Pratt-Freshmen-portfolio-2020

Architecture Portfolio B.Arch Candidate Pratt Institute SoA ///////////////////////////////////////////////////////////////

hhwu1107@163.com 19 Fall-20 Spring

吴泓皓 Honghao WU

專業技能/Professional Skills

Tel: (+86) 19825576346 E-mail: hhwu1107@163.com

-Rhinoceros (犀牛）：熟练掌握，建模， 出图 -AutoCAD：熟练掌握，2D建模 -SketchUp（草图大师）：熟练使用，建模 -Camera4D（C4D）：入门级使用

教育背景 / EDUCATION Pratt Institute/普瑞特艺术学院

Adobe Photoshop|Illustrator|InDesign MS Office Word/Powerpoint/OneNote：文档/幻灯片/笔记制作 -平面设计：活动海报，宣传册，logo设计 -公众号编排，运营

2019至今

本科建筑学项目 / Bachelor of Architecture Program

江苏省天一中学 / Jiangsu Tianyi High School

2016-2019

高级中等教育学历（AP curriculum）

江苏省泰兴市实验初级中学/ Taixing Experimental Junior Middle School

軟技能/SOFT SKILLS ·成果汇报和公开讲演/ Presentation & Public Speaking ·口头及书面学术表达 / Written and Oral Communication ·创造力及危机解决 / Creativity and Problem Solving

2013-2016

·团队合作及领导力 / Team work and leadership

初级中等教育学历

签名/Signature

TABLE of CONTENTS ·Flowing HEXAPODS

2020 Jan. - May

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2020 Spring

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ARCH-102 design studio Professor Jacob Bek., Andrew BOURNE ·Scattering shadow

Architectural Interfaces: Abstraction, Analysis, Speculation ARCH-112 Representation Professor Kyriaki GOTI ·THE TRACK（裂道）

2019 Aug. - Dec.

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ARCH-101 design studio Professor Gonzalo J. LOPEZ, Kyle WAUGH ·Tumbling Debris* ARCH-111 Representation Professor Ashley SIMONE

2019 Fall WINNING DRAWING*

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Flowing HEXAPODS PRATT-UA/ARCH-102 ///////////////////////////////////////////////////////////////

BODIES / MATERIALITIES / ENVIRONMENTS //////////////////////////////////////////////////////////

Honghao(Robin) WU

“The Library is a sphere whose exact centre is any one of its hexagons and whose circumference is inaccessible.”

------ Jorge Luis Borges

ARCH 102.10 Prof. Jacob. Bek Prof. Andrew. Bourne Spring 2020

Flowing HEXAPODS

N

Scaled zone: -Reading area - S -Book stack - N -

START

BOOK STACKS CAFÉ locates between reading rooms and book stacks to provide access from both sides; coffee aroma being diffusesd from the center of the bookshop

Transition: -Cafe -Counter Linear CIRCULATION among zones

number of books stacking grows following scale increases as people ascending from lower floor to the top, facing north to avoid direct sunlight; surrounded by circulation systems for getting easy access from outside

Half covered by reading area above it for dispartion on selling and dining area

W

E

S

END

START

READING AREAS medium-sized reading area getting connected with large one on the top layer by single reading room facing south to make the whole area bright to receive natural light and observations from inside out

COUNTER 00-Program Diagram: bookstore ARCH 102.10 Prof. Jacob. Bek Prof. Andrew. Bourne Spring 2020

locates on the bottom floor as both the starting point and the end; functions for both members check-in and check out surrounded by all zones, counter allows staff get acesses to them when emergency happens

CIRCULATIONS transits between zones, maily ramps for accessible uses only surround all zones to circulate, not built across zones to limit only for linear movement

2

Flowing HEXAPODS Honghao(Robin) WU Hexagonal vessels: -vegetation -water Organization: -Clustered: stacking -Linear: hanging -Symmetrical: enbracing

Right: 3.1 - Digital Model Graphics of Adapted Bodies Structure Left: Detail, Digital Model Graphics

ARCH 102.10 Prof. Jacob. Bek Prof. Andrew. Bourne Spring 2020

3

Hexagonal plane-to-frame condition for attachment and support

Flowing HEXAPODS

EE

Honghao(Robin) WU Scaffold: -supporter: holding -guidance(vine): sticking -canopy frame: covering Layers: rising with occupation decreasing vertical: staircases communal zone for wheelchairs and walkers walkers only

AA

BB

AA BB

Right: 3.2 - Orthographic Projection of Adapted Bodies Structure Left: Detail, Plan view BB

ARCH 102.10 Prof. Jacob. Bek Prof. Andrew. Bourne Spring 2020

EE

Occupancy by layer（lowest level）

Distinguishing 3 levels to occupy 4

Flowing HEXAPODS Honghao(Robin) WU Inverted color: reinforcing light and dark

N

North: darkest

sun exposure

Water vessel: darkest (lightest in diagram)

water containment

N

Right: 3.3 - Solar Study Diagrams Left: Detail, Solar Study Diagrams

ARCH 102.10 Prof. Jacob. Bek Prof. Andrew. Bourne Spring 2020

5

6 a.m.

