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Selected Works
JUNHUI LI
O I
R
2014 - 2018
T
O
F L
jli151@syr.edu | 315-5603744
O
CONTENT
01
CHESTER TERRACE London, UK
02
MEGA- MODULER Syracuse, NY
03
TOWARDS A HEALING ARCHITECTURE Syracuse, NY
04
BIOME ARCHITECTURE Syracuse, NY
CHESTER TERRACE Professor: Davide Sacconi, Michael Hadjistyllis, Jad Semaan Companion: Andi Li
The very idea of inhabiting a space has been increasing abstract from the conventional notion of the housing. We’re experiencing the ambiguous boundary between a private and public space, which, we work at home and play in the office. In this studio, we are asked to investigate the urban fabrics in the contemporary London including its political changes, economical shifts and social problems in times of its history. Obviously, it’s a city which gives us an incredibly rich urban contexts, and it is currently suffering from one of the severe housing crisis. Under this scenario, we imagined an alternative form of life to refine our understanding of the notion of housing within a multilayered environment like London and its previous history. The Chester Terrace, as one of the most typical English housing, representing its material elements as well as the conceptual meaning way beyond physical structure.
It locates on the edge of the Regent’s Park, which both designed by John Nash. His use of pictur esque in architecture and urban planning is direct and clear in the project of Chester Terrace. It later becomes the boundary of social classes, economical differences and the rituals of the royal park and the residence. The iconic unbroken façade, of about 920 feet gives us the start point to read. Further on, to transform them into an alternative form of dwelling, an embodiment of contemporary discourse of housing. In this project, rather than dealing with a transformation of an existing built form, it is more about tracing the shifts in the history, appreciating its material elements and let the role of architecture be highly engaged into the conversation of contemporary notions of housing, urban renewal and city regenerations.
Fall 2016 | London, UK
A combination of gradient colors indicates that the street contains a fair proportion of each of the classes. The darker the color, the poorer, and vice versa. As this map above realves, the Chester Terrace locates right on the boundary between the royal parkthe Regent’s park and its behind residential areas. Actually, we read the ChesterTerrace as the boundary visually and conceptually. We read the unbroken facade of Chester Terrace in a gestural way and its conceptual meaning relative to the discourse of housing in contemporary London.
Upper-middle and Upper classes. Wealthy
Poor than a moderate family
Middle class. Well-to-do
Very poor. Casual. Chronic want
Fairly comfortable. Good ordinary earnings.
Lowest class. Vicious, semi-criminal
Mixed. Some comfortable others poor
0
5 10
25
West Elevation
East Elevation
Long plan
“ INHABIT AN ARTIFACT � The Chester Terrace itself is an artifact regarding historical London Housing. Terraced houses have been widespread and were built as desirable properties in the 19th century London. Nowadays, many of them have been demolished, but the remained ones have regained its appreciations. The right image clearly shows the identical structure of a terraced house and its relationship with the ground.
“ THE SECOND FACADE ” The first(original) facade of the chester represents not merely a typical structure of terraced house but more importantly a social, economic and class separation. The action of split half the house, leading it to a “second facade.” This project intends to reveal our confusion and critical thoughts about the relationship between a social and private life in nowadays society without demolishing the original physical structure and its behind meanings.
MEGA-MODULER Professor: David Shanks, Bess Kriet emeyer Companion: Hui Sheng, Zhe Wang
This comprehensive studio is about a discourse of modularity in architecture and the massing assembly. This project shows about our understanding of architectural modularity and our the possibilities of contemporary housing strategy. As for a modular architecture, it has obvious advantages in prefabrications and onsite building progress. In this project, we further designed our own frame system and core-unit, pre-fabrication strategies in order to better serve the big picture of “Mega-Moduler.” Conceptual narratives are a start point for us imaging the scenario and needs for the inhabitants. Which, we created four characters of residents, evening taxi drivers, architecture students, single office workers and families with children. By especially focusing on the requirements of
daylight, it then leading us to several alternatives of apartment layouts, which we called them as, 4a (the basic one), 4a plus one and 4a plus two. The “a” represents a quater of the basic unit space, which is the maxium space we can do regarding to the pre-fabrication. The modular strategy relates to the scale of the buidling tower and be a support for our conceptual narratives. Moreover, the information of site context, environmental performances, building structures, circulations and services are all crucial elements in this comprehensive studio and the prioritization of this project.
