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SHUXIN WU 2014 - 2018

architectural portfolio


SHUXIN WU

Master of Architecture Master of Science in Historic Preservation Graduate School of Design University of Pennsylvania shuxinw0507@gmail.com shuxinw@upenn.edu +1 206 499 5713

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p o r t f o l i o 2 0 1 4 2 0 s e l e c te d a c a d e m i c 0.X

0.1

Golden Plug-ins

0.2

Vertical Water Garden Tiring Bath Tower and "Bazaar" (Market) / Center Cairo_Penn Design

0.3

Ecdysis

0.4

Dichroic Reflections

0.5

A Tale of A Hidden Village

0.6

Inhale-Exhale

0.7

Office Building Design

1 8 w o r k

Housing Transformation in the Stuyvesant Town / New York_Penn Design

New Underground Architectural Typology / New York_Penn Design

Waterfront Center For Performance And Art / Philadelphia_Penn Design

Contigent Gallery for Russle Wright Center / Manitoga, NY_Penn Design

Inflatable Pavilion / Philadelphia_Penn Design

Construction Technology / Philadelphia_Penn Design

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0.1 Golden Plug-ins Housing Transformation Mixed Use Residence Tower / Living and Making Stuyvesant Tower, New York, 2036

M. Arch I / 601 Design Studio Penn Design / 2016 Fall Instructor: Kutan Ayata Published on Pressing Matter 6 (p89-91)

Visioning the town as an environment to deviate from being a subject of short-term consumption, but the very place in which the various activities take place, I attempted to develop new method of design towards new aesthetics of estrangement. Stuyvesant Town is a classic living example of planning modern housing, representing Le Corbusier’s concept “towers in the park”. The design of the housing is highly efficient and rational. At the same time, it is also highly uniform and homogeneous. The transition from interior to the exterior is brutal and harsh. The project starts to break down the uniformity of the cruciform massing at the edges. The edges start to stripping and occupying a new courtyard.

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+ Golden plugged complementary units start stripping at the edges of the original boundaries of the buildings.

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+ Growing Strategy

0. edge splitting

1.1 volume transformation

1.2

2. sectional modules: column to volume

3.1 iterations of different organizataions of the modules

3.2

3.3

3.4 opportunities of creating terraces

3.5

3.6 occupying the ground

3.7

3.8

3.9 6


+ Hotizontal Growth 3 Typical Floor Plans 1/32" = 1'

Typical Unit Plan A 2 plug-in one bedroom 1 studio 1 shared terrace 651 E14 Unit E+, Unit J, Unit F+ F+

Typical Unit Plan B 1 plug-in one bedroom 2 studios 647 E14 Unit J, Unit K, Unit F+

Typical Unit Plan C 1 plug-in one bedroom 1 plug-in two bedrooms 1 studio 1 shared terrace 625 E14 Unit E+, Unit Unit J, Unit D+

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c f

1. plug-in one bedroom 2. micro unit 3. terrace 4. plug-in two bedroom

d e e

a. balcony b. study c. walk-in storage d. bedroom e. open kitchen and living room f. bathroom

f

1

4

2

3 f b

b c

d

d a b c d

Typical Unit Plan 3/64" = 1' 8


+ Aperture and Materiality

1. 1. Apertures: perforations and slits 2. + 3. Speculations on Moments of Material Transition: from brick to the metallic the smooth, the reflective

2.