9 a.m.

3 p.m.

Level of lightness reinforcing programming logic and spatial arrangement

5 p.m.

Flowing HEXAPODS Honghao(Robin) WU Height decision E

ramp: gradually ascending Central area: highest FLOW: From bottom to top

Flooding stage 1 - 3’ No vessel undergoing submerge, supporting scaffold systembeing half in water.

Entrance and partial ramp on the north side sinks.

Right: 3.4 - Water Level Study Diagrams Left: Detail, Water Level 6’

ARCH 102.10 Prof. Jacob. Bek Prof. Andrew. Bourne Spring 2020

E

Flooding stage 2 - 6’ No vessel undergoing submerge, but half with bases touching water.

Lowest level sinks. Central platform sit right on water.

Flooding stage 3 - 9’

Flooding stage 4 - 12’

Vessels on the first layer undergoing submerge, with supporting scaffold systembeing in water.

Nearly all vessels sinking in water, only those in highest level with base sitting on water.

Almost all ramps sink in water.

Only platform on the center stand in water.

Opacity for visualizing water level growth from top view 6

1

Flowing HEXAPODS

Start: Pass by a group of hexagonal structures, facing 3 ways leading up, down and moving forward

Honghao(Robin) WU Circulation selection: -stair: all layers -ramp: only 1st, 2nd layer Platform: -Observation Program diagram: same spot for starting and ending

4

Reaching the first observation platform, see the tree caged by the structure “greenhouse�, vines hanging downward.

3

END

Following the nearest water falling noise, Intersection 3 was shown: either ascending or moving toward the observation platform

1 START

6 2

5

3 4

5

Positioning at the center of the whole architecture, being prepared to climb up the highest platform When looking up, the greenhouse already cast shadow downward, forming a canopy above the head.

6 Right: 3.5 - Instructions for Use Left: Detail, Storyboard 3

ARCH 102.10 Prof. Jacob. Bek Prof. Andrew. Bourne Spring 2020

7

Splitting intersections for multiple moving options leading to seperate levels

2 Not far from the intersection 1, a patient is trying to touch the falling water

Flowing HEXAPODS Honghao(Robin) WU Scaffold: -cage: tree ---“Exit Architecture�

-rattan: vine -guiding structure: water flow Vessels: -plantation: sedge grass -water containment

Right: 3.6 - Experimental Drawing Left: Detail, Experimental Drawing

ARCH 102.10 Prof. Jacob. Bek Prof. Andrew. Bourne Spring 2020

Varying fabrication of scaffold systems indicating changing of vegetations on different layers 8

ARCH 112.10 Architectural Interfaces: Abstraction, Analysis, Speculation Prof. Kyriaki GOTI Spring 2020

9

B1

B3

B5

B2

B4

B6

9

Scattering Shadow Green Residence by Paul Rudolph

10

tb The crack ac ck e PRATT-UA/ARCH-101 //////////////////////////////////////////////////////////// ///

MASS / ENVELOP/ GROUND ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

11

//////////////////////////////////////////

Honghao(Robin) WU

STEREOTOMIC FORM A violin bridge being carved, Aug. 2019

• The main purpose is to transmit the sound wave into the violin's body part.

The two stands should be perfectly lie on the wood, so the perfect cutting is inevitable to make.

• The other part needed

THE TRACK Honghao(Robin) WU Begin with a 2”x4”x4” mass of foam. Cut or shave the masses exterior faces selectively until that mass has 10-12 faces. This generic mass is now a stereotomic form with faceted geometry.

A device that supports the strings on violins and transfers the sound to other components of the instruments and the surrounding air

Left: Research of STEREOTOMIC FORM

• When considering the stereotoic form

Right: notes of cutting processes

which is being subtracted, this small but delibrately-made object came to my mind.

to be cut in the bridge is the two "ears" shown in the photo above. This procedure is to strengthen the standing. If the bow is being pulled, force is endured by the middle part, not the two ears. The ears also provide aesthetic meaning in such object.

structure of a violin bridge, Sep.2019

12

THE TRACK Honghao(Robin) WU Make three full-size photocopies of it on 11”x17” paper.

