Page 1

COMPASS310N Portfolio of Jiahao Lu Selected Works from 2001-2011

ver. 2.2


0.2_Preface_Introduction

I have always believed that architecture is a journey one embarks on. A journey that takes you not only on a tour of what you experience in the physical world, but also one that takes you inwards into your own self, and allows you to explore parallel realms of reality and perspective; it allows you to study in great detail the chaos of the world and then let you draw out form and order from that disorder. Vitasta Raina

2

I took this picture on the way to Xinjiang which demonstrates the impressions of my architectural 3 journey--beautiful and endless.


0.2_Preface_Introduction

I have always believed that architecture is a journey one embarks on. A journey that takes you not only on a tour of what you experience in the physical world, but also one that takes you inwards into your own self, and allows you to explore parallel realms of reality and perspective; it allows you to study in great detail the chaos of the world and then let you draw out form and order from that disorder. Vitasta Raina

2

I took this picture on the way to Xinjiang which demonstrates the impressions of my architectural 3 journey--beautiful and endless.


COMPASS3ION COMPASS3ION represents my philosophy of architecture.

COMPASS3ION = COMPASS x PASS x PASSION

COMPASS3ION is an ideal word to represent my ambition from a threedimensional perspective. Essentially, compassion drives me to understand what others need, consider and desire. It is an instinctive characteristic of my personal form of communication. COMPASS3ION is a fusion as well as an icon to represent the idiosyncrasies that I pursue. COMPASS3ION is a product of three separate ideals: compass, pass and passion. “Compass” is a strategic view holder which can be adapted into various positions. “Pass” is architecture’s ability to carry cultures into the future. “Passion” is my motivation to be creative, diligent and patient. All three of these ideals possess me and steer me inevitably towards a life

4

5


COMPASS3ION COMPASS3ION represents my philosophy of architecture.

COMPASS3ION = COMPASS x PASS x PASSION

COMPASS3ION is an ideal word to represent my ambition from a threedimensional perspective. Essentially, compassion drives me to understand what others need, consider and desire. It is an instinctive characteristic of my personal form of communication. COMPASS3ION is a fusion as well as an icon to represent the idiosyncrasies that I pursue. COMPASS3ION is a product of three separate ideals: compass, pass and passion. “Compass” is a strategic view holder which can be adapted into various positions. “Pass” is architecture’s ability to carry cultures into the future. “Passion” is my motivation to be creative, diligent and patient. All three of these ideals possess me and steer me inevitably towards a life

4

5


0.4_Preface_Acknowledgements

Acknowledgements I would like to thank Wang Jianfeng, Annie Chan, Zhang Jingyan, Li Hua, Zeng Yan and Deng Haidong for their advice and support. Qingyun Ma, Andrew Zago, Jeff Kipnis and Herwig Baumgartner for valuable criticism on my studio works.

ideas presented here; all those who has helped me in my whole application in MADAs.p.a.m., among them: Huang Rong, Wang Zheng, Li Yikao, Qin Xiao, Gong Bin, Zhu Lingli, Brad Zuger, Guo Dan, Johannes Kohnle, Chen Zhen, Pan Junwu, Zhao Peng, Zhang Lingxiao and most of all. My parents for their constantly support...

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0.4_Preface_Acknowledgements

Acknowledgements I would like to thank Wang Jianfeng, Annie Chan, Zhang Jingyan, Li Hua, Zeng Yan and Deng Haidong for their advice and support. Qingyun Ma, Andrew Zago, Jeff Kipnis and Herwig Baumgartner for valuable criticism on my studio works.

ideas presented here; all those who has helped me in my whole application in MADAs.p.a.m., among them: Huang Rong, Wang Zheng, Li Yikao, Qin Xiao, Gong Bin, Zhu Lingli, Brad Zuger, Guo Dan, Johannes Kohnle, Chen Zhen, Pan Junwu, Zhao Peng, Zhang Lingxiao and most of all. My parents for their constantly support...

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7


0.5_Preface_Check Points

Check Points _Preface_0.5

Check Points My architectural journey passed through many check points, the projects made a profound impact on me.

BIDV

Cx4

Site Context

City in Blossom

Urban Symbiosis

Misregistration

Building Asis Brick by Brick

Geometry of Light

Manifold Tectonic

The Community Library

Shanghai Naturium

A.I.M.

Hol(e)y Masses

China Pavilion

The Great Pyramid

Kaleidoscope Space

Material & Construction

Undergaduation Thesis

Jiang’xi Natural Museum

Fashion Museum Tokyo

Impasto House

Nonvistual Studies

Media Products

Nature and Civilization

PhotoArchitecture

Geometry of Light 8

Tectonics & Construction

Site Context

Awkwardness

Aggregation

Romanticism 9


0.5_Preface_Check Points

Check Points _Preface_0.5

Check Points My architectural journey passed through many check points, the projects made a profound impact on me.

BIDV

Cx4

Site Context

City in Blossom

Urban Symbiosis

Misregistration

Building Asis Brick by Brick

Geometry of Light

Manifold Tectonic

The Community Library

Shanghai Naturium

A.I.M.

Hol(e)y Masses

China Pavilion

The Great Pyramid

Kaleidoscope Space

Material & Construction

Undergaduation Thesis

Jiang’xi Natural Museum

Fashion Museum Tokyo

Impasto House

Nonvistual Studies

Media Products

Nature and Civilization

PhotoArchitecture

Geometry of Light 8

Tectonics & Construction

Site Context

Awkwardness

Aggregation

Romanticism 9


0.6_Preface_Content

Content_Preface_0.6

Content Chapter

Title

Date

Page

12/06

106 116 130

0

Preface

Cover 2 4 6 8 10 Back

0.1 0.2 0.3 0.4 0.5 0.6 0.7

Pure Smile Introduction  Acknowledgements Check Points Content Endless Journey

1

Geometry of Light

14 18

1.1 1.2

Kaleidoscope Space Geometry of Light

2

Tectonics & Construction

2.1 2.2

Manifold Tectonic Material and Construction

3

Site Context

36 46 50

3.1 3.2 3.3

Site Context The Community Library The Retirement Community Center

4

Nature and Urban

62 66 74 86

4.1 4.2 4.3 4.4

Ciry in Blossom BIDV Shanghai Naturium Jiang’xi Natural Museum

24 30

10

146 158 170 180 12/01 11/09

10/09 05/02

10/04 06/03 05/06

194 200 208

216 226

Chapter

Title

5

Photo-Architecture

5.1 5.2 5.3

Urban Symbiosis A.I.M. Fashion Museum Tokyo

6

Awkwardness

6.1 6.2 6.3 6.4

Impasto House Hol(e)y Masses Misregistration Careful Cartesian Corner Crumple(s)

7

Aggregation

7.1 7.2 7.3

Building Asia Brick by Brick China Pavilion Proportions of Straight Line

8

Romanticism

8.1 8.2

The Great Pyramid Media Products

Date

08/11 08/10 03/10

03/11 10/09 10/10 09/11

05/07 06/07 09/10

01/08

09/04 11/07 10/06 11/07

11


0.6_Preface_Content

Content_Preface_0.6

Content Chapter

Title

Date

Page

12/06

106 116 130

0

Preface

Cover 2 4 6 8 10 Back

0.1 0.2 0.3 0.4 0.5 0.6 0.7

Pure Smile Introduction  Acknowledgements Check Points Content Endless Journey

1

Geometry of Light

14 18

1.1 1.2

Kaleidoscope Space Geometry of Light

2

Tectonics & Construction

2.1 2.2

Manifold Tectonic Material and Construction

3

Site Context

36 46 50

3.1 3.2 3.3

Site Context The Community Library The Retirement Community Center

4

Nature and Urban

62 66 74 86

4.1 4.2 4.3 4.4

Ciry in Blossom BIDV Shanghai Naturium Jiang’xi Natural Museum

24 30

10

146 158 170 180 12/01 11/09

10/09 05/02

10/04 06/03 05/06

194 200 208

216 226

Chapter

Title

5

Photo-Architecture

5.1 5.2 5.3

Urban Symbiosis A.I.M. Fashion Museum Tokyo

6

Awkwardness

6.1 6.2 6.3 6.4

Impasto House Hol(e)y Masses Misregistration Careful Cartesian Corner Crumple(s)

7

Aggregation

7.1 7.2 7.3

Building Asia Brick by Brick China Pavilion Proportions of Straight Line

8

Romanticism

8.1 8.2

The Great Pyramid Media Products

Date

08/11 08/10 03/10

03/11 10/09 10/10 09/11

05/07 06/07 09/10

01/08

09/04 11/07 10/06 11/07

11


12

13 1 3


12

13 1 3


1.1_Geometry of Light_Kaleidoscope Space

Kaleidoscope Space_Geometry of Light_1.1

Kaleidoscope Space General Creative Work (Academic) Individual Time: Winter 2001 Instructor: San Hao Location: Shenzhen University Background

Cracked Ice Lattice - A Traditional Chinese Window

This project was assigned to illustration for an essay, examining the impact on surrealism on the manifestation of traditional architecture around the world. Kaleidoscope Space abstracts a traditional Chinese patspace for communication. It is a use of cavalier perspective in reality.

14 4

STRUCTURE

15 1 INTERIOR


1.1_Geometry of Light_Kaleidoscope Space

Kaleidoscope Space_Geometry of Light_1.1

Kaleidoscope Space General Creative Work (Academic) Individual Time: Winter 2001 Instructor: San Hao Location: Shenzhen University Background

Cracked Ice Lattice - A Traditional Chinese Window

This project was assigned to illustration for an essay, examining the impact on surrealism on the manifestation of traditional architecture around the world. Kaleidoscope Space abstracts a traditional Chinese patspace for communication. It is a use of cavalier perspective in reality.

14 4

STRUCTURE

15 1 INTERIOR


1.1_Geometry of Light_Kaleidoscope Space

Kaleidoscope Space_Geometry of Light_1.1

DESERT VIEW

16

FOREST VIEW

17 1 7 OCEAN VIEW

CITY VIEW


1.1_Geometry of Light_Kaleidoscope Space

Kaleidoscope Space_Geometry of Light_1.1

DESERT VIEW

16

FOREST VIEW

17 1 7 OCEAN VIEW

CITY VIEW


1.2_Geometry of Light_Geometry of Light

Geometry of Light_Geometry of Light_1.2

GEOMETRY OF LIGHT Visual Study (Academic) Term Work Time: Fall 2009 Instructor: Elena Manferdini Location: SCI-arc

Background

Rose Window

This project was intended to set out and explore how to reintroduce the ornate of the past to the world today. By studying the north rose window of Notre Dame we began to learn how to mix the geometric rules of the past with the tools of 3d modeling and rapid prototyping. Thus this knowledge was transferred into the quest to remake         

     



parameters. This window by way of scripting, 3dmodeling 

   

      

  

ornate qualities of the traditional rose window while removing itself from the labor of the traditional rose window.

18

19


1.2_Geometry of Light_Geometry of Light

Geometry of Light_Geometry of Light_1.2

GEOMETRY OF LIGHT Visual Study (Academic) Term Work Time: Fall 2009 Instructor: Elena Manferdini Location: SCI-arc

Background

Rose Window

This project was intended to set out and explore how to reintroduce the ornate of the past to the world today. By studying the north rose window of Notre Dame we began to learn how to mix the geometric rules of the past with the tools of 3d modeling and rapid prototyping. Thus this knowledge was transferred into the quest to remake         

     



parameters. This window by way of scripting, 3dmodeling 

   

      

  

ornate qualities of the traditional rose window while removing itself from the labor of the traditional rose window.

18

19


1.2_Geometry of Light_Geometry of Light

20

21


1.2_Geometry of Light_Geometry of Light

20

21


22

23 2 3


22

23 2 3


2.1_Tectonics and Constructions_Manifold Tectonic

Manifold Tectonic_Tectonics and Constructions_2.1

Manifold Tectonic Apply Study (Academic) Team Work Time: Fall 2009 Instructor: Maecelo Spina Location: SCI-Arc, Los Angeles Background the use of mathematically derived minimal surface geometries. Autonomous species of minimal surface cells are taining internal coherence while at other approaching the monstrous as individual geometric species begin to corrupt technical operation, fueled by the predilections of contemporary design tools such as NURBS surface modeling and CNC fabrication techniques, and as a discourse concerning the relationship between substance and surface are established.

24

Exploring Saddle Sufaces

Processing

25


2.1_Tectonics and Constructions_Manifold Tectonic

Manifold Tectonic_Tectonics and Constructions_2.1

Manifold Tectonic Apply Study (Academic) Team Work Time: Fall 2009 Instructor: Maecelo Spina Location: SCI-Arc, Los Angeles Background the use of mathematically derived minimal surface geometries. Autonomous species of minimal surface cells are taining internal coherence while at other approaching the monstrous as individual geometric species begin to corrupt technical operation, fueled by the predilections of contemporary design tools such as NURBS surface modeling and CNC fabrication techniques, and as a discourse concerning the relationship between substance and surface are established.