3. 9


+ Vertical Growth 14th floor 140’

Program Summary: New Residential Units 80 Micro Studio Units 80 One Bedroom 48 Two Bedoom

13th floor 130’

12th floor 120’

Ground Amenity Program 4 Fabrication Labs 4 Art Studios 2 Galleries

11th floor 110’

1. ground amenities: art studio 2. public terrace 3. private terrace 4. basement 5. preserved building section

10th floor 100’

9th floor 90’

8th floor 80’

7th floor 70’

6th floor 60’

5

5th floor 50’

3

4th floor 40’

3rd floor 30’

2nd floor 20’

2

1st floor 10’

1

4 1/16" = 1' 10


+ The New Courtyard

+ Figural Tarraces

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+ Inside the Inner Courtyard different material colors for amenities and residential program

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+ The New Courtyard with Ground Amenities

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2 3

2

1 5

13

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N

1/32" = 1' 5

1 4

2

2

1 1

1. fab labs / woodshops 2. handiwork / art studios 3. art cultivation center 4. galleries/exhibition center 5. community entrances

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+ The New Courtyard with Growing Terraces

2

1 1

3

1

3 2 5

15

4

3

1

1

2


N

1/32" = 1' 5

4

3 1

3

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3

3 2

4 3

2

1

1. grown-out residential units 2. terraces for residential units 3. top of ground amenities units 4. pavements and landscape 5. community entrances

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0.2 Vertical Water Garden Mixing and Making / Tiring Bath Tower and "Bazaar" (Market) Tiring Department Store, Ataba Square, Cairo, Egypt Real Fictions Cairo III

M. Arch I / 701 Design Studio Penn Design / 2017 Fall Instructor: Ferda Kolaton TA: Michael Zimmerman Team: Shuxin Wu, Yiqun Chen

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The new invented water system generates a unique spatial experience as the infrasturcture is inseparable from the architectural object and it context. It enthusiastically embraces a technological future with its new accompanying aesthetic.

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+ "A Hidden Gem" in Center Cairo

Tiring Department Store

Historical Images: from left to right - bar, interior wall detail, dome at top The Tiring Department Store building used to be the glamorous center of shopping in Cairo: the building was part of the larger area named after the Azbekeya lake which later developed into the famous Azbekeya Garden in the golden period of Khedive Cairo in late 19th century. Social and economic changes have shifted the center of Cairo away from the Azbekeya area and caused deterioration of the Tiring building. Today, Tiring has become home to squatters, who set up small business and workshops. Inside the building is a mix of shops, workshops, residences, and a mosque on top - "a hidden gem".

+ mechanical water garden connected with the market on the ground 21


+ Selectively excavating the existing building where the dome tower is located, and creative hybridizing local hamam culture with water elemets in Islamic architecture, the design aims to transform the historical Tiring Building and the surrounding local markets, which are still vital to the local residents today, with a reinvented water system for both religious and seccular lives.

steam room a water tank and a foutain in the mosque

Turkish bath/hammam swimming pool

dressing room

bath house lobby with wall fountains mechanical water garden

+ The Hybridized Vertical Watr Tower

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+ Tackling Urban Reality More than being displayed and fulfilling programmatic functions, the infrastructure - for both water and mechanics, is inseparable from the representation of architecture and the city. It creates a new order in the mudane everyday life of Cairo.

+ The water streams flow out from inside of the water tower, fall into the silver shining network of shallow aquaducts and pods, then drape down to the ground market-scapes. 23


+ The New Platform with Silver Water Pods

1. corner excavation 2. activating the market place, outflowing 'luxury' public experience for the local people

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+ Water in a Market, a Market in Water

1. fountain wall: study of water display and channeling mechanism in Islamic gardens

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2. activated market: hybridized fountain wall system with market facade and colonades

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+ The Watertank and the Mosque

1. inserting a silver polished water tank into the existing dome structure 2. articulating the poche of the dome to integrate with the new water system of both displaying and transporting 3. at the level where the existing mosque is located, a fountain is generated as part of the water system between the water tank and the bathhouse below 4. water is channelled away from the fountain into the hall space on one side

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+ The "Wudu" fountain is hybridized with the water tank. + "Wudu" is the Islamic procedure for washing parts of the body, a type of ritual purification.

