Qian Yu Selected Works [2016-2018] University of Southern California Master of Architecture: First Professional
01 Sunken City 02 Devilâ€™s advocate 03 Traced Skyline 04 Photo-tropic Interaction 05 Curled Highway
Directed Research: Thesis Instructor: Larry Scarpa Precedent: Louvre Abu Dhabi Spring 2018
Water is inseparable from people and our built environment. People cannot live without it and buildings struggle to survive in it. Water can be poetic and beautiful or destructive and powerful depending on how the designer engages with it. Many precedents offer a multitude of ways that buildings engage water in powerful and poetic Forms. Some resist and fight off rising water levels, other engage it to create power, while others live within it. The intent of the thesis is to understand how buildings engage with water and develop new forms that can enhance our built environment.
CITY MORPHOLOGY Louvre Abu Dhabi is a practical attempt to realize city morphology of Arabian city. This is one way to localize the modern architecture and blend it into the context. With the background of globalization, the identity of country is getting weaken, but identity of culture is getting stronger. Many countries in Middle East face at realities that they are consuming natural resources, like gas and oil. Thatâ€™s the reason why many countries start to sell culture as products to attract investments and visitors. Globalization gives cultures opportunities to immigrate. For example, Chinatowns and Korea town establish their own styles from their own cultures to keep the unique cultural identities and fit into local context. The concept of self accommodation can be applied to a museum that consist of various cultures. By introducing different urban patterns which may represent the art pieces come from relevant countries, the museum will become a combination of global cultures with identities and personalities.
While historic Arab cities show a variety of origins and growth patterns, they were nonetheless established by a common set of social, geographic, and religious factors leading to similar morphological principles developing he urban fabric. The Arab Gulf Cities can be seen as an integration of multiple cultures and eras as they came into contact with the Islamic culture, eventually leading to the urban structures and morphological form common in Arab cities today. Another important factor contributing to the growth patterns of these cities are ethnic migrations (Saqqaf, 1987) As these migrations occurred, it led to the development of separate town units, or suburbs, slowly connecting themselves to the urban center starting at the main gates and growing along the major traffic routes outside the city. Accordingly, as cities began to grow, community centers began to shift while older areas of the city became abandoned and newer communities developed.
By inverting the mass and void from the original city form, now the courtyard became solid cores or extrusions, and the â€œstreetâ€? became interior which can serve as circulation and exhibition space. The morphology of Arabic city is completely printed on the architecture form, without any adjustment or scaling. The engagement between the museum and site is more like a spectrum of water amount. From the ground and a little visual implication toward the infinite view of ocean, it gives a path for visitors to fill themselves into the water. In the precedent, the only interaction with water was only at the foot level, and it is not so different from a common water pavilion. In this project, the water can be experienced from different levels. Especially from the edge, waterfall is created to make a contrast between static and dynamic.
Entrance Cafe Restaurant Swimming Pool Information/Ticket Lounge Temporary Gallery Gallery Gallery Auditorium Kitchen Restaurant Cafe Storage Kitchen Storage Office
Gallery Gallery Lounge Office
Swimming Pool Gallery Information/Ticket Entrance Storage Office
EARTH CASTING OF DOME The dome presented the essence of Arabian culture, and it achieved a high degree of refinement. The dome, as a symbol of wealth and power, were usually sponsored by the local most powerful merchant guilds. From the historical perspective, Louvre Abu Dhabi preserves the identity of dome which is translated in a modern way. However, cultural character is not the only concern that architects should have. In contemporary, dome, as on component of buildings, can do more jobs not just limited on aesthetics. Thus, a building is designed to serve technologically advanced society, can have more potentials of efficiency and convenience.