24

Exploring Saddle Sufaces

Processing

25


2.1_Tectonics and Constructions_Manifold Tectonic

26

Manifold Tectonic_Tectonics and Constructions_2.1

27


2.1_Tectonics and Constructions_Manifold Tectonic

26

Manifold Tectonic_Tectonics and Constructions_2.1

27


2.1_Tectonics and Constructions_Manifold Tectonic

28

29 2 9


2.1_Tectonics and Constructions_Manifold Tectonic

28

29 2 9


2.2_Tectonics and Constructions_Material and Construction

Material and Construction_Tectonics and Constructions_2.2

Material & Construction Studio Project (Academic) Teamwork TIME: Summer 2002 Instructor: Zhu Jiyi Location: Shenzhen University

Background In this studio, all students are required to be familar with the material of brick. I went through the whole process which i carried out a concept to the reality and contacted the manufacturer supplier and workers to organize the site constructing. We are divided into groups. Each group has to take the responsibility to build their own part, including detail design and the technique of constructing with bricks and concrete, purchasing the materials and building it on a real site.

30

31


2.2_Tectonics and Constructions_Material and Construction

Material and Construction_Tectonics and Constructions_2.2

Material & Construction Studio Project (Academic) Teamwork TIME: Summer 2002 Instructor: Zhu Jiyi Location: Shenzhen University

Background In this studio, all students are required to be familar with the material of brick. I went through the whole process which i carried out a concept to the reality and contacted the manufacturer supplier and workers to organize the site constructing. We are divided into groups. Each group has to take the responsibility to build their own part, including detail design and the technique of constructing with bricks and concrete, purchasing the materials and building it on a real site.

30

31


2.2_Tectonics and Constructions_Material and Construction

32

Material and Construction_Tectonics and Constructions_2.2

33


2.2_Tectonics and Constructions_Material and Construction

32

Material and Construction_Tectonics and Constructions_2.2

33


MATERIAL 34

35 3 5


MATERIAL 34

35 3 5


3.1_Site Context_Site Context

Site Context Theme Studio (Academic) Teamwork Time: Fall 2004 Instructor: Zhu Xiaofeng Location: Shenzhen University

Site Context_Site Context_3.1 The rich sense of taste reminds that each material has its own feature. The environment is like a chestnut cake or Beijing chicken roll. Their only difference is about materials. Environment is made up by different architectural ingredients: the high buildings outside of university, water, grass, tree, farm, white shed, gray shed, black shed and the Ireland of whenshan lake. When people walking through different things along the place, it looks like human's tongue feeling different tastes of foods.

Background Globalization is a process of adjustment which represents resource sharing and multi-culture intergration. Globalization demonstrates the effort to the disappearance of boundary. It blurs the distinction between different cultures and darkens the local characters. The globalization of architecture is inevitable. The interaction between local and international architecture would be a dramatic process. Therefore, the research of boundary will focus on this topic and he status between different materials.

36 36

37


3.1_Site Context_Site Context

Site Context Theme Studio (Academic) Teamwork Time: Fall 2004 Instructor: Zhu Xiaofeng Location: Shenzhen University

Site Context_Site Context_3.1 The rich sense of taste reminds that each material has its own feature. The environment is like a chestnut cake or Beijing chicken roll. Their only difference is about materials. Environment is made up by different architectural ingredients: the high buildings outside of university, water, grass, tree, farm, white shed, gray shed, black shed and the Ireland of whenshan lake. When people walking through different things along the place, it looks like human's tongue feeling different tastes of foods.

Background Globalization is a process of adjustment which represents resource sharing and multi-culture intergration. Globalization demonstrates the effort to the disappearance of boundary. It blurs the distinction between different cultures and darkens the local characters. The globalization of architecture is inevitable. The interaction between local and international architecture would be a dramatic process. Therefore, the research of boundary will focus on this topic and he status between different materials.

36 36

37


3.1_Site Context_Site Context

Site Context_Site Context_3.1

Cheese

Dehydrated Noodel

Jelly

Cake

The artwork demonstrated the clear relationship between different materials.

Pedestrian Analysis

FUSING

TOUCHING

JOINING

38

39


3.1_Site Context_Site Context

Site Context_Site Context_3.1

Cheese

Dehydrated Noodel

Jelly

Cake

The artwork demonstrated the clear relationship between different materials.

Pedestrian Analysis

FUSING

TOUCHING

JOINING

38

39


3.1_Site Context_Site Context

Site Context_Site Context_3.1

Two-sided architecture

SITE

After analyzing the concept of “boundary�, I select the two-sided feature of “boundary� as my design point.

Four Materials, Three Boundaries Our basis is between the environment of city and campus, so our architecture will be the border between

The two-sided feature in our design is shown at the different facial expressions towards different environment which aims to look like two faces. One of them faces the outside of world which uses the extremely thick and tall concrete wall to show the defense of environment and arti cially set higher of the stairs in the entrance to emphasis on the “Entryâ€?; Behind the wall, it presents totally different sights which people will be invited into the building and the surrounding will be  by the outside elements. From the limited iron-structure space to horizontal goforward one by one platform, it is already shown it. Even for the function, in order to save the space, the inner space is trickily set under the earth.

it’s band shape spread out boundary naturally. In order to use this feature, we will use the “boundary� concept into the architecture.

FUSING

Member 1

40

JOINING

Me

TOUCHING

Member 2

Member 3

41


3.1_Site Context_Site Context

Site Context_Site Context_3.1

Two-sided architecture

SITE

After analyzing the concept of “boundary�, I select the two-sided feature of “boundary� as my design point.

Four Materials, Three Boundaries Our basis is between the environment of city and campus, so our architecture will be the border between

The two-sided feature in our design is shown at the different facial expressions towards different environment which aims to look like two faces. One of them faces the outside of world which uses the extremely thick and tall concrete wall to show the defense of environment and arti cially set higher of the stairs in the entrance to emphasis on the “Entryâ€?; Behind the wall, it presents totally different sights which people will be invited into the building and the surrounding will be  by the outside elements. From the limited iron-structure space to horizontal goforward one by one platform, it is already shown it. Even for the function, in order to save the space, the inner space is trickily set under the earth.

it’s band shape spread out boundary naturally. In order to use this feature, we will use the “boundary� concept into the architecture.

FUSING

Member 1

40

JOINING

Me

TOUCHING

Member 2

Member 3

41


3.1_Site Context_Site Context

Site Context_Site Context_3.1

LEVEL 3

LEVEL 2

LEVEL 1

42

43


3.1_Site Context_Site Context

Site Context_Site Context_3.1

LEVEL 3

LEVEL 2

LEVEL 1

42

43


3.1_Site Context_Site Context

44

Site Context_Site Context_3.1

45 45


3.1_Site Context_Site Context

44

Site Context_Site Context_3.1

45 45


The Community Library_Site Context_3.2

TRAVERSING

3.2_Site Context_The Community Library

The Community Library PARKING

General Design Project (Academic) Individual Time: Summer 2003 Instructor: Gong Weimin Location: Shenzhen

PODIUM PLAZA

TRAVERSING

TRAVERSING

Background This is a typical project for each two-year student to train their the modeling abilities for creating space and linking different functions in a complex building.

46

ENTRANCE PLAZA

TRAVERSING

In this project, I compared with two different methods of model thinking, “pre-modeling” and “post-modeling”. Premodeling is a conventional way of modeling which means thinking before operating. However, Post-modeling is a result of hand thinking which reverses the process of convention. It creates thinking by operating model.

47


The Community Library_Site Context_3.2

TRAVERSING

3.2_Site Context_The Community Library

The Community Library PARKING

General Design Project (Academic) Individual Time: Summer 2003 Instructor: Gong Weimin Location: Shenzhen

PODIUM PLAZA

TRAVERSING

TRAVERSING

Background This is a typical project for each two-year student to train their the modeling abilities for creating space and linking different functions in a complex building.

46

ENTRANCE PLAZA

TRAVERSING

In this project, I compared with two different methods of model thinking, “pre-modeling” and “post-modeling”. Premodeling is a conventional way of modeling which means thinking before operating. However, Post-modeling is a result of hand thinking which reverses the process of convention. It creates thinking by operating model.

47


3.2_Site Context_The Community Library

The Community Library_Site Context_3.2

EAST ELEVATION

WEST ELEVATION

GROUND FLOOR

SOUTH ELEVATION

A-A SECTION

B-B SECTION LEVEL 2

48

49 MASTERPLAN


3.2_Site Context_The Community Library

The Community Library_Site Context_3.2

EAST ELEVATION

WEST ELEVATION

GROUND FLOOR

SOUTH ELEVATION

A-A SECTION

B-B SECTION LEVEL 2

48

49 MASTERPLAN


3.3_Site Context_The Retirement Community Center

The Retirement Community Center_Site Context_3.3

The Retirement Community Center 2

1

Graduation Project (Academic) Individual Time: Spring 2006 Instructor: Yang Wenyan Location: Shenzhen

The original buildings in the site were generated a harmonious style with environment by keeping the building the same height as the trees and using the traditional chinese roof with plants.

3

Background The project is located in the center business district of Shenzhen. It is a renovation project of the retirement community center. The original retirement community center is including three main buildings, three pavilions and a chinese style garden. Generally, this kind of building will be isolated from the public. However, the site represents a valuable green place to the city. As a consequence, how to balance the use of private buildings and the public park is my project’s concept.

1

3

2

WATER REFORMING STRATEGY

TREES REFORMING STRATEGY

50 50

51


3.3_Site Context_The Retirement Community Center

The Retirement Community Center_Site Context_3.3

The Retirement Community Center 2

1

Graduation Project (Academic) Individual Time: Spring 2006 Instructor: Yang Wenyan Location: Shenzhen

The original buildings in the site were generated a harmonious style with environment by keeping the building the same height as the trees and using the traditional chinese roof with plants.

3

Background The project is located in the center business district of Shenzhen. It is a renovation project of the retirement community center. The original retirement community center is including three main buildings, three pavilions and a chinese style garden. Generally, this kind of building will be isolated from the public. However, the site represents a valuable green place to the city. As a consequence, how to balance the use of private buildings and the public park is my project’s concept.

1

3

2

WATER REFORMING STRATEGY

TREES REFORMING STRATEGY

50 50

51


3.3_Site Context_The Retirement Community Center

GREEN DEGREE

LANDSCAPE DEGREE

The Retirement Community Center_Site Context_3.3

USE DEGREE

AVAILABLE PLACES

SITE INVESTIGATION

Three Materials are Selected from the Site After classifying the existing materials in the site,I selected three basic materi-als as the main expressions of spaces in my design-WATER, SAND and LAWN, which can create a soft and conformable environment for the elders.

This section of model tries to demonstrate the interior space which is generated by the ingoing water from the environment.

52

53


3.3_Site Context_The Retirement Community Center

GREEN DEGREE

LANDSCAPE DEGREE

The Retirement Community Center_Site Context_3.3

USE DEGREE

AVAILABLE PLACES

SITE INVESTIGATION

Three Materials are Selected from the Site After classifying the existing materials in the site,I selected three basic materi-als as the main expressions of spaces in my design-WATER, SAND and LAWN, which can create a soft and conformable environment for the elders.

This section of model tries to demonstrate the interior space which is generated by the ingoing water from the environment.

52

53


3.3_Site Context_The Retirement Community Center

The Retirement Community Center_Site Context_3.3

VOLUME STUDY

CLASSES

DOUBLE ROOF SYSTEM

ENTERTAINMENT MAIN BUILDING

CLASSES

ENTERTAINMENT

onal Chinese Roof Traditional

Double Roof

MAIN BUILDING THEATER

Black Layer

SPORT CENTER

Red Layer CLASSES

ENTERTAINMENT SPORT CENTER MAIN BUILDING THEATER

The color of the roof is alternated by the change of perspective.

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55


3.3_Site Context_The Retirement Community Center

The Retirement Community Center_Site Context_3.3

VOLUME STUDY

CLASSES

DOUBLE ROOF SYSTEM

ENTERTAINMENT MAIN BUILDING

CLASSES

ENTERTAINMENT

onal Chinese Roof Traditional

Double Roof

MAIN BUILDING THEATER

Black Layer

SPORT CENTER

Red Layer CLASSES

ENTERTAINMENT SPORT CENTER MAIN BUILDING THEATER

The color of the roof is alternated by the change of perspective.

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55


3.3_Site Context_The Retirement Community Center

The Retirement Community Center_Site Context_3.3

Level -2

Level -1

Level 2

Level 3

Ground Floor.

Section A-A

North Elevation

West Elevation

56

57 Section B-B


3.3_Site Context_The Retirement Community Center

The Retirement Community Center_Site Context_3.3

Level -2

Level -1

Level 2

Level 3

Ground Floor.

