2021 Architecture Portfolio _ Danqing Zhu

Selected Works 2 0 1 9 - 2 0 2 1

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RESUME 1032747

ABOUT

EDUCATION

PROFESSIONAL EXPERIENCE

SKILLS

Being a self-motivated learner, Danqing always has passion to recognise and explore her own capability through practising, reflecting and creating. Her rigorous and precise attitude makes her succeed in each period of studying and working. She respects every experience she has encountered, while getting ready to sculpt the future.

Mar 2019 - July 2021 Master of Architecture University of Melbourne

Dec 2018 - Jan 2019 Architectural Intern Chenggui Design Co.Ltd

3D Modeling Rhinoceros, SketchUp, Revit 2D Software AutoCAD, Photoshop, Illustrator, Indesign, Premiere, After Effects Design Visualization V-ray, Keyshot, Lumion Programming Grasshopper, Python Physical Fabrication Model Making, 3D Printing, CNC, Laser Cutting, Casting Presentation Graphic Design, Photography

CONTACT joisdq@gmail.com total_green@163.com +86 13861787837 (China) +61 415925424 (Australia)

Melbourne, Australia

Aug 2018 - Dec 2018 (Global Exchange Program) McGill University Montreal, Canada

Mar 2015 - Dec 2018 Bachelor of Architectural Studies University of New South Wales Sydney, Australia

Provide the conceptual design of the commercial town including the digital modeling, initial plans and sections Wuxi, China

Dec 2020 - Feb 2021 Architectural Intern MMA Architecture

Provide the overall planning of the cultural tourism project of a traditonal village; Participate in the preliminary research phase of an international competition; Responsible for the 3D printing remodeling of fluid buildings.

Shenzhen, China

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PANORAMIC CITY

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TENSION MORPHOLOGY

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'GROUND'PLAY CHILDREN'S HOME

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EQUINOX TOWER

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FOOTSCRAY ART GARDEN

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02 Tension: noun.

1. The state of being stretched tight.

Morphology: noun.

1. The study of the forms of things.

2. A particular form, shape, or structure

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Home, Play, Unit, Topography

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Art Lounge

Architecture Portfolio

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01 FORMS OF ENCHANTMENT P.4

Individual Work Instructor: Heather Mitcheltree, Mitchell Ransome

FORMS OF ENCHANTMENT

March, 2021 Semester 2, Thesis Site: ACCA, Melbourne GFA: 7600 m2

PANORAMIC CITY

Danqing(Joyce) Zhu

Modern surveillance technology has shaped modern individuals, sculpting them to be the product of surveillance. People have to remove

their noncompliant parts and try to reproduce a subject that conforms to modern social norms.

In the Panoramic City, surveillance cameras have created a technologically reconfigured reality which redefines the truth. People have become silent bodies in the images, while the subject of power reweaves the images for narratives coherence and control. Just as Alain Badiou said: “There are only bodies and languages, except that there are truths”.

The project starts with conceptual practices of an art installations and a pavilion, and then focuses on the design of a new media art center. By portraying and translating each nature of surveillance roles into spatial forms, as well as incorporating new media and screens, the architecture tries to arouse people’s perception of ‘seeing’ logic in essence.

Architecture Portfolio

The thesis aims to imagine a space all about surveillance. The thesis topic derives from Foucault’s idea of Panopticism, where the entire modern society has become a big prison.

Power has changed from external watching to panoptic surveillance.

01 PANORAMIC CITY

2019 - 2021 Selected Works

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FORMS OF ENCHANTMENT Mapping_Survelliance in Public Places 1. "Surveillance Cities," Surfshark, published November 2020, https://surfshark.com/surveillance-cities 2. Victorian Law Reform Commission, Surveillance in Public Places: Final Report (Melbourne: Victorian Law Reform Commission, 2010), 29-32. https://www.lawreform.vic.gov.au/projects/surveillance-public-places/ surveillance-public-places-final-report

In the general sense, surveillance medium is supposed to be an omnipresence that can see everything without itself being visible. By substantializing the system as a metaphor of pipes, the idea is to invert the visual relationship between the hidden observer and the observed. When the whole system as a towering object for watching, the attempt is to stimulate the thinking of power relations in surveillance for the passer-by in Botanic Garden.

