Mo Shen_Portfolio_2020

MO SHEN Portfolio

University of Pennsylvania School of Design, Selected Work 2015-2019

Education

Mo Shen Master of Architecture at University of Pennsylvania +1 (217) 898 6566 erik.shen94@gmail.com moshen@upenn.edu

University of Pennsylvania 2017-2020 Philadelphia, PA School of Design Master of Architecture

University of Illinois at Urbana Champaign 2013-2017 Bachelor’s Science of Architectural Studies

Skill Auto CAD, Revit, Rhino, Maya, Grasshopper, Python, Sketchup, Adobe Creative Suite, Zbrush, V-Ray, Keyshot, Ensacpe, Lumion, Twin Motion, Microsoft Suite Laser cutting, 3D Printing, Wood Works, Model Making, Digital Photograhy, CNC, Powder Printing, Architectural Drafting, Sketching.

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PORTFOLIO Mo Shen

CONTENT academic works

01 Bioluminescence Museum | Spring 2019 Kutan Ayata | Rail Park, Philadelphia 02 Grain Terminal Incubator | Fall 2018 Ben Krone | Red Hook, New York 03 The Fashion Lab | Fall 2019 Robert Stuart-Smith | Les Halles, Paris 04 Decolonize Penn Museum Installation | Fall 2017 Eduardo Rega | Philadelphia 05 Hyper Circuit Library | Spring 2018 Annette Fierro | Parkside, Philadelphia

other works

01 Machine Myrmecomorphy | Spring 2020 Karel Klein | Death Valley, California 02 Baroque Object | Spring 2020 Andrew Saunders 03 Industrial Design "Geo" Watering Can Device | Spring 2020

professional works

01 Daming Mountain Skiing Resort | Summer 2015 | Lin An, Zhejiang 02 Xiaoshan Science&Technology Park | Summer 2015 |Hangzhou, Zhejiang 03 Property on Subway Station | Summer 2018 | Hangzhou, Zhejiang

INTRO

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academic works

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PORTFOLIO Mo Shen

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Bioluminescence Museum Urban Wildness In collaboration with Zoe Cennami Spring 2019 Instructor: Kutan Ayata

The project aims to blur the boundary of what is artificial and natural by cultivating unique qualities that become the architectural object of urban wild life. By constructing bioluminescent pools, a interior diving space, and a luminescent museum, the project engage people to undermine their assumptions of the reality of the human land strata and engulf them in a new paradox of underwater experiences that are unfamiliar to our natural strata. In addition, the glowing bioluminescent water invades the surrounding rail park, transforming the ecosystem and lighting the space up at night.

Ideas of penetrability are used to create different experiences throughout the museum inside and out. The street front composed of three solid volumes that confront the street while the other sides have engaging volumetric play with inside of the architecture and outside enviornment.

Each volume performs differently through texture, spatial qualities, and material color creating a clear distinction between the three volumes. Additionally, the play of smooth to rough quality formulates different sensations. The exterior is rough while the interior walls are smooth. As well as the inside pools also have this play but inversed of smooth exterior to rough interior pockets.

Form Generation Strategy/DNA

Bioluminescence Museum

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Sectional Details The idea of three volumes pushes and pulls, transition from its normal state to minimum surface, yet never touches each other creates strong connection throughout the interior space while the shifting of material texture creates illusional but playful experience of spatial orientation of being inside or out. Tubes nested with diving pools and water ponds unfold and become floor then tranform to walls and ceilings as an idea of infinite expansion in finite space and boundaries. The abstract mimicry of marine coral from the minimum surface structure creates a physical and spatial underwater experience.

Curtain wall facade and exhibition space

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Interior diving pools connecting all space

Atrium shaped by building chunks

Construction detail of minimum surface extension

Bioluminescent water pools

PORTFOLIO Mo Shen

Section

Bioluminescence Museum

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Rooftop Garden

Bioluminescent Diving Tube

Reshaped Wall/slab

Pocket Atrium

Stair as connection and lateral support

Exterior Atrium in between

Geometrically at the start, we developed a type of minimal surface form strategy, or in other words the DNA of the building, and then moved away from the purity of it explore the new spatial experience shaped by the transition. Still, in some moments of the project, especially the middle volume, the DNA is preserved at its pure state to create netural exhibition space.

Overall, each mass has different programs and the volumes intertwines with each other. This allows for each part to almost structurally be self-supporting on their own but enhancing the rest simultaneously. The stairs, ramps, and common space in between these volumes then connects all of them into a bigger whole.