Spring 2016 | Syracuse, NY.
CORE POSITION
restaurant, convenient store, shop, bar......
N
TER WIN D WIN
PROJECT BUILDING
PROJECT BUILDING
active the garden space here
GABL E direct ion
GABL E direct ion
triangle = GABLE direction
south-north direction
recall the shape and direction of the church’s gables, in order to seek for the harmony.
GABL E direct ion
east-west direction GABLE direction
GABL E direct ion
CONTEXTUAL RECALL
e us
ff
di t
gh
li
the target space to be operated
(residential) direct sunlight (“dooryard space” )diffus light(spiritial)
the section-line of the “dooryard” can be building’s volume seen as the extension of the church, a grey can provide space.
line become the frame
frame follows the units
units after shifting
NATURAL VENTILATION CONTEXTS’ MICRO-ENVIRONMENT
use the space between the church and the 5-floor residential building on the west
all units get natural ventilation (south-north direction) in summer
WEST
EAST
give the breathing space (daylighting/ventilation) to the residential building on the left(west)
touch the church make shading to the “dooryard space”, make the building and the church together as well
WEST
EAST
reduce the windload above, make the building volume closer to the core at top
WEST
EAST
PROJECT LAYOUT co
slender beam
re
FRAME STRUCTURE 0.3ft beam
0.5ft beam 1ft beam
6a unit (two bedroom)
5a unit (one bedroom)
4a unit (basic) + bathroom and kitchen
frame more slender while rising up
bold beam
1.5ft beam 2ft beam
PROJECT LAYOUT(4a unit)
Living Room
Bathroom
Kitchen
Dinning
Sleeping
Studying
N 0
5
10
20
Step One: Four modules delivered in the truck seperately.
Step Five: Add the top beam.
Step Two: Bottom beams constructed on site.
Step Three: Four modules combined together on the bottom beams.
Step Four: Triangle Frame constructed.
Step Six: Lift the whole unit.
Step Seven: Connected two units together.
Connected two units together laterally.
ALL UNITS LAYOUT 4a_Sudio
4a+a_One Bedroom_Type 1
4a+a_One Bedroom_Type 2
4a+a_One bedroom_Type 2’ Storage
Dining Living Room
Kitchen
Bathroom
Exercise
Exercise
Dining
Bathroom
Kitchen
Bathroom
Exercise
Kitchen
Bathroom
Kitchen
Studing
Dining
Dining Living Room
Bedroom
Living Room
Living Room
Studing
Bedroom Studing Bedroom
4a+2a_Two Bedrooms_Type 2 Studing
Bathroom
Dining
4a+2a_Two Bedrooms_Type 1
Dining Kitchen
Living Room
Bathroom
Exercise
Kitchen
Studing
Exercise Living Room
Bedroom
Storage
Bedroom
Bedroom
Bedroom
Bedroom
ONE BEDROOM APT. (5a unit) Construction Bottom beams constructed on site.
Four modules combined together.
Triangle Frame constructed.
Add “1a” unit.
Add the top beam.
TWO BEDROOM APT. (6a unit) Construction Bottom beams constructed on site.
Four modules combined together.
Triangle Frame constructed.
Add “2a” unit.
Add the top beam.
There are thirty floors in the whole building, including the first three lower floors of public for community’s activities, outdoor space for holding events, residential areas and other service space, such as, circulations, electricities and water, etc. The eighth floorplan represents as a typical residential floorplan since it covers most options of various layouts of unit apartments. It clearly shows about the connection of the residential areas, its backside corridors and circulation bridge that leading to the concrete core (elevator).
