Page 1

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5 XUAN SHIHUA

PORTFOLIO

2016-2019


CONTENTS


02

24

01 - INSIDE OUT

02 - DYNAMIC GOWANUS

44

62

82

92

03 - LILY’s PAD 04 - BLURRING, DISORIENTING, AlLIENATING

05 - SUPPLEMENT

06 - SKETCH


1


01

 INSIDE OUT Design, Digital Technologies and the City From Image to Building Fall, 2018

What is the impact of contemporary technologies on the development of our cities? What is the future of building and construction and how does it have impact on the way we design? From 3D Printing and robotics, to scanning, to BIM and mass customization, technology is playing a critical role in transforming the way in which the built environment of our cities is designed, constructed and occupied. This comprehensive studio asks critical questions of the role of technology in how we design and construct a building; questioning what can and should be done to achieve aesthetic, experiential, and thought-provoking architecture.

2


Camera

“Composite”

IMAGE

An ordinary brick façade is documented by the act of photogrammetry. Different types of façade materials and elements of the environment where they are in are layering up to produce a composite material effect. This effect includes both the interaction of different materials and the interlacement of different physical states. The contradict and superimposed outcomes are varying and unexpected in multifold connections.

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� Brick Wall

Concrete

Wax

MATERIAL

Three kinds of materials are chosen -- concrete, wax, water as ice and liquid to experiment possible conditions. Ice was formed first and being solid at the beginning, concrete and wax were poured later individually in the state of fluid. In the process, concrete and wax were cured and cool off, while water melted and flowed away. The process of producing solid and void is the one of allowing not only the exchanging of the shapes of different materials, but also the states between them.

4


SITE The existing Tech Garden in downtown Syracuse is the site of the project. It is the region’s growing business technology incubator, offers programs, resources, grants, start-up investments, coaching mentorship, and management expertise in light of the regions decline in factories and manufacturing. The Tech Garden promotes collaborative space for entrepreneurs to come together, share resources, and discuss ideas.

ENTRANCE

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ENTR


RANCE

ENTRANCE

PARKING LOT

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SECOND FLOOR









9


  



 

 

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SECTION PERSPECTIVE

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12


PROGRAM AUDITORIUM WEWORK TECH WORKER SPACE (OFFICE, MEETING AREA)

LIBRARY STORAGE

STUDIO

GALLERY CAFE&SHOP

FABRICATION WORKSHOPS & ROBOTIC LABS

With the support of Governor Cuomo and the Central New York Regional Economic Development Council, the City of Syracuse has the potential to expand these initiatives to promote entrepreneurship in building construction, technology - both with software and hardware, with low-tech and high-tech solutions, with a new ‘maker-space’ that promotes new manufacturing and construction incentives for the Upstate NY region. The Tech Garden is expanded to include a high-tech, collaborative ‘maker-space’ facility comprised of 3D printers, water jet cutting, CNC milling, robotics, computing, as well as traditional form-making spaces, like metal shops, wood shops, ceramic kilns, tube bending, vacuum formers, and other equipment. 7


FORMAL STRATEGY

LANDSCAPE CIRCULATION EGRESS

To apply the tested idea of material experiment, the essential proposal of the project: solid as interior is carved out by a continuous void as outside from ground level to roof top, and from the back side of building, to the front side, and to back side again. The outside space is introduced into and incorporated with interior landscape in a way of Inside Out.

