Minquan Wang Portfolio 2021

Minquan Wang Academic & Professional Works 2021

Minquan Wang

Post-Pro M.Arch 2018, Yale School of Architecture B.Arch 2014, M.Arch 2016, Tsinghua University

Sandro Botticelli, Map of Hell, illustrating Dante’s imaginary journey in the Divine Comedy.

Giuseppe Terragni, Danteum

An Engaging Autonomy Giuseppe Terragni’s Danteum was a reconstruction of the Divine Comedy. This unbuilt project spatialized Dante’s mythical trip through Inferno, Purgatory, and Heaven with ideal geometry and numerology, lending itself as a masterly demonstration of how architecture could exert on realms outside its disciplinary boundary without giving up on its inherent vocabulary.

Today, it would be only bizarre and reactionary to expect architecture to wall itself off from larger social engagements.

Yet the alternative of our entire profession dissolving into an oversatuation of technologies, sustainabilities, economic rationality, and humanist patronizing, is equally horrifying. Ultimately, it is only to the extent that these external agendas are distilled into protocals of space, form, and materiality, that architecture retains its precious agency.

To that end, I am passionate for an architecture that bravely intervenes larger social narratives with a refound disciplinary core. I aspire for an engaging autonomy.

Academic

01| DÉTOURNEMENT OF ALLURE Miami Beach Oceanfront Development

02|

EASY OFFICE

Culver City Concept Art Studio

2

18

03| THE SUN ALSO RISES

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04| ARCHIVE FOR THE DEAD

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05|

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Museum for a Film

Capital Cemetery Complex

IMPRINT OF SOUND

Interactive Installation

06| CONTENTIOUS CITY Gloucester Maritime Trade Campus

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Professional

07| XRL WEST KOWLOON

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08|

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Kohn Pedersen Fox NY

1399 SW 1ST AVE Kohn Pedersen Fox NY

09| HENDERSON HUNG HUM Kohn Pedersen Fox NY

10|

CHONGQING ITCC

Kohn Pedersen Fox NY

11| BLUE HORIZON ESTATE Atelier Li Xinggang

Others

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DÉTOURNEMENT OF ALLURE

Miami Beach Oceanfront Urban Development

|01

YSOA Advanced Design Studio Instructors: Emre Arolat, Gonca Paşolar, Kyle Dugdale Partner: Istvan van Vianen Fall 2017 YSOA Feldman Prize 2018 Nominee Site Location: Miami Beach, FL, US 2

Miami Beach is among the ultimate tourism destinations in the US. The city has been remembered and fantasized for its seashores, bars, clubs, and tropical flair. What underlies all these tokens of Miaminess is its vibrant social life. However, consumerist developments have been gnawing at social life on the beach. Profit drives developers erect privatized luxury hotels and condos, chopping the beachfront into fenced bubbles. Since contributing to the urban life goes against their privilege and profit, beachfront developments are increasingly disengaged from the city.

The most pertinent challenge in our face is not to design good architectures with high quality urban spaces, but to ensure such spaces are respected and maintained as they are intended to by the owners. In other words: can we design a game in which publicness is anchored at the core of profitability, thus invite beachfront developments to play along?

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Miami Beach: Paradise Lost of Public Life?

Miaminess means getting socialized.

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While the beach is the most striking icon of Miaminess, the current beachfront developments, mostly luxury hotels and condominiums, work against Miami Beach's public nature. They seclude the beachfront, erect walls against the city, and chew into the sand with hedges and fences. The beach has become the city's last defense of public life, side by side with the most concentrated band of consumerist privatization.

Voluntary Prisoners of Beachfront Hotels Self righteous developments transformed the beachfront into a heterotopic landscape. While people pay for rooms to enjoy Miami Beach, they venture into the city for social life, even when the Miaminess they are after is right outside. Within the invisible walls of social isolation, they became voluntary prisoners in their paid cells.

Why build up walls and look out for fun...

...When we can party at home?