CLIP 1: INTRO | GRAND OPENING OF LOUVRE ABU DHABI
POSTER IN A BUS STATION CLIP 2: ANIMATION | POETIC EXPERIENCE OF MUSEUM
GALLERY: TRANSITION INTO DRAWINGS
CLIP 3: THESIS NARRATIVE | WATER, DOME, CITY MORPHOLOGY
CLIP 4: EPILOGUE | ENDING OF THE JOURNEY
EARTHWORK FOR LANDS
SHORT MOVIE: SUNKEN CITY VIDEO CLIP https://vimeo.com/266823194
The engagement between the museum and site is more like a spectrum of water amount. From the ground and a little visual implication toward the infinite view of ocean, it gives a path for visitors to fill themselves into the water. In the precedent, the only interaction with water was only at the foot level, and it is not so different from a common water pavilion. In this project, the water can be experienced from different levels. Especially from the edge, waterfall is created to make a contrast between static and dynamic.
Landscape is inseparable from the city morphology. It gives the rigid grid more flexibility and places to take a breathe. The notion of city is amplified by combining organic and orthogonal architectural elements
Comprehensive Studio Instructor: Kim Coleman Marshall School of Business Spring 2017
Located in the heart of Broadway in downtown Los Angeles, the site offers a rich layering of historical movements and functions. The movie palace buildings, an essential element of this street, have been preserved and remain as an important proof of Los Angeles history. Taking this kind of spirit into the design, the USC school of business center for entrepreneurship aims to provide a variety of programs to serve a wide range of groups and build a closer relationship between students and community.
Core to Programs
School of Business
Open to Public
SITE PLAN At the center of Broadway, the main challenge is the high density of surrounding buildings and highly restricted requirements to the facade of buildings, which only allows thirty per cent of facade can be out of the plain surface. The lack of natural lighting made the site only bright in the morning, but quite dark in the afternoon. The willing of getting light to the street is not only an a requirement for building, but also a step to the revitalization of downtown area. The idea of photo-tropism is created under such context. A historical street that preserves its own identity but suffers from the recession of downtown. To appreciate the historical character and bring more vitality to the whole area, the spirit of photo-tropism is revealed both as an design concept, and the stimulator to the context. The introduction of circulation links three layers of programs, which represented the local community, students, and professionals. It encourages the communication between different groups, and sharing of resources.
CORNER DETAIL LVL3-6 Due to the limited building area, the whole design became a highly compacted space. The site is quite narrow that it wonâ€™t allow for generous spread of space. The performance and efficiency became the main problem to be solved. However, it gave the building a great chance to let the whole facade become an illustration of the life within the building. It provides a spatial quality that usually required a section drawing to present it.
Street View from Broadway Ave
Rent-able Office Conference Room Lounge
Study Room Ball room Lecture Hall
13. Aluminum glazing mullion 14. Firestop system
1. Metal coping 2. Polystyrene roofmate insulation 3. waterproofing membrane 4. beam 14
15 17 16
11. Aluminum glazing jamb 12. Aluminum glazing sil 13. Aluminum glazing mullion 14. Firestop system 15. Metal mesh 16.attachment support 17. Glass panel railing
60’-0” 105’-0” 75’-0”
5. Mechanical ventilation duct Enclosure 6. suspended ceiling system 7. Girder 8. fastening device to attach enclosure 15.Compostie Metal mesh 9. corrugated steel deck 10. floor finish support 16.attachment 17. Glass panel railing
11. Aluminum glazing jamb 12. Aluminum glazing sil 16
13. Aluminum glazing mullion 14. Firestop system 18. Acoustic sealant 19. Joint sealed with tape 20. Deflection head 21. Light steel frame separating wall 22. Mineral wool packing 23. Small gap filled with acoustic sealant
15. mesh 18. Metal Acoustic sealant 16.attachment 19. Joint sealedsupport with tape 17. panelhead railing 20. Glass Deflection 21. Light steel frame separating wall 22. Mineral wool packing 23. Small gap filled with acoustic sealant
15’-0” 45’-0” 22
18. Acoustic sealant 24. Smart floor system 19. Joint sealed with tape 20. Mechanical Deflection head 25. unit for heating/cooling 21. Light steel frame separating wall 22. Mineral wool packing 23. Small gap filled with acoustic sealant
VIEW FROM SECOND FLOOR The lower portion is the school section. While seeing the lights from above, the space is attracting eyes and imagination to follow the orange upward movement. Since the natural light will not be sufficient for lower level, the space is more divided into several spaces, not like open work spaces above.