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PRIMARY STEEL SHELL STRUCTURE

SECONDARY STEEL FRAME STRUCTURE

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ENVELOPE

SLAB & FOUNDATION

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WALL SECTION DETAIL

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2

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WOODEN DECK STEEL GRATING WATER BARRIER GUTTER INSULATION COMPOSITE METAL DECK STEEL STRUCTURE CURTAIN WALL

1

CURTAIN WALL FINISHES INSULATION STEEL CONJUNCTION PLATE PAVEMENT WATER PROFFING DRAINAGE CONCRETE SLAB

2

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02 DYNAMIC GOWANUS Architecture and the City in the Context of Climate Change Spring, 2017

Human Activity has become a dominant disruptive source of change on a planetary scale that biologist Eugene Stoermer coined the term “Anthropocene� to describe our current planetary epoch. what does it mean to practice architecture in the Anthropocene Age, or, what is the agency of architecture in the context of climate change? As the site of this research, Gowanus Canal neighborhood of Brooklyn, NY was built in the 19th century, and the canal quickly became one of the most polluted waterways in the U.S. and presently is tied directly to the economic, environmental and hydrological fate of New York city and its harbor. It addresses aspects of the question while the potentials of architecture and the city are examined.

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MAPPING GOWANUS Historic Landfill & Industry Pollution Along the canal, industry development is a major factor creating the pollution. The Manufactured Gas Plant Site contribute to the major pollution along Gowanus Canal coal-tar waste. Some of the historic industry sites now become visiting sites.







Historic Filled Canals & Industrial Dumpling Wetlands and Underwater filled with garbage and soils from hill excavations & industril wastes 



Light Non-Aqueous Phase Liquid Dense Non-Aqueous Phase Liquid Heavy Metal



  ( )

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GC 11

GC 1-G11, Water Quality Samples Dissolved Oxygen

Combined Sewer Outfalls

9

Major Contributors to the pollution

8 7

Combined Sewer System

mg/L

6 5

Street Runoffs

Bathing Standard

4

Fishing Standard

Watershed

3 Surfacen Dissolved Oxygen 2 Bottom Dissolved Oxygen 1 0

1987

1992

1997

2002

2007

2012

Secchi Transparency 9

GC 1

8 7 6

feet

5 4 3

GC GC 2

2 1 0

1987

1992

1997

2002

2007

GC 3

2012

Chlorophyll’A’ 60 50

GC 4

μg/L

40 30 20 10 0

1987

1992

1997

2002

2007

GC 5

2012

Former Brooklyn Union Gas Company coal processing sites Bacteria 10000

cells/100ml

Fecal Coliform Fishing Standard 1000 Fecal Coliform Bathing Standard

GC 6 G

100

Sixth Street Iron and Metal

Benson Metal

Enterococci Bathing Standard 10 Fecal Coliform Enterococci 1 1987

1992

1997

2002

2007

2012

Greco Brothers Concrete

GC 7

Total Suspended Solids 60 50

Volatile Organic Compounds (VOCs))

Surface TSS Bottom TSS

mg/L

40 30

Former Brooklyn Union Gas Company

Semi-Volatile mi-Vo Organic O Compounds undss ((SVOCs)

20 10 0 1987

1992

1997

2002

2007

2012

est Cont Asbestos-Contamining Material Mate ate Total Nitrogen

Solid Waste

100

Sixth Street Iron and Metal lbs/day (thousands)

80

Trash

Polychlorinated Poly d Biphenyls enyl (PCBs)

60

Contam tami amin mina inants Contaminants

GC 8

40

SSulfur lf

20

Cyanide 0

1987

1992

1997

2002

2007

Lead

2012

Benson Metal

GC 9

Mercury Me

Oil

Sulfur

Cement

Greco Brothers Concrete

Bus Oil Dumping Street Runoff Site Street Runoff Direction Watershed

Street Runoff & Oil Dumping

Water Quality

Lands of Gowanus Canal are a mixture of trash and soil. Many of them were filled with dumping waste originally and then made by those waste later. Water in a large area of territory goes into the canal, which washes contaminants into the canal without treatments.

In the Gowanus Canal, Water quality is tested every few years. The most recently one is in 2012. The area of bays in New York City was divided into harborwide, the inner harbor, lower New York bay and the upper east river. The data was collected from the inner harbor area which includes Gowanus Canal, and it shows the average changes from 1987 to 2012. Data presents whether water quality reaches bathing standard or fishing standard. And the microorganisms are supposed to vary in certain range. The quantities of microorganism suggest the conditions of the water.