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Preserve Two types of existing buildings are preserved: a. Registered historical heritage. b. Recently built high FAR buildings.

Public Program Public Circulation Street

Insert Public programs are inserted into individual blocks.

A continuous circulation penetrates from the street, connect public programs, and reaches the Halo.

Unite The Halo's programs attract the public. To share its extra visitors, hotel owners have to keep public zone open. Profitability keeps them cooperative.

The Halo

The Halo is a circular structure unifying six blocks. While being designed as a whole, the mix-use hotels are handed to individual property owners and operate independently, whereas the Halo is managed by a third-party public agency.

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EMBRACE THE GAME Instead of fighting Miami's beachfront development pattern, the project works with it.

Five mix-use hotel blocks each is an islands of varying tastes and lifestyles, manifesting the will of individual owners, whereas the Halo bridges them to achieve a unified gesture and experience. The sixth block, a former parking lot, is transformed as a performance park joining the Halo.

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Public Flow Ramps, stairs, escalators, and elevators lead people from the street all the way on to the podiums of hotel blocks, and further up to meet the Halo. Program attractors (retails, amenities, etc.) are spread along to keep the flow pumping.

Exhibition Hall Auditorium

Outdoor Theatre

Halo-Hotel Joints The Halo has its stand-alone program attractors to establish its own presence, not necessarily relying on the hotels.

While the public program attractors of the hotels are profit-driven, the Halo carries three non-profit driven show spaces. They are managed by the Halo's stewarding agency and cater to non-profit driven public events, such as lectures, talks, exhibitions, etc.

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On-Site Exploded View Each hotel block is designed with a cascading podium bringing pedestrian onto its top, and one or multiple guest-room towers elevated above.

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The Halo is broken into several segments on different heights to fit itself onto the site, but the circulation maintains continuous.

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1. Hotel Podium 2. Hotel Guest-Rooms 3. Performance Park 4. Beachfront Pool 5. Outdoor Theatre

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6. Atlantics Hotel 7. Casa Faena 8. Faena Versailles Classic 9. King David Tower 10. Beach House 8 11. Halo Service Shaft 12. Halo Multi-Functional 13. Halo Auditorium 14. Halo Exhibition Hall

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GROUND FLOOR: CONSUMERIST HETEROTOPIAS The podiums contain most of the hotels' public programs (reception, retail, amenities, etc.). These are fully managed and operated on an individual basis, and configured to aim at commercial interest. From the ground floor, the project almost fully comply to the current model of development on the beachfront: profit driven consumerist heterotopias independently run by hotel owners.

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HALO: NEUTRAL UNIFICATION The Halo unifies the individually operating hotels with neutral urban leisure spaces and show spaces managed by a non profit driven third party agency. The Halo's neutrality, reinforced by the performance park offering its independent access & program attractor, facilitates a steady public flow, making sure that cooperating with the Halo scheme stay lucrative to property owners. Public life is thus anchored at the center of profitability.

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Show The Visitors... And The City!

All the show spaces on the Halo are designed with maximum transparency. They are meant to show not only to the visitors within, but also to the city. Even though the content of the shows are not always visible to the people on the street due to distance, a vibrant backdrop with the awareness of "something is up" is enough to lure people in.

The entrance of the performance park sits on the focal point of the Halo. An outdoor theatre allows people to walk up onto the Halo as they enjoy performance events of the city, 16

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EASY OFFICE

Culver City Concept Art Studio

|02

YSOA Advanced Design Studio: Pita & Bloom Instructors: Florencia Pita, Jackilin Hah Bloom, Miroslava Brooks Individual Work Spring 2018

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Site Location: Los Angeles, CA, US

In the documentary Brillo Box (3¢ Off), when Andy Warhol is asked why he turned a common Brillo box into sculpture, he casually responded “because it’s easy to do”.

Appropriation yields irony which is easily interpreted, but is paradoxically difficult to attain without an alignment of particular social, economic and cultural forces at play.