Section A-A

North Elevation

West Elevation

56

57 Section B-B


3.3_Site Context_The Retirement Community Center

58 58

The Retirement Community Center_Site Context_3.3

59


3.3_Site Context_The Retirement Community Center

58 58

The Retirement Community Center_Site Context_3.3

59


60 56

61 5 7


60 56

61 5 7


4.1_Nature and Urban_City in Blossom

City in Blossom_Nature and Urban_4.1

City in Blossom Metro Line 3 Competition of Shenzhen (Academic) Individual Time: Fall 2004 Instructor: Chen Fang Location: Shenzhen

a city starts with a sample road network...

the stations appearing is a blossom of city...

Background Go to work and after work; go to school and after school. People automatically repeat their routes every day. City in Blossom is a romantic idea that each train station can be served as a dynamic landscape for the commuters and the part of city environment. City in Blossom provides an opportunity to enhance the quality of city environment. On the other hand, the interior of the station is an information terminal to transmit informations to the people.

buildings appear...

the branch and the root of the city...

the city is growing...

? keep growing to a middle scale city...

62 6 2

how to enhance the capacity of city?

63


4.1_Nature and Urban_City in Blossom

City in Blossom_Nature and Urban_4.1

City in Blossom Metro Line 3 Competition of Shenzhen (Academic) Individual Time: Fall 2004 Instructor: Chen Fang Location: Shenzhen

a city starts with a sample road network...

the stations appearing is a blossom of city...

Background Go to work and after work; go to school and after school. People automatically repeat their routes every day. City in Blossom is a romantic idea that each train station can be served as a dynamic landscape for the commuters and the part of city environment. City in Blossom provides an opportunity to enhance the quality of city environment. On the other hand, the interior of the station is an information terminal to transmit informations to the people.

buildings appear...

the branch and the root of the city...

the city is growing...

? keep growing to a middle scale city...

62 6 2

how to enhance the capacity of city?

63


4.1_Nature and Urban_City in Blossom

City in Blossom_Nature and Urban_4.1

Status 1

Transformable Facade

Status 2

The leaves can be opened by the manipulation of software which is a reaction of the environmental situation, such as temperature, weather, noises and so on. Providing a comfortable interior space for the passenger and

Status 3

to the city. In addition, power can be save by the transformable facade.

Status 4

6 64 4 60 0

LCD Board

Green Board

1, to inform the passenger of the trains’ schedule. 2, to post the advertisements or informations to the passenger.

1, the transpiration of the plans can provide a suitable temperature to the interior space. 2, to enhance the environmental quality.

Struction

65


4.1_Nature and Urban_City in Blossom

City in Blossom_Nature and Urban_4.1

Status 1

Transformable Facade

Status 2

The leaves can be opened by the manipulation of software which is a reaction of the environmental situation, such as temperature, weather, noises and so on. Providing a comfortable interior space for the passenger and

Status 3

to the city. In addition, power can be save by the transformable facade.

Status 4

6 64 4 60 0

LCD Board

Green Board

1, to inform the passenger of the trains’ schedule. 2, to post the advertisements or informations to the passenger.

1, the transpiration of the plans can provide a suitable temperature to the interior space. 2, to enhance the environmental quality.

Struction

65


4.2_Nature and Urban_BIDV

BIDV_Nature and Urban_4.1

BIDV

0 DEGREE

45 DEGREE

Works in MADA s.p.a.m. BIG OPEN TO THE RIVER

Competition Time: Nov. 2007 Instructor: Qingyun Ma Status: Main Designer Location: Ho Chi Minh, Vietnam

90 DEGREE

Background TOWER&PODIUM Toward a new icon for Ho Chi Minh city at the dawn of 21st century, an icon not recognized by the world, but rather discovered by the world by its strength being noble and humble; ecological and economical; ego and communal; provoking and providing‌

This is what happens when GDP growth at a rate of 8% for lective mess. But given birth by Ho Chi Minh City for a new new world economy.

135 DEGREE LCD ADVERTISING SCREEN FACEING THE MAIN CITY PLAZA

215 DEGREE

By splitting the code consequence podium area, putting them into the air and minimizing the ground coverage of the building, creates an ample pubic space and iconic visual ground.

REQUEST

Minimum green ratio 30.9% The area of green coverage 847 sqm

315 DEGREE ECONOMIC INFORMATION

PROPOSAL

Green ratio >33% The area of green coverage >900 sqm

The iconic quality is out of anti-iconic strategy. It does not engage in the extravagantly complex organic forms of late, irresponsible to an immature economy like Vietnam. Instead it takes a extremely fore a simple form and complicated form and construction then enables reinvestment in something space, and vertical landscape.

66 62

67 63 7 6 3


4.2_Nature and Urban_BIDV

BIDV_Nature and Urban_4.1

BIDV

0 DEGREE

45 DEGREE

Works in MADA s.p.a.m. BIG OPEN TO THE RIVER

Competition Time: Nov. 2007 Instructor: Qingyun Ma Status: Main Designer Location: Ho Chi Minh, Vietnam

90 DEGREE

Background TOWER&PODIUM Toward a new icon for Ho Chi Minh city at the dawn of 21st century, an icon not recognized by the world, but rather discovered by the world by its strength being noble and humble; ecological and economical; ego and communal; provoking and providing‌

This is what happens when GDP growth at a rate of 8% for lective mess. But given birth by Ho Chi Minh City for a new new world economy.

135 DEGREE LCD ADVERTISING SCREEN FACEING THE MAIN CITY PLAZA

215 DEGREE

By splitting the code consequence podium area, putting them into the air and minimizing the ground coverage of the building, creates an ample pubic space and iconic visual ground.

REQUEST

Minimum green ratio 30.9% The area of green coverage 847 sqm

315 DEGREE ECONOMIC INFORMATION

PROPOSAL

Green ratio >33% The area of green coverage >900 sqm

The iconic quality is out of anti-iconic strategy. It does not engage in the extravagantly complex organic forms of late, irresponsible to an immature economy like Vietnam. Instead it takes a extremely fore a simple form and complicated form and construction then enables reinvestment in something space, and vertical landscape.

66 62

67 63 7 6 3


4.2_Nature and Urban_BIDV

BIDV_Nature and Urban_4.1

Two Wall System

Technically : 50 kg/sqm, all included 10 cm thick without the plants

Blue and green: The façade of the building is split into two halves, one being the glass curtain wall, and the other being the unprecedented “vertical garden”. The blue faces the river and the more commercial portion of the city while the green faces more landscape and residential area.

The “skyscape” or the vertical garden works on three practical levels:

1. It is a sunshading device facing the northwest direction. The modular vegetated panels can be rotated depending on local needs. 2. The vertical garden as a structural element is tied back to the main body, providing maintenance access to the garden.

68

3. The water needed for plants are from the building’s grey water, which is treated and leased to a pond at ground level and pumped up to different elevations. As wain the pond and the evaporating portion determines the quantity of grey water that needs to be treated, producing a self managing feedback system.

69


4.2_Nature and Urban_BIDV

BIDV_Nature and Urban_4.1

Two Wall System

Technically : 50 kg/sqm, all included 10 cm thick without the plants

Blue and green: The façade of the building is split into two halves, one being the glass curtain wall, and the other being the unprecedented “vertical garden”. The blue faces the river and the more commercial portion of the city while the green faces more landscape and residential area.

The “skyscape” or the vertical garden works on three practical levels:

1. It is a sunshading device facing the northwest direction. The modular vegetated panels can be rotated depending on local needs. 2. The vertical garden as a structural element is tied back to the main body, providing maintenance access to the garden.

68

3. The water needed for plants are from the building’s grey water, which is treated and leased to a pond at ground level and pumped up to different elevations. As wain the pond and the evaporating portion determines the quantity of grey water that needs to be treated, producing a self managing feedback system.

69


4.2_Nature and Urban_BIDV

BIDV_Nature and Urban_4.1

32

25

18

11

06

RF

31

24

17

10

05

37

30

23

16

09

04

36

29

22

15

08

03

35

28

21

14

07

02

34

27

20

13

70 66 33

71 26

19

12

01


4.2_Nature and Urban_BIDV

BIDV_Nature and Urban_4.1

32

25

18

11

06

RF

31

24

17

10

05

37

30

23

16

09

04

36

29

22

15

08

03

35

28

21

14

07

02

34

27

20

13

70 66 33

71 26

19

12

01


4.2_Nature and Urban_BIDV 0%

10%

20%

30%

40%

BIDV_Nature and Urban_4.1 50%

60%

70%

80%

90%

100%

11-12

9-10

7-8

5-6

SEASONAL

3-4

1-2

72

73 73


4.2_Nature and Urban_BIDV 0%

10%

20%

30%

40%

BIDV_Nature and Urban_4.1 50%

60%

70%

80%

90%

100%

11-12

9-10

7-8

5-6

SEASONAL

3-4

1-2

72

73 73


4.3_Nature and Urban_Shanghai Naturium

Shanghai Naturium_Nature and Urban_4.3

Shanghai Naturium NATURE EXPERIENTIAL GARDEN Works in MADA s.p.a.m.

+

Competition Time: Oct. 2006 Instructor: Qingyun Ma Status: Main Designer Location: Shanghai

Traditional museums use enclosed theme space and concern little about the quality of place around the site. Shanghai Natural History is attempting to break the 100-year tradition and trying to demonstrate of Shanghai as a 21st century metropolis, in its dedication to public spirit in architecture and environmental concern in urbanism.

NATURE HISTORY MUSEUM Background d

=

The site area: a: 12,000 12 000 square meters The total building area: 36,800 square meters

Traditional historical museums regard human beings as a branch of natural system, which has no difference from other natural systems, and Shanghai Natural History Museum would focus more on human development, concern more about the connection between Human and Nature.

One Building, Two Places

SHANGHAI NATURIUM

Below Roof Natural History Museum Above Roof Nature Experiential Garden spaces and dramatize of exhibition themes, this way the ceiling and scene are colliding together.

NATURE EXPERIENTIAL GARDEN

74

75 NATURAL HISTORY MUSEUM


4.3_Nature and Urban_Shanghai Naturium

Shanghai Naturium_Nature and Urban_4.3

Shanghai Naturium NATURE EXPERIENTIAL GARDEN Works in MADA s.p.a.m.

+

Competition Time: Oct. 2006 Instructor: Qingyun Ma Status: Main Designer Location: Shanghai

Traditional museums use enclosed theme space and concern little about the quality of place around the site. Shanghai Natural History is attempting to break the 100-year tradition and trying to demonstrate of Shanghai as a 21st century metropolis, in its dedication to public spirit in architecture and environmental concern in urbanism.

NATURE HISTORY MUSEUM Background d

=

The site area: a: 12,000 12 000 square meters The total building area: 36,800 square meters

Traditional historical museums regard human beings as a branch of natural system, which has no difference from other natural systems, and Shanghai Natural History Museum would focus more on human development, concern more about the connection between Human and Nature.

One Building, Two Places

SHANGHAI NATURIUM

Below Roof Natural History Museum Above Roof Nature Experiential Garden spaces and dramatize of exhibition themes, this way the ceiling and scene are colliding together.

NATURE EXPERIENTIAL GARDEN

74

75 NATURAL HISTORY MUSEUM


4.3_Nature and Urban_Shanghai Naturium

Shanghai Naturium_Nature and Urban_4.3 PROGRAM INVESTIGATION

The Natural History Museum is the reflection of human’s rational thinking to Natural History The exhibitions in the Natural History Museum poetically create a series of continuous scenes, sequential displaying space and information. That makes a symphonic poem made by Nature and Human.

The Natural Experiential Garden is the inflowing affection of citizens to the nature The nature experiential garden is a concentratingmixture of various regional cultures, an interchanging moment of different seasons, an interaction and interrelationship between urban life and nature (micro nature). All of these captures the Chinese traditional esthetics in the Mountain, Water and Human.

EARTH HUMAN ORGANISMS

POSSIBLE COMPILATIONS

76

77


4.3_Nature and Urban_Shanghai Naturium

Shanghai Naturium_Nature and Urban_4.3 PROGRAM INVESTIGATION

The Natural History Museum is the reflection of human’s rational thinking to Natural History The exhibitions in the Natural History Museum poetically create a series of continuous scenes, sequential displaying space and information. That makes a symphonic poem made by Nature and Human.

The Natural Experiential Garden is the inflowing affection of citizens to the nature The nature experiential garden is a concentratingmixture of various regional cultures, an interchanging moment of different seasons, an interaction and interrelationship between urban life and nature (micro nature). All of these captures the Chinese traditional esthetics in the Mountain, Water and Human.

