking and digital skills with his curiosity and versatility, David continues to explore unconventional approaches to architecture.

RIGHT / STRUCTURAL FOOTING DETAIL OF MAKE IT FAST, AND ECONOMICAL, SUBMISSION TO SENEGAL ELEMENTARY SCHOOL COMPETITION IN JOHN ENRIGHT STUDIO, FALL 2020 (WITH ADITYA JAGDALE). PROPOSAL FOR A RURAL ELEMENTARY SCHOOL THAT UTILIZES MODULAR SHIPPING CONTAINERS AS STRUCTURE AND SECURE SPACES, AND ALLOWING IT TO FRAME EACH SPACE BETWEEN TWO CONTAINERS AS CLASSROOMS. THIS PROPOSAL AIMS TO IMPLEMENT A RAPIDLY-DEPLOYABLE CONSTRUCTION METHOD, WHILE STILL PROVIDING SUFFICIENT SPACES FOR AGRICULTURE, ACTIVITIES, AND SECURE DORMITORIES.

LEFT TOP / SECTION OF CIUDAD CASA DE ARTES, A VERTICAL UNIVERSITY IN CIUDAD DE MEXICO (ANNA NEIMARK STUDIO, SPRING 2020). THROUGH OVERLAYING PLAN OF URBAN CAMPUS WITH FACADE GRID TO REASSIGN THE ORIENTATION OF THE URBAN CAMPUS; INVESTIGATION OF EMBEDDING “URBAN” TRAITS INTO VERTICAL SKYSCRAPER THROUGH IDENTIFYING EACH PROGRAM AS A “CITY BLOCK” THAT HAS ITS OWN INTERNAL CIRCULATION (ALLEYWAYS, CUL-DE-SACS ETC.) THESE “CITY BLOCKS” ARE THEN CONNECTED BY TWO GLOBAL CORES (MAJOR STREETS). THE INTERMEDIARY SPACES BETWEEN THE “CITY BLOCKS” BECOME SPACES OF GATHERING BETWEEN TWO “CITY BLOCKS” (PARKS, PLAZAS ETC.)

LEFT BOTTOM / RESIDENT COURTYARD VIEW OF SOCIAL HOUSING PROJECT FROM ERIC OWEN MOSS STUDIO, SPRING 2021 INSPIRED BY THE SKATEPARK THAT EMBODIES THE DIVERSE, VIBRANT AND CULTURALLY UNIFIED CHARACTER THAT VENICE BEACH HOLDS, THIS BUILDING IS ORIGINATED FROM A SINGLE POINT OF BALANCE, THEN MODIFIED THROUGH SECTION TO ACCOMODATE DIFFERENT HOUSING AND SOCIAL PROGRAMS.

PROFESSIONAL ARQUITECTONICA MAST CAPITAL

1420 SOUTH MIAMI AVENUE MIXED-USE RESIDENTIAL AS PROJECT DESIGNER / 2022

1420 South Miami Avenue is a mixed-use high-rise residential project proposed to be built in Brickell, downtown Miami. Developed by MAST Capital in collaboration with Cipriani family, this project aims to bridge world-class dining experience with luxury living experiences in downtown Miami. The project consists of three separate residential towers that sit atop a 7 story podium that hosts 1650 parking spaces, 2472 bicycle storage, 2 swimming pools, Cipriani restaurant, gym, lounge and co-working spaces. The east condo tower consists of 80 stories and approximately 397 residential units, while two towers on the west side that sit at 51 stories tall with 430 rental units, and another with 61 stories tall with 426 rental units.

Since joining the team in the beginning stages of Design Development phase, my role within the team evolved from a Project Designer assisting with structural, civil and landscape coordinations, to a role that assumed responsibilities more in line with that of a Job Captain - spearheading life safety coordinations to ensure all building are compliant with Florida Building Code and Florida Fire Prevention Code; independently handled the aquatics coordinations of the project, including but not limited to 3D modeling and drafting in Revit, also conducting coordination calls between consultants and the client; Quality assurance for new team members through providing markups and comments throughout their production; Led several permitting and drawing submissions directly to clients under guidance from the Project Manager; Onboarded several new team members through introducing them to the project, to the office among other administrative tasks in Project Manager’s absence.