Resource: Regional Plan Association, Waste Management Plan, (1967)

Resource: 1. Bloomberg, M. R., & Strichland, C. H. (2012). The state of the harbor 2012. Retrieved from http://www.nyc.gov/html/dep/pdf/cso_long_term_control_plan/gowanus_canal_meeting _2_presentation.pdf 2. Lloyd, E. (2015, May 14). gowanus_canal_meeting_2_presentation. Retrieved from http://www.nyc.gov/html/dep/pdf/cso_long_term_control_plan/gowanus_canal_meeting _2_presentation.pdf

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DESIGN Gowanus Salt Lot: Dept. of Sanitation salt storage, 22nd Ave Gowanus Salt Lot is located at the heart of the Gowanus community, as a part of and surrounded by industries. Considering the history, existing situation, and future variation of the site in Gowanus Canal, this design proposes a dynamic strategy to respond the constantly and unavoidable changing tendency of sea level.

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6

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25

5

The design provides a immersive public green space, accommodating essential functions of 4 million gallon CSO retention underground tank, 10,000 square feet head house, salt lot, compost facility, public esplanade and boat launch area. It helps to obstruct the further pollution to the canal, the salt marsh, and retain present vegetation. On this largest publicly owned open space on the Gowanus Canal, this design enables members to participate in the active transformation and evolution of the Gowanus Canal and Watershed.


8 16 5 12 9 13 4 13

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7

16

76 1178 116

18 19 18

11

16

6

1

4

22 15

17

2109

7

5

10

10

16 21 1 21 2 22 23 1 8 18 7 17 1 13 1 19 2 11 1 12 8

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11

3

12

4

15 13

Vegetation Truck Compost Fence Salt

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4

9

Surrounding Construction 4

Combined Sewer System Outfall

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Site Evolution

1767 As the result of historical, natural and human influences, the area has evolved from farm and marshland to the urban jungle we see today.

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20

The site deals with food Scraps per m lot for surrounding


017

approx. 40,000 lbs onth, and as a salt g area.

2100 It assumed that sea level rise will be six feet in one hundred year. The whole site will disappear at that time.

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Formal Strategy

1. Existing Ground

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2. New Ground For Salt

3. Pa


assage

4. Space

5. Program

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31


Head House Field Station Underground Tank

Salt Lot Compost Conservancy

Boat Launch

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Site Plan

B

A

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B

A

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Section A - A

Section B - B

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03

LIlY’s PAD Impending Certainties Hypothetical Futures of Architecture Fall, 201

Science and science fiction rountinely blend; as our technology advances, what was once magical is now mundane. This project takes on the challenge of engaging both the impending certainty that technology will continue toinform and adapt our environments and simultaneously speculates on the hypothetical futures of architecture as a result all the while sustaining an awareness of the existing conditions, economic drivers, social needs, cultural phenomenon, and environmental concerns which are consistently present in architecture.

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PRELIMINARY PRACTICE/GHOST IN THE SHELL

GHOST IN THE SHELL is chosen as an unknown context in which we are immersed and could bring few assumptions. By rigorously documenting this context, we are challenged to speculate based on what we could observe without the ability to rely on common assumptions of our discipline and its practices. Scenarios in the movie are stringed, interpreted; architectural spaces are rebuilt in sections and axonometric. Physical model with Hologram inside is visualizing how we understand the relationship between Ghost and Shell.

 Soul, Mind, Memory, Emotion -- Humanity

 Vessel of the soul, Mechanized Skin, Hard disk -- B

â„”ć˜ %%

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w e s l

Body

MAJOR’s HOME

1

2

3

Major, who is the main character in the movie, is a fully cyborg and cybernetic organism. Every part of her body is replaced by mechanic body except her brain. The blooming flat acts as a bed; a charger is hanging in the room nearby; there is no television or dining space, but an examine station at the end of the room.