This studio investigated appropriation, misinterpretation, and abstraction as tools to generate formal agendas in the adaptive reuse of a warehouse building in Culver City into an Easy Office. Students were asked to hunt everyday items and curate them into a collection to express their sensibilities and obsessions, and convey it through collages.

They then compressed the collection of objects into well thought ensembles, and dematerialized them with vacuum-forming. As levels of abstraction goes up, a formal agenda was extracted from each student’s work, which was ultimated transposed into an office interior.

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Object Collection The studio initiated with collections of daily items to express a viewpoint, a sensibility or an obsession. My collection focused on streamlined industrial product with highly specific forms.

The sharpness, linearity and hinge in these objects implied a tension between connection and exclusivity.

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2D Collage The images of the objects were then composed into collages to inform a formal agenda. The collages here stitched together disparate objects following their intrinsic formal logic, forming a mechanical Frankenstein, where the individual objects fade away into a new collectivity.

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3D Collage + Vacuum Form Ideas gathered from the collages were implemented with real objects. The flattened silhouette as an approximation of original objects were actualized with felts. The 3d collage models were sent under vacuum forming. The result further defamiliarized the daily objects by compressing them into a dematerialized aggregation.

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Items from Initial Collection

Formal Statement This abstraction drawing, based on the tracings from the vacuum forms, is the distillment of the formal statement: the dialectics between constitute parts and a cohesive whole. The illusionistic manipulation of outlines and overlays opens up intentional misinterpretation of their 3-dimensionality, guiding the next stage of work.

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Developed Surface Drawing

Drawing for Misinterpretation

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The developed surface drawing transposes the formal techniques from the previous iterations onto an architectural site. Item collections from the site were added to the initial collections, and together composed onto the unfolded interior surface of a warehouse. This results in a "technical drawing done wrong". In trying to make sense of the paradoxical readings, geometric mutations were made.

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Site Elements Collection + Initial Collection

Defamiliarizing the Objects The tracings of the collected objects were manipulated to disrupt their readings. Lines were taken and misplaced, making their geometries ambivalent, but still hinting the original forms. The linework eventually becomes neither recognizable figures nor completely meaningless abstractions, leaving the viewer hesitant to make an identification.

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A

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Ground Floor Plan

Spatializing in "2.5D" The developed surface drawing is built into an actual building in "2.5D". Against the drawing convention of generating 2D as the reduction from 3D, 3D forms here are constructed from a 2D drawing that implies a range of 3-dimensionalities without prescribing a fixed end. The formal statement is thus concretized into an office statement with spatial and programmatic agency.

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B

Section A-A

Section B-B

Section C-C

Office Statement The Easy Office project experiment materializes as a next-gen concept art studio in which both spatial specificity and synchronized action are allowed. It has two elements:

1. Figures: taken from the collection, defamiliarized into individual work spheres, each imposing an organizational order.

2. Approximations: occupiable surfaces approximated from the figures, non-autonomous and reliant on them take shape, either carrying an figure to extend its identity or cover one to obscure it, becoming the intermediate zone between various work spheres.

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Office Statement Cont'd T h e p l ay b e t we e n t h e f i g u re s a n d t h e approximations results in a versatile field that flickers between identifiable forms and fluid aggregations. Small squads of conceptual artists or freelancers find their temporary niches by their preferences and constantly shuffle as projects proceed.

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THE SUN ALSO RISES

Museum for a Film

|03

Personal Work No Instructors Partner: Xiyao Wang Summer 2015

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Site Location: Kunming, Yunnan, China

This project investigates the linguistic nature of space to tell a story.

It exploits the interactivity of space to expand the narrative into the reciprocity between the narrator and the viewer, and challenges it with open readings.

A museum is proposed based on the film The Sun Also Rises by Wen Jiang.

The Sun Also Rises unfolds with a non-linear narrative encompassing four sub-stories weaved between multiple characters. The director plays with misplaced timelines, tangling events, and illusions of causality. The film montages the story into a myth. Taking a structuralist point of view, this project embarks on a pure spatial abstraction of the movie’s narrative structure rather than its specific plots. The movie’s key scenes and narrative structure are translated into four spatial prototypes and two lines upon which the museum is developed. Visitors flicker between participants and spectators, thereby interpret the story through their own lenses.