VIEW FROM EIGHTH FLOOR The height of the office area is perfect for the view of downtown. It gave the visitors a feeling of ascending from the ground, by changing the experience of space and light. The north side of the building provides the possibility to introduce the natural light to illuminate the whole space within the building.
“Awake in the painted world”
Topic Studio Instructor: Anthony Morey House series Fall 2017
The studio will be framed by the reading of the Divine Comedy by Dante Alighieri. This narrative/ poem has for all intensive purposes produced our image of good versus evil. This construction of reality contains all the classical architectural representational signs and yet is absent of any real context, it is a “non-context.” The goal is not to recreate the narrative or framework constructed by Dante, but to understand its tools, techniques, and potency which allowed it to provoke such a provocative and yet architectural framework for society to imagine through the tools inherent to architecture itself.
Space generated from drawing By attempting to create, build and represent a narrative of Architecture, and not architecture itself, we will begin to understand where Architecture itself could exist. We will analyze, misread, abstract, and reread the object of origin and begin to translate it into architectureâ€™s context. We will question our own beliefs, contradict our immediate and instinctual responses to find through this constant and unfiltered translation.
Narrative Model Chapter of Inferno In traditional practice, the composition of space is usually drafted on the grid. In order to make an easier start for structure, boundaries and edges are forced to be aligned with the grid. After the fading of modernism, contemporary architecture is still bounded in the limitation of grid. If the grid is the basic coordinate that architecture has to be overlaid on it, is it possible to free architecture from the cage of grid? The beginning of constructing the three dimensional model is also the beginning of challenging the system of grid. Three planes, by intersecting and rotating, created space that is in sequence and impossible to let grids apply to the space by any chance. To avoid evenness, the three planes are arranged to form spaces that have a certain rhythm to match with the story telling.
BACK TO THE GRID Treat the form and space with conventional marks
PAINTED WORLD Compared with starting from irrelevant information, this project has rich layers of evolution and adjustment. It relies on much digital work to build and simulate, but the final work is fully physical but the traces of digital left on the project as the final touch. When shapes subtracted from drawings, they morphed into landscape and masses. This logic behind those decisions are autonomous, and decisions are more likely made by shapes themselves. The landscape has to have more topographical features to interact with figures. But this connection is still so weak that it requires some manipulation to blur the lines between landscape and figure. Thus, a thin layer of projection, which can be shaped from the shadow, will touch both landscape and figures, and shows a continuity of surface and blurs the edges of separation.
LAYERS BY FOLDING As those layers travel through different surfaces and materials, it directly connects them visually, and may create new shapes by having different layers in the same surface. It is not only applicable in facade design, but also gives a chance to unite facade and interior to have a relationship of projection. In other words, it will make the whole design more fluent and distinctive.
Comprehensive Studio Instructor: Jose Sanchez Little Tokyo workshop Fall 2016
As located at the heart of little Tokyo, the site of maker space has both challenges and opportunities. It is in the midpoint between Japanese plaza and civic center, and is surrounded by a well mix of building heights. The design goal is to build a maker space in that context, which can be interpreted as an aggregation device that promotes the communication between designers and visitors. The process of creating arts is attractive and can be appreciated from different views. Thus, it is important to improve the visibility of different programs, or in other words, transparency.
Site Plan After studying the topography of the site, it is an issue to make a response to the surrounding high rise buildings. Instead of building up a morphologically similar form, another approach is to build a low rise form to neutralize the pressure from the high volumes. Sight is dynamic and can be directed by the implication of form and shades. That also means visibility is important not only in building itself, but also the interaction between interior and exterior.