DOCTOR’s TREATMENT ROOM It is a bright open space with three beds, robot arms, and 3D printing device on the top of the room. It is very unlike current hospitals which are crowned with doctors, nurses, and equipment. The doctor operates surgeries and inspections mostly in this room on her own. There is no screen in the room since the doctor has had a Cyber-Eye, which can directly connect to computer.

SECTION 9 MEETING ROOM & INTERROGATION ROOM

4

The meeting room is clean and cold with a big hologram in the middle of the space only. There is the similar situation in the interrogation room, where the Section 9 members have advantages of interrogating criminals without getting in the room physically.

HANKA’s COURTYARD

5

The room is at the top of Hanka Robot Corporation’s office building. It is very unusual because it is a Japanese courtyard where a half cyborg is living in. It has an opening at the ceiling allowing rain and skylight to come in. It emphasizes the diversity and complexity of programs in Cyber-Punk world.

MOM’s HOME The home is ordinary in high density cities like Hong Kong or Tokyo. It is small, homey, sundry but in order, and had a tokonoma-like space with a tiny temple in it.

6

UNDERWORLD Individuals in this room are those who lost self-consciousness; they are shells without ghosts. The underworld is contradicting to Major’s room. Though both rooms are cold and inhumane, the underworld has its unique and brutal dirtiness. It is full of wires connecting brains of each person and ending up in the middle with light coming from the top. The space is always damp; darkness occupies most of the space.

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43




DESIGN/LILY’s PAD Every design project in an architect’s career will require him or her to engage unknown conditions. Because the case studies embrace impossible conditions which will force us to engage architecture through the lens of the unknown. Moving forward, the design stage is about discovering, defining, and developing opportunities for architectural intervention while maintaining the interrogative, unassuming approach which is established in preliminary practice. WESTWORLD is chosen as the context of story line and character relationships; role play is used as strategy to start the story of LILY’s PAD.

CHARACTERS: AI vs CYBORG vs HUMAN

High Technology Least Limitation Regarding to Environment

ere int

st

pw ar

ssi dc

arv eu

org ’s a Cy b ed

AI

an

Ne Ad mi re

"#$ Human Mind Found Finest Replacement of Body

300 YEARS AFTER WESTWORLD

d orl ’s w an um AI eH of ad es en inv to eg rit ion rew bit to Am de co ve Ha

st

!

Have similar nature with but disdain Human Both Friend and Enemy with Cyborg

%& ' Human Mind Require Protection from Environment

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BACKGROUND

Three species of human, cyborg, and AI are in the top of food chain after hundred years of proliferation and differentiation. AI is taking control over the world since they have less limitation regarding to air content, temperature, green, and water.

2 One day, AI decides

hundred years from Westworld, 1Five long-term industrial production plans

expansion. The hea agreement with AI a they help AI to ste rewriting genes fro for a dominant p world after the war.

have generated strong environmental pressure, such as thermal magnetic storms, solar radiation, and sweltering temperatures. The extreme weather on the surface of earth forced human have to explore a new world of underground.

5 In the turmoil and chaos of war prepa- 6 Robert gets the code. He implements 7 This code turn ration, Lily slips into the confidential lab and steals the code.

45

the code, but surprisingly, he fails.

between AI outbreaks on ruined, and hu undersea.


to start their plan of ad of cyborg has an about the invasion – eal the program of om human and ask osition in human’s .

3

s out to be a conspiracy and cyborg. The war track. The world is uman is forced to live in

Lily is one of the cyborgs. But she lived in human world in her childhood, which leaves her much nice and indelible memories. She is shocked when she gets the news to prepare the war and evacuate.

4She

struggles but decides to tell her best friend, named Robert, who is human. They are planning to steal the code to stop the war, which is a powerful weapon to destroy the central attack system of AI.

Robert, who is left behind, needs to be protected and sent from the ground to deep sea...