N
Circulation Ventilation 0
5
H=86’ 8F
10
20
CONSTRUCTION FLOW
Step One: Foundation
Step Two: Core
StepThree: Pre-Structure
Step Four: Parking
Step Five: Parish Hall Frame
Step Six: Frame System
Step Seven: Add “2a”
Step Eight: Corridor
Step Nine: Envolope For Corridor
Step Ten: Canopy
0
5
10
20 ft
Wall Section Unit
t 6a
cornor angle cover aluminum-alloy coating plywood board 1/2” rigid insulation 4” plywood board 1/2” gymsum board 1/2” I-beam 6”×6“ zinc-alloy roof cover rigid insulation 3” metal deck empty (for electric pipes) ceiling framing gymsum board 1/2”
louver between glasses (for sun-shade)
cherry wood 1/2” plywood board 1/2” I-beam 6”×6“ gypsum mass 3 1/2” empty gap 2 1/2” lumber frame 2 1/2” plywood board 1/2” rigid insulation 3” metal deck slab
0 scale = 1” = 1’
0.5ft
1ft
2ft
Unit Section
Three-floored Section
Call-Outs
Towards a healing architecture Professor: Ivan Bernal
“Architecture is a multi-sensory experience.” Our own body served as a medium, with the engagement of our own body, we feel the space through experience. I present the concerns about people’s stress in daily life, especially in urban cities where people are getting overwhelming information. This aims to discuss what architectural intervention can help with the urban stress in daily routine and creating sensory and therapeutic spaces in the city. The fast speed lifestyle and the neglect of our sensory feelings within a space made our surrounding environment less intimate and grew with alienation and detachment. According to Pallasmaa’s book “the eyes of the skin,” he points out that “The inhumanity of contemporary architecture an1hi d cities can be understood as the consequence of the negligence of the body and the senses, and an imbalance in our sensory system.” This study is in response to this concern in the scope of urban context and aims to evoke both designers and participants to care
more about the sensory evaluation of a space. The first part of the document explores sensory characteristics in the existing site and how do they work. It defines their importance in allowing humans to navigate complex environments. The second part of the thesis looks directly at environmental stimuli. It seeks to qualify and associate physical variables with sensory responses. The goal of the research is to create a set of standards by which architecture can design “for the senses.” The design project will put to the test the principles organized from research through a series of architectural installations that harness both natural and human-made stimuli. Furthermore, to implement the use of sensory design, and by proposing a “Park” as a therapeutic setting, to offer an alternative reality, towards a healing architecture.
Spring 2018 2016 | Syracuse, NY.
Definition of Senses “The significance of the sense is both philosophically and regarding experiencing, making and teaching architecture‌ the role of the body as the locus of perception thought and consciousness, and of the significance of the senses in articulating, storing and processing sensory responses and thoughts, have been strengthened and confirmed.â€? J, J.Gibson was an environment psychologist who has contributed an inventory of the senses. He focusses on the types of environmental information the body dealt with, rather than on the variety of sensory organ of the body. Thus, the list the senses as
the visual system, the auditory system, the taste-smell system, the basic orienting system, and the haptic system. In this project, the study of senses in space is not merely about sensory organs but the feeling regarding vision, hearing, touch, smell, and taste, the conversation between our self and the built information.
Site : Penn station, NYC The site is chosen, Penn station is one type of space which people would daily pass by and must stay for a short amount of time. It becomes a part of people’s daily routine but continuing to be ignored regarding sensory experience. A waiting-time and area are underestimated.
Data collection The data collection and recordings were chosen to follow with the main circulation that I mapped it out and after then by choosing more especially in four areas of space, which I called room 1,2, 3 and 4, all along the main circulations. A set of standards especially directs the design for each room, to test the principles organized from the research through a series of architectural installations. Each of the rooms has a more directional focus on decisions of priority in design.
SENSES
VARIARIES
VISUAL
Dark
SENSORY EVALUATION
Bright Perspectival/Flat Intimate/Vast
A representational system of sensory notions
Solid/Void
“The significance of the sense is both philosophically and concerning experiencing, making and teaching architecture… the role of the body as the locus of perception thought and consciousness, and of the significance of the senses in articulating, storing and processing sensory responses and thoughts, have been strengthened and confirmed.”