EARTH HUMAN ORGANISMS

POSSIBLE COMPILATIONS

76

77


4.3_Nature and Urban_Shanghai Naturium

78

Shanghai Naturium_Nature and Urban_4.3

GROUND FLOOR

LEVEL 2

LEVEL -1

LEVEL 1

79


4.3_Nature and Urban_Shanghai Naturium

78

Shanghai Naturium_Nature and Urban_4.3

GROUND FLOOR

LEVEL 2

LEVEL -1

LEVEL 1

79


4.3_Nature and Urban_Shanghai Naturium

Shanghai Naturium_Nature and Urban_4.3

SECTION A-A

SECTION B-B

80

81


4.3_Nature and Urban_Shanghai Naturium

Shanghai Naturium_Nature and Urban_4.3

SECTION A-A

SECTION B-B

80

81


4.3_Nature and Urban_Shanghai Naturium

Shanghai Naturium_Nature and Urban_4.3 The garden and the museum should become the double decompressor for the city The sculpture park offers the green space for the city. At the same time, it helps to dissolve the density of urban life and activity. No doubt the Museum will help to improve and try to solve the problem of density. And meanwhile the interaction between Natural Experiential Garden and .

SKIN STUDIES Digital technique employed to bring extra-representation possibility of external wall.

ETFE

82

PERFORATED STONE PANEL

CAVITY WALL

83


4.3_Nature and Urban_Shanghai Naturium

Shanghai Naturium_Nature and Urban_4.3 The garden and the museum should become the double decompressor for the city The sculpture park offers the green space for the city. At the same time, it helps to dissolve the density of urban life and activity. No doubt the Museum will help to improve and try to solve the problem of density. And meanwhile the interaction between Natural Experiential Garden and .

SKIN STUDIES Digital technique employed to bring extra-representation possibility of external wall.

ETFE

82

PERFORATED STONE PANEL

CAVITY WALL

83


4.3_Nature and Urban_Shanghai Naturium

84

Shanghai Naturium_Nature and Urban_4.3

85


4.3_Nature and Urban_Shanghai Naturium

84

Shanghai Naturium_Nature and Urban_4.3

85


4.4_Nature and Urban_Jiangxi Natural Museum

Jiangxi Natural Museum_Nature and Urban_4.4

Jiangxi Natural Museum

Horizon Line

Break of Line

Works in MADA s.p.a.m. Sliding / Overlapping

Competition Time: Nov. 2007 Instructor: Qingyun Ma Status: Main Designer Location: Jiangxi, China

Background This project aims to inspire current social and natural history, promote the tradition of technology innovation, capture ful new city mart which economically involve and affect the interaction between human and nature, function and space and space and time.

Casting / Excavating

Every land has its own spirit and energy After carefully selecting and establishing, it creates a unique landscape on the land, which may stimulate new energy to extend the scale of people’s activities. Not only is the Natural Museum an abstracted and decorative “natural expression” cconstruction for viewing, but also an “ art of land” which is the understanding of the local land-scape scene and current envision of space-time. She is the creature of history, future as well as the expression of natural and human culture.

Embracing

Threading

Brading

Everything

FORM STUDY

86 84

87


4.4_Nature and Urban_Jiangxi Natural Museum

Jiangxi Natural Museum_Nature and Urban_4.4

Jiangxi Natural Museum

Horizon Line

Break of Line

Works in MADA s.p.a.m. Sliding / Overlapping

Competition Time: Nov. 2007 Instructor: Qingyun Ma Status: Main Designer Location: Jiangxi, China

Background This project aims to inspire current social and natural history, promote the tradition of technology innovation, capture ful new city mart which economically involve and affect the interaction between human and nature, function and space and space and time.

Casting / Excavating

Every land has its own spirit and energy After carefully selecting and establishing, it creates a unique landscape on the land, which may stimulate new energy to extend the scale of people’s activities. Not only is the Natural Museum an abstracted and decorative “natural expression” cconstruction for viewing, but also an “ art of land” which is the understanding of the local land-scape scene and current envision of space-time. She is the creature of history, future as well as the expression of natural and human culture.

Embracing

Threading

Brading

Everything

FORM STUDY

86 84

87


4.4_Nature and Urban_Jiangxi Natural Museum

88 86

Jiangxi Natural Museum_Nature and Urban_4.4

89 8 7


4.4_Nature and Urban_Jiangxi Natural Museum

88 86

Jiangxi Natural Museum_Nature and Urban_4.4

89 8 7


4.4_Nature and Urban_Jiangxi Natural Museum

90

Jiangxi Natural Museum_Nature and Urban_4.4

LEVEL 1

LEVEL -1

LEVEL 2

LEVEL 0

91


4.4_Nature and Urban_Jiangxi Natural Museum

90

Jiangxi Natural Museum_Nature and Urban_4.4

LEVEL 1

LEVEL -1

LEVEL 2

LEVEL 0

91


4.4_Nature and Urban_Jiangxi Natural Museum

92

Jiangxi Natural Museum_Nature and Urban_4.4

LEVEL 3

LEVEL5

LEVEL 4

LEVEL 6

93


4.4_Nature and Urban_Jiangxi Natural Museum

92

Jiangxi Natural Museum_Nature and Urban_4.4

LEVEL 3

LEVEL5

LEVEL 4

LEVEL 6

93


4.4_Nature and Urban_Jiangxi Natural Museum

Jiangxi Natural Museum_Nature and Urban_4.4

SECTION B-B

SECTION A-A

SECTION C-C

94

95


4.4_Nature and Urban_Jiangxi Natural Museum

Jiangxi Natural Museum_Nature and Urban_4.4

SECTION B-B

SECTION A-A

SECTION C-C

94

95


4.4_Nature and Urban_Jiangxi Natural Museum

Jiangxi Natural Museum_Nature and Urban_4.4

ENVIRONMENTAL

ROOFLIGHTS

ROOF OPENINGS Optimised to maximise use of available daylighting and minimise heat gain(summer)/ heat loss (winter)

Filters Shading

PREVALING WILD DIRECTION

CAN VARY -Size -Quantity -Distributior -Location

ESTIMATE 15% OF ROOF SURFACE AREA WITH GOOD DISTRIBUTION FACADE

+

Direct Sunlight Shading

VOID COLUMNS Direct sunlight reflected light,shading,filters,etc.

+

=POSITIVE PRESSURE AIR WILL FLOW FROM =NEGETIVE PRESSURE

+

TO

LIGHTING

VENTILATION

The vast area of the roof can be used to harvest solar energy and generate electricity. The mass of the concrete roof reduces heat gain in summer and insulates the building in winter and stores ‘coolth’ at night for release during the day. Openings introduce natural daylight throughout the building. The roof is an integral part of the buildings.

Maximising the use of natural ventilation 3d geometry of the roof to create areas of positive and negative pressure and hence structural requirements when deter-mining

Rain Water Collection

Sources of Grey Water



PLANT

LAKE

LAKE



Greywater Tank

LAKE

Use Greywater/Lake Water for Air Handing Units ETC. Use Shallow Ground Geo-energy for Heating and Cooling.

FIRE PROTECTED STAIR CORE

CODE ESCAPE DISTANCE

SUSTAINABILIRY

PROTECTED ESCAPE ROUTE TO EXTERIOR

EMERGENCY

The sculpted roof collects rainwater; this can be collected and wed as cooling water for the ventilation systems. It also introduces pressure ventilations in prevailing wind through the spaces.

96

97


4.4_Nature and Urban_Jiangxi Natural Museum

Jiangxi Natural Museum_Nature and Urban_4.4

ENVIRONMENTAL

ROOFLIGHTS

ROOF OPENINGS Optimised to maximise use of available daylighting and minimise heat gain(summer)/ heat loss (winter)

Filters Shading

PREVALING WILD DIRECTION

CAN VARY -Size -Quantity -Distributior -Location

ESTIMATE 15% OF ROOF SURFACE AREA WITH GOOD DISTRIBUTION FACADE

+

Direct Sunlight Shading

VOID COLUMNS Direct sunlight reflected light,shading,filters,etc.

+

=POSITIVE PRESSURE AIR WILL FLOW FROM =NEGETIVE PRESSURE

+

TO

LIGHTING

VENTILATION

The vast area of the roof can be used to harvest solar energy and generate electricity. The mass of the concrete roof reduces heat gain in summer and insulates the building in winter and stores ‘coolth’ at night for release during the day. Openings introduce natural daylight throughout the building. The roof is an integral part of the buildings.

Maximising the use of natural ventilation 3d geometry of the roof to create areas of positive and negative pressure and hence structural requirements when deter-mining

Rain Water Collection

Sources of Grey Water



PLANT

LAKE

LAKE



Greywater Tank

LAKE

Use Greywater/Lake Water for Air Handing Units ETC. Use Shallow Ground Geo-energy for Heating and Cooling.

FIRE PROTECTED STAIR CORE

CODE ESCAPE DISTANCE

SUSTAINABILIRY

PROTECTED ESCAPE ROUTE TO EXTERIOR

EMERGENCY

The sculpted roof collects rainwater; this can be collected and wed as cooling water for the ventilation systems. It also introduces pressure ventilations in prevailing wind through the spaces.

96

97


4.4_Nature and Urban_Jiangxi Natural Museum

98 96

Jiangxi Natural Museum_Nature and Urban_4.4

99 9 7


4.4_Nature and Urban_Jiangxi Natural Museum

98 96

Jiangxi Natural Museum_Nature and Urban_4.4

99 9 7


4.4_Nature and Urban_Jiangxi Natural Museum

100

Jiangxi Natural Museum_Nature and Urban_4.4

101


4.4_Nature and Urban_Jiangxi Natural Museum

100

Jiangxi Natural Museum_Nature and Urban_4.4

101


4.4_Nature and Urban_Jiangxi Natural Museum

102

103


4.4_Nature and Urban_Jiangxi Natural Museum

102

103


104

PHOTOARCHITECTURE 105


104

PHOTOARCHITECTURE 105


5.1_Photo-Architecture_Urban Symbiosis

Urban Symbiosis_Photo-Architecture_5.1 Coreless Structure System

URBAN SYMBIOSIS Competition (Academic) Team Work Time: Summer 2011 Location: Madrid, Spain

To facilitate such ambition, our proposal comes from a simple geometrical manipulation. A corrugated mesh could stands on its own with the stability which its unfold form could never have. Such seemingly simple gesture could        

  



and the other is the blends of the space. The penetration between the two sides addresses connections and communications of different domains.

Flamenco Dancing

Background The concept of the project derived from a biological rela         

from the long-term interaction between different biological species. Facing the urban crisis that most of the global metropolitan areas are having, innovative urban propos

         

infrastructure system which would fundamentally reshape people’s living behavior as well as the social organization of the city.

Pleated Facade Interpreting such folding idea into the local treatment of the façade design, the pleating          

!

   

    cal value. Structurally, the wrinkle façade sys            

simplify wrapping the volume needs, this leads    

      

would increases the structure stability. Ecologically, the folded plane is a kinetic elevation system which enables the façade to adjust its

         

according to the climate condition as well as the interior needs.

    

106

Aesthetically, result from a series of design treatments, the wrinkle façade creates a unique appearance and iconic value for the    "     

 

passionate South Europe culture. The movement and the gesture of the building is like the famous Flamenco Dancing, the twinkling effect comes from the beautiful façade is just like the sprinkling skirt‌

107


5.1_Photo-Architecture_Urban Symbiosis

Urban Symbiosis_Photo-Architecture_5.1 Coreless Structure System

URBAN SYMBIOSIS Competition (Academic) Team Work Time: Summer 2011 Location: Madrid, Spain

To facilitate such ambition, our proposal comes from a simple geometrical manipulation. A corrugated mesh could stands on its own with the stability which its unfold form could never have. Such seemingly simple gesture could        

  



and the other is the blends of the space. The penetration between the two sides addresses connections and communications of different domains.

Flamenco Dancing

Background The concept of the project derived from a biological rela         

from the long-term interaction between different biological species. Facing the urban crisis that most of the global metropolitan areas are having, innovative urban propos

         

infrastructure system which would fundamentally reshape people’s living behavior as well as the social organization of the city.

Pleated Facade Interpreting such folding idea into the local treatment of the façade design, the pleating          

!

   

    cal value. Structurally, the wrinkle façade sys            

simplify wrapping the volume needs, this leads    

      

would increases the structure stability. Ecologically, the folded plane is a kinetic elevation system which enables the façade to adjust its

         

according to the climate condition as well as the interior needs.

    

106

Aesthetically, result from a series of design treatments, the wrinkle façade creates a unique appearance and iconic value for the    "     

 

passionate South Europe culture. The movement and the gesture of the building is like the famous Flamenco Dancing, the twinkling effect comes from the beautiful façade is just like the sprinkling skirt‌

107


5.1_Photo-Architecture_Urban Symbiosis

Urban Symbiosis_Photo-Architecture_5.1

Foldable Skin System a, pleat curtain wall is a dynamic skin system.

b, system can automatically adjust the micro-environment of the building by the deformation of the building skin.

First Floor Plan

b, its movement is an immediately reaction of environment. Advanced Building System Exploded View

1.