8 The world is divided into three layers —

AI occupies the ground, cyborg lives in the water, and human moves to undersea.

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ENVIRONMENTAL MODEL Mariana Trench

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Depth

Temperature(℃) Pressure(MPA)

Salinity(‰)





(*



 (



)  ) 

(*+)

Vo


lume(Air/Water) Submarine Principle

Material Nature


!

Sleeping Flying Producing Facility

Gardening Swimming

%& '

Reading Climbing Bicycling

Watching Moon and Stars

49


LILY’s PAD An apparatus that maintains Lily’s romantic and humanistic past with her families and friends, and technological and artificial intelligent reality with AI for her living needs. A travel period of this apparatus is a day when it dives from water surface to the underwater world. The apparatus exists in a way that water is the dynamic space division and the scale of each bubble changes when it floats and dives. It consists of eight bubbles; different functions and purposes of the bubbles show Lily’s different identities in her life. Though she herself is a cyborg, sleeping cell, flying machine, production lab and other facilities are using the technologies from AI, which occur mainly on surface and shallow water; gardening, swimming, climbing, bicycling, reading, and watching moons and stars are fulfilling her humane desires when diving down, which are able to occur when the outside hostile environment is reconciled.

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2

3

4

12m

16m

12m

8.2m

12m

10m

12m

8.2m

8.4m

7.2m

7.8m

7m

7m

7m

10m

7.2m

8.2m

7m

7m

6m

6.4m 5.1m 5.1m

7.2m

7m

6.4m

6.4m 5.1m 5.1m

5.8m 5.1m 5.1m

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THE JOURNEY STARTS...

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52


FIRST MOMENT

53


1

3

2

4

1 Production Lab 2 Flying Machine 3 Lily’s sleeping Cell 4 Control Cabinet

Lily: When I open my eyes in the morning, I feel refreshed. The battery fueling my body has recharged overnight. “Good morning, Lily! How do you feel today?” The voice is from my dear little bud. Oh, sorry, she is a tree now. My pad is floating on the ocean. Only I can enjoy the rosy dawn. Robert is still sleeping. Because he is not here to enjoy it with me, I enjoy this magic moment looking out at the sky less. I opt to distract myself with a task. I leave my bed and head to the cab to adjust the trajectory of my pad. I look out at the mountains beyond. If you think there is nothing beyond the world you know now, you are wrong. The map of the world has been expanded by galaxies in the last few centuries. And the AI continue to discover more. I imagine that the job of discovering new places is quite rewarding and that life as an AI must be agreeable. But I’m not AI myself and so must make a connection with it to calculate routes, set the coordinates, and acquire permission to proceed with my desired course. I decide to take a little venture by stepping inside one of the air bubbles as it escapes through the effervescent surface of my pad. The transparent bubble floats up into the diaphanous sky. It is hard to imagine this sky being as threatening as Robert described. It’s blue and sparkly, like sapphires, and there are marshmallows floating in the sky which I know from his stories are called “clouds”.

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SECOND MOMENT

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3

1 2

1 Garden 2 Lily’s Sleeping Cell 3 Robert’s Sleeping Cell

Lily: Robert wakes up as I am diving back into the ocean. Inside, the pad the space of my garden has enlarged from the time spent further to the sun, and the plants inside are thriving. Some small adjacent fish are absorbed through the filmy envelope of my pad and continue swimming slightly dazed by their transition from exterior sea to interior lake. I worry that these tiny fish may lose their way while hitching a ride in my pad. The dolphins are different though: They say “hi” to me as they pass by. Amused by their amiability, I plunge into the water to join them. They follow me sometimes and we play hide and seek. The water refreshes my heart. It is pure and clear. “Hey, you are here!” I hear Robert’s voice. I swim to the garden’s shore to hug him. His body is warm. His smile is warm. My heart is warm. “See, they are beautiful!” he points over the lake to some pale blooms. “They also have a beautiful name, Lily, like yours.” “Lily?” Robert is smiling, nodding his head. We are sitting on the grass, underneath the tree, enjoying the scent of Lily.