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+ Agency of the "Architectural Poche"

1. study of water machanism is integrated into the bathhouse 2. the bathhouse shown in this section includes a swimming pool and a dressing room 3. the strategy is to design a continuous poche around the central vertical water system 4. the poche is articulated to integrate different vertical sections of the tower, as well as the mechanical system 5. the interplay of the infrastructure as purely functional and infrastructure as both funtion and aesthetic

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0.3 Ecdysis New Underground Architectural Typology / Theater and Art Galleries Socrates Sculpture Park, Long Island City, New York

M. Arch I / 602 Core Design Studio Penn Design / 2017 Spring Instructor: Simon Kim TA: Brett Lee Team: Shuxin Wu, Noah Medlinsky Published on archreporter.com

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+ Ecdysis exposes architecture in its normative conditions of creating object. With the impending envrionmental changes that require entirely new production criteria and valuation, ECDYSIS inverts the polemic. What is required for New York, and for architecture, is an inquiry into voids and spaces in toto.

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+ The Hole in the East River New York

+ Ecdysis begins to explore the narrative of an architectural intervention into underground synthetic natures. Through a networked agency of various biotica, machine, and humans, new environments are sculpted from the mass of the earth to facilitate a new nature.

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+ Socrates Sculpture Park Transformed

+ The resultant is a spatial environment that is both wild, synthetic in its nature, and accomodating to an architectural and urban human social condition.

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+ "Tortured Landscape"

1. "Domus Aurea" 2. inverted node 3. ourdoor theater 4. sculpted landscape 5. bored hole 6. theater main entrance 7. networked connections 8. transfer piping 1

7

Ea st

Ri ve

r

6

Site Plan 1/150" = 1'

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N

8

+ Termite Mound Section

4

+ Lloyd‘s of London Richard Roger, 1978 3 2

Br oa

dw ay + Tokyo Underground Drainage

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+ The Life and Death of the Great Boring Machine

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+ Material Agenccy

+ the interaction of varying materials, with a myriad of malleability, setting, strength, and solubility

+ testing a plethora of combinations of materials in the form of various objects

+ catalyzing both reactions and rejections through the induction of heat

+ different phenomena that occurred both while setting the materials as well as introducing the catalyst of higher temperatures

+ Woven Excavation plaster and wax infused with gauze

+ Matte Iridescence plaster and rubber infused with wax-soaked cotton balls

+ hairy caves

+ expansive layering and colorization

+ different types of wax, such as soy, liquid crystallized, chemicals, rubber mixes that prolong burning of wax were explored + To aid in the spread of heat, gauze strips and cotton balls, as well as steel wool were used.

+ Property-based Aesthetics plaster infused with rubber, wax and gauze

areas of mutation: liquid - layer - bump

+ weaved cavities

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+ curling of edges


+ Woven Excavation

0’

28’

43’

50’

0’

23’

0’

4’

13’

23’

+ Matte Iridescence

+ Property-based Aesthetics

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+ Material Transformation

thermal mapping 1.0

wax melting 1.0

thermal mapping 2.0

wax melting 2.0

thermal mapping chemical reaction of rubber thermal mapping 3.0

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cavity formed 3.0


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+ Spatial Organization_Theater and Galleries

different layers of theater envelope stage seating service natural light circulation

+ Church of the Rock, Helsinki, Finland, 1965

invisible stage galleries lighting view of sights circulation

+ Guggenheim Museum, New York, 1959

different galleries spaces corridor circulation

+ Trapholt Museum for Moderne Kunst, Kolding, Danmark, 1988 45


diagram: wall

diagram: thick wall

diagram: atrium

diagram: double loaded corridor

spine

thick wall

diagram: wall

diagram: thick wall

diagram: atrium

diagram: double loaded corridor

atrium

inverted atria

The design of the theater and the subsequent galleries are based off of three main principles, atrium, spine, and then eventually inversion. By looking at a variety of performance spaces based on either a circular or irregular geometry focused on a central point, we extract ways in which a circular space could function as both theater and atrium simultaneously. Through an examination of gallery organization, looking at both the intersection and convergence of space, as well as how those spaces are connected to a greater macro circulation, usually centered on an atrium, we deciphered ways in which both the theater as a central void can act as the main circulatory spine by which to wrap gallery spaces. Through this coupling, we were able to integrate these spaces through vertical and horizontal circulation, therefore creating transparency and solidity between the two, fusing the arts into a unified and centripetal organization that could promote both growth and further organization through this subterranean conception.