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NARRATIVE

I. 2

EPISODE I. [MADNESS]

Scene 1: Mad Mom

Li

II. 1

Li found a CAVE mom built for him, set up like a marriage house, containing things she broke back home. The cave somehow speaks of the cause of her mom’s hysteria. Upon Li’s return, mom went missing.

After losing her shoes, Li’s mom lost her sanity and did crazy things around the village. In his futile attempt to make sense of mom’s behaviors, Li encountered only more ABSURDITY.

Liang is a teacher. He was mistaken as a perver and caught in escape. His friend Tang, his secre admirer Lin, and a strange woman gave him three confessions. They were trying to help, ye they made the event even more COMPLICATED.

Scene 2: The Cave House

deal with

abacus

items Mom

build

CAVE

mad acts

look for

mug

picture frame

find

lost

mirror

led by

EPISODE III. [GUN]

Tang

Staff

taken as

Movie Party harass

Tang

Lin

C2

Stra Wom

C3

Confessions

EASTERN CHINA, SUMMER 1976

husband & wife

Scene 6: Affair sexual encounter

Scene 7: Tang's Struggle Emotions anger

shame sense

Scene 8: Tang's Choic

friend

Forgive

labor reform

Village

Friends & Admirers

C1

pervert

porcelain

SOUTHERN CHINA, SUMMER 1976

Scene 3: Confessio

Liang

EPISODE II. [LOVE]

I. 1

seduce

supervise

CAVE

CHOICE

visit

Beijing

peek

Revenge

SOUTHERN CHINA, AUTUMN 1976

Tang was transfered to Li’s village with his wife to be reformed through labor. His wife showed unusual interests in Li. One day Tang found his wife in bed with Li in the CAVE built by his mad mom.

III. 1

Tang was infuriated, yet his sense prevented him from revenge. In such a PERPLEXITY he left the village and sought for help from a friend in Beijing.

III. 2

Tang realized that it was his faul to have treated his wife coldly. H planned to spare Li, but Li kep irrigating him unintentionally Tang was faced with the hard CHOICE between letting go o revenge.

III. 3

MOVIE NARRATIVE STRUCTURE: 11 SCENES, 4 EPISODES, 4 PROTOTYPES, 2 LINES Eleven key scenes are selected to summarize the movie. They are grouped in four episodes, namely “Madness”, “Love”, “Gun”, and “Dream” in sequence, as the director himself named them. Each scene speaks of a situation in which the protagonists are placed. The eleven key scenes are thus categorized into four prototypes as “Shelter”, “Maze”, “Divergence”, and “Destination”. They allude to spatial conditions and provide a base for further translation.

The two lines linking the scenes are then mapped and compared. The Timeline follows the real time sequence of the story, reflecting the logics and causality of events. However, the movie itself tells the story by the Narrative Line, deliberately rearranging the events to construct a myth.

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rt et m et .

SHELTER

II. 2

II. 3

Amid the inquisitions, testimonials, and the stressful personal relationships, Liang melted down. He was eventually acquitted with an OPTION to write off everything and return to norm.

ons

However, traumatized by the system and the people around him, Liang ENDED his life. He hung himself under a colonnade.

Before suicide he gave his gun to Tang.

Scene 4: Liang's Decision Cadre

MAZE

Scene 5: Suicide

Let go

Live on

Persist

Suicide

DIVERGENCE

aquit

CHOICE

ange man

lt He pt y. d or

EPISODE IV. [DREAM]

e

Reconcile

Kill

Scene 10: Two Girls At Crossroad Li's mom

travel together

Path1

Scene 11: Finite Infidelity

FIN

CHOICE

Tang wife

Path2

Marriage

WESTERN CHINA, WINTER 1958

Tang’s anger exploded after all. He pointed his gun at Li and pulled the trigger. Their fates were CONCLUDED.

