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[PORTFOLIO] UNIVERSITY OF PENNSYLVANIA SELECTED WORKS 2016-2019

YU MAO EMAIL: yumao@design.upenn.edu ADDRESS: 3600 Chestnut St MB 1127 RM 1401 Sanseast Philadelphia, PA 19104-6106


CONTENTS

SELECTED WORKS 2016-2019

01. “MEMORY CONTAINER ---- ART CENTER” Pukou Train Station Renovation and Extension 02. “STAGE FOR ART & HIP-HOP” Nuyorican Poets Cafe Renovation 03. LIBRARY REBIRTH New Utrecht Branch Library Renovation 04. “INCLINED FOREST ---- COLLECTIVE HOUSING” Shanghai Changning District Resettlement Housing 05. “NEW YORK CITY GATEWAY” Passenger and Cargo Terminal, John Fitzgerald Kennedy Airport “I have been interested in an architecture of complexity – an architecture promoting difference, the pursuit of ambiguity, the coexistence of apparent contradictions…” ---- Venturi

06. “INLAY” Mountain Gallery 07. "OTHER WORKS"


01 MEMORY CONTAINER

Train Station Renovation and Extension THE 1ST EXCELLENT WORKS JOINT EXHIBITION OF 11 UNIVERSITIES – EXHIBITION ARCHITECTURE (PART 1) 2016 Studio Work Individual Work Location:Nanjing, China Tutor: Prof. Xue Li The site and the surroundings are preserved very well, and they will be designed to be a traveling resort and business center in the future. The train station is currently in a run-down condition and we were asked to extend an extra art center to activate this site.


HOW TO REACTIVATE ABANDONED TRAIN STATION

REBIRTH AS A CULTRAL CENTER

My strategy is to allow a room for history and hope to create a container and dialogue between "BEFORE"and "AFTER". The original site has a very clear texture that is "platform and rail" mode which forms a kind of linear space language. I hope I can design a space which can match this sequence and at the same time, history and present are co-existence.

BEFORE

1 Original Industrial Site

RENOVATION AND EXTENSION

The original site is a train station with an old abandoned building and some rails, but now we need to give a new life to this site by designing an art center. The site has a very clear space sequence: platform -- rail -- platform -- rail -- platform. The old structure preserved on the platform should be protected or renovated only subtly. The red line is the range of the site we can change.

AFTER 1

2 Reinforce Memories What we need to avoid is dismantling rails and platforms and cutting down the trees in the space. I try to use linear masses inserting into the site to emphasize the original texture. Besides, these linear masses, with their sloped roofs, can have a dialog with the surroundings and their forms have a close connection with locomotives. The train station has been abandoned since 1908 and the main challenge is therefore to keep the original identity of the huge space, and at the same time to rebuild it as a new art center. The project aims to respect the space’s old identity, make the best use of textures, make a strong impact on visitors, and also encourage more cultural programs and events. AFTER 2

Roof Angle:

3 Adapt To Site 0°

15°

15°

25°

There are still so many trees and other important elements which need to respond to the site. We need to adjust the project to better adapt to the site. The most important two parts are the entrance plaza and connection between new and old. So some necessary concessions should be made.

30°

For Rails: Keep Unchanged

Preserve Rails

Insert Plants

Exhibit locomotives

AFTER 3

Roof Form: folded plate

curved roof

curved roofs

one big roof

4 Gather Parts Into A Whole Openness: Independent

Two Walls Open

Share

Two Walls Open

Ground Floor Open

Ground Floor Open Inside

One Walls Open

First Floor Open Inside

Finally, we should make the roof more flexible to match the interior space. These linear masses have different heights, so we need to integrate these roofs as a whole. To bridge the rail space and the platform space, we connect two adjacent roofs.