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THIRD MOMENT

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5 3 1 4 2

1 Garden 2 Library 3 Sport 4 Lily’s Sleeping Cell 5 Robert’s Sleeping Cell

Lily: Everything goes dark and then lights come up. Robert seems to cheer up when he sees the Grand Canyon suddenly projecting on the bubble. He has told me the legends of American Indians and cowboys and so I prepared several locations for our virtual exploration today. But I chose this one, within which Robert and I can climb. The soil is bright orange and sun is glaring and I cannot stop looking around. I feel so uncomfortable and start sweating. I never imagined that the earth’s surface would be so thermally intense. Robert says ‘deserts are hot, aren’t they?’ and smiles. He is also sweating. Maybe one day, Robert and I will have a chance to step into the actual Grand Canyon, to feel the scratchy sand and the dry smell of the desert breeze. We ride stationary bikes through the simulated environment. I question the amusement value of riding a bike that never gains ground, but Robert insisted. By riding bikes, he says, the bodies of humans are able to stay strong and the hearts keep beating. As a cyborg, I just dismantle my body and replace it with new parts if they malfunction. I know that between Robert and I there are these differences and more, but considering them for too long makes me melancholy. I dismiss these thoughts quickly and focus on pedaling.

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FORTH MOMENT

dr

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All is mute.

Lily: The human world is ahead of us. “Please prepare for landing.” My pad parks on the trench slowly and firmly. All bubbles, except my garden, are pressed and frozen up. They sparkle like static champagne in the endless night of the deep sea. “They look like the sun, the moon, and stars in the sky in the old days. It is like they are coming back and surrounding us.” Robert said. We have arrived at his departure destination. I can see something in Robert’s eyes, but I say nothing. “Farewell, my friend.” I silently reflect. Let me start over again as I did before. Alone, but not lonely.

See you next time. 60


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04

 BLURRING, DISORIENTING, ALIENATING Interior Urbanism Atrium Design of Post-Fordism Spring, 2018 Urban architecture, when intensified with a composite of programs and activities, and involuted from the exteriority of The City, becomes a miniaturization of urban space, or, Interior Urbanism. The principle spatial device of Interior Urbanism has been the atrium. In recent decades, the atrium has rapidly undergone mutations, transformations and innovations, as a space to augment value, often driven by commercial, profit driven motives of hoteliers and shopping mall developers. The search of the project begins at the confluence of culture, commerce and technology, to investigate and articulate the latent design consequences of Post-Fordism, through the tools of computational design and fabrication, the aim of which being to articulate a contemporary expression of heterogeneity.

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DATA METRICS Three John Portman Designs of atrium provide entry for the discussion: Hyatt Regency San FranciscoďźŒthe Westin Bonaventure Hotel Los Angeles, and the Renaissance Center in Detroit. The study of these three atria has yielded an observation that the success of these spaces lies in their ability to construct a spectacle of grandeur which contradictorily alienates and unites the occupant with the surrounding urban fabric. For example, the circulation systems, specifically the lifts, of each atrium enable a disorientating perspective by interpenetrating interior and exterior spaces, giving the occupant a direct view of unnatural juxtapositions and uncanny similarities between inside and outside. These atria mimic outdoor space by incorporating some existing desirable outdoor conditions such as daylight, and replicating others such as bodies of water, and vegetation.

Hyatt Regency, San Francisco 63

Renaissance C


Center, Detroit

Bonaventure Hotel, Los Angeles 64


CONCEPT PROTOTYPE This concept of atrium is derived from the study of three John Portman Designs: the goal is to construct a space which selectively allows desirable aspects of the surrounding context from beyond its walls, yet also includes foreign aesthetic, spatial and environmental elements in such a way which distorts reality and places the occupant in a seemingly alien context.

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!