Low-E Glass

2.

Ventilation

3.

Main Structure

4.

Maintenance Layer

1. 2. 4. 5. 7.

3.

9.

6.

5.

Water Container

6.

Mechanical Track

7. Water Collection Pipes 8.

108

8.

Foldable Frames

9.

Solar Panels

Masterplan

Section109


5.1_Photo-Architecture_Urban Symbiosis

Urban Symbiosis_Photo-Architecture_5.1

Foldable Skin System a, pleat curtain wall is a dynamic skin system.

b, system can automatically adjust the micro-environment of the building by the deformation of the building skin.

First Floor Plan

b, its movement is an immediately reaction of environment. Advanced Building System Exploded View

1.

Low-E Glass

2.

Ventilation

3.

Main Structure

4.

Maintenance Layer

1. 2. 4. 5. 7.

3.

9.

6.

5.

Water Container

6.

Mechanical Track

7. Water Collection Pipes 8.

108

8.

Foldable Frames

9.

Solar Panels

Masterplan

Section109


5.1_Photo-Architecture_Urban Symbiosis

Urban Symbiosis_Photo-Architecture_5.1

Advanced Building System. Passive Ventilation Achieve the maximum ventilation possible on hot and humid days with a wall shutter for building inlet or outlet venting application.

Water Container Water Collection pipes was placed in the gap between each panel. The water would store in the container behind the maintenance layer.

Solar Panel Systerm About 20% of the skin panels can be replaced of solar panels. The foldable curtain wall system can face the solar panels to the sun automatically.

Mechanical Track Mechanical Track not only supports the whole foldable curtain wall system of the building, but also creates a layer for maintenance and skin panels’ storge.

110

111


5.1_Photo-Architecture_Urban Symbiosis

Urban Symbiosis_Photo-Architecture_5.1

Advanced Building System. Passive Ventilation Achieve the maximum ventilation possible on hot and humid days with a wall shutter for building inlet or outlet venting application.

Water Container Water Collection pipes was placed in the gap between each panel. The water would store in the container behind the maintenance layer.

Solar Panel Systerm About 20% of the skin panels can be replaced of solar panels. The foldable curtain wall system can face the solar panels to the sun automatically.

Mechanical Track Mechanical Track not only supports the whole foldable curtain wall system of the building, but also creates a layer for maintenance and skin panels’ storge.

110

111


5.1_Photo-Architecture_Urban Symbiosis

112

Urban Symbiosis_Photo-Architecture_5.1

113


5.1_Photo-Architecture_Urban Symbiosis

112

Urban Symbiosis_Photo-Architecture_5.1

113


5.1_Photo-Architecture_Urban Symbiosis

114

Urban Symbiosis_Photo-Architecture_5.1

115


5.1_Photo-Architecture_Urban Symbiosis

114

Urban Symbiosis_Photo-Architecture_5.1

115


5.2_Photo-Architecture_A.I.M.

A.I.M._Photo-Architecture_5.2

A.I.M. Competition Second Prize (Academic) Team Work Time: Summer 2010 Location: CBD, Beijing

Existing Site

[1]Pry and inject

Openess

Shelter

[2]Twist

An Open Appeal for China The problem of architecture in the role of artistic production is that there are none. Modern artistic practices have intimidated Architectural ambition to polite neutrality: the white box or kunsthal model suggests architecture as a blank spatial canvas for art to happen independent of it.

We delight in architectural provcations like the Tate Modern’s Turbine Hall, for example, which shows how architecture can become a spatial catalyst for new artistic production. Olafur Eliasson’s “The Weather Project (2003)” would never have been imagined without it. It is this interdependent relationship between architecture as a spatial practice and art as a cultural catalyst that we seek to extend. But we feel like modern art has exhausted itself. China’s emerging artistic culture is an important balance to the ambitions of its rapidly burgeoning middle class. Sited in Beijing’s Central Business District, ground zero of China’s economic growth, this project is

crucial to China’s cultural future, and should be treated with bold ambition. There is a folk tale called The Pied Piper of Hamelin. It involves a wandering piper, dressed in pied clothing, that played beautiful music. The music was so enchanting that people to follow him where-ever he went. In this project, we wondered if architecture could be a pied piper. We hope to seduce througv h the architectural music of “contrast”, imagined at all scales of this proposal.

[2] Twist

[1] Pry and inject

116 11 116

117 117 11


5.2_Photo-Architecture_A.I.M.

A.I.M._Photo-Architecture_5.2

A.I.M. Competition Second Prize (Academic) Team Work Time: Summer 2010 Location: CBD, Beijing

Existing Site

[1]Pry and inject

Openess

Shelter

[2]Twist

An Open Appeal for China The problem of architecture in the role of artistic production is that there are none. Modern artistic practices have intimidated Architectural ambition to polite neutrality: the white box or kunsthal model suggests architecture as a blank spatial canvas for art to happen independent of it.

We delight in architectural provcations like the Tate Modern’s Turbine Hall, for example, which shows how architecture can become a spatial catalyst for new artistic production. Olafur Eliasson’s “The Weather Project (2003)” would never have been imagined without it. It is this interdependent relationship between architecture as a spatial practice and art as a cultural catalyst that we seek to extend. But we feel like modern art has exhausted itself. China’s emerging artistic culture is an important balance to the ambitions of its rapidly burgeoning middle class. Sited in Beijing’s Central Business District, ground zero of China’s economic growth, this project is

crucial to China’s cultural future, and should be treated with bold ambition. There is a folk tale called The Pied Piper of Hamelin. It involves a wandering piper, dressed in pied clothing, that played beautiful music. The music was so enchanting that people to follow him where-ever he went. In this project, we wondered if architecture could be a pied piper. We hope to seduce througv h the architectural music of “contrast”, imagined at all scales of this proposal.

[2] Twist

[1] Pry and inject

116 11 116

117 117 11


5.2_Photo-Architecture_A.I.M.

A.I.M._Photo-Architecture_5.2

[1] Pry and Inject : letting density go free. Dubai has taught us that anything we dare imagine can be built. But we also learnt that this imagination has to be guided by a humanistic responsibilty.

[2] Twist : a machine for (a) original site

change

(b) remove the soil around the buildings

The raised buildings twist around single point pivots.

(c) install the crane

As architects, we feel responsible for the cartesian geometry that limits the imagination of the people who live in it. We would like to introduce an alternative spatial experience, in hopes that it will inspire. We are also concerned with “openness” in a built city. By lifting the buildings, we want to create free sight lines without

       # 

this “freed density”.

(d) lift the buildings

Buildings without rotation

This is achieved through gear-ratios not unlike that in a watch. Within the building, this creating ruptures or connections in circulation allowing for different scales of activities to be planned. Buildings and potential rotation A

(e) inject new functional machanism

Underneath the building, the activities mold to this changing topograhical sky.

(f) refill the landscape

Buildings and potential rotation B

118

119


5.2_Photo-Architecture_A.I.M.

A.I.M._Photo-Architecture_5.2

[1] Pry and Inject : letting density go free. Dubai has taught us that anything we dare imagine can be built. But we also learnt that this imagination has to be guided by a humanistic responsibilty.

[2] Twist : a machine for (a) original site

change

(b) remove the soil around the buildings

The raised buildings twist around single point pivots.

(c) install the crane

As architects, we feel responsible for the cartesian geometry that limits the imagination of the people who live in it. We would like to introduce an alternative spatial experience, in hopes that it will inspire. We are also concerned with “openness” in a built city. By lifting the buildings, we want to create free sight lines without

       # 

this “freed density”.

(d) lift the buildings

Buildings without rotation

This is achieved through gear-ratios not unlike that in a watch. Within the building, this creating ruptures or connections in circulation allowing for different scales of activities to be planned. Buildings and potential rotation A

(e) inject new functional machanism

Underneath the building, the activities mold to this changing topograhical sky.

(f) refill the landscape

Buildings and potential rotation B

118

119


5.2_Photo-Architecture_A.I.M.

A.I.M._Photo-Architecture_5.2

Detail View 11

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5.2_Photo-Architecture_A.I.M.

A.I.M._Photo-Architecture_5.2

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A.I.M._Photo-Architecture_5.2

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5.2_Photo-Architecture_A.I.M. A Total Cross Section for the Arts: We imagine a literal cross section for the arts and have included a plan to create scenarios of continuous change. This is crucial for a sustained cultural vitality. Artist Residency Program (ARP), in Artist Studios A sponsored artist residency program for artists in any medium. They will be temporarily gifted a studio to work in for the duration of their stay. By rotating the roster, there is constant renewal, challenging the quality of the work produced.

124

A.I.M._Photo-Architecture_5.2 Artist Residency Exhibition (ARE)Gallery, in Double Height Loft Spaces By exhibiting the work of previous resident artist, it is both an archive and contemporary at the same time, a renewed denition of the Museum as something that is as something that isconstantly contemporary but a record of its own history.

Private Galleries, in Double Height Loft Spaces

Pads

For private shows, this can be an arena of confrontation between the local artistic scene and some more international practices.

Elaborated in next section.

Pods Controlled environment for experimental and immersive art Topographical Sky The belly of each building is treated with a variety of LED displays for New Media Artists

125


5.2_Photo-Architecture_A.I.M. A Total Cross Section for the Arts: We imagine a literal cross section for the arts and have included a plan to create scenarios of continuous change. This is crucial for a sustained cultural vitality. Artist Residency Program (ARP), in Artist Studios A sponsored artist residency program for artists in any medium. They will be temporarily gifted a studio to work in for the duration of their stay. By rotating the roster, there is constant renewal, challenging the quality of the work produced.

124

A.I.M._Photo-Architecture_5.2 Artist Residency Exhibition (ARE)Gallery, in Double Height Loft Spaces By exhibiting the work of previous resident artist, it is both an archive and contemporary at the same time, a renewed denition of the Museum as something that is as something that isconstantly contemporary but a record of its own history.

Private Galleries, in Double Height Loft Spaces

Pads

For private shows, this can be an arena of confrontation between the local artistic scene and some more international practices.

Elaborated in next section.

Pods Controlled environment for experimental and immersive art Topographical Sky The belly of each building is treated with a variety of LED displays for New Media Artists

125


5.2_Photo-Architecture_A.I.M.

126

A.I.M._Photo-Architecture_5.2

127


5.2_Photo-Architecture_A.I.M.

126

A.I.M._Photo-Architecture_5.2

127


5.2_Photo-Architecture_A.I.M.

128

A.I.M._Photo-Architecture_5.2

129


5.2_Photo-Architecture_A.I.M.

128

A.I.M._Photo-Architecture_5.2

129


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

Fashion Museum Tokyo 2010_Photo-Architecture_5.3 Exploring Process

Fasion Museum Tokyo 2010

Code import processing.dxf.*; import processing.opengl.*; import SearchGeometry.*; boolean record;

mySurface.addPoint(pt1302, 1.0); mySurface.addPoint(pt14, 1.0); mySurface.addPoint(pt15, 1.0); mySurface.addPoint(pt16, 1.0); mySurface.addPoint(pt17, 1.0); mySurface.addPoint(pt1701, 1.0); mySurface.addPoint(pt1702, 1.0); mySurface.addPoint(pt18, 1.0); mySurface.addPoint(pt19, 1.0); mySurface.addPoint(pt20, 1.0); mySurface.addPoint(pt21, 1.0); mySurface.addPoint(pt2101, 1.0); mySurface.addPoint(pt2102, 1.0);

SGCamera cam; SGIsoSurface mySurface; void setup(){ size(1400, 800, OPENGL); cam = new SGCamera(this); mySurface = new SGIsoSurface(this,20); int numPoints = 2; for(int i=0; i<numPoints; i++){

mySurface.addPoint(pt22, 1.0); mySurface.addPoint(pt23, 1.0); mySurface.addPoint(pt24, 1.0); mySurface.addPoint(pt25, 1.0); mySurface.addPoint(pt26, 1.0); mySurface.addPoint(pt27, 1.0); mySurface.addPoint(pt28, 1.0); mySurface.addPoint(pt29, 1.0); mySurface.addPoint(pt30, 1.0); mySurface.addPoint(pt31, 1.0); mySurface.addPoint(pt32, 1.0); mySurface.addPoint(pt33, 1.0); mySurface.addPoint(pt34, 1.0); mySurface.addPoint(pt35, 1.0); mySurface.addPoint(pt36, 1.0); mySurface.addPoint(pt37, 1.0); mySurface.addPoint(pt38, 1.0); mySurface.addPoint(pt39, 1.0); mySurface.addPoint(pt40, 1.0); mySurface.addPoint(pt41, 1.0);

//------------core-------------PVector pt1 = new PVector(13,10,-40 ); PVector pt2 = new PVector(10,12,-20); PVector pt3 = new PVector( 13,10,0); PVector pt4 = new PVector( 10,12,20); PVector pt5 = new PVector(14,10,40);