PROFESSIONAL JOHN CATALDO ARCHITECTS

11368 W OLYMPIC BOULEVARD PRIVATE OFFICE RENOVATION AS PROJECT DESIGNER / 2020

11368 W Olympic Boulevard is a small interior renovation project for a private film director in West Los Angeles. Specific programs include CEO’s office, production room, open and private working spaces and offices, rear patio, and a lobby. As the only member of the team, I was responsible for all tasks in this project in its earliest phase: Coordinating color, material directly with clients and consultants throughout all phases of the project, and all 3D modeling and representation work in Rhino and Lumion respectively.

PAGE 8: TOP / EXISTING CONDITION

PAGE 8: BOTTOM / PROPOSED FRONT

PAGE 9: TOP / CLIENT REQUESTED CEILING VIEW

PAGE 9: BOTTOM / CO-WORKING SPACE

PAGE 10: TOP / ENTRANCE LOBBY

PAGE 10: BOTTOM / CEO’S OFFICE

PAGE 11: TOP / PROOFREADING ROOM

PAGE 11: BOTTOM / BACKYARD PATIO

OUTRE HOME COMPETITION 2020 WITH ADITYA JAGDALE / DIRECTOR’S CHOICE

The home, along with its elements is deemed as one’s most comfortable environment, where interactions between the occupants and the elements occur repetitively over the span of one’s time in it. Therefore, routinary interactions with the architecture and the objects of the home get embedded into one’s subconscious, rendering usages of domestic elements nearly thoughtless. This is reinforced when the spatial distinction between one’s work and home is forcibly blurred by the pandemic. The project, therefore, starts as an investigation of how the architecture of the home has become a part of one’s background, especially in the age of digital invasion.

The project then responds by using one’s subconscious relationship to the background against itself. Through borderline eccentric/absurd architectural upcycling of pre-existing elements and spaces, the “Home” is pulled out of one’s subconscious routine associated with how it was once used. By this questioning of the use or misuse of the existing architectural language of the “Home”, we simultaneously question those specific elements as to their function and meaning, and attempt to create an architecture that outlasts strict definitions, and engages beyond rote functionality.

An architectural foreground/background that now one has to adapt to.

PAGE 14: TOP / AXONOMETRIC VIEWS

PAGE 14: BOTTOM / CATALOGUE OF ELEMENTS

PAGE 15: TOP / INTERIOR RENDER 01

PAGE 15: BOTTOM / INTERIOR RENDER 02

PAGE 16 + 17 / EXTERIOR RENDER 02

“SKATEBOARD” SOCIAL HOUSING, VENICE BEACH WITH NICHOLAS ZARAZEL

The Venice Beach Social Housing Project asks for a social housing proposal on an existing public parking lot. Instead of a housing-dominant project, we steered towards residential mixed-use with more social programs and spaces, allowing the project to inherit more social responsibilities and possibilities for all in the neighborhood.

Formally, the building takes inspiration from the skatepark and the skateboard, which we saw as a representation of the unified atmosphere of Venice Beach. Single point of balance, then modified through sections to accommodate different housing and social programs while maintaining an open ground condition, allowing it to reinsert itself into the urban fabric as not a parking lot, but a piece of infrastructure that seeks to activate the surrounding community.

PAGE 20: TOP / PLANS

PAGE 20: MIDDLE / SHORT SECTIONS

PAGE 20: BOTTOM / LONG SECTION

PAGE 21: TOP / VIEW FROM BOARDWALK

PAGE 21: BOTTOM / ISOMETRIC RENDER

PAGE 22 + 23 / EXTERIOR RENDER FROM NORTHWEST CORNER OF SITE

ACADEMIC PETER TRUMMER STUDIO

TWO WORLDS FACTORY-MUSEUM, WEIL AM RHEIN WITH COOPER LIU, NICHOLAS ZARAZEL

An exploration of homogeneous space and heterogeneous space in architecture by combining the ability to endlessly expand in space with a distinct, irregular boundary. Through overlaying and blurring the distinction between them, a third type was created. A similar approach is applied formally, investigating the unison of heterogeneous volumes and homogeneous grids.

ABOVE: FORMAL ANALYSIS / WE BEGAN BY UTILIZING ARCHITECTURAL IDEAS FROM SURROUNDING BUILDINGS ON THE CAMPUS. FORMALLY, WE COMBINED THE INDIVIDUAL VOLUMES OF GEHRY’S VITRA DESIGN MUSEUM AND THE GRID OF SANAA’S FACTORY BUILDING; FOR THE GROUND FLOOR WHERE THE LIGHTS-OUT FACTORY SITS, GRIDS FROM FULLER’S DOME AND GEHRY’S FACTORY BUILDING ARE COMBINED TO CREATE A THIRD TYPE OF SPACE. WHICH OPERATES BETWEEN HOMOGENEOUS SPACE AND HETEROGENEOUS SPACE BY BLURRING THE DISTINCTION BETWEEN THE TWO; LASTLY, THE GROUND RELATIONSHIP OF ANDO’S PAVILION AND CONFERENCE CENTRE IS ADOPTED FOR THE MUSEUM SPACE BELOW GROUND.