Detailed/Blank AURAL
High/Low Pitch Quiet/Loud Clear/Reverberant Natural/Artifical
TACTILE
Static/Mobile Rough/Smooth Hard/Soft Warm/Cold
KINETIC
Free/Bound
J, J.Gibson was an environment psychologist who has contributed an inventory of the senses. He focusses on the types of environmental information the body dealt with, rather than on the variety of sensory organ of the body. Thus, the list the senses as the visual system, the auditory system, the taste-smell system, the basic orienting system, and the haptic system.,”
Indirect/Direct Level/Graded Crowded/Empty THERMAL
Hot/Cold Dry/Wet Natural/Artificial Ambient/Source
CHEMICAL
Weak/Intense Stagnant/Fresh Natural/Artificial possitive neutral
negative
In this project, the study of senses in space is not merely about sensory organs but the feeling concerning vision, hearing, touch, smell, and taste, the conversation between our self and the built information.
ROOM ONE
ROOM TWO
VISUAL
VISUAL
dark
perspectival
Existing
saturated blank
intimate solid
void
detailed
vast
neutral
bright dark
perspectival
Healing
perspectival
void
solid
perspectival
blank
intimate
solid
void
solid
bright
strong
Existing
indirect
cold
direct
empty
light strong
quick graded direct bound
light
sustained crowded
flat
detailed
porous
smooth
free
soft indirect
resistant
level
heavy
sustained crowded
cold
hard
dark
saturated blank
solid
natural
porous
smooth hard
weak artificial
stagnant
fresh
natural
void
detailed
vast
empty
intense
flat
strong
free indirect
quick graded
level
direct bound
empty
rough
warm
fresh intense
intimate
static
light
mobile
stagnant
flat
KINETIC
light
warm
vast
perspectival
static
resistant
artificial
void
bright
rough
mobile
blank
solid
neutral
level
bound
Healing
soft
weak
saturated
intimate
TACTILE
free
graded
saturated
vast bright
CHEMICAL
bright
blank
neutral
flat
quick
dark
dark
neutral
void
KINETIC empty
bright
perspectival
flat
detailed
vast
neutral
vast
detailed
intimate detailed
saturated blank
neutral
ROOM FOUR
VISUAL
intimate
flat
saturated
dark
ROOM THREE
sustained light strong
free indirect
quick graded direct bound
crowded
level sustained light
crowded
METHODOLOGY To document and evaluate the existing sensory varies in the site, I used a representational system for understanding and recording sensory data of urban space towards the design process itself. The first-hand documentation of recording later then be used to demonstrate the sensory qualities of space and further to develop as a representational way of mapping. The channels of sense are not subject to modification by learning, but the data of the sensor could be evaluated by definition. By using the common description of the feeling concerning each sensory experience in the site, I mapped out the reading of the existing sensory experience in Penn station. For example, dark and bright, perspectival and flat, intimate and vast, solid and void, detailed and blank, regarding describing a visual sensory experience, and the same for the aural, tactile, kinetic, thermal and chemical descriptions.
According to the data (the descriptive words about people’s sensory experience in Penn station ), I analyzed them regarding four selected rooms and then developed the Sensory Notation System to make the data representational to do further design. Furthermore, this sensory map
could be compared with before and after architectural intervention easily on deciding whether this project is helpful or not. Moreover, what points should people think regarding the critics and evaluations?
The design project is not to design a whole new architecture to replace the Penn station but to improve the sensory qualities of the existing space through and after the architectural intervention. The methodology with which stimuli are engaged with highlight point, providing a setting,
and then the experience would be added by the participation and their activities.
My intention is not just to engage and architectural intervention but also to test a possible tool for sensory concerns that should be highlighted in the design process. It is, fiÂŹnally, possible to design sound or other context-based sensory environments through experimentation and physical manipulation of stimuli in space.
However, the sensory perception or the sensory experience is highly depending on the difference of the participants. It is not possible to define a space which has one single description of the experienced sensory entity. Every individual’s psychological and cognitive processes influence the information. Though architects
aren’t charged with dealing the surrounding environment and the psychological condition of humans, we are responsible for addressing the ignorance of our sensory experience in the design and the bias for the vision-based built environment, and therefore, be more careful and sympathetic to the psychophysiological response
that occur as a reaction towards our environments.