1.Foyer 2.Reception 3.Locker 4.Monitor 5.Equipment 6.Exhibition 1 7.Exhibition 2 8.Exhibition 4 9.Resting 10.Exhibition 5 11.Exhibition 6 12.Exhibition 7 13.Temporary Exhibition 14.Resting 15.Warehouse 16.Storage

3 6

1

2

5

4

Three fragments from the left to the right narrate the story: exhibition, courtyard and old structure

16 7 15

Stare thoughtfully into the distance and linear masses emphasize the previous space

14

9

8

12

10

13

11

1:200


DETAILS ABOUT CONNECTIONS

Slope Roof Responds To The Surroundings

View From The Plaza

No Barriers To See The Skyline Opposite Station

View From The First Floor

Experience Previous Rails And Structure

View From The Ground Floor

EXTENSION SPACES MATCH THE ORIGINAL SPACE RHYTHM Different activities happen under the different types of slope roofs 1. Old Train Station 2. Old Platform Structure 3. Old Rails 4. Old trees

Relationship Between inside and outside

View From The Tree Lane

Connect Old With New

View From The Tree Lane


02 STAGE FOR ART & HIP-HOP Nuyorican Poets Cafe Renovation

PRACTICAL PROJECT(DD) ESTIMATED BUDGET: 11 MILLION DOLLARS 2019 R+L Architects Internship Team Work Collaborators: Lyn Rice, Astrid Lipka, Hannah P Contributions: All Renderings, Analysis Drawings, Axo Line Drawings, Digital Modeling Location: 236 East 3rd Street, Manhatten, New York “Began as a living room salon in the East Village apartment of writer and poet.” ----Miguel Algarin


Background As a performance space for new and unknown artists, and for those often under-represented in mainstream culture, the Cafe has become “an acclaimed forum for innovative poetry, music, hip hop, video, visual arts, comedy and theatre.”

Context The Nuyorican Poets Cafe Project seeks to enhance the existing performance space, expand the organization’s operations into the 2nd, 3rd, and 4th floors of the building by building out the 4th floor to become an additional performance space, and adding to the footprint at the rear yard.

Street View

Program Diagram


T 212 285 1003 WWW.RICELIPKA.COM SILMAN STRUCTURAL 32 OLD SLIP, 10TH FLOOR NEW YORK, NY 10005

PLUS GROUP MEP/FP/FA/LEED 32 BROADWAY, ROOM 1601 NEW YORK, NY 10004

DOB BSCAN STICKER NUMBER:

40 WORTH STREET, SUITE 8 NEW YORK, NEW YORK 100 T 212 285 1003 WWW.RICELIPKA.COM SILMAN STRUCTURAL 32 OLD SLIP, 10TH FLOOR NEW YORK, NY 10005

LANGAN GEOTECHNICAL 21 PENN PLAZA/360 WEST 31ST ST, 8TH FLOOR NEW YORK, NY 10001

DOB STAMPS AND SIGNATURES

LANGAN GEOTECHNICAL 21 PENN PLAZA/360 WEST NEW YORK, NY 10001

DATE: FISCHER 07.11.2019

ISSUE/REVISION: 100% DESIGN DEVELOPMENT

DACHS ASSOCIATES THEATRE/THEATRE LIGHTING 22 WEST 19TH ST, 6TH FLOOR NEW YORK, NY 10011

PLUS GROUP MEP/FP/FA/LEED 32 BROADWAY, ROOM 1601 NEW YORK, NY 10004

CERAMI & ASSOCIATES ACOUSTIC/AV/SECURITY 404 FIFTH AVE, 8TH FLOOR NEW YORK, NY 10011

FISCHER DACHS ASSOCIA THEATRE/THEATRE LIGHTIN 22 WEST 19TH ST, 6TH FLO NEW YORK, NY 10011

TILLOTSON DESIGN ASSOCIATES ARCHITECTURAL LIGHTING 40 WORTH ST NEW YORK, NY 10013

CERAMI & ASSOCIATES ACOUSTIC/AV/SECURITY 404 FIFTH AVE, 8TH FLOOR NEW YORK, NY 10011

IROS ELEVATOR 884 PATERSON AVENUE EAST RUTHERFORD, NJ 07073

TILLOTSON DESIGN ASSO ARCHITECTURAL LIGHTING 40 WORTH ST NEW YORK, NY 10013

DIVISION OF PUBLIC BUILDINGS

IROS ELEVATOR 884 PATERSON AVENUE EAST RUTHERFORD, NJ 070

CAPITAL PROJECT NUMBER:

PV669-NPC PROJECT:

NUYORICAN POETS CAFE ALTERATION/ENLARGEMENT 236 East 3rd Street New York, NY 10009 FOR:

NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRSDOB STAMPS AND SIGNATURES 40 WORTH STREET, SUITE 828 DRAWING TITLE: NEW YORK, NEW YORK 10013 T 212 285 1003 CELLAR, 1ST FL, 1ST FL MEZZ WWW.RICELIPKA.COM COORDINATED DEVICE, FURNITURE, SILMAN STRUCTURAL & EQUIPMENT PLANS DOB BSCAN STICKER 32 OLD SLIP, 10TH FLOOR NEW YORK, NY 10005 NUMBER: ISSUE/REVISION: SEAL:

4

07.11.2019

SCALE:

1/4"=1'-0"

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DOB STAMPS AND SIGNATURES DATE:

07.11.2019 LANGAN100% DESIGN DEVELOPMENT GEOTECHNICAL 21 PENN PLAZA/360 WEST 31ST ST, 8TH FLOOR NEW YORK, NY 10001 DOB BSCAN STICKER

PLUS GROUP MEP/FP/FA/LEED 32 BROADWAY, ROOM 1601 NEW YORK, NY 10004

NUMBER:

ISSUE/REVISION: 100% DESIGN DEVELOP

FISCHER DACHS ASSOCIATES THEATRE/THEATRE LIGHTING 22 WEST 19TH ST, 6TH FLOOR NEW YORK, NY 10011 CERAMI & ASSOCIATES ACOUSTIC/AV/SECURITY 404 FIFTH AVE, 8TH FLOOR NEW YORK, NY 10011 TILLOTSON DESIGN ASSOCIATES ARCHITECTURAL LIGHTING DIVISION OFST PUBLIC BUILDINGS 40 WORTH NEW YORK, NY 10013 CAPITAL PROJECT NUMBER: IROS PV669-NPC ELEVATOR 884 PATERSON AVENUE PROJECT: EAST RUTHERFORD, NJ 07073

NUYORICAN POETS CAFE ALTERATION/ENLARGEMENT

DIVISION OF PUBLIC BUILDI

236 East 3rd Street New York, NY 10009

CAPITAL PROJECT NUMBER:

PV669-NPC

FOR:

PROJECT:

NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS

NUYORICAN POETS C ALTERATION/ENLAR

DRAWING TITLE:

2ND & 3RD FL COORDINATED DEVICE, FURNITURE, & EQUIPMENT PLANS

236 East 3rd Street New York, NY 10009 FOR:

NEW YORK CITY DEPARTME DRAWING TITLE:

DOB STAMPS AND SIGNATURES SEAL:

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DOB BSCAN STICKER

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NUMBER:

DATE:

07.11.2019

SCALE:

1/4"=1'-0"

DRAWN:

AK

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CELLAR, 1ST FL, 1 COORDINATED DEV & EQUIPMENT PLA

DRAWING:

A901.00

ISSUE/REVISION: 100% DESIGN DEVELOPMENT

SHEET:

SEAL:

DATE: 07.11.2019

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DIVISION OF PUBLIC BUILDINGS CAPITAL PROJECT NUMBER:

PV669-NPC PROJECT:

NUYORICAN POETS CAFE ALTERATION/ENLARGEMENT 236 East 3rd Street New York, NY 10009 FOR:

NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS DRAWING TITLE:

4TH FL & 4TH FL AV DECK COORDINATED DEVICE, FURNITURE, & EQUIPMENT PLANS SEAL:

4

07.11.2019

SCALE:

1/4"=1'-0"

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Physical Model 1

Physical Model 2


03 LIBRARY REBIRTH

New Utrecht Branch Library Renovation PRACTICAL PROJECT(SD) ESTIMATED BUDGET: 13 MILLION DOLLARS 2019 R+L Architects Internship Team Work Collaborators: Lyn Rice, Astrid Lipka, Ahmad Kahn Contributions: Schematic Design, All Renderings, Analysis Drawings, Axo Line Drawings, Drawings Update, Digital Modeling Location: 1743 86th Street, Brooklyn, New York “Engaging the public with memorable works that approach normative issues unconventionally, we bring a resourceful civic-mindedness to a range of building, planning, art & cultural projects.” ---- Lyn Rice OPTION 1 :ZINC PANEL


This renovation project is situated in brooklyn, New York. The clients want architects to transform facade to block sunlight and renew interior space.