The whole system is as a suspended pipe creature symbiosis itself with power, a tree as those in power, with eyeballs hunting for secrecies of the public on the ground to digest and transport to the portal of the power.

Mapping_Road Surveillance 1. "Safe City Cameras," City of Melbourne, accessed March 2021, https://www.melbourne.vic.gov.au/community/safety-emergency/Pages/safe-city-cameras.aspx 2. "Camera Locations," Cameras Save Lives, accessed March 2021, https://www.camerassavelives.vic.gov.au/camera-locations

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The pavilion corresponding with the art installation set in the botanic garden together creates a form of invasion and penetration, ‘being watched’ and ‘watch’respectively.

Art Installation (Top in the right page) The whole system is as a suspended pipe creature symbiosis itself with power, a tree as those in power, with eyeballs hunting for secrecies of the public on the ground to digest and transport to the portal of the power.

Pavillion (Bottom in the right page) The hanging pipes cloud like the sword of Damocles presents a tendency of attack, but freezing in a peaceful mist. It represents a hidden danger we are now experiencing, from a distant gaze. The pieces stimulate the shape of invasion, creates a chamber of an inside void to hold the eye of nowhere.

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PANORAMIC CITY P.7

FORMS OF ENCHANTMENT

Starting from the macro frame to discuss the role played by each person in the city of surveillance, the idea is to depict an operating mechanism of surveillance. The surveillance diagrams portray each nature of surveillance roles as mentioned in the beginning: authority, whistleblower and public. These forms serve as a dictionary of form to formulate the space of the art museum.

The form comes from the iconic items based on the daily experiences. Authority features in grand narrative, closed system and surveillance and control. It has logic on plan of ‘network of network’.

Whistleblower features in signal reception, power penetration and truth seeking, with its logic as intervener. Here, the media communication in the network regarded as a way of reflection like mirror is seemingly everywhere. The public features in tight community, conformity behavior and privacy invasion, with its logic focusing on participatory surveillance.

NewYork Times.

(Left) The birth of Qui Tam in Medieval England. “Whistleblowing History Overview”, Troxel Krauss & Chapman https://www.whistleblowersinternational.com/what-is-whistleblowing/history/

ng-Haul Routes,”

(Right) Members of the League of Social Democrats supports whistleblower Edward Snowden. “Snowden: the hacking targets”, South China Moerning Post. https://www.scmp.com/news/hong-kong/article/1260306/edAuthority ward-snowden-classified-us-data-shows-hong-kong-hacking-targets

Panophere all ntral surveileling of ors can

odern d-like ple’s d, but ks, ctually wer. It is

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(Left) Public display of mug shots at the Central Station in downtown Minneapolis.(1899) “What’s in a Face ID?”, Slate https://slate.com/technology/2018/03/with-apples-face-id-its-time-to-look-at-facial-recognition-techs-problematic-past.html (Right) Surveilance art about self-exposure and participatory surveillance.

Target 2011. Miexed Media Installation.

Paolo Cirio and Alessandro Ludovico, Face-to-facebook: Disrupting Monopolism, https://www.furtherfield.org/face-to-facebook-disrupting-monopolism/

Target Voyeur

Whistleblower

Compared with power, the distance between the "whistleblower" and the truth is closer. The role of whistleblower Media as a system intervener not only refers to their role as a positive early warning system to point out the truth and crisis, but also refers to their negative role as a leaker or rumor maker. In a closed, centralized society, the whistleblower is a retaliated and excluded role, a negative feedAuthority behind the Invisible System back mechanism that has been forcibly abandoned.

In the increasingly permeable social system, the whistleblower can be anyone. It seems to get close to the Foucault’s ideal governance which shifted the view of power from the macro power to the micro power with everyone’s participation. However, as mentioned above, media technology is fundamentally a power control, which also brings

When Henry Jenkins discusses the giftObservor economy and participatory culture in the public, the researchers define this behavior of exposing oneself to others as participatory Media surveillance.

Participatory surveillance meets the desire for voyeurism of the observer and exhibitionism the public, at the same Whistleblower as theof System Intervention time commoditize the target by bearing public opinions.

While the observer treats themselves in moral high ground to surveil others and provides more personal information. In fact, all these digital traces become the potential materials collected by surveillance system. In this sense, everyone becomes accomplices of surveillance.