RIGHT: OVERLAY OF HOMOGENEOUS (ORTHOGONAL) AND HETEROGENEOUS GRIDS (CIRCULAR) TO BLUR THE DISTINCTION BETWEEN, CREATING A NEW TYPE OF SPACE; LEFT: TWO WORLDS ON-TOP OF ONE ANOTHER THAT REINTRODUCES THE FACTORY AND MUSEUM TYPOLOGIES RESPECTIVELY BY MARRYING THESE TWO PROGRAMS INTO ONE SINGLE ENCLOSURE.

BELOW: PROJECT DIAGRAMS /

ABOVE: RENDER OF MUSEUM SPACE / CERTAIN VOLUMES FROM THE SHELL WERE EXTRACTED TO BECOME LIGHTWELLS THAT VERTICALLY PENETRATE THE BUILDING. PRODUCED ARTIFACTS FROM THE FACTORY ABOVE ARE SUSPENDED FROM THE FLOOR PLATE DOWN INTO THE MUSEUM. THE FLOOR PLATE OF THE FACTORY BECOMES A DIVIDER OF TWO WORLDS THAT EXISTS IN THE SAME ENCLOSURE.

THROUGH COMBINING AND KNEADING THE HOMOGENEOUS AND HETEROGENEOUS GRIDS, THEY ENTER A COEXISTING CONDITION WHERE IT APPEARS TO BE AN EXPANDING IRREGULAR GRID. THIS PLAN SERVES AS THE FULLY AUTOMATED FACTORY SPACE. ROBOTS MANEUVER ONTOP OF THE IRREGULAR GRID TO PERFORM PRODUCTION AND STORAGE TASKS. BELOW: PLAN OF A FULLY AUTOMATED FACTORY /

ACADEMIC

ACADEMIC JOHN ENRIGHT STUDIO

LEFT / THE USE OF CLADDED MARBLE REINFORCES THE MONUMENTALITY OF THE ENTITY, AND AT THE SAME TIME CRITIQUES ITS SYMMETRY THROUGH THE APERTURES AND GAPS BETWEEN THEM, WHICH ARE BROUGHT TO LIFE THROUGH THE SYMMETRICAL GEOMETRY OF THE MASSING ITSELF.

RIGHT / THIS HERMITAGE REAPPROPRIATES THE MAJOR COMPONENTS OF THE TEMPLE TO THAT OF THE HIDEOUT HUTTHE MANDAPA TURNS INTO A PORCH - AN EXPOSED GATHERING

SPACE. THE ANTARALA THEN BECOMES A HALLWAY THAT CONNECTS THE PORCH AND TRANSEPTS THAT HOLD SECONDARY PROGRAMS LIKE BATHROOM AND STORAGE SPACE TO THE WOMB (OR THE SANCTUM SANCTORUM OF THE TEMPLE, WHERE ONE SLEEPS. THE CIRCUMAMBULATION PRADAKSHINA) WRAPS AROUND THE WOMB AND LEADS UP TO THE TERRACE THAT COINCIDES WITH THE WOMB, THAT IS THIS TIME EXPOSED TO NATURE, WHERE ONE PERFORMS YOGA.

This project proposes to examine the personal spaces of the Cambodia yoga huts through the typologies of larger spaces of worship, particularly Hindu temples. Inspired by the organizational layout of these temples, this project aims to provide each hut user with their very own sacred sanctuary. Through reappropriating programmatic elements of a sacred typology to that of a yoga hut, it reinforces the sacredness of the individual occupant.

ABOVE / FRONT ENTRANCE RENDER

PAGE 20: TOP / GROUND FLOOR PLAN

PAGE 20: BOTTOM / SECOND FLOOR PLAN

PAGE 21: TOP / ELEVATION

PAGE 21: TOP / REAR CLOSE UP RENDER

PAGE 21: BOTTOM / INTERIOR RENDER

PAGE 22: TOP / REAR DISTANT RENDER

PAGE 22: BOTTOM / TOP RENDER