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67


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SITE The site for our experiments is Expo 67, the world’s fair held on Saint Helen’s Island in Montréal, Canada. Initially intended as a 6 month long global cultural/tourist event, Expo 67 had endured for years afterwards, yet the individual national pavilions and the site had slowly decayed, and the pavilions were eradicated incrementally. Only the French Pavilion remains, now serving as a casino, along with Moshe Safdie’s seminal Habitat 67 remain in operation today. The burnt-out geodesic structure of Buckminster Fuller’s Geodesic Dome, the former American Pavilion, remains on site as a ghosted vacant memory.

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 !" ##

 (  )

DESIGN



Proposal for large-scale interior urban buildings, located on the former Expo 67 site in MontrĂŠal, is generated from the deployment of mixtures of aggregate programs, novel navigations systems and structures. Our efforts are focused on selectively filtering and refining the contextual elements and combining them with foreign, or artificial elements in such a way that disorients the inhabitant, to provide flexible spaces such as festival venues, exhibition spaces, galleries, recreational and performance space in the project; a “cityâ€? founded within a city.

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SECTION A-A

71


72


ANALYSIS DIAGRAM

Transparent arent Barrier

Ty

Ty

Ty

73


ype 1: Program Oriented

ype 2: Atrium Oriented

ype 3: Transportation rtation Oriented

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75


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77


05

SUPPLEMENT  I. Facade Renovation of Kunsthal Rotterdam II. Travel Abroad: Redefine Transitional Space in Metro Station, Korea

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I. FACADE RENOVATION Kunsthal Rotterdam The facade of Kunsthal in Rotterdam is selected to renovated after sustainable analysis. The existing facade has vast area of glass that leads to over 50% of the typical plan is over lit. In winter, the solar analysis shows there is not enough illuminance in the morning and the afternoon to support the functions of the halls and auditorium. An operable facade system is proposed which can be managed according to sun conditions of different time in a day and a year. The comparative performance indicates that the overall building performance of daylight availability and solar radiation have improved significantly.

do

Site Plan with yearly shadow study

Mar 21 9AM-5PM

Jun 21 9AM-5PM

Sept 21 9AM-5PM

Dec 21 9AM-5PM

Design Proposal

A

A

Metal deck Machine tube

f

Air cavity Independent frame Intake vents open Double glaze Internal window open

f d

Automatic louvers

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Optimization Process

Horizontal Louver Depth

Number of Louvers

Rotate Angle ,-. -  ,   */+( ' ,0  1,.2 3  -*)

,-. -  ,   )3+0 ' ,/  1,.2 )*  -

Comparative Performance

ASHARE baseline facade / Proposed facade design North facing Seasonal Solar Radiation analysis

 5!5= !  

ASHARE baseline facade

4 (.+5&+)

;2 -(&+5<+)

;

(<+5;2+)

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.+ /

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Proposed facade design

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II. TRAVEL ABROAD Redefine Transitional Space in Metro Station, Korea

This project that imagining the future of Seoul in Korea is a section of study abroad programâ&#x20AC;&#x201D;three cities in Asia--in the summer of 2018. After two weeksâ&#x20AC;&#x2122; immersive travel in Seoul, the idea of a highly shared community arises, which is able to accommodate multi scales of daily activities and intimacies, stick to local spirit and embrace external impacts, and sit amid the wild nature and delicate urbanism. The most potential site is found is the transitional space in Seoul station which is vast and lacking sufficient use. Variations are proposed to give more possibilities of architecture in urban space for the future of the city and the country.

Existing Transitional Space

Staircase

81

Pantfrom

Corridor


Variations

Childrenâ&#x20AC;&#x2122;s Playground

Skating

Sports

Overnight Rest Area for Homeless

Skating

Overnight Rest Area for Homeless

Rest Area for Passenger

Rest Area for Passenger

Rest Area for Passenger

Vendor Machine

Pop-up Market

Retails

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06

SKETCH

84


85


86


87


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X

S

      @ 

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