Media

Public with Participatory Surveillance

Architecture Portfolio

The way to reflect the theme of surveillance is to deconstruct and reorganize the form of surveillance. The diagrams try to transfer the form finding logic to the building plans. Through the way of shattering, reorganizing and linking back to the site, the forms with the deconstructed elements reinterprete the form of surveillance.

01 PANORAMIC CITY

The surveillance forms and plan arrangements form an interlocking relationship which makes it convincing and rationalized. The form naturally points to the mixture of unit space and gathering space. Unit spaces as semi-private areas are used as artist-in residency, group-reading zones and audiovisual unit. They intersperse in the main gathering space like the auditorium, galleries and rooftop platforms to form a dynamic tour experience.

When looking into the application of surveillance forms.

Round elements as audio-visual chamber, staircase skylight, screens and openings and capsule elevators. And cubic elements as outdoor shelter frames, protruding windows, partition walls and giving a feeling of siege.

The circulation with surveillance cameras located all the way through the journey will be projected at the screens scattered in the exhibition space.

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FORMS OF ENCHANTMENT

The site for the art gallery is located in the original spot of ACCA, which is included in the art district with plenty numbers of galleries and museum surrounded. A tower indicated the tunnels underneath the part of the site cannot be teared down, which also brings some historical and mechanical values to the site. There are plenty of art related public infrastructure and digital media programs in this art precinct.

Pedestrians are lead from all the way to the middle of the buildings - main entrance at the front, side entrance and entrance to the auditorium which can be independently open at night. A loading bay is at the back. The scenes on the right show the views of the main entrance with the plaza at the front (top right) and the west façade with auditorium entry (bottom right). Perforated panels allow internal lighting shines at night.

The two section shows how it works in the vertical arrangement. The top one is two massing with circulation space in the middle and the height transits from the back to the front plaza.

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The circulation with surveillance cameras located all the way through the journey will be projected at the screens scattered in the exhibition space. Rendered views selected shows the interior exhibition and transitional spaces.

Architecture Portfolio

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PANORAMIC CITY P.11

FORMS OF ENCHANTMENT P.12

Danqing(Joyce) Zhu

Architecture Portfolio

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PANORAMIC CITY P.13 2019 - 2021 Selected Works

02 MACHINING AESTHETICS v 4.2 P .14 P.14

Group Work Instructor: Paul Loh, David Leggett Collaborators: Nan Li, Neil Luo

MACHINING AESTHETICS v 4.2

TENSION MORPHOLOGY

Danqing(Joyce) Zhu

March, 2019 Semester 2, Studio D Site: Queen Victoria Market, Melbourne GFA: 16800 m2

The project started with machine making and prototypes, which is a bottom-up strategy to formulate design and construction procedure.

Learnt from the failures and problems, the machine evolved with the making process simplified and improved. The prototypes generated by the machine reflects a certain aspects of materiality and spatial qualities in real structure. Through this way, design itself is treated as an iteratively improving approach to the final design outcome.

At the same time, the form finding logic of machine also inspires the actual construction procedure, proposing a new construction method of concrete shell using fabric.

The design attempts to structure an open public space for Queen Victoria Market to optimize the current situation on the ecological and sociological level.

Architecture Portfolio

The design project is focusing on morphing a surface through tensile force. From manipulating pulling points to pulling surfaces, a series of forms are tested in order to create an new organization of Queen Victoria Market.

02 TENSION MORPHOLOGHY

2019 - 2021 Selected Works

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V.0 Production

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MACHINING AESTHETICS v 4.2

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(Left) Kangaroo a plug-in to Rhino-3d, is used to simulate the outcomes after adding anchor points and forces onto a surface.

Anchor: A/A’ (0,0,300) B/B’ (300,0,300) C/C’ (300,300,300) D/D’ (0,300,300) Gravity g1 = 1700 g2 = 2600

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Use the study machine to strech two layers of tensile fabrics (stitch together) and pour plaster in the gap to create mass, plastic wrap to seal the edge

Gravity and the pulling force together form the shape. After the fabric is torn out carefully, its texture is left into the surface of plaster.

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Mix plaster with water in ratio 100:65

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Assemble the brick mould with foam boards, then nail the foam boards with the fabric, pinch up or down to create different forms

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3 generations of machines were made to produce iterative prototypes and to test fabrication procedure using fabric. The machines were upgraded by improving the operation systems and the capabilities of producing artifacts.