- Draw over the lines on the photocopies with different lineweights, black lines and even colored lines to try three different graphic refi nements of the “best” template.

Left: A1.4 / Annotated STEREOTOMIC FORM (mass & unrolled) Right: A1.5 / Rule-Based Pattern Drawings

ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

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ENVELOPE

THE TRACK Honghao(Robin) WU - Fold the advanced template (drawn, colored, cut, scored) into volumetric surfaces.

- The volumetric surface study models should have a mixture of graphitectonic and architectonic surface-areas. Observe and note the architectural potential.

COOPER UNION

ACADEMIC BUILDING • The facade simulates "cracking conditions" as the main gap of the building's envelop, which

The Cooper Union, Jul. 2018

has similarity with the operation of my objects.

• The volumetric shape of the

Left: Research of ENVELOP Lower Right: A2.1 / Study Models for a Proto-Architectural Object

building makes it clear that the original form is a simple cube being operated into complex envelope.

• The operation architect did is opening the envelope from the middle, extending down to the lower part to form gaps, slopes, open spaces on surface, allowing the exterior and interior to interact in the gap.

The Cooper Union, pen sketch

14

THE TRACK Honghao(Robin) WU This exercise will develop a Projected Ground that acts as an abstract context for your a protoarchitectural envelope. Although abstract, the ground and envelope can be seen as an idea for landscape and architecture.

Left: A2.3 / One Final Model ARCH 101.04for a ProtoArchitectural Object Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Right: A2.4 / 18”x24” Prof.Volumetric Kyle WAUGH Orthographic Projection Fall 2019Study Drawings ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

15

THE TRACK • "Joints allowed water

Honghao(Robin) WU

to flow into the rock, ... erosion widened them into

Use the graphic context drawing as a template that you can interpret to create a 2.5-D bas-relief model. This model will become the projected ground.

rivulets and gullies. Over time, deep slot canyons formed in the sides of the plateau."

Bryce Canyon National Park, Utah

•Combining the concepts of Joints, Faults and natural phenomenon as erosion, this national park make resonance with my model not only the

BRYCE CANYON NATIONAL PARK • Geological concept: Crack, Joint, Fault, Erosion.

form, but also the cause and effect as the

Left: Research of LandscapeCracking Upper Right: A2.4 / Volumetric Orthographic Projection Final Drawings Lower Right: A3.1 / Projected Ground + A2 Proto-Architectural Envelope

gaps, platforms

Landscape cracking

and connections as tracing back.

ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

16

THE TRACK Honghao(Robin) WU ORTHOGRAPHIC PROJECTION OF OBJECT + SITE Marker, color pencils -sections being shaped gray to simulate the height of each platform and the topographic condition -top view put on the footprint to show the placement and simulate the actual site condition -single red/ black line to keep track of the tracing process -hatched area showing the external supports as cubes and basswoods

Left: A3.3 / Orthographic Projection Drawing (18”x24”) Right: A3.1 / Projected Ground + A2 Proto-Architectural Envelope (in detail) ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

1 17

cookie house (final model)

THE TRACK Honghao(Robin) WU Choose a material and partner it with an architectural category into which you would gain insight by working with this material. For example, casting alginate inside your chipboard template would let you see the void or space. Using basswood sheets and sticks would let you think about how to make a “chunk” of your A1-3 architectural object out of frame (basswood sticks) and cladding (basswood sheets). Remaking your A1 volumetric surface out of clear butate would allow you to see envelope and interior. It could give you ideas about lightness and transparency as well as test your craft.

Materiality COOKIE +CHOCOLATE

sound exploration(failed) mimic tectonic plates smashing together

• The waffle cookies can make the sound and have the pattern on top which can be explored about making the cracks.

•The word “crispy“ seems to have the same effect as “crack“ which both come from the sound.

• Adding chocolate and marshmallow between two cookies adheres better but reduces the sound which made the experiment failed.

Left: Three material tests (CONCRETAE<BASSWOOD<COOKIE) Right: Research of MATERIALITY Study

ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

• The thickness of cookies helps to simulate the tectonic plates smashing together which one plate come beyond the other one, creating different slope and seperate condition. The patterns on the cookies also have the function of guiding the cracking direction in the edible material.

18

THE TRACK Honghao(Robin) WU Digital Recreation: In this step we will learn to use computer modeling to digitally recreate the steps we used in analog ways in A1.

Yellow diagonal lines connects the midpoints of the longest edges to the opposite vertex.