RENOVATION

This is dark bronze panel version which is more contextualism. Considering cleaning issues, most of panels are solid while part of panels are perforated.

COLOR CONTEXT

RENDERING 1 This area is for teenagers and adults. I kept one brick wall to suggest original materal of this old building. We kept part of floor and ceiling and changed lights in order to form a kind of landscape. I chose wood color and green round stool to make a comparison. Besides, I also added some orange and red. We can find that the front face is about 125 feet long, and short side is 100 feet. But the estimated budget is only 15 million dollars. Therefore, we need to take many costs, like materials and labor fee into consideration.

RENDERING 2


Cellar Axonometry

First Floor Axonometry


Second Floor Axonometry

South-east Air View Axonometry

North-west Air View Axonometry


1. Space for study room on the cellar floor

4. Auditorium can be accessible anytime near entrance

2. Space for information desk on the first floor

5. Children zone on the second floor

3. Teenager zone on the first floor

6. Courtyard space on the second floor


04 INCLINED FOREST

Shanghai Changning District Resettlemet Housing Design and Research 1.FINALIST AND ON DISPLAY ON HUMAN SETTLEMENT ENVIRONMENT DESIGN 2017 Studio Work Team Work Collaborators: Fu Ruiying, Zhu Yanwen Contribution:Team Leader, Concept & All Drawing & Urban/Courtyard Design Tutor: Prof. Yangjing, Zhang Jiajing “I have been interested in an architecture of complexity – an architecture promoting difference, the pursuit of ambiguity, the coexistence of apparent contradictions…” ---- Venturi


LIVING WITH HIGH STRESS AND BAD ENVIRONMENT The current problems of the site are a lack of public space, public facilities, public activity sites, and space for drying clothes. Furthermore, the site is surrounded by high-rise buildings.

COURTYARD ORGANIZATION AND SUNLIGHT COURTYARD TYPES 1

2

3

COURTYARD SUNLIGHT ANALYSIS (The best proportion of courtyard is last one, H/W=1.2) When designing homes of the future, the challenge is to meet these demands and at the same time keep focus on architecture and quality in balance with economy and environmental sustainability. It also concerns the design with a need for diversity and flexibility and for the development of types of accommodations adaptable to widely different living arrangements, family patterns and individualized life styles.

COURTYARD SOLVE PROBLEMS ABOVE Use Courtyard Which Can Provide Better Environment to Solve So Many Questions at the Same Time

Single-floor Residence:

Hours of Sunlight:

0h

2h

2h

0h

0h

2h

2h

6h

Skip-Floor Residence:

Hours of Sunlight:

COURTYARD ORGANIZATION EVOLUTION (The best pattern is last one, uplifted "chess" pattern) 1

2

3

4

5

6

7

8

9


BEFORE

AFTER 1

AFTER 2

AFTER 3

The Sense of Enclosure and Depression

Ecological Virescence Is Put into the Site

Raise This Ecological Virescence to Create An Urban Space

Transfer This Green Land into Living Units

Second Floor Diagram

Third Floor Diagram

1:500

Master Plan Diagram


HIGH QUALITY OF LIVING WITH COURTYARD

PAST , PRESENT AND FUTURE Living Environment: The Future Life Style

Structure: The Present Engineering

Layout of Space: The Past City Street

The relationship between the ground floor and other floors is totally different from traditional Chinese housing. Sports facilities, business stores, courtyards, entrances of parking and units are on the ground floor. Above are living units with courtyards. Although the density is so high, sunlight still reaches the courtyard. Moreover, each unit matches the previous size of past apartment buildings, so there are some different types of residential plans.


A1

A2

B1

B2

C1

C2

D1

D2

COURTYARD There are several key points for this project. First, it is obvious to see the one unit -- one courtyard mode and sometimes a bigger courtyard will appear. Second, the extent of the whole project is from lower level in the south to high level in the north. It is important to ensure adequate sunlight for the whole site. Third, all garden roofs can be connected together. Fourth, the strategy of structure is different. The column is put in the middle to make each living unit more open and to avoid some problems between corridors and pillars. Fifth, activities can be seen from the courtyard and you can directly go downstairs through stairs from the courtyard.