MASTERPLAN SENSES
DESCRIPTION
VISUAL
Dark Bright Perspectival/Flat Intimate/Vast Solid/Void Detailed/Blank
AURAL
High/Low Pitch Quiet/Loud Clear/Reverberant Natural/Artifical
TACTILE
Static/Mobile Rough/Smooth Hard/Soft Warm/Cold
KINETIC
Free/Bound Indirect/Direct Level/Graded Crowded/Empty
THERMAL
Hot/Cold Dry/Wet
SENSORY EVALUATION neutral
Natural/Artificial Ambient/Source CHEMICAL
Weak/Intense Stagnant/Fresh Natural/Artificial Recording Spot
Main Route
SENSORY MAPPING SENSES
VARIARIES
VISUAL
Dark Bright Perspectival/Flat Intimate/Vast Solid/Void Detailed/Blank High/Low Pitch Quiet/Loud Clear/Reverberant Natural/Artifical
AURAL
TACTILE
Static/Mobile Rough/Smooth Hard/Soft Warm/Cold
KINETIC
Free/Bound Indirect/Direct Level/Graded Crowded/Empty
THERMAL
Hot/Cold Dry/Wet Natural/Artificial
SENSORY EVALUATION
Ambient/Source
CHEMICAL
Weak/Intense Stagnant/Fresh Natural/Artificial possitive neutral negative
BIOME-ARCHitecture Professor: Lori Brown, Lydia Kallipoliti Companion: Hui Sheng(working as a group in the earlier research)
To imagine a different future where architecture highly engaged with and responded to the severe effects of climate changes. The first research of this studio is to research and analyze a “biome,” which is monsoon in this project. This first research should be presented as an own version of a contemporary Whole Earth Catalog 2.0, which becomes fundamental for the “biome-based architecture” after and specific to the biotic relationships. By selecting a biome that dramatically affected by climate change, we’re addressing attentions upon the relationship between built form and the physiological context of the biome and what’s the role of architecture in this process of climate change.
Spring 2015 | Syracuse, NY.
Agriculture takes a significant role in these regions, and farming relies upon climate very much. India and China have the most intense cropland, on which also distributes the densest people in the world. Monsoon is a very crucial fact that affect life in monsoon regions. It can be both beneficial and harmful. If the monsoon comes on the time and brings proper rainfall,
crops will grow by absorbing the rainwater. Otherwise, if the monsoon is later, crops will be dry to death. If the amount of water brought by the monsoon is lack, people in these areas will encounter drought.
Images on the left show about “the height above sea level,” “the population’s distribution worldly,” “the frequency of global flood” and “the cornland distribution.” In short, the monsoon areas are often located around a low height ground level, with a specific density of population, suffering flood problems seasonally and still the mainland of food globally.
Bangladesh There are distinct differences among seasons in Bangladesh which reveals as one of the most typical subtropical monsoon climate, high temperatures, humidity and seasonal variations in rainfall. Among time, the inhabitants here develope their climate-based structure of buildings — “Floating garden� in various types of buildings, mainly residential.
seating shelter infall infall outfall outfall
Layout
Front
Back
The critical point of the project is the idea of letting the biome structure the building. Under the analysis of early types of local monsoon house and the climate conditions, the schematic proposal is the “pipe system�. Which, the pipes, on the one hand, becomes the direct way of dealing with the black, grey water for the use of the house, on the other hand, it creates its unique form of architectural structure and furniture either.
seating infall shelter infall outfall outfall Right
Left
Perspective
Exploded Structure System
roof membrane
roof structure
membrane
main structure
“the outside pipe”
second floor
ramp
first floor
“the inside pipe”
Offices Offices
Restaurant Restaurant
Buffet Buffet Gentlemen’s Lady’sGentlemen’s Lady’s roomroom roomroom Conference Conference Room/ Theater Room/ Theater
Kitchen Kitchen Suitcase Suitcase Room Room
Entrance Entrance
Meeting point/ Meeting point/ Lobby Lobby
Reception Reception
Lobby Lobby
Entrance Entrance
Other Other LabsLabs Storage Storage HubHub
Storage SeedSeed Storage
Up
Library SeedSeed Library
Garage Garage Lab Lab
Up
Storage Storage HubHub Material Material Room Test Test Room
Hydroponic Hydroponic LabsLabs Exhibition Exhibition Lab Lab Room Room