III. 4

I. [MADNESS]

III. [GUN]

TIME

e

Scene 9: Revenge

FIN

ce

DESTINATION

Time rewinds. Li’s mother and Tang’s wife were in their youth, traveling together for different causes. Li’s mother, already pregnant, was going for the remains of her dead lover, while Tang’s wife was heading to her marriage. Their road came to a DIVERGENCE.

IV. 1

II. [LOVE]

The two girls reached different ENDS. From the remains, Li’s mother found evidence of her lover’s infidelity, while Tang’s wife was greeted

by Tang and Liang with wild celebrations...

IV. 2

NARRATIVE LINE IV. [DREAM]

TIMELINE

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SHELTER

MAZE

DIVERGENCE

DESTINATION

ABSTRACTION

TRANSLATION

PRIVILEGED VIEW TIMELINE

IMMERSED VIEW NARRATIVE LINE

PRIVILEGED VIEW

IMMERSED VIEW

Spatial Translation Each plot abstraction is translated into a spatial prototype, and developed into a twofold:

The lower part is an immersive environment in which visitors play the roles of the movie character.

Overwhelmed by immediate perceptions, they experience the story arranged by the narrative line. The upper part provides a review of the scenes from a privileged view. This time they become distanced observers while other visitors lingering in the lower part become their subjects.

Plots follow the timeline to clarify the events.

I. 1/SHELTER

II. 1/MAZE

III. 3/DIVERGENCE

III. 4/DESTINATION

MAIN HALL

SESSION 2

SESSION 4

REDIRECTIONS

SESSION 1

SESSION 3

I. MADNESS

I. 1-MAZE Li walks into a maze, its circuitous passage reflects the absurdity placed onto his life.

I. 2-SHELTER After a dark, uneasy passage, Li enters a huge spheric space. A bridge leads him to its center, where the niches around come into sight. From the objects within he realizes that this cave-like house is set up for him by his mom with everything she broke into pieces at home.

A narrow light beam from the top renders the cave as warm and secure.

II. 1-MAZE II. LOVE

Chased by many, Liang enters a narrow ramp. After an abrupt turn he examines the confessions of Tang, Lin, and a strange woman in three repeated rooms.

II. 2-DIVERGENCE Liang comes to a crossroad with two options. The tiring but gentle one: returning to normality through a staircase. The quick but hard one: ending his life by descending from a cliff.

II. 3-DESITINATION Each road leads to a chamber with a small enclosure inside, where Liang’s chosen destiny is revealed to him.

III. GUN FACADE

III. 1-SHELTER Tang peeks from the small opening at the bottom of the spheric cave. From the image inside he finds his wife in bed with Li. The oppressive surface adds to his anger.

III. 2-MAZE Caught between sense and anger, Tang left. In the circuitous maze he gets even more confused.

III. 3-DIVERGENCE Tang can choose the hard road to forgive Li by taking the long open ramp. He can also take the straight but gloomy path to kill him.

III. 4-DESTINATION

IV. DREAM

Whatever his choice is, the consequence awaits in a small room within the next chamber.

IV. 1-DIVERGENCE Traveling together, Li’s mom is going for her lover’s remains, while Tang’s wife is heading to her marriage. They reach a crossroad.

IV. 2-DESTINATION In a small dark cone, Li’s mom finds the evidence of her lover’s infidelity.

Meanwhile, in an expanding, skylit room, Tang’s fiancée is greeted by Tang with ecstasy.

Paragraphing II

I

Observation Point IV

Exhibition Hall

Chamber of Redirection

III

Chamber of Redirection The Chamber of Redirection is where visitors’ routes are recoordinated to the sequence of the Timeline.

Bridges reach out of the chamber into the main exhibition sessions, cutting the scenes through, forming mezzanine-like observation points.

The observation areas also serve a “paragraphing” function in the museum’s spatial syntax. They separate scenes to create a sense of articulation and prepares passing visitors for the transition ahead.