V . 2

The diagram lists all the possibilities of iterations of vaults generated by the machine.

The fabric surface, the strings and the slides of the machine are reverted to the planar, lines and fixed anchor points, to simplify the conditions of vault segmentation. Each area has a corresponding central point to pinch vertically in 3d to generate the vault.

The diagram is arranged according to the anchor point of each side, from no point to three points on each side. As the start point and the end point are fixed, and each anchor point can only be connected once.

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Danqing(Joyce) Zhu

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PROTOTYPE 2

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While making the iterative prototypes of the Machine V.2: 3 criteria guided us to define the variations: Structural Stability; Density; Porosity. The prototypes were used to test spatial qualities, lighting effects and hierarchy.

PROTOTYPE 4

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Fix the sliders into the slot in the track, adjust the arrangement of the string, then put round or triangle panels of different scales to the region accordingly

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Mope the mixed plaster to the fabric and use brush to smooth the surface, wait until it is dry

Prepare plaster and mix it with fiber glass as reinforcement

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Take out the portotype from the machine, tear out the fabric

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Mope the mixed plaster to the fabric and use brush to smooth the surface, wait until it is dry

Adjust the tightness of string to modify the catenary, tie weights on the round or triangle panels and prepare plaster and mix it with fiber glass as reinforcement

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Fixing the sliding rollers in determined positions according to the mark on track; Pull down the center points of each region and tie it to the MDF board

While making the iterative prototypes of the Machine V.1: 3 criteria guided us to define the variations: Structural Stability; Density; Porosity. The prototypes were used to test spatial qualities, lighting effects and hierarchy.

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Architecture Portfolio

F

Unlock the wooden clips and take out the model, then tear out the fabric

PROTOTYPE 5

2019 - 2021 Selected Works

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The making process and the form of the prototypes become the blueprint for the further design proposition of Queen Victoria Market.

MACHINING AESTHETICS v 4.2 P.18

It shows a totally different design process from the traditional top-down design process with starting with plans. Reversely, this bottom up method explores various iterations of small-scale organizational systems with both artistic and scientific inputs. The design itself is a continuously improving approach to the final design outcome.

One important step is to let porotypes grow itself, another important step is using design aim to guide it. This workflow enables interaction between design and construction. The design affects the construction while the construction returns to influence the design. In the interaction between the two, the program has been continuously promoted and adjusted.

WIND & ACOUSTIC

BOUNDARY

SUN & SHADOW

OPEN & COVER

CIRCULATION

REGION

PROGRAM

EXTENDED TERRITORY

Roof plan shows the general arrangement of the structure in the existing site.

01 02 TENSION MORPHOLOGHY

Rendering interior image of the design proposal.

The design project is aimed at structuring a roof structure in Queen Victoria Market to create an open public space to benefit citizens, as well as enhance the ecological and social standards of the market. The site includes the present car park and the surrounding streets, with the heritage structure kept.

After investigating the existing infrastructure, there are still space to improve with the storage and recycling issues.

We rearrange the circulation routes for the folklifts and storage spaces for the stalls. At the same time, the rainwater recollector (see next page)and the solar power supply in the existing market drive us to think about creating another ecological system.

Plan shows a scenario on an ordinary Tuesday Night.

Based on the previous study, the proposal of a lightweight concrete shell is naturally formed. The form finding logic of machine is translated into the actual construction procedure. Fabric is still an important material involved, but appiled in a slightly different way in real construction.

We focus much on the movement of human activities when designing. At a certain sense, programs of different functions guides the development of ‘cell‘ - the basic repeatable form - to be skylights, secrete gardens or columns. We leave the space open, keep human activities naturally happened. Like a live creature, once born, the structure grows with its own logic.

Plan shows a scenario on an ordinary Wednesday Night.

Plan shows a scenario on an ordinary Sunday Noon.

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CONSTRUCTION SEQUENCE - ASSEMBLY

MACHINING AESTHETICS v 4.2

Stage 1 - Cast-in-situ complex structures

Stage 2 - Prefabricated structures

Stage 3 - Cast-in-situ

CONSTRUCTION SEQUENCE - A SINGLE CELL The structure of the envelope is a lightweight concrete shell. To embed the strategies into the final design proposition, we also propose a new construction method using fabric as shuttering to formulate the shell.