Bioluminescence Museum

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Physical Model Street View

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PORTFOLIO Mo Shen

Immersive experience of the bioluminesent water pools

Tranquil exhibition and common space with wide open view of the city

Threshold of the urban wilderness that connects the museum with the rail park

Bioluminescence Museum

Renders

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Bioluminescence Museum

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Physical Model Street View

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Roof Top View

Exhibition Space/Volume 2 Zoom In

Exposed Water Tubes Elevation

Bioluminescence Museum

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academic works

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Grain Terminal Incubator Mixed & Reuse Community Housing Individual Project Fall 2019 Instructor: Ben Krone

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PORTFOLIO Mo Shen

The Grain Terminal Incubator aims to create an innovative hub for art that is not limited to one category and in addition to help ease the housing inequality problem happening in New York so gentrificated residents may be able to relocate their home here.

The Project specifically focus on two groups of residents: artists who love and enjoy the culture of red hook and skilled workers who enjoy working together while sharing their living space. In order to create a versatile atomsphere, instead of having one universal studio, the project intend to break it down to several different subsets so artists and workers can work in more combinations to stimulate more possibilities.

Original Silo Structure Carving process of cavity creation

Inserting new concrete slabs

Bonding with unit cluster

1B/2B apartments with studio 2B apartments with private bathroom

Shared living space including kitchen and amenities

Grain Terminal Incubator

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Sixth Floor Plan

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Fifth Floor Plan

PORTFOLIO Mo Shen

In order to lower down rents but not the living quality of individual units, the project introduced shared living space which is shared by two units.

The space includes shared kitchens and small living rooms with housing amenities. To push the sharing concept even more, inside the silos, using the carving out strategy, the project creates a continuous shared garden space for socializing and respirartory.

As a renovation project, it uses entirely the existing grain terminal structure with the exception of newly inserted floor slabs. The project carefully carved out portions of the silos to create one/two bedroom lofts. The modules intimately interlock with shared space which form strong bondings.

Grain Terminal Incubator

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Exterior Facade Render

Grain Terminal Incubator

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Interior Living Space

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Exterior Gathering Space

Sectional Perspective Grain Terminal Incubator

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Physical Model Grain Terminal Incubator

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academic works

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The Fashion Lab Multifarious Futures: Les Halles 2030 In collaboration with Xiaoyi Peng Fall 2019 Instructor: Robert Stuart-Smith

The Fashion Lab

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Project The Fashion Lab aims to explore the possibilities of Inudstrial 4.0 and it's application or involvement to the public. A fashion smart factory is designed on the site that closely weaving into the surroundings. Not only the factory function as a small in size, massly produced customization of appeals, but also it reaches out to the public transportation of RER and Paris subways and reshape the public parks around it.

As project that take strong interests in the robotics and post-human conditions, it starts with a series of iteration of lines generated by agent field based coding. Although it is generated by code, all the factors, agents, and vectors are thoughtfully inputted to reflect the vision of the project. The 2D lines contains global trend, local variations, and versatile characteristics that later become references of parti and formal languages of the architecture.

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The Fashion Lab

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The Fashion Lab

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As the smart factory we propose aims to have both the fast speed to mass produce and to create uniqueness within each product like Haute Coture, after a number of researches, we have designed a series of robotics, automated machines, and AI interface to help achieve this goal. The production process has eventually merged to two ways: the traditional and the smart sewing. For tradition process, the fabric from the the bulk storage goes through cutting, color-coding, sewing and eventually the packaging. The smart sewing is done in one single machine that contains all the details, patterning, form work and color. We then developed clusters of machines that would weave into the architecture.

Slik Bulks Storage

Automated Production Station

Automated Sewing Machine

Air Taxi

Automated Production Line for Fashion

The Fashion Lab

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The Fashion Lab

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The Fashion Lab

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academic works

Unlearning & Relearning

Decolonization of Native American Culture Through Unlearning Njoki Wane (Indigenous scholar) explains: “Indigenous peoples must be allowed to produce and control knowledges about themselves and their societies, rather than forced colonial narratives. New Initiatives sets up the academic framework for those stories to be heard, to be normalized as histories.”

Through a Native American Exhibition held on the Penn Museum courtyard, the project Decolonizing Penn Museum Installation (D.P.M.I.) uses both the concept of Unlearning and the spatial tactics of Room Within a Room The stoner courtyard is considered here a host room within which guests will articulate program in section: from a ground plane of interconnected open and covered rooms where western clichés of the museum’s archive are exposed, the visitor ascends into more specific architectures where more precise indigenous anti-colonial histories are revealed and shared in discrete spatial typologies” It aims to educate participants and visitors of the authentic perspective of Native American Culture and decolonize Native Americans from the oppressive narratives of the Western powers.