GEOMETRY

SESSION 2 [LOVE]

IMMERSED VIEW PRIVILEGED VIEW

SESSION 1 [MADNESS]

SESSION 1 [DREAM]

IMMERSED VIEW PRIVILEGED VIEW

SESSION 3 [GUN]

NARRATIVE LINE I-II-III-IV

TIMELINE IV-I-II-III

Dual Experience: Narrative and Time

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Visitors experience the museum twice. During the first tour, as directed by the Narrative Line, visitors take the roles of movie characters, bringing themselves into the plots and lost in the intense narrative. Upon finishing the first tour, they are led to the second tour as per the Timeline to review the story. This time they gain a privileged view of the circumstances they were set in moments ago, with other visitors still in their first tour putting up the "play". The dual experience facilitates a dialogue between "actors" and "spectators", allowing visitors to construct their own story.

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ARCHIVE FOR THE DEAD

Capital Cemetery Complex

|04

Personal Work No Instructors Partners: Xudong Sun, Zijian Wang Summer 2014

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Site Location: Beijing, China

The Capital Cemetery Complex is designed to house the remains of deceased Beijing citizens from 1935 to 2050. It collects the personal images of Beijing citizens from both the past and the future as a reimaginination of the city’s zeitgeist. The cemetery complex tells its story with nothing beyond actual people’s lives. Sitting right next to the Ancestral Temple and the Imperial Archive, it protests against Beijing’s authoritarian historical narrative.

The cemetery is based on a purely object-oriented framework to reveal three aspects of a person’s image: social identity, personal memory, and physical presence. These sections are aligned along a timeline and relate to important historical events to contextualize personal lives. As the housed items tell their stories, the cemetery itself is but an undertaking machine, a silent narrator. Refraining from any partial intepretations, the project casts a cold eye on our era.

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Sino-Japanese War

Birth of PRC

End of WWII

Cultural Revolution

The Great Leap Forward

Economic Reform

End of Cultural Revolution

Market Economy Established

Mapping China’s Birth Population Prior to the design, a study of modern China’s history and its birth population is made. The timeline above reveals the links between important historical events and people’s birth. Were each deceased in the cemetery to be arranged by birth year, the resulting structure's outline would resemble the birth chart.

CITIZEN PROFILE

PERSONAL BELONGING

UNKNOWN DECEASED

ASHES

SOCIAL IDENTITY

PERSONAL MEMORY

PHYSICAL REMAIN

RESTORED IMAGE

Restoring Images of The Deceased To restore the multifaceted images of the deceased, three reflections are extracted: a man’s social identity, personal memory, and physical remain. They are embodied by tangible items: citizen profiles, personal objects, and ashes. The project functions as a container which houses and rearranges these items to reveal the restored images.

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CHANG'AN STREET

OLD TOWN

IMPERIAL ARCHIVE

CEMETERY

FORBIDDEN CITY

ANCESTRAL TEMPLE

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archive of the deceased

crane mechanism

maintenance & administration theme exhibition link theme exhibition entrance

personal belongings exhibition

vertical access to all floors

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columbarium

Theme Exhibition Entrance

Cranes

bridge to the columbarium

Time

Columbariums and personal objects storage are center containing profiles of the deceased is at the project’s initialization). Items of the deceased are inserted at years of significant events.

Columbarium

vertical access to all floors

visitor entrance north

Model Details

visitor entrance (south)

arranged along the main axis, while an archive e origin (the year 2010, the proposed time for the placed by their birth year. Theme exhibitions are

entrance for the bereaved

cargo deck of the lab

cargo conveyor

research lab

vertical access of the bridge

pedestrian bridge

eline

Visitors

Items

Link & Access

Circulations

The project provides circulations for both visitors and items. The principle is simple: both circulations align with the main axis and link to programs via a tree structure. Vertical accesses lead visitors up and down the central rift, while mechanisms move the items. The passage on the bottom is specifically for the bereaved, where they watch their loved ones’ items transported.

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Archive

Columbarium

In one of these co Just walk along and you’ll see...