SPAN

CANTILEVER

CONSTRUCTION DIAGRAM The span and catilever diagrams (right) show how the structure works according to the rules of thumb span to depth radio(100,50).

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DETAILED SECTION

1：50 PHYSICAL M O D E L

Apply vaseline to the iron sheet before mopping plaster on the fabric.

Use the iron sheet to insert and fix the fabric into the gap beween two layers of panels. Iron sheet can help make the edge clean.

1：10 PHYSICAL M O D E L

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Print out the unrolled profiles of one single 'cell' . Trace them down on the fabric and cut the shapes out .

Stitch the pieces together in order by sewing machine or hand.

2019 - 2021 Selected Works

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The 3D form then naturally generated.

Use masking tape to fix the 'cell' on the framework.

02 TENSION MORPHOLOGHY

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Fill plaster into the mold of the staircase, mop plaster to link the existing 'cells'. Use plaster bandage to thicken the edge.

Architecture Portfolio

Assemble the panels to frame the structure.

Prepare fabric to form the surface.

Mope the mixture of plaster and fiberglass on the fabric. Apply several times to control the thickness of the shell. Tear out the fabric after the plaster dry.

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03 Individual Work Instructor: Isabel Lasala Hernandez

WHAT’S HOME?

'GROUND'PLAY CHILDREN'S HOME WHAT’S HOME? P .22 P.22

Danqing(Joyce) Zhu

March, 2020 Semester 2, Studio E Site: North Melbourne, Melbourne GFA: 4100 m2

By giving a humble and respectful gesture towards the local context, the idea is to give a humanitarian care by encouraging homeless

children to fit into a new environment, which is both the site and the surrounding suburb.

interaction space, through a simple and straightforward form.

The concept ‘Home, Play, Unit and Topography’ is coveyed in the topic of benefiting children’s growth both physically and mentally.

When these children really climb out from the days trapped by vagabondage, poverty and surviving problems, we hope what embrace them can be a friendly shelter to adapt well, play well and sleep well, to enjoy their belated childhood!

The design trys to have a comprehensive consideration of the local context and interior

Architecture Portfolio

Homelessness is one of the most severe forms of disadvantage and social exclusion. It is also a frightening and traumatic experience for children and young people at the beginning of their life.

03 'GROUND'PLAY CHILDREN'S HOME

2019 - 2021 Selected Works

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WHAT’S HOME?

The site is located in North Melbourne at the foot of the Royal Park. It has a natural terrain slope from north to south with buildings’ type mostly terraced building.

By distilling elements of the terraced building and making the advantages of the terrain and steps as one kind of play, a linear arrangement and a coherent space is preferred.

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Danqing(Joyce) Zhu

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Architecture Portfolio

There is a friendly and brisk atmosphere with the overlay of people’s daily life at the surrounding street.

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AUSTRALIA POST-HOTHAM HILL LPO

SITE

'GROUND'PLAY CHILDREN'S HOME

THE ROYAL CHILDREN HOSPITAL WOMBAT HOUSING MELBOURNE SUPPORT SERVICES

ROYAL PARK

ROYAL MELBOURNE HOSPITAL THE UNIVERSITY HIGH SCHOOL UNIVERSITY OF NORTH MELBOURNE MELBOURNE PRIMARY SCHOOL

NORTH MELBOURNE RECREATION RESERVE

NORTH MELBOURNE TRAIN STATION

NORTH MELBOURNE

QUEEN VISTORIA MARKET

CBD YARRA RIVER

YAR RA ER

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HOMELESS HEATING MAP CONTRIBUTION OF EACH PART IN NORTH MELBOUTNE 'SEVERELY’ CROWED DWELLINGS BOARDING HOUSES COUCH SURFING CRISIS ACCOMMODATION SLEEPING ROUGH

PORT PHILLIP BAY

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A home for 24 kids should play part of the role of both traditional home and school to provide a sense of protection, care and community.

The idea is to find a form in between by incorporating small gathering units of sleeping area with playing area, and coherent larger open space with clear separated functions.

By transferring the program arrangement into sectional layout, the idea seems fit well with the terrain.

The lower level locates four open areas: dining space, living area, classrooms for kids and learning space for teenagers, corresponding together with the upper sleep units to become an entity of a family layout.

CONCEPT COLLAGE

WHAT’S HOME?