The project D.P.M.I. is mainly composed of three programs: the main exhibition space on the ground floor, the individual cells including mini-theaters, storytelling rooms, galleries above the main exhibition space, and the underground archive. The separate architectures are specific to the different forms of knowledge production and exhibition that various objects and narratives in the archive require, from storytelling, to intimate film viewing, etc. The exhibition space includes thin, light-looking pillars displaying a combination of Native American Artifacts presented by both the inaccurate, colonial and biased Western narratives and the indigenous people narratives. It also presents a series of Western pop culture media such as movies, music, cartoons and advertisements with pervasive Native American stereotypes.

The individual cells act as rooms of truths where the unlearning process takes place. Visitors are first exposed to the strongly biased pop culture media at the non-directional exhibition space on the ground where a field of pillars articulate a continuous fluid space of open and covered rooms. Afterwards, ramps inserted between the pillars, leading visitors to each individual cell where visitors are provided with thorough, complex and more accurate indigenous narratives towards Native American artifacts as well as their culture. The underground archive space is highly interactive with the exhibition space on the courtyard. Artifacts are researched, documented, and organized underground and then transported from the archive directly up to the exhibition space through transportation tubes. These tubes have the same appearance as other pillars on the ground floor, and are of different diameters to transport different artifacts. The project on the current phase mainly serves for the Native American Exhibition and the Decolonization event integrated with it. However, because of the highly flexible nature of this project by using the combination of Room Within a Room and Non-Directional Space spatial statics, D.P.M.I. can be used for other exhibition events that unlearn to decolonize the narratives of the artifacts in the archive underground.

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PORTFOLIO Mo Shen

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Decolonizing Penn Museum Installation Occupy Penn Museum, Decolonize the Archive Individual Project Fall 2017 Instructor: Eduardo Rega

D.P.M.I.

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A maximum of 4 sides of host and guest can touch each other

Unless side surfaces of host does not intersect with the guest, the guest can be reach the height of the host

The space in between the gest and teh host cannot be pure circulation

A maximum of 50% of each surface can open up

The space in between the guest and the host cannot be pure circulation

A maximum of 50% of each surface can open up

Guests can intersect as long as the intersecting area of the guests doesn’t touch or exceed the boundaries of the guest rooms

When guest rooms intersecting, minimum distance of the intersecting area is 3ft.

Minimum distance between the side surfaces of the intersecting area and the boundaries of guests is 5ft.

Previous rules with single guest, multiple hosts with similar geometry will apply

Unless side surfaces of host does not intersect with the guest, the guest can be reach the height of the host. It applies to subhost as well

Sub-host can have similar geometry with the host as long as the guest is different

Guest can have similar geometry with the host as long as the sub-host is different

A maximum of 4 sides of host, sub-host, and guest can touch each other

A maximum of 50% of each surface for both sub-host and guest can open up

Sub-hosts can intersect with each other. The rules of intersecting area should apply

If not touching, space between the sub-hosts should be at least 3ft for circulation.

Points have the same density The distance X is between 30 inches to 80 feet

Points for each boundar yhave the same density. The distance X between the points is between 30 inches to 40 feet

Points have different densities.

The distance X between points is between 8 inches to 65 feet

No corridor spaces Each enclosed space should at least have two openings in different directions

Previous rules with single guest, multiple hosts with similar geometry will apply

Each corridor should have one opening and be of similar width to space

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A maximum of 4 sides of host and guest can touch each other

Guest cannot reach the height of the host

If not touching, space between the guests should be at least 3ft for circulation

Sum of the guest volume should be smaller than 70% of the host

Sub-host function as both host & guest

Guest cannot reach the height of the subhost, and sub-host cannot reach the height of the host

When space above or below the guest room can hold potential program which isaccessible, the guest room occupying the space with only circulation path around is allowable

In case of “room within a room within a room”, if host, sub-host, and guest have similar programs, there should be clear openings visually or physically connecting all three rooms

Lines are placed in one direction with a x:y ratio of 1:4

Lines are placed in two directions. At least two openings per enclosure

Lines are placed in random directions At least two openings per enclosure

Each enclosed space should at least have two openings in different directions

Each part of the corridor should have at least one opening

Some of the enclosures have only one opening. The distance between enclosures should be 1/8 of the enlosure

PORTFOLIO Mo Shen

Master Ground Floorplan

D.P.M.I.