Studio Work (Academic) Team Work Time: Spring 2010 Instructor: Elena Manferdini Location: Tokyo

//------------control pt-------------PVector pt6 = new PVector( -5,-5,-30); PVector pt7 = new PVector( -5,-5,-10 ); PVector pt8 = new PVector( -5,-5,10); PVector pt9 = new PVector( -5,-5,30); PVector pt901 = new PVector( -5,-5,40); PVector pt902 = new PVector( -5,-5,-40);

Dynamic Merging

Background

This project uses Processing script as a preliminary designmethodology to create its architectural massing envolope. It is a study of the behavior of fluid flow of surface - Isosurface. The script creates isosurfaces by locating specific points to generate forms. When the desired points are being located, surfaces expand. Surfaces will be merged together accordingto its location. A

PVector pt10 = new PVector(45,-5,-30); PVector pt11 = new PVector( 45,-5,-10); PVector pt12 = new PVector(45,-5,10); PVector pt13 = new PVector( 45,-5,30); PVector pt1301 = new PVector( 45,-5,40); PVector pt1302 = new PVector( 45,-5,-40); PVector pt14 = new PVector(45,45,-30); PVector pt15 = new PVector(45,45,-10); PVector pt16 = new PVector(45,45,10); PVector pt17 = new PVector(45,45,30); PVector pt1701 = new PVector(45,45,-40); PVector pt1702 = new PVector(45,45,40);

} } void keyPressed(){ if(key == ‘r’) record = true; if(key == ‘p’){ saveFrame(“line-####.jpg”); } }

PVector pt18 = new PVector(-5,45,-30); PVector pt19 = new PVector(-5,45,-10); PVector pt20 = new PVector(-5,45,10); PVector pt21 = new PVector(-5,45,30); PVector pt2101 = new PVector(-5,45,-40); PVector pt2102 = new PVector(-5,45,40);

void draw(){ background(255); lights(); cam.update(); if (record){ beginRaw (DXF, “output”+frameCount+”dxf”); }

//------------programs-------------// --E-PVector pt22 = new PVector(20,-5,-20); PVector pt23 = new PVector(30,-5,-40); PVector pt24 = new PVector(28,-5,0); PVector pt25 = new PVector(13,-5,20); PVector pt26 = new PVector(28,-5,40);

PVector (-10,-30,-15); PVector (30,-20,-20);

PVector (-20,-20,-15);

mySurface.plot //mySurface.plot

if (record){ endRaw(); record = false; println(“done dxf”+frameCount);

} }

PVector (30,-40,-15);

// --N-PVector pt37 = new PVector(45,20,0); PVector pt38 = new PVector(45,27,-40); PVector pt39 = new PVector(45,10,-20); PVector pt40 = new PVector(45,11,20); PVector pt41 = new PVector(45,25,40);

PVector (10,-20,-10);

PVector (45,-25,-30);

PVector (10,-5,-40);

PVector (10,-30,-20);

PVector (40,-20,-30);

130 13 1 3 98 9 80

mySurface.plot

// --S-PVector pt27 = new PVector(-5,14,-40); PVector pt28 = new PVector(-5,23,-20); PVector pt29 = new PVector(-5,16,0); PVector pt30 = new PVector(-5,27,20); PVector pt31 = new PVector(-5,24,40); // --W-PVector pt32 = new PVector(20,45,0); PVector pt33 = new PVector(15,45,-40); PVector pt34 = new PVector(27,45,-20); PVector pt35 = new PVector(33,45,20); PVector pt36 = new PVector(12,45,40);

PVector (15,-25,-5);

PVector (40,-20,-15);

mySurface.plot mySurface.plot

mySurface.addPoint(pt1, 1.0); mySurface.addPoint(pt2, 1.0); mySurface.addPoint(pt3, 1.0); mySurface.addPoint(pt4, 1.0); mySurface.addPoint(pt5, 1.0); mySurface.addPoint(pt6, 1.0); mySurface.addPoint(pt7, 1.0); mySurface.addPoint(pt8, 1.0); mySurface.addPoint(pt9, 1.0); mySurface.addPoint(pt901, 1.0); mySurface.addPoint(pt902, 1.0); mySurface.addPoint(pt10, 1.0); mySurface.addPoint(pt11, 1.0); mySurface.addPoint(pt12, 1.0); mySurface.addPoint(pt13, 1.0); mySurface.addPoint(pt1301, 1.0);

131


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

Fashion Museum Tokyo 2010_Photo-Architecture_5.3 Exploring Process

Fasion Museum Tokyo 2010

Code import processing.dxf.*; import processing.opengl.*; import SearchGeometry.*; boolean record;

mySurface.addPoint(pt1302, 1.0); mySurface.addPoint(pt14, 1.0); mySurface.addPoint(pt15, 1.0); mySurface.addPoint(pt16, 1.0); mySurface.addPoint(pt17, 1.0); mySurface.addPoint(pt1701, 1.0); mySurface.addPoint(pt1702, 1.0); mySurface.addPoint(pt18, 1.0); mySurface.addPoint(pt19, 1.0); mySurface.addPoint(pt20, 1.0); mySurface.addPoint(pt21, 1.0); mySurface.addPoint(pt2101, 1.0); mySurface.addPoint(pt2102, 1.0);

SGCamera cam; SGIsoSurface mySurface; void setup(){ size(1400, 800, OPENGL); cam = new SGCamera(this); mySurface = new SGIsoSurface(this,20); int numPoints = 2; for(int i=0; i<numPoints; i++){

mySurface.addPoint(pt22, 1.0); mySurface.addPoint(pt23, 1.0); mySurface.addPoint(pt24, 1.0); mySurface.addPoint(pt25, 1.0); mySurface.addPoint(pt26, 1.0); mySurface.addPoint(pt27, 1.0); mySurface.addPoint(pt28, 1.0); mySurface.addPoint(pt29, 1.0); mySurface.addPoint(pt30, 1.0); mySurface.addPoint(pt31, 1.0); mySurface.addPoint(pt32, 1.0); mySurface.addPoint(pt33, 1.0); mySurface.addPoint(pt34, 1.0); mySurface.addPoint(pt35, 1.0); mySurface.addPoint(pt36, 1.0); mySurface.addPoint(pt37, 1.0); mySurface.addPoint(pt38, 1.0); mySurface.addPoint(pt39, 1.0); mySurface.addPoint(pt40, 1.0); mySurface.addPoint(pt41, 1.0);

//------------core-------------PVector pt1 = new PVector(13,10,-40 ); PVector pt2 = new PVector(10,12,-20); PVector pt3 = new PVector( 13,10,0); PVector pt4 = new PVector( 10,12,20); PVector pt5 = new PVector(14,10,40);

Studio Work (Academic) Team Work Time: Spring 2010 Instructor: Elena Manferdini Location: Tokyo

//------------control pt-------------PVector pt6 = new PVector( -5,-5,-30); PVector pt7 = new PVector( -5,-5,-10 ); PVector pt8 = new PVector( -5,-5,10); PVector pt9 = new PVector( -5,-5,30); PVector pt901 = new PVector( -5,-5,40); PVector pt902 = new PVector( -5,-5,-40);

Dynamic Merging

Background

This project uses Processing script as a preliminary designmethodology to create its architectural massing envolope. It is a study of the behavior of fluid flow of surface - Isosurface. The script creates isosurfaces by locating specific points to generate forms. When the desired points are being located, surfaces expand. Surfaces will be merged together accordingto its location. A

PVector pt10 = new PVector(45,-5,-30); PVector pt11 = new PVector( 45,-5,-10); PVector pt12 = new PVector(45,-5,10); PVector pt13 = new PVector( 45,-5,30); PVector pt1301 = new PVector( 45,-5,40); PVector pt1302 = new PVector( 45,-5,-40); PVector pt14 = new PVector(45,45,-30); PVector pt15 = new PVector(45,45,-10); PVector pt16 = new PVector(45,45,10); PVector pt17 = new PVector(45,45,30); PVector pt1701 = new PVector(45,45,-40); PVector pt1702 = new PVector(45,45,40);

} } void keyPressed(){ if(key == ‘r’) record = true; if(key == ‘p’){ saveFrame(“line-####.jpg”); } }

PVector pt18 = new PVector(-5,45,-30); PVector pt19 = new PVector(-5,45,-10); PVector pt20 = new PVector(-5,45,10); PVector pt21 = new PVector(-5,45,30); PVector pt2101 = new PVector(-5,45,-40); PVector pt2102 = new PVector(-5,45,40);

void draw(){ background(255); lights(); cam.update(); if (record){ beginRaw (DXF, “output”+frameCount+”dxf”); }

//------------programs-------------// --E-PVector pt22 = new PVector(20,-5,-20); PVector pt23 = new PVector(30,-5,-40); PVector pt24 = new PVector(28,-5,0); PVector pt25 = new PVector(13,-5,20); PVector pt26 = new PVector(28,-5,40);

PVector (-10,-30,-15); PVector (30,-20,-20);

PVector (-20,-20,-15);

mySurface.plot //mySurface.plot

if (record){ endRaw(); record = false; println(“done dxf”+frameCount);

} }

PVector (30,-40,-15);

// --N-PVector pt37 = new PVector(45,20,0); PVector pt38 = new PVector(45,27,-40); PVector pt39 = new PVector(45,10,-20); PVector pt40 = new PVector(45,11,20); PVector pt41 = new PVector(45,25,40);

PVector (10,-20,-10);

PVector (45,-25,-30);

PVector (10,-5,-40);

PVector (10,-30,-20);

PVector (40,-20,-30);

130 13 1 3 98 9 80

mySurface.plot

// --S-PVector pt27 = new PVector(-5,14,-40); PVector pt28 = new PVector(-5,23,-20); PVector pt29 = new PVector(-5,16,0); PVector pt30 = new PVector(-5,27,20); PVector pt31 = new PVector(-5,24,40); // --W-PVector pt32 = new PVector(20,45,0); PVector pt33 = new PVector(15,45,-40); PVector pt34 = new PVector(27,45,-20); PVector pt35 = new PVector(33,45,20); PVector pt36 = new PVector(12,45,40);

PVector (15,-25,-5);

PVector (40,-20,-15);

mySurface.plot mySurface.plot

mySurface.addPoint(pt1, 1.0); mySurface.addPoint(pt2, 1.0); mySurface.addPoint(pt3, 1.0); mySurface.addPoint(pt4, 1.0); mySurface.addPoint(pt5, 1.0); mySurface.addPoint(pt6, 1.0); mySurface.addPoint(pt7, 1.0); mySurface.addPoint(pt8, 1.0); mySurface.addPoint(pt9, 1.0); mySurface.addPoint(pt901, 1.0); mySurface.addPoint(pt902, 1.0); mySurface.addPoint(pt10, 1.0); mySurface.addPoint(pt11, 1.0); mySurface.addPoint(pt12, 1.0); mySurface.addPoint(pt13, 1.0); mySurface.addPoint(pt1301, 1.0);

131


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

132 100

Fashion Museum Tokyo 2010_Photo-Architecture_5.3

133 1 01


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

132 100

Fashion Museum Tokyo 2010_Photo-Architecture_5.3

133 1 01


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

BUBBLE

STRUCTURE

Fashion Museum Tokyo 2010_Photo-Architecture_5.3

ENVELOPE

MUSEUM

As a design strategy, the formation of the surfaces are being used as architectural tectonic scheme - Massing. The isosurfaces become the boundary (wall system) of the space both for inside and outside. on the typology of the isosurface. The outside wall system and the massing envople together generate a continuity as a whole to achieve its elegance formed by its own.

134

135 1 03 INTERIOR


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

BUBBLE

STRUCTURE

Fashion Museum Tokyo 2010_Photo-Architecture_5.3

ENVELOPE

MUSEUM

As a design strategy, the formation of the surfaces are being used as architectural tectonic scheme - Massing. The isosurfaces become the boundary (wall system) of the space both for inside and outside. on the typology of the isosurface. The outside wall system and the massing envople together generate a continuity as a whole to achieve its elegance formed by its own.

134

135 1 03 INTERIOR


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

136

137


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

136

137


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

Fashion Museum Tokyo 2010_Photo-Architecture_5.3

N

Ground Level Plan

138

Typical Level Plan

139


5.3_Photo-Architecture_Fashion Museum Tokyo 2010 A-A Section

140

Fashion Museum Tokyo 2010_Photo-Architecture_5.3 East Elevation

141


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

142 110

Fashion Museum Tokyo 2010_Photo-Architecture_5.3

143 111


5.3_Photo-Architecture_Fashion Museum Tokyo 2010

142 110

Fashion Museum Tokyo 2010_Photo-Architecture_5.3

143 111


144

145


144

145


6.1_Awkwardness_Impasto House

Impasto House_Awkwardness__6.1 CELL COMPONETS

IMPASTO HOUSE X-Lab (Academic) Team Work Time: Spring 2011 Instructor: Hernan Diaz Alonzo Location: Los Angeles   ]  ^  " 

`|~~~  Â&#x20AC; Â&#x20AC; Â 

Background This house project is about extending a painterly sense of overlay and brush stroke into architecture. We see this sensibility as an update to the modernist interest in the blending of building and landscape as is apparent in the Neutra houses neighboring the site. In these examples, the lines of plan and section, carried out as beams or columns and planes, extend into space and begin to blur the boundary between the interior and exterior. Here, autonomous elements, or cells, are layered on top of one another.