'Ground'play Children's Home

Without Home P.26

Play Danqing(Joyce) Zhu

Topography

Unit

Entrance is at the intersection of two rectangles, linking to the backyard.

The left part is main volumes for daily life, while the right part at the front is mainly semi-open tree house blocks with frames to indicate an interesting space at the entry.

Architecture Portfolio

ELEVATION

The building footprint are basically two wings which intersect with each other. The layout naturally defines the site boundary.

03 'GROUND'PLAY CHILDREN'S HOME

(Right) The elephant-look southern wing gives a child taste with the ‘block’ tree house as a nose and slides as a tail, but just coincident not aimed to be.

It is also a transformation from covered, semi-covered to uncovered.

Windows in the staff bedrooms on the first level are rotated towards the backyard in order for them to take care of the children.

2019 - 2021 Selected Works

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The landscape design merges the boundary between pedestrian and rock landscape to allow pedestrians to wander around and gather and for children to play.

In the right main volume, service space is intersected into each served open space. Steps extended towards the window into the landscape and become sitting and gathering space.

For the section of the overall form, these sections show the structure to realize the relationship between sleeping blocks and the passage way. It also combines with the idea of the diagonal cut adding to the facade.

WHAT’S HOME? P.28

The net playing area, the staircases are served as informal and formal circulation to going down. Children on the first level can see other kids there at the same levels or look down to see people at ground level.

Spaces are then interweaving together in an interesting way.

Spaces are also interweaving between inside and outside. Pedestrians and open landscape, trees and gardens, steps and level differences, cantilevers and setbacks, several layers interweave together to give a sense of protection to children’s growth.

2019 - 2021 Selected Works

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03 APPLIED ARCHITECTURAL TECHNOLOGY

Group Work Instructor: Mark Lam Collaborators: Karen Tsui, Thi Le

EQUINOX TOWER

March, 2020 Semester 1 Site: East End, Melbourne

APPLIED ARCHITECTURAL TECHNOLOGY P .30 P.30

Danqing(Joyce) Zhu

The overall building form is developed by appearing to “split” – the Northern interface addressing the lower skyline while the Southern interface addresses the high-rise skyline. The crown and most upper storeys are angled in opposite directions in order to create a seamless continuation of the city skyline, while the chamfering of edges further adds to the idea of multiples views.

The podium was developed to continue the architectural language of the tower, consisting of chamfered edges to soften the boundary to Exhibition street where the main entrances will be located. To create a clear separation between the tower and the podium, the upper two storeys of the podium has been setbacked, forming a visual shadowgap and also allowing for a potential roof terrace space.

Architecture Portfolio

Situated on the corner of Exhibition and Lonsdale Street, the tower’s conceptual scheme is based on the multiple views offered from each orientation of the site, contributing a clean and outstanding cut to the city skyline. To the North, a lower-density typology creates a smaller skyline and to the South, a higher-density typology is indicated by Melbourne’s high-rise skyline.

04 EQUINOX TOWER

2019 - 2021 Selected Works

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APPLIED ARCHITECTURAL TECHNOLOGY

Danqing(Joyce) Zhu P.32

Architecture Portfolio

04

EQUINOX TOWER P.33 2019 - 2021 Selected Works

APPLIED ARCHITECTURAL TECHNOLOGY

Danqing(Joyce) Zhu P.34

ALUMINUM HANDRAIL HOLDER ALUMINUM GLAZING FRAME SEALANT TEMPERED GLASS 20MM THK TOPHAT 35

CUSTOM EXTRUSION

LYSAGHT® SPANDEK STEEL COLORBOND Basalt 24MM THK

ALUMINUM FRAME JUCTION BOX

MEGA BEAM 2700x2700

LITHO® PHOTOVOLTAIC 10MM THK

1 A5.3

PILLAR AT THE BACK 200X500 STEEL CLEAT 30MM THK

WATERPROOF MEMBRANE

FIXED L BRACKET

50X50 STEEL CLEAT

PRE FABRICATED C-SECTIONS 200 PFC

STEEL PROFILE

CAVITY

THERMAL INSULATION 50MM THK

ANCHOR

PARAPET DETAILED SECTION 1:10

D

TOPHAT 0.5MM THK C300 3MM THK EQUITONE THROUGH-COLOUR CFC CLADDING PANEL TECTIVA TE-20 12MM THK INNER SKIN 200X200 HOLLOW SECTION 9MM THK 700X130 FIXED BRACKET 12MM THK UNIVERSAL BEAM TO STRUCTURAL ENGINEERS SPECIFICATION