Overlapping, grey outlines indicate the drifting of the figures due to CRACKING. Offset faces represent shared faces in three, different axes.

Red trapezoids bounded by white, parallel, dashed lines, derived from the field, and diagonal lines.

Left: Screenshots of digital stereotomic forms Right: B1.5 / A Digitally Unrolled Template(24’’*24’’)

ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

19

-

THE TRACK Honghao(Robin) WU Digital Recreation: In this step we will learn to use computer modeling to digitally recreate the steps we used in analog ways in A1.

Left: B1.1/ 3 white-background objects: Study Models Lower Middle: simulated cracking moment on site Right: B2.1 / Three Proto-Architectural Envelope Models ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

20

THE TRACK Honghao(Robin) WU Thin white lines subdivide the field Bright red shapes, radiating from the epicenter, indicate primary CRACKING Dark red shapes enclosed by the subdivisions indicate the effect of secondary CRACKING Grey shapes indicate the relative positions of the structures as the result of DRIFTING Thick white site-lines divide the field into regions, their central intersection marks the epicenter, the origin of CRACKING

Left: processes of Abstract Site creation Right: B2.2 / Abstract Site with Sketch Graphic Layers (24”x24”) ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

21

THE TRACK Honghao(Robin) WU - Create an Orthographic Projection Drawing of your project on a sheet with dimensions of 24”x24”. Use the orthographic projection and successive auxiliary processes from Techniques and Methods.

- Create a special Composite Drawing with dimensions of 24”x24”.

This drawing should combine digital and analog media. It should be a kind of experimental site plan.

Upper Left: B3.2 / Composite Drawing: Site Plan, Graphitectonic, Photo (24”x24”) Lower Left: B3.3 / Orthographic Projection Drawing: Line Drawing with Supplemental Graphic treatments Right: B3.1 / Final Model of Architecture and Projected Context. (24”x24”x3”)

ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

22

THE TRACK Honghao(Robin) WU The track is the project being generated after reconsidering my midterm concepts as cracking & tracing back.

Main cracks colored red come from center point footprints; offsets; making rule 3 obj splited up from the same point moved apart to occupy each three sides.

Those I treat them with three different site conditions as triangular volcanoes, Triangular prism; pyramid.

The width of the crack is defined by the distance from the epicenter.

The title the track means the way of moving in the landscape is defined by the outcome of cracking and corresponding with visually tracing back. The congregation is the center area being framed with the respective colors from three objects.

Left: B2.3 / Section Sketches with Ground Plane Right: B3.1 /Story board of Final Model of Architecture and Projected Context

ARCH 101.04 Mass | Envelop | Ground Prof. Gonzalo J. LOPEZ Prof. Kyle WAUGH Fall 2019

23

Left: Puzzle cubes(cutting process) Upper Middle: Orthographic Projections(hand-drafted) Lower Middle: Tumbling Puzzle cubes(hand-drafted) Right: Midterm Drawing: Orthographic Projections of Puzzle Cubes(hand-drafted)

ARCH 111.04 Midterm Prof. Ashley Simone Fall 2019

24

TUMBLING DEBRIS Stone Piece

Take the sound of the stone aging.

-excerpt from YOKO ONO’S BOOK OF INSTRUCTIONS AND DRAWINGS

Take the sound of the stone aging.

Thinking the puzzle cubes as the stones being cracked apart and rolling down a ramp, the time, the speed, the dislocation... all are documented as it slides down, split as slices along the cracking surface.

At the highest point of the ramp, where the cube started to fall, the sun cast a shadow down the ramp, leftover the long shadow reflected by the ramp.

The cube began sliding down. It seems to take a long time to slide for 6 inches. One mystery of the cube is being discovered as the hollow component emerging. The shadow produced was shorter due to the steeper casting angle. Still, the shadow is not wholly shown.

After sliding twice, the bulged component of the upper cube was discovered not a solid one embedded into the cube because of an aperture inside the cube. The “J” shape cube can be penetrated from the front and the back, but the angle of the sun did not produce such an effect.

The cut was special that the upper part was only cut into one piece with the “V” shape. The shadow was completely shown.

The last piece remaining is not on the ground, it floats in the air, leaving a shadow on the ramp.

Finally, all the pieces fall down the ramp, got onto the ground. It is the time when the shadow was nearly perpendicular to the ground.

Right: TUMBLING DEBRIS(Rhino-2D drafted) ARCH 111.04 Final Prof. Ashley Simone Fall 2019

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2019 FALL REP-111 Winning Drawing

Tel: (+86) 19825576346 E-mail: hhwu1107@163.com

2017秋 于无锡· 南长街