On the exterior, at the edges or boundaries of these cell regions, mutations and morphing techniques are most prevalent within the individual cells. This is akin to layered brush strokes blending between regions of color but it is carried out as a three dimensional composition using architectural elements of structure and skin. This is not the simple structure and  !    Â&#x201A;        

and textured structure and skin which not only weave in and out of each other, but also the landscape. Boundaries are blurred or erased entirely by excessive moments where the skin and structure become inseparable from ornamentation. The image of the home becomes similar to the painted canvas where regions and zones are perceivable but their distinct edges no longer exist.

146

147


6.1_Awkwardness_Impasto House

Impasto House_Awkwardness__6.1 CELL COMPONETS

IMPASTO HOUSE X-Lab (Academic) Team Work Time: Spring 2011 Instructor: Hernan Diaz Alonzo Location: Los Angeles   ]  ^  " 

`|~~~  Â&#x20AC; Â&#x20AC; Â 

Background This house project is about extending a painterly sense of overlay and brush stroke into architecture. We see this sensibility as an update to the modernist interest in the blending of building and landscape as is apparent in the Neutra houses neighboring the site. In these examples, the lines of plan and section, carried out as beams or columns and planes, extend into space and begin to blur the boundary between the interior and exterior. Here, autonomous elements, or cells, are layered on top of one another.

On the exterior, at the edges or boundaries of these cell regions, mutations and morphing techniques are most prevalent within the individual cells. This is akin to layered brush strokes blending between regions of color but it is carried out as a three dimensional composition using architectural elements of structure and skin. This is not the simple structure and  !    Â&#x201A;        

and textured structure and skin which not only weave in and out of each other, but also the landscape. Boundaries are blurred or erased entirely by excessive moments where the skin and structure become inseparable from ornamentation. The image of the home becomes similar to the painted canvas where regions and zones are perceivable but their distinct edges no longer exist.

146

147


6.1_Awkwardness_Impasto House

Our brush strokes are the grid cells. Our grid is a diagrid made up of the faces of a composition of rhombic dodecahedrons. The grid of the modernist is not so dissimilar to the contemporary mesh grid used to rationalize but also       Â&#x2026; 

  Â&#x2020;

the other a blob. Both are used to generate an overall sculptural form be it orthogonal or curvilinear. Our technique involves blending the  Â&#x2021;            

the grid cell which can then tessellate into any number of scales. These grid cells are then used to compose the overall form. This juxtaposition causes dissolution of mass but also

|Â&#x201E;~

Impasto House_Awkwardness__6.1

an unpredictable shifting between orthogonal and curvilinear geometries in terms of composition. In addition, because of the complexity       

   



in multiple and complex ways, the repetition of   

        !  ures swarm and seem almost recognizable yet entirely strange. Because impasto gives texture to the painting,       

   

techniques.

149


6.1_Awkwardness_Impasto House

Our brush strokes are the grid cells. Our grid is a diagrid made up of the faces of a composition of rhombic dodecahedrons. The grid of the modernist is not so dissimilar to the contemporary mesh grid used to rationalize but also       Â&#x2026; 

  Â&#x2020;

the other a blob. Both are used to generate an overall sculptural form be it orthogonal or curvilinear. Our technique involves blending the  Â&#x2021;            

the grid cell which can then tessellate into any number of scales. These grid cells are then used to compose the overall form. This juxtaposition causes dissolution of mass but also

|Â&#x201E;~

Impasto House_Awkwardness__6.1

an unpredictable shifting between orthogonal and curvilinear geometries in terms of composition. In addition, because of the complexity       

   



in multiple and complex ways, the repetition of   

        !  ures swarm and seem almost recognizable yet entirely strange. Because impasto gives texture to the painting,       

   

techniques.

149


6.1_Awkwardness_Impasto House

Impasto House_Awkwardness__6.1

2nd Floor Plan

Entrance

7

5

3 Room

Front Door

Studio

Entrance nt

Studio

Living Room

6 Room

4 Kitchen

A B

C D E

2 F Â H I

150

N

151


6.1_Awkwardness_Impasto House

Impasto House_Awkwardness__6.1

2nd Floor Plan

Entrance

7

5

3 Room

Front Door

Studio

Entrance nt

Studio

Living Room

6 Room

4 Kitchen

A B

C D E

2 F Â H I

150

N

151


6.1_Awkwardness_Impasto House

Impasto House_Awkwardness__6.1

A-A Section

06

01

07

03 10 08 05

02

04

09

11

152

153


6.1_Awkwardness_Impasto House

Impasto House_Awkwardness__6.1

A-A Section

06

01

07

03 10 08 05

02

04

09

11

152

153


154

155


154

155


6.1_Awkwardness_Impasto House

156

157


6.1_Awkwardness_Impasto House

156

157


6.2_Awkwardness_Hol(e)y Masses

Hol(e)y Masses_Awkwardness__6.2 Merging Process

Hol(e)y Masses Studio Work (Academic) Personal Time: Fall 2009 Instructor: Herwig Baumgartner Location: Los Angeles Background

given and a narrative that needs to be developed by each site conditions, the program organization and, in addition to previously explored strategies of poche and ornamentation, incorporate several a[ertures.Students will examine the interrelationship between the audience component and the cereminial center. Series Section Cuts

158

159


6.2_Awkwardness_Hol(e)y Masses

Hol(e)y Masses_Awkwardness__6.2 Merging Process

Hol(e)y Masses Studio Work (Academic) Personal Time: Fall 2009 Instructor: Herwig Baumgartner Location: Los Angeles Background

given and a narrative that needs to be developed by each site conditions, the program organization and, in addition to previously explored strategies of poche and ornamentation, incorporate several a[ertures.Students will examine the interrelationship between the audience component and the cereminial center. Series Section Cuts

158

159


6.2_Awkwardness_Hol(e)y Masses

160

Hol(e)y Masses_Awkwardness__6.2

161


6.2_Awkwardness_Hol(e)y Masses

160

Hol(e)y Masses_Awkwardness__6.2

161


6.2_Awkwardness_Hol(e)y Masses Ground Level Plan

Hol(e)y Masses_Awkwardness__6.2 East Elevation

Typical Level Plan South Elevation

162

163


6.2_Awkwardness_Hol(e)y Masses Ground Level Plan

Hol(e)y Masses_Awkwardness__6.2 East Elevation

Typical Level Plan South Elevation

162

163


6.2_Awkwardness_Hol(e)y Masses

A-A Section

164

Hol(e)y Masses_Awkwardness__6.2

B-B Section

165


6.2_Awkwardness_Hol(e)y Masses

A-A Section

164

Hol(e)y Masses_Awkwardness__6.2

B-B Section

165


6.2_Awkwardness_Hol(e)y Masses

166

Hol(e)y Masses_Awkwardness__6.2

167


6.2_Awkwardness_Hol(e)y Masses

166

Hol(e)y Masses_Awkwardness__6.2

167


168

169


168

169


6.3_Awkwardness_Misregistration

Misregistration_Awkwardness__6.3

MISREGISTRATION Studio (Academic) Individual ^Â&#x160; Â&#x2039; Â&#x152;Â&#x2018;|Â&#x2018;    Â&#x160; <  Â&#x2019; Â&#x201C;Â&#x160;

"* 

Marilyn Diptych Andy Warhol 1962

Background Intentionally awkward conditions occur with increas

 Â&#x2030;

 







 

  <

an emerging cultural sensibility, the awk ward may help              ^ 

 

at Korea. Our proposal is to design a building to perform contrary to our best judgement to tactically undermine 

!

        

aesthetic territories.

Misregistration

storage

curtural

maintenance public

exhibition

administration education

Functional Diagram

170

171


6.3_Awkwardness_Misregistration

Misregistration_Awkwardness__6.3

MISREGISTRATION Studio (Academic) Individual ^Â&#x160; Â&#x2039; Â&#x152;Â&#x2018;|Â&#x2018;    Â&#x160; <  Â&#x2019; Â&#x201C;Â&#x160;

"* 

Marilyn Diptych Andy Warhol 1962

Background Intentionally awkward conditions occur with increas

 Â&#x2030;

 







 

  <

an emerging cultural sensibility, the awk ward may help              ^ 

 

at Korea. Our proposal is to design a building to perform contrary to our best judgement to tactically undermine 

!

        

aesthetic territories.

Misregistration

storage

curtural

maintenance public

exhibition

administration education

Functional Diagram

170

171


6.3_Awkwardness_Misregistration

Misregistration_Awkwardness__6.3

Transverse Section

172

173


6.3_Awkwardness_Misregistration

Misregistration_Awkwardness__6.3

Transverse Section

172

173


6.3_Awkwardness_Misregistration

174

Misregistration_Awkwardness__6.3

175


6.3_Awkwardness_Misregistration

174

Misregistration_Awkwardness__6.3

175


176

177


176

177


178

179


178

179


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

CAREFUL CARTESIAN CORNER CRUMPLE(S) Graduate Thesis (Academic) Individual Time: Summer 2011 Instructor: Andrew Zago Location: Los Angeles

Surface Misregistration

Object Misregistration

Background Cartesian coordinates are the foundation of analytic geometry, and provide enlightening geometry interpretations for mathematics, painting, architecture, computer graph, and more. Generally, it needs 2 axes to describes a painting like Andy Warholâ&#x20AC;&#x2122;s Marilyn Monroe; however, it needs 3 axes to describes geometry like a regular box. This thesis is trying    Â&#x152; 

   Â&#x201D; 

  In Cartesian Coordinates System, each Andy Warholâ&#x20AC;&#x2122;s Marilyn Monroe was represented by twodimensional data. 2D Painting

Cartesian Coordinate

3D Geometry

C4 Coordinate

180 18 1 80

181


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

CAREFUL CARTESIAN CORNER CRUMPLE(S) Graduate Thesis (Academic) Individual Time: Summer 2011 Instructor: Andrew Zago Location: Los Angeles

Surface Misregistration

Object Misregistration

Background Cartesian coordinates are the foundation of analytic geometry, and provide enlightening geometry interpretations for mathematics, painting, architecture, computer graph, and more. Generally, it needs 2 axes to describes a painting like Andy Warholâ&#x20AC;&#x2122;s Marilyn Monroe; however, it needs 3 axes to describes geometry like a regular box. This thesis is trying    Â&#x152; 

   Â&#x201D; 

  In Cartesian Coordinates System, each Andy Warholâ&#x20AC;&#x2122;s Marilyn Monroe was represented by twodimensional data. 2D Painting

Cartesian Coordinate

3D Geometry

C4 Coordinate

180 18 1 80

181


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

One to One

182

All to One

183


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

One to One

182

All to One

183


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

All in One

184

185 18 1 85 One to All


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

All in One

184

185 18 1 85 One to All


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

186 18 86

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

187 18 87


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

186 18 86

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

187 18 87


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

Floor Plan

Section

188

189 Ground Floor Plan


6.4_Awkwardness_Careful Cartesian Corner Crumple(s)

Careful Cartesian Corner Crumple(s)_Awkwardness__6.4

Floor Plan

Section

188

189 Ground Floor Plan


190

191 191 19


190

191 191 19


192 114

193 115


192 114

193 115


7.1_Aggregation_Building Asia Brick by Brick

Building Asia Brick by Brick Works in MADA s.p.a.m. Artwork Time: May. 2007 Instructor: Qingyun Ma Status: Main Designer Location: MADA s.p.a.m.

Background While LEGO approaches the world from a fundamental perspective, the world itself is fragmented into many pieces. At what point do these two processes of creating an absolute understanding and a multiperspectival understanding of the a low resolution of operation based on mental associations of reality, the latter hybrid approach provides opportunities for hyper-reality. Our position between these two trends is â&#x20AC;&#x153;totality of modularity.â&#x20AC;? Totality is unknown but always assumed. Totality is not reality, it is only assumed to approximate reality. Here, the assumed totality, ideality, is deducted

194 116

195


7.1_Aggregation_Building Asia Brick by Brick

Building Asia Brick by Brick Works in MADA s.p.a.m. Artwork Time: May. 2007 Instructor: Qingyun Ma Status: Main Designer Location: MADA s.p.a.m.