BEAM CLADDING DETAIL 1:10

D

WATERPROOF MEMBRANE

LUMINUM FLASHING PANEL POLYRSTER COATED 2MM THK

04 EQUINOX TOWER

2 A5.3

GLAZING BALSTRADE DETAIL 1:5

3 A5.3

7MM ALUMINUM CAPPING POLYESTER COATED 1:40 FALL

STEEL COLUMN AT THE BACK

TOPHAT

PSVER SUPPORT VERSIPAVE GP BLACK POLYPROPYLENE DIA 162MM HEIGHT 95MM

CONCRETE MED WHITE PAVER 495x495x40

ALUMINUM GLAZING FRAME

DRAINAGE 90MM DIA

LITHO PHOTOVOLTAIC 300X300 CONCRETE HOB THERMAL INSULATION 75MM THK FIRE STOP 180MM DEPTH REINFORCED CONCRETE SLAB

CEMENT SCREED 50MM 1:100 FALL

STEEL BONDECK 1mm THK

NOM. 400x900 CONCRETE EDGE BEAM

4 A5.3

UNIVERSAL COLUMN CLAD W EQUITONE TECTIVA TE-20 12M THK TO STRUCTURAL ENGINEERS SPECIFICATION

CONCRETE SLAB DETAIL 1:10

PRE FABRICATED C-SECTIONS 200 PFC

FIXED BRACKET

2019 - 2021 Selected Works

THERMAL INSULATION 50MM THK

CURTAIN WALL SUPPORTING SYSTEM FIXED L BRACKET

LITHO® PHOTOVOLTAIC 10MM THK

PHOTOVOLTAIC JUCTION BOX

5 A5.3

CURTAIN WALL DETAIL 1:5

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04 Group Work Instructor: Dulani Denipitiya Collaborators: Ruijie He, Yuekun Zeng

DESIGN STRATEGIES OF ASIAN GARDENS

FOOTSCRAY ART GARDEN DESIGN STRATEGIES OF ASIAN GARDENS P .36 P.36

Danqing(Joyce) Zhu

March, 2020 Semester 2 Site: Footscray, Melbourne GFA: 684 m2

The site is chosen to be in an art block with a slope about 6.5 m, serving both the surrounding residents and the artists working around. The tradition is Japanese garden.

The design is separate into three parts for each group member but also treated as a whole project. The pavilion as an art lounge is emphasized here as my personal work, which follows the traditional sense of repetition, ritual and visual extension. The linen fabric functions as soft boundaries to separate the artworks and walking path but also allows a close look. The staircase leads to the top round pavilion to take

a rest. A maple tree with seasonal-changing color is planted there for appreciating and feeling the passing time.

The project tries to convey a dynamic and brisk atmosphere to attract young people and fit into the local context. It also tries to reveal another possibility of the cultural inheritance and interfusion, a young spirit with a classical trace.

Architecture Portfolio

The project is focusing on designing a contemporary Asian garden in a foreign context to creatively express the principle of traditional garden art.

05 FOOTSCRAY ART GARDEN

2019 - 2021 Selected Works

P.37

Axonometric View

DESIGN STRATEGIES OF ASIAN GARDENS Site Section A

P.38 P.38

Site Section B

Architecture Portfolio

Gathering Place

Plan

5 6 1

3

2

Focal Point

4

Entrance

05 FOOTSCRAY ART GARDEN

1 Art Lounge (see details about steps and functions in the next page) 2 Round Pavillion (with tree) 3 Concrete Blocks (with water flow) 4 Entrance to the Art Lounge 5 Vegetation Slope with seats at the bottom Pavillion

Vegetation

Seasonal Change

Maple

Pavillion Section A

Ball-shaped Dragon Juniper

Crape Myrtle

Camellia

Bamboo

Pavillion Section B

5200 3500

5200

1700

3500 3050

3050

0

P.39

DRAWING TECHNIQUE P.40

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© 2020 Danqing Zhu. All rights reserved.

P.41

University of Melbourne

Z h u

1032747

D a n q i n g joisdq@gmail.com

+61 415925424

P.42

Architecture Portfolio