As located at the heart of little Tokyo, the site of maker space has both challenges and opportunities. It is in the midpoint between Japanese plaza and civic center, and is surrounded by a well mix of building heights. The design goal is to build a maker space in that context, which can be interpreted as an aggregation device that promotes the communication between designers and visitors. The process of creating arts is attractive and can be appreciated from different views. Thus, it is important to improve the visibility of different programs, or in other words, transparency. The process of creating arts can be seen as another form of crystallization: the ideas and materials are converted into a more physical and condensed form. After being categorized by different types of uses, major programs can be divided into practical and conceptual types. So two building cores are differentiated to arrange them and make the circulation more focused and efficient.
CIRCULATION OF IDEAS The program within the building is highly packed and related to each other. The perspective will not be oriented from just one point, but to consider whoever had the chance to visit the space. To decide the circulation among different areas requires the imagination how work flow might be benefit from different arrangements. What if visitors get inspiration during visiting the gallery? Do they need a space to write down or discuss their ideas or get tools at hand to realize their ideas? In another case, when designers and artists finished their works, a gallery is ready for them just downstairs. The process of exhibition will be more specialized and more efficient in such space.
Interior view from lecture space
Interior view from gallery
ROOF INSULATION OUTER SHEETING FIXED BRACKET PURLING
EXTRUDED ALUMINUM TRANSOM SMOKE SEAL CEILING FINISH
SUPPORT JOINT STRUCTURAL BEAM
PERFORATED METAL PANEL METAL DECK
LIGHT AND SPACE The program within the building is highly packed and related to each other. The perspective will not be oriented from just one point, but to consider whoever had the chance to visit the space. To decide the circulation among different areas requires the imagination how work flow might be benefit from different arrangements. What if visitors get inspiration during visiting the gallery? Do they need a space to write down or discuss their ideas or get tools at hand to realize their ideas?
Topic Studio Instructor: Iman Ansari, Hadrian Predock Public Storage Renovation Project: Office Summer 2017
The opacity of different spaces are differentiated to tell their own characters. After being folded and extended, the translucent skin is guiding the eyes to move between corners and scenes that revealed through exposed views. Two volumes are interlocked with each other, and helped them maintain their identities while motivating the interaction between them.
ECOLOGY 4: HIGHWAY
ECOLOGY 1: SURFURBIA
FOUR ECOLOGIES OF LOS ANGELES MAPPINGS INSPIRED BY REYNER BANHAM
ECOLOGY 2: FOOTHILL
ECOLOGY 3: PLAIN LAND
A HIGHWAY RUNS THROUGH THE GRID The ecology of highway is more attractive than other ecologies in Los Angeles. Its unique pattern of formation made it more similar to vascular systems: as the speed decreased, the amount of transportation is also reduced. From the numerous flow on the highway to the aggregation of vehicles in parking lots, the modes of movement are changing in an adaptive pattern. If that type of circulation was taken to the office circulation, where will it lead to? The site was a public storage which maintains a cubic shape and rigid column grids. To break through the stiffness of grids, a new volume, evolved from highway system, was curled and inserted into the cube. The spiraling the spreading of highway connects all different programs into an integrated system. The hierarchy between different places are emphasized by their postures and forms. By projection of inner volumes to the facades, the contrast between grid and highway are emphasized and implicated the flow to the surface.
1 3 2 1ST FLOOR
6 4th floor
8 5TH FLOOR
1. LIBRARY 2. GALLERY 3. VR AREA 4. LECTURE HALL 5. CAFE 6. GAME HUB 7. MINI CHEMOSPHERE 8. LOUNGE 9. ROOF GARDEN
As the creativity caught most attention for office, how to elevate people’s creativity and construction of ideas is essential to today’s office design. A VR space, car and miniature of existing building made the space can motivate more conversations about what comes out recently. Compared to traditional office design, it’s aiming to build a dichotomy while preserving the openness of every floor. The new volume connects all support programs together, to serve the remaining space which mostly are offices. The contrast between two systems will enhance how officers experience the switch of mindsets.
Qian Yu University of Southern California