05 NEW YORK CITY GATEWAY Passenger and Cargo Terminal

2018 Studio Work Team Work Collaborators: Andriana Davis, Wenhao Xu Location: Jamaica, Queens, New York City, USA Tutor: Ali Rahim, Brian Deluna, Ezio Blazetti, Nathan Hume "What speculative realism thinks of as its novel philosophical insights—that humans are no exception to things, that there should be no distinction between human and nonhuman ‘actants.’ " ----J.J. Charlesworth


GIANT ROBOT This project seeks to examine the part to whole relationship between people and cargo, treating both elements as equal entities within the context of the airport terminal. The tensions between static and dynamic moments within both circulation systems are exposed through interlocking forms and a series of seams between each discrete massing. Moments of ceaseless movement mediate through the architectural figuration of the hyperbolic surface in which the two circulation systems are parallel, enabling interaction yet avoiding complete integration between the two systems. The static elements, such as waiting areas and cargo storage, are contained within the interior pockets shaped by the intersections of each surface, creating a sense of place existing between these parallel circulation systems.


NEW YORK CITY GATEWAY

EXPLODED AXONOMETRY

A Gateway for Passenger and Cargo, Jamaica, Queens, New York City The site is at John F Kennedy Airport. In particular, we are designing a new Gateway Hub which is the entry sequence to the airport and combining it with a cargo terminal developing a new typology for New York City's airports. JFK is uniquely equipped to speculate on the gateway Hub into a precise and novel architecture and urban proposal that are unprecedented that links global and local condtions.

The whole architecture basically can be divided into four parts: facade skin, structure and void, logistic system and landscape. The branch-like space are main transportation which is for conveyor belts to reach out to different storage space and for passengers at the same time.

Skin

Structure and Void

Chunk Section below shows relationship between "pocket space and hyperbolic surface space". They interlock, penetrate each other to enhance the connections in-between.

Logistic System

Section 1:350

Landscape


Heavy Architecture The whole building which looks like a tank is elevated, and all the vehicles move to the ground at the very beginning, so that pedestrians can walk below the architecture. The storage space is packed with tons of cargos and few structures touch the ground. Architecture language on the facade is consistent with the landscape, plan and section.

Elevation 1:100

Main Stream The central cone is the space for human and cargo at the same time. Besides, storage space and human space penatrate each other, not only on the facet of vision, but the behavior. Different storage space interlock together to correspond to the facade system.

ELEVATION | 1:250

Section 1:100


PHYSICAL MODEL OF THE CHUNK Architecture itself can become a machine or robot, the status of goods and human is equal. Hyperbolic surface is just like blood vessel, people and good like cell walking through. Besides people can also enter storage space (pocket) to interact with goods. Outside the building, people like bacon between sandwich. No matter when you look up or down, you can experiment the logistic system. Surface, landscape, plan and section should all tightly interlock together. Which can correspond spiral belts and dense storage system. The relevance of robotics to animate architecture as robotics is animating the energy, mobility, entertainment, and domestic aspects of our lives. Rather than merely outfitting buildings with technology, architecture might revive the vision of architecture itself as giant robot. Rather than implanting empty boxes with artificial intelligence or retrofitting our cities for driverless vehicles.


06 INLAY

Mountain Gallery EXCELLENT WORK OF UNIVERSITY OF PENNSYLVANIA, SCHOOL OF DESIGN 2018 Elective Course Work Individual Work Location:Swizerland Tutor: Kutan Ayata “I have been interested in an architecture of complexity – an architecture promoting difference, the pursuit of ambiguity, the coexistence of apparent contradictions…” ---- Venturi


PLAN OF GROUND FLOOR

AXONOMETRY OF THE CHUNK

Actually, it is not hard to find original plan is a big void without extensons. However, spaces extended following sharpe increase of demand of funtions like storage, restaurant, meeting and exhibition. Curved walls connect with straight walls form a kind of tension internally. On the other hand, "poche" is not only used as poche, it also works as another space. The main circulation is from east to west.