Unlearning Common

Unlearning Garden

Unlearning Gallery

Unlearning Chamber

Relearning Gallery

Relearning Auditorium

Relearning Media Room

Relearning Chamber

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Ramps connecting individual re-learning cells to form forced, directional experience

Individual cells act as "room of truths" to perform the unlearning and relearning processes

Highly flexible partition walls and movable canvas to display the main exhibition content

Thin light-looking pillars insert on museum courtyard to blur boundaries and creat a undirectional space

Underground archive can transport artifacts directly to the main exhibition space above using the larger pillar

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PORTFOLIO Mo Shen

Sectional Perspective

Unlearn & Relearn Trail

D.P.M.I.

Street View

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academic works

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Hyper Circuit East Parkside Community Library Individual Project Spring 2018 Instructor: Annette Fierro

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PORTFOLIO Mo Shen

The Project aim to create a community library inserted with highly-intergrated networks of bicycle track interlocking the exsisting city network. Besides the library function, it is a cycling infrastructure with cycling network that instigate social connections and equality of the local community. Extending a bicycle track from the popular Schuylkill River trail and into the newly proposed library, the new trail will serve as an enconomic generator and a social infrastructure as it brings new, active human flows and reconnect isolated urban areas. Hyper Circuit is the starting point of a much larger plan which makes bicycle accessible anywhere in the city. The long term goal is to reduce carbon emissions, reconnect isolated communities, and promote healty lifestyle.

Hyper Circuit

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Hyper Circuit

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other works

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Machine Myrmecomorphy Artificial Ecology & Augmented Mimicry In Collaboration with Tian Zhang Spring 2020 Instructor: Karel Klein

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Full Collective Booklet: https://issuu.com/upenn_kleinstudio/docs/arch_704_machine_myrmecomorphy_spring_2020_issuu_u

Amazonian Miscellaneous Épandeur

The Amazonian Miscellaneous Épandeur is a hybrid creature of biological rainforest elements and functioning machine parts. It is to be considered as a micro ecosystem of its own. Living in a competitive environment, the fusion of the biological and mechanical features of the Épandeur mutate into unique body parts to protect itself.

Multiple heads and ocelli enable a full vision around it.

Metallic exoskeleton and hard reptile wings warps around fragile part of the Épandeur.

Features like external genitalia deposit microorganisms to rapidly alter its surrounding for its own benefit. With the mobility of both moving on land and in shallow water, it is an apex predator.

Machine Myrmecomorphy

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Machine Myrmecomorphy

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For this project, using AI and style transfer as tools, we propose a Salt Basin Research Center in Death Valley to explore the machine-human collaboration and its production of the architecture and the surrounding environments.

Studying the existing materials on site and introducing a luxury of new materials, we begin to speculate of how AI would alter the salt terrain visually. The creation of the strange new topology which we refer as the artificial nature then blends seamlessly with the research facilities and their infrastructures we are proposing. We are imagining the AI would reshape the architecture as it constantly alters the geology of the existing site. The project then develops a series of formal strategy in terms of blending the artificial nature with the architecture.

The artificial nature would wrap around, nest inside, and invade through the structures of the research center so they are inseparable. Besides the private research facilities, the project also aims to open this machinehuman collaboration to the public. Therefore, the research center has its own educational programs and exhibition space open to the visitors.

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PORTFOLIO Mo Shen

Machine Myrmecomorphy

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other works

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Baroque Object Baroque Topologies - FabergĂŠ Object In Collaboration with Ruxin Zheng Spring 2020 Instructor: Andrew Saunders

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PORTFOLIO Mo Shen

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"Geo" Watering Can Device Industrial Design Project Individual Project Spring 2020

Sprinkle head is raised to keep enough amount of water inside the watering can.

Other Works

Handle is designed to have different angles so its easier to grab with different amount of water left. In addition, the length of each segment of handle is more than 3 inch which is the average width of hand.

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professional works

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Skiing Resort Daming Mountain Skiing Resort Fangan GmbH Summer 2015 Hangzhou, Zhejiang

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Daming Mountain Skiing Resort

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professional works

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Science & Technology Park High-tech Business Incubator Fangan GmbH Summer 2015 Xiaoshan, Zhejiang

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Xiaoshan Science & Technology Park

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professional works

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Property on Subway Station Transportation Oriented Design and Development GOA Daxiang Summer 2018 Hangzhou, Zhejiang

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Xiaoheshan Property on Subway Station TOD

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