Look son! Here’s grandpa’s profile. A record of his entire life by the state.

Really? What does it say?

Umm...It says he had been a exemplary member of the Party. Interesting...

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So where’s grandpa’s urn, dad?

Depository

olumbariums. the timeline

Look at all these beautiful little things your grandpa used to keep! I saw his collection grow as a child...

Three Reflections The Archive Center, the Columbarium, and the Depository are the three primary components of the cemetery. They contain the profile, the ashes, and the personal belongings of the deceased respectively. These items are the three reflections (social identity, physical remain, and personal memory) of a man’s image. As visitors go through them, a multifaceted image is restored.

Wow! He must had been a sensitive man!

Haha I guess you’re right!

Items of a particular person can be located at corresponding positions up and down the rift.

51

Archive Atrium The atrium’s strong focus and extreme proportion begs for attention to the process of profile delivering, ritualizing the supposedly functional activity. The wall of lifts, erected right in front of the atrium, is where the bereaved put their’ loved one’s records into place.

Delivering Cage

52

The “Delivering Cage” is a matrix of mechanics to categorize and deliver items. As the bereaved enter the cemetery, they travel to the top floor via these lifts, during which they place the profile and and personal objects case into the Cage. Machines then fetch and move them into place. This marks the departure between the living and the dead.

53

IMPRINT OF SOUND

Interactive Installation

|05

Tsinghua School of Arch Installation Workshop Advisor: Lei Yu Partners: Le Li, Lu Zhang, Xiyao Wang, Yi Xu, Zijian Wang Summer 2013

54

Digital Shanghai Exhibition

Site Location: N/A

Sound is powerful, but intangible. Technologies can easily break sound down into digits and bring it back into waves and patterns, but the dry digital images they produce are nothing compared to the charm of actual sensory perception. Can sound be captured in images without disenchanting it?

This interactive installation proposes an engaging way of visualizing sound with physical images. An drawing machine, driven by motors and controlled by a terminal that receives and processes sound inputs through wireless sensors, produces eye-catching drawings at the tip of a pencil. The properties of these real-time signals, in relation with human behaviors, are translated into motion parameters, thus projected onto a continuouslyevolving trace. The installation catches the slightest fluctuations in sound environments, thereby re-enchants the daily phenomenon of sound in a provocative way.

55

The installation receives sound inputs via two remote sensors, which can be placed at different locations. The installation’s two processing modules, each linked to a rotating disk, modulate the drawing hand’s movement according to wireless signals from sensors. The interplay of the two sound sources therefore produce ever-shifting images.

The sound inputs from remote sensors are analyzed in their properties (volume and duration). These properties, in addition to a manually evaluated weight factor (representing the importance of the detected area), are the independent variables for the processing modules.

Each module then uses an algorithm to calculate them into motion parameters of the corresponding disk. The disks move independently while controlling the drawing hand together, thus influence the final curve shaping in synergy.

Volume

Duration

Weight

Weight

Periodicity

56

Attractor

Deformation

Duration

Volume

INPUT Real-time Volume

Average Volume

Source Weight

Combined

Disk Velocity

Platform Location

Gear Ratio

Synergy

Periodicity

Attractor Location

Curve Deformation

Multi Features

OUTPUT Equal Velocities

Reduced Distance

v1=10°/step v2=10°/step x1=-200 x2=200 g1=5 g2=5 timesteps=1000

v1=10°/step v2=7.9°/step x1=-170 x2=170 g1=5 g2=5 timesteps=3000

Varied Velocities

Increased Distance

v1=10°/step v2=7.5°/step x1=-200 x2=200 g1=5 g2=5 timesteps=1000

v1=10°/step v2=7.9°/step x1=-220 x2=220 g1=5 g2=5 timesteps=3000

Varied Velocities

One Disk Moving

340mm

|v|=0.1/(1.002^t)

v1=10°/step v2=7.75°/step x1=-200 x2=200 g1=5 g2=5 timesteps=1000

v1=10°/step v2=7.9°/step x1=-170-0.09/(1.001^t) x2=170 g1=5 g2=5 timesteps=3000

Increasing Velocity

Both Disks Moving

v1=10°/step v2=[10-2.5/(1.004^t)]°/step x1=-200 x2=200 g1=5 g2=5 timesteps=2000

440mm

|v|=0.2/(1.001^t)

v1=10°/step v2=7.9°/step x1=-170-0.19/(1.001^i) x2=170-0.10(1.001^i) g1=5 g2=5 timesteps=3000

|v|=0.1/(1.001^t)