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+ Atrium, Spine, Inversion

Using the spatial rules and organizations used to govern the functions of the already designed theater and gallery spaces to create further nodes and atrium that could situate themselves on the site. These additions allow for opportunities to invert the architectural language which we created in the first theater space, and therefore further develop and define our architectural discourse, as well as allow for interstitial spaces between the nodes were both our original architectural hypothesis and its seemingly antithetical conception can “crash� to create spaces of new and varying functions, or even exist as spaces for new potentials and growth.

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+ ground plan

+ typical plan

+ bottom plan

+ inverted atrium


1. Dome 2. Subterranean 3. Landscape 4. Thick Poche 1. Domus Aure, Rome, 64-68 AD 2. The Subterranean Labyrinth of the Gothic House, Jean-Jacques Lequeu, 19th Century 3. “This Tortured Earth”, cast bronze, Isamu Noguchi, 1942-43 4. Igualada Cemetery, Barcelona, Catalonia, Spain, Enric Miralles, 1994

+ initial section

+ viewing diagram

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+ Multi-agent System for An Indeterminate Subterranean World

Overall Plan 1/64� = 1’

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+ Progressional Growth and Destruction

+ precast subduction

+ boring panel articulation

+ boring panel placement

+ multi-axis orbital autonmous boring

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+ Multi-agent System for An Indeterminate Subterranean World

1

2

3

Elevation 1/128" = 1' 1. "Domus Aurea" 2. breathing pipes 3. sunken plaza 4. bored hole 5. walkway 6. sculpted landscape 7. landscape ramping

1. galleries 2. trench excavation 3. theater/"domus aures" 1 Overall Section 1/32" = 1'

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2

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4

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+ The Golden Dome

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Dome Connection To Trusses And Windows 1. Gold panels 2. Mineral wool insulation 3. Metal decking 4. Double pane insulated glass 5. Bolted connection unit 6. Steel truss mullion system

1 3

2 4

5 6

1 2

Window Connection To Cast-In-Place Concrete Structure 1. Double pane insulated glass 2. Inset mullion track system 3. Metal rebar 4. Poured in place concrete

3 4

Movable Seating Unit Connection To Cast-In-Place Concrete Structure 1. Structural truss framing 2. Precast burnt wood panels 3. Metal casing 4. Magnetic Bearing ball rotational system 5. Seamless slab to seating unit connection

2 3

4

5

1

Wall Section 3/16" = 1'

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+ The Autonomous Galleries

+ The Autonomous Galleries Section

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9 4 5 3 1 2 5 10

8

6

7

1. Permeable gravel fill 2. Drainage pipe 3. Waterproof Membrane 4. Insulation 5. Vapor Barrier 6. Metal hinge joint for panel connection 7. Typical bolt connection from metal plate to concrete panels 8. Pre-cast reinforced concrete panel 9. Buoyant metal legs 10. Gussets plates

+ Paneling Detailed Section 1/2" = 1'

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1. Sheathing 2. Mineral wool insulation 3. Lath 4. Gypsum board 5. Air cavity 6. Glass fiber reinforced gypsum panels

7. Truss 8. Decking 9. Typical truss to floor connection

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7

9

+ Gallery Steel Pods Envolope Detailed Section 1/2" = 1'

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+ Gallery Pod Interior

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0.4 Dichroic Relfections Carnival and Fictional Reflections Delaware River Center for the Performance and Visual Arts, Philadelphia, PA M. Arch I / 502 Design Studio Penn Design / 2016 Spring Instructor: Danielle Willems Dichroic, derived from the Greek words “di“ for two and chrom for color. The project was thus named because of the desired properties of fantastic multicolor and reflectivity. The new performing art center should become as the autonomous organization for carnival. It will become a container for change, which instantly reflects on the environment around and interact with the urban reality. The reflection lies in the relationship between ground and architecture, between underground space and space above ground. It happens when lights reach the reflective/refractive skin, when audience encounter the shifting moment of moving from “projective space” and “reflective space”.