This big chunk is a section of axonometry showing more details of this program. The two big tall spaces are not only for visitors to travel, but function as mega structures holding forces from the stones above. Interior spaces also include interlocking relationship. You can easily find several qualities from the axo.


PLAN OF FIRST FLOOR

AXONOMETRY OF THE CHUNK

"Verandahs" now are not only used as passways, they can become a kind of catalyst which will lead visitors apprerciate different kinds of sights inside. Sight changes according to the environment, and this plan, I think, owns depth and tension. Because it gives me a feeling of space shuttling from one to another.

What is more important in the gallery? Art works or gallery? For me, both are important at the same time. In this project, you can be immersive in savoring the world of art. But you can jump out of the exhibition world, seeing these as a background, making the plan as a diagram or art, or regarding people flow as a dynamic scene.


ELEVATION How to utilize existing resources is always a question worth considering. The entrance of this gallery is quite important and interesting. To make it obvious intentionally or to make it completely hidden is a chanllenging choice. For me, I try to make it ambiguous: openings and materiality. I use different sizes of openings to emphasize this is such a different new building. At the same time, I choose similar concrete which likes like stone, trying to make this architecture compatible.


SECTION As is shown in the section, there are several systems work together, light chimneys, exhibitions space, tunnels and so on. From the section, you can read more information than elevation. From the relatively "small" entrance opening to the huge void inside the mountain. When wandering "verandah", you can probably see another space through the windows, exhibition and cliffs. Mountain contains architecture, but the architecture contains everything.


OTHER WORKS

Physical Model:

The facade design is based on hybrid paintings (ostagram) which are painted by famous painters in the world. The aim of analyzing masterpieces is to explore what qualities these paintings have, then extract them and apply them to facade design.

This window model was finished in Fabrication Lab in 2017 in KTH, Stockholm. This is a detail of a window designed by me. From the picture, you can find the contrast between light and shadow. And you can also find the expression of wood cutting and pre-cast concrete.


OTHER WORKS

Physical Model: Physical Model:

Bizarre objects by Powder Print: This physical object is directed by Ferda Kolatan. I abstracted elements from architecture and combine optical art with the final wierd form in order to create some different qualities in this object.

The facade design: Two distinct techniques in the use of color are proving to be most effective in giving freshness to architecture today: What we can call Wallpaper Color and the Hyper-painterly. The hyperpainterly focuses on the surface effects of animate color in the production of contemporaneity. The hyperpainterly is a flavor and additive that gives vibe to the surface through patterned shifts and tonal variations of color.


OTHER WORKS

Physical Model:

New Andy Warhol Museum Our proposal for a new Andy Warhol Museum reimagines Warhol’s famous factory for the design district. The factory was Warhol’s New York City studio, which had three locations btw 1962 and 1984. In the factory, Warhol worked day and night on his colorful painting, using silkscreens to mass-produce images the way corporations mass-produced consumer goods.

This is a renovation and extension project near Southeast University. The original site is an outdoor swimming pool which provided a quite good environment several decades ago. Our campus is located in the downtown and the surroundings have already been well constructed. However, there is no big student activity center for us students.


OTHER WORKS

Physical Model:

Physical Model:

This project is an exploration of a prototype which can move panels to redefine the space. The original space is inflexible and this causes so much waste. What we therefore want to achieve is greater interaction among users of the space by using sensors to control the panels.

This is a renovation and extension project in my campus which has been 100 years. The original purpose is an extension in the courtyard of the department building "Qiangongyuan", but there is still so much waste inside. So my strategy, a minimally invasive surgery, is to reslove the problem inside the department building and keep damage to a minimalism. I am interested in the connection between furniture and architecture. If furniture is unwanted, it can be taken away but the space stays intact.


Acknowledgment:

I would like to expess my deep gratitude to all the people that have helped me during my school time, including my teachers, advisors, friends, parents, and my girlfriend who came into my life and accompanied me during my preparation for this portfolio.

Yu Mao Email: yumao@design.upenn.edu

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2019 MAO Architect  

2019 MAO Architect  

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