Background While LEGO approaches the world from a fundamental perspective, the world itself is fragmented into many pieces. At what point do these two processes of creating an absolute understanding and a multiperspectival understanding of the a low resolution of operation based on mental associations of reality, the latter hybrid approach provides opportunities for hyper-reality. Our position between these two trends is â&#x20AC;&#x153;totality of modularity.â&#x20AC;? Totality is unknown but always assumed. Totality is not reality, it is only assumed to approximate reality. Here, the assumed totality, ideality, is deducted

194 116

195


7.1_Aggregation_Building Asia Brick by Brick

196

Building Asia Brick by Brick_Aggregation_7.1

197


7.1_Aggregation_Building Asia Brick by Brick

196

Building Asia Brick by Brick_Aggregation_7.1

197


7.1_Aggregation_Building Asia Brick by Brick

198

Building Asia Brick by Brick_Aggregation_7.1

199


7.1_Aggregation_Building Asia Brick by Brick

198

Building Asia Brick by Brick_Aggregation_7.1

199


7.2_Aggregation_China Pavilion

China Pavilion_Aggregation_7.2

China Pavilion

Ӂ

Works in MADA s.p.a.m. Competition Time: June. 2007 Instructor: Qingyun Ma Status: Main Designer Location: Shanghai

Background

Sky represent future, sky represent science.

The world expo has always a dilemma, that is whether it looks to the future or looks to tradition. It has always been alternating in terms of its theme and agenda. it has been an common every time when the world get tired of dealing with the future, it would deliver a weak expo.

+

൏ Earth represent past, earth represent life.

=

උ Temple of heaven is the most important monument for this believe in presence.Heaven and man become one. This is the essence of the china pavilion for. 200 122

201


7.2_Aggregation_China Pavilion

China Pavilion_Aggregation_7.2

China Pavilion

Ӂ

Works in MADA s.p.a.m. Competition Time: June. 2007 Instructor: Qingyun Ma Status: Main Designer Location: Shanghai

Background

Sky represent future, sky represent science.

The world expo has always a dilemma, that is whether it looks to the future or looks to tradition. It has always been alternating in terms of its theme and agenda. it has been an common every time when the world get tired of dealing with the future, it would deliver a weak expo.

+

൏ Earth represent past, earth represent life.

=

උ Temple of heaven is the most important monument for this believe in presence.Heaven and man become one. This is the essence of the china pavilion for. 200 122

201


7.2_Aggregation_China Pavilion

China Pavilion_Aggregation_7.2 Where is shanghai in this alternating pattern, if Aichi is a nostalgic one, this must be futuristic one. Aichi is remote local town two hours even from fukouka, Shanghai is a world metropolitan. Aichi is a town with less than half of a million, Shanghai is megalopolis of 15million. Aichi was about green, what is shanghai about? Obviously shanghai must be about future to enable the expo success. but the question is what is the future? Or how Shanghai or China in this matter, acclaims future?

SITE

Chinese never see future as a state on a linear development. Nature is based on recurrence, and rejoining between past and future.

202

FREIGHT

PEDESTRIAN

COMMUNICATION

SUBWAY

VEHICLE

COMMUNICATION LAYERING

203


7.2_Aggregation_China Pavilion

China Pavilion_Aggregation_7.2 Where is shanghai in this alternating pattern, if Aichi is a nostalgic one, this must be futuristic one. Aichi is remote local town two hours even from fukouka, Shanghai is a world metropolitan. Aichi is a town with less than half of a million, Shanghai is megalopolis of 15million. Aichi was about green, what is shanghai about? Obviously shanghai must be about future to enable the expo success. but the question is what is the future? Or how Shanghai or China in this matter, acclaims future?

SITE

Chinese never see future as a state on a linear development. Nature is based on recurrence, and rejoining between past and future.

202

FREIGHT

PEDESTRIAN

COMMUNICATION

SUBWAY

VEHICLE

COMMUNICATION LAYERING

203


7.2_Aggregation_China Pavilion

China Pavilion_Aggregation_7.2

Conceptual Model

Level -2

Level -1

Ground Floor

Level 1

Level 2

Level 3

Level 4

Roof

Vertical Programs TAIWAN

MACAO

NATIONAL HALL

HONG KONG

HISTORY OF CHINA

CULTURE AND KNOWLEDGE

MAN, SOCIETY AND WORK

LAND OF CHINA

RELIGION

REGIONS

PROVINCES

TRADITIONS

MINORITY HIERITAGE

REGIONAL INDUSTRIES

REGIONAL HALL

GANG AO TAI HALL

204

205


7.2_Aggregation_China Pavilion

China Pavilion_Aggregation_7.2

Conceptual Model

Level -2

Level -1

Ground Floor

Level 1

Level 2

Level 3

Level 4

Roof

Vertical Programs TAIWAN

MACAO

NATIONAL HALL

HONG KONG

HISTORY OF CHINA

CULTURE AND KNOWLEDGE

MAN, SOCIETY AND WORK

LAND OF CHINA

RELIGION

REGIONS

PROVINCES

TRADITIONS

MINORITY HIERITAGE

REGIONAL INDUSTRIES

REGIONAL HALL

GANG AO TAI HALL

204

205


7.2_Aggregation_China Pavilion

206 2 20 06

China Pavilion_Aggregation_7.2

207


7.2_Aggregation_China Pavilion

206 2 20 06

China Pavilion_Aggregation_7.2

207


7.3_Aggregation_Proportions of Straight Line

Proportions of Straight Line_Aggregation_7.3

Proportions of Straight Line Visual Study (Academic) Term Work Time: Fall 2010 Instructor: Andrew Zago Location: SCI-arc Background Visual representation is constrained by the limits of the imagination. The nonvisual, on the other hand, exploits inherent structural potential within materials, geometries and logics while propelling work outside of what was previously conceivable. It orchestrates matter through the weaving and cross-weaving of rigorous techniques that lack a priori form. This seminar seeks new categories of form, realizable only through nonvisual, bottom-up means, and, consequently, new architectural possibilities for space, program, and tectonics.

208

209


7.3_Aggregation_Proportions of Straight Line

Proportions of Straight Line_Aggregation_7.3

Proportions of Straight Line Visual Study (Academic) Term Work Time: Fall 2010 Instructor: Andrew Zago Location: SCI-arc Background Visual representation is constrained by the limits of the imagination. The nonvisual, on the other hand, exploits inherent structural potential within materials, geometries and logics while propelling work outside of what was previously conceivable. It orchestrates matter through the weaving and cross-weaving of rigorous techniques that lack a priori form. This seminar seeks new categories of form, realizable only through nonvisual, bottom-up means, and, consequently, new architectural possibilities for space, program, and tectonics.

208

209


7.3_Aggregation_Proportions of Straight Line

210

Proportions of Straight Line_Aggregation_7.3

211


7.3_Aggregation_Proportions of Straight Line

210

Proportions of Straight Line_Aggregation_7.3

211


212

213


212

213


214

215


214

215


8.1_Romanticism_The Great Pyramid

The Great Pyramid_Romanticism_8.1

The Great Pyramid Works in MADA s.p.a.m. Competition Time: Jan. 2008 Instructor: Qingyun Ma Status: Main Designer Location: Germany PYRAMID

DIMARYP explores a space far beyond Niermann’s initial model

DIMARYP

Background The project of pyramid for the future project offers us the

in 3000 years, to explore the pyramids inside, in a hallucinatory journey across the Elbe that ends eventually in a reintegration in the landscape. Rem Koolhaas President of the Jury

216

and pursue true expression and emotion of perpetuity. the pyramid and create a new word creates “dimaryp” and therefore a new culture. While a pyramid accumulates from bottom up. The Dimaryp diminishes from top down; while a pyramid completes itself to a point, a peak the dimaryp

217


8.1_Romanticism_The Great Pyramid

The Great Pyramid_Romanticism_8.1

The Great Pyramid Works in MADA s.p.a.m. Competition Time: Jan. 2008 Instructor: Qingyun Ma Status: Main Designer Location: Germany PYRAMID

DIMARYP explores a space far beyond Niermann’s initial model

DIMARYP

Background The project of pyramid for the future project offers us the

in 3000 years, to explore the pyramids inside, in a hallucinatory journey across the Elbe that ends eventually in a reintegration in the landscape. Rem Koolhaas President of the Jury

216

and pursue true expression and emotion of perpetuity. the pyramid and create a new word creates “dimaryp” and therefore a new culture. While a pyramid accumulates from bottom up. The Dimaryp diminishes from top down; while a pyramid completes itself to a point, a peak the dimaryp

217


8.1_Romanticism_The Great Pyramid

The Great Pyramid_Romanticism_8.1

A port is proposed at where the river turns into an “U” for dimaryp called “dimaryport”. In dimaryport. Dimaryps are con-

emotion. Then the dimaryps are launched to the river and the spiritual journey carrying starts….

memorial stones and commemorate individually and directly. This decade of dimaryp is Called “face to soul”. In the second decade, it collects memorial stones on top of the stones laid

a new one, not face to face but “soul to soul”. The collection of decades. As the distance between the passed and the passer to soul, spirit to soul, soul to soul, and spirit to spirit.

218

219 1 49 DIMARYP


8.1_Romanticism_The Great Pyramid

The Great Pyramid_Romanticism_8.1

A port is proposed at where the river turns into an “U” for dimaryp called “dimaryport”. In dimaryport. Dimaryps are con-

emotion. Then the dimaryps are launched to the river and the spiritual journey carrying starts….

memorial stones and commemorate individually and directly. This decade of dimaryp is Called “face to soul”. In the second decade, it collects memorial stones on top of the stones laid

a new one, not face to face but “soul to soul”. The collection of decades. As the distance between the passed and the passer to soul, spirit to soul, soul to soul, and spirit to spirit.

218

219 1 49 DIMARYP


8.1_Romanticism_The Great Pyramid

The Great Pyramid_Romanticism_8.1

FACE TO SOUL

220 150

221 1 51 SOUL TO SOUL


8.1_Romanticism_The Great Pyramid

The Great Pyramid_Romanticism_8.1

FACE TO SOUL

220 150

221 1 51 SOUL TO SOUL


8.1_Romanticism_The Great Pyramid

The Great Pyramid_Romanticism_8.1

The perfect destination for dimaryp is ocean. In the ocean, it moves, it

Persistence instead of permanence, performance instead of permanence, recurrence instead of permanence. It is a start of a new humanity. Dimaryp is a new humanity which creates a new world, a world of no boundaries, but only moments and memories.

SITE

In the ocean, it dissolves, it pervades, and it returns to origin.

DE.PORT

222

223


8.1_Romanticism_The Great Pyramid

The Great Pyramid_Romanticism_8.1

The perfect destination for dimaryp is ocean. In the ocean, it moves, it

Persistence instead of permanence, performance instead of permanence, recurrence instead of permanence. It is a start of a new humanity. Dimaryp is a new humanity which creates a new world, a world of no boundaries, but only moments and memories.

SITE

In the ocean, it dissolves, it pervades, and it returns to origin.

DE.PORT

222

223


8.1_Romanticism_The Great Pyramid

224

The Great Pyramid_Romanticism_8.1

225


8.1_Romanticism_The Great Pyramid

224

The Great Pyramid_Romanticism_8.1

225


Flash movie: 1, The Great Pyramid `   

Documentary: 2, Shanghai Naturium Product by Lu Jiahao

`    

 

3, San Li Tun SOHO

` 

 

MEDIA PRODUCTS

226 156

Animation: 4, Jiangxi Museum `     

227 157


Flash movie: 1, The Great Pyramid `   

Documentary: 2, Shanghai Naturium Product by Lu Jiahao

`    

 

3, San Li Tun SOHO

` 

 

MEDIA PRODUCTS

226 156

Animation: 4, Jiangxi Museum `     

227 157


0.6_Preface_Endless Journey

Lvdi Chuansha is a commercial project which I participated from Jan. 2007 to Feb. 2008. This project including a 22,000 sqm hotel, two 15,000 sqm office towers and 46,000 sqm retails. This picture was took in June, 2008. The first time when i entered into the building that the design I participated, I was strongly touched by the feeling that I have never ever had before. All the difficulties that I have experienced during the project seems to be disappeared in that second. The amazing feeling makes me enter into a romantic journey which leads me to inspect how a project transacts from a unbodied concept to two-dimensions image, to three-dimensions substance. From then on, I believe that my architectural journey is endless.

228

Site Photo229


0.6_Preface_Endless Journey

Lvdi Chuansha is a commercial project which I participated from Jan. 2007 to Feb. 2008. This project including a 22,000 sqm hotel, two 15,000 sqm office towers and 46,000 sqm retails. This picture was took in June, 2008. The first time when i entered into the building that the design I participated, I was strongly touched by the feeling that I have never ever had before. All the difficulties that I have experienced during the project seems to be disappeared in that second. The amazing feeling makes me enter into a romantic journey which leads me to inspect how a project transacts from a unbodied concept to two-dimensions image, to three-dimensions substance. From then on, I believe that my architectural journey is endless.

228

Site Photo229

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2001 - 2011

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