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Carnival is perceived as a reflection on the reality we live in. It generates the process of keeping reality in view and of testing fantasies.

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+ Site/Architecture Analysis

skin of reflection / color

skin of refraction / light

island A

island B

island C

exterior shell

theather interior volume cultural activities interior volume retail interior volume

ground and outdoor public space service interior volume - underground

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3

2 63

1. exploded axo 2. catalog of potential combinations from basic abstract geometric volume 3. dichroic seam exploration


4.1.1_visual art collection massing

4.1.2

4.1.3

4.6.1_open space servie massing

4.6.2

4.6.3

4.2.1_backstage service massing

4.2.2

4.2.3

4.7.1_outdoor space massing

4.7.2

4.7.3

4.3.1_black box massing / 1:7:5

4.3.2

4.3.3

4.3.4

4.4.1_concert hall massing / 1:7:21

4.4.2

4.4.3

4.4.4

4.5.1_theater massing / 1:6:38

4.5.2

4.5.3

4.5.4

4

5.1

4. massing program research 5. larger aggregation 6. view towards delaware river from spring garden station

5.2

5

6 64


+ The Thick Envelope N

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3 6 2

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open to below

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14 open

low

to be

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Island A: Theater Complex 1. Lobby 2. Reception 3. Demonstration Space 4. Food Service Market and Cafe 5. Restroom 6. Theater Entry Hall 7. Box Office 8. Cloakroom 9. Theater Auditorium 10. Restroom 11. Main Stage 12. Back Stage 13. Dressing Room 14. Technician Space 15. Musician Area 16 Truck Bay/Loading 17 Control Room 18 Art Garden 19. Bike Parking

1/32" = 1' 65

8

10

Island B: Concert Hall Complex 1 Concert Entry Hall 2 Cloakroom 3 Box Office 4 Restroom 5 Main Stage 6 Orchestra Pit 7 Back Stage 8 Rehearsal 9 Control Room 10 Dressing Room 11 Visual Art Lobby 12 Visual Aet Collection 13 Visual Art Ciname Theater 14 Demonstration Space 15 Indoor Shopping Arcade 16 Conference Center 17 Archiving Library


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15 17 16 10 4

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Island C: Black Box Complex 1. Black Box Entry Hall 2. Cloakroom 3. Box Office 4. Restroom 5. Main Stage 6. Control Room 7. Storage 8. Rehearsal 9. Flexible Outdoor Public Space 10. Culture Flexible Place

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0.5 The Contigent Gallery A Tale of A Hidden Village Manitoga, Russel Wright Design Center, New York M. Arch I / 501 Design Studio Penn Design / 2015 Fall Instructor: Eduardo Rega In parallel to the production of protodocuments from architectural samples that are autonomous and removed from context, a narrative is inserted that will re-imagine and enrich the context in which we intervened. The narrative mixes footage from the visit to Manitoga and footage from Still Life , the movie directed by Jia Zhangke.

floating structures ground buidlings ground underground structures

Spatial Organziation Inside The 'Hidden Village'

Movements of The 'Hidden Village' Community Through The Blind Spots 67


Master planning of an autonomous village, regulated against surveillance. Design of a prototype of a transformative tower.

The narrative is about a hidden village, lives inside the existing site of Manitoga. It has been able to hide itself from outsiders for years. We developed architectural strategies which they use to achieve their goal. The narrative combines the movie, “Still Life “ directed by Chinese director Jia Zhangke and the famous stroy from ancient Chinese literature - “The Story of the Peach Blossom Paradise”,by Tao Qian and integrates with the space of Manitoga. 68


+ Protodocuments Remixing Transfomer Spatial Tactics with Narrative

Prada Transformer 2007-09. OMA

1

Fun Palace 1964. Cedric Price

Total Furnishing 1969-71. Joe Colombo

Section Sample A

Section Sample B

Section Sample C

Plan Sample A

Plan Sample B

Plan Sample C

Footage From Still Life

Hidden Village

Still Life In Manitoga

2

3

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4 1. List of Architectural Samples 2. List of Narrative Samples

3. Proto-Plan 4. Proto-Section 70


Circulation A

Circulation B

Circualation C

Fixed Roof

Foldaable Roof

Elevator Core Cranes and Scaffolding

1

Rotatory Transformation Ramps at Entry 4 Lobby

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2

3

1-5 Transformative Modules

Dinnerware And Serveware Gallery Textiles And Furniture Gallery

Transformative Modulels

Temporary Exhibition 71

Exterior Gallery

+ Exploded Axonometric With Details: The Transformable Tower


+ Site Axonometric

+ Plan

+ Section

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0.6 Inhale-Exhale Inflatable Pavilion M. Arch I / 501 Pavilion Prototype Penn Design / 2015 Fall Instructor: Eduardo Rega Team: Yiwei Gao, Siqi Wang, Tong Wu, Shuxin Wu The pavilion, inhale-exhale is built with air. Exhale, then inhale. Deflate and disperse groups of people under a large but solid shadow, inflate and gather around with a group of people under a centered fragmented shadow. Expand, then contract. Blow air in and enclose the environment, release air and open up to Manitoga. Fill it in and select the views of the landscape, deflate it and experience the openness, the sounds, the winds. Sample one section from Manitoga and select three objects - the tree, the sofa, and the lamp. The pavilion absorbs and combines the actions of the three objects, and instantly change state to alter their relations.

+ Concept and Mapping

sampled micro-site from Dragon Rock and selected objects: tree, sofa, lamp

deflatable plan

20% inflation

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inflatable plan

60% inflation

80% inflation - final ‘kissing’


+ Inflation Process

+ Light Installation

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+ Massing Development

The massing will reflect the inflated state. It expands in various directions in order to form enclosures and openings, and to create framed scenery views. The shape of the massing aims to encourage movements toward the center of the site, to provide different conditions for human positions and overhead sections for shadowing possibilities.

+ Mappings of Views, Shadows, Movements of Two Massing Iterations left - deflated, right - inflated

+ Mapping of Views, Shadows, Movements In Plan left - deflated, right - inflated

+ Skin and Rib Structure floating bubble

shadow-maker

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sitting area

sitting area

floating bubble

leaning area


+ Kit-of-parts and Construction Steps

plywood

LDPE film

plastic sealer

air pump

Step 1 extract one component from overall massing

Step 2 make contour lines in two directions on the surface

Step 3 extract some contour lines that construct the ribs

Step 4 make the contour lines stripes

Step 5 add thickness and make a basket

Step 6 attach the air chamber inside the ribs

Step 7 seal the outer layer with the inner layer by the plastic sealer

Step 8 wrap the whole component using the LDPE film

Double-sided tape

Plastic-To-Plastic Connection Detail Section 0.004” inner layer plastic air chamber

1/4” plywood rib 1/4” plywood board fixed connection pin connection 1/4” plywood rib 0.004”outer plastic layer

Parallel Rib-To-Rib Connection Detail Section 76


0.7 Office Building Design Philadelphia, PA M. Arch I / 532 Construction Technology II Penn Design / 2016 Spring Instructor: Ryan Philip

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2018 Shuxin Wu Portfolio  
2018 Shuxin Wu Portfolio  
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