Before deploying the installation to real-life situations, a series of digital simulations using rhinoscript were conducted to test the program’s feasibility. Please consider them in comparison to the variables above.

Mathematical functions were used to simulate the changing sound environments (which proved to be more random in actual environments).

The tests follow the variable control method and thus reveals the link between each pair of installation parameters and curve features.

Equal Ratio

Equal Velocities

v1=7.9°/step v2=10°/step x1=-200 x2=200 g1=5 g2=5 timesteps=3000

v1=10°/step v2=[10 - 2.5 / (1.0025 ^ i)]°/step x1=-200 x2=200 g1=1 g2=5 timesteps=2000

Varied Ratio

Velocity+Disk Location

v1=7.9°/step v2=10°/step x1=-200 x2=200 g1=5 g2=3 timesteps=3000

v1=10°/step v2=[10 - 2.5 / (1.0025 ^ i)]°/step x1=-200-0.06t x2=200-0.02t g1=5 g2=5 timesteps=2000

Varied Ratio

Disk Location+Ratio

v1=7.9°/step v2=10°/step x1=-200 x2=200 g1=5 g2=2 timesteps=1000

v1=10°/step v2=5.97°/step x1=-200-0.06t x2=200-0.02t g1=1 g2=5 timesteps=2000

Varied Ratio

Velocity+Motion+Ratio

v1=7.9°/step v2=10°/step x1=-200 x2=200 g1=5 g2=1 timesteps=1000

v1=10°/step v2=[10 - 2.5 / (1.0025 ^ i)]°/step x1=-200-0.06t x2=200-0.02t g1=1 g2=5 timesteps=2000

57

Installation Production The installation is made of laser-cut acrylic sheets, common CNC components, and hardwares. Digital control is based on Arduino, while remote signal exchange is achieved with zig-bee.

The motion mechanism mainly relies on two sets of step motors, one responsible for the rotation of disks, the other for the locomotion of sliding platforms. The disks are assembled using simple hardware connections. The sliding platforms utilize a combination of rod rails and lead screws. The gear is manually adjusted.

Hub

Arduino Board

Disk

M8 M3

Sliding Platform M4 Lead Screw Nut Lead Screw

Slide Bearing Rod Rod Support

Spring

Acrylic Rod

58

Coupling M3

B

M3

M10

Pencil

M3

Drawing Hand

Drawing Desk

Acrylic Rod

Spring

Hand Pivot

8mm MDF M3

Bearing Support

Coupling

Motor Support

Step Motor

M4

Chassis 59

CONTENTIOUS CITY

Gloucester Maritime Trade Campus

|06

YSOA Post-Pro Design Studio Instructors: Edward Mitchell, Aniket Shahane Partner: Istvan van Vianen

60

YSOA H.I. Feldman Prize 2017 Recipient Site Location: Gloucester, MA, US

The historic identity of Gloucester, a once renowned New England marine town, is under siege. Global capital is challenging its deep-rooted sense of place while ruthless tourism development rapidly erases local fishing traditions. Rather than forced preservation that inevitably turns the city into a cultural fossil, this plan establishes the Gloucester Maritime Trade Campus as an anchor institution to empower Gloucester with social, economic and political impetus to firmly reinvigorate its identity.

The GMTC reshapes the shoreline with key nodes fusing traditional activities (fishing, logistics operations, boat crafting, and ship maintenance) with novel curatorial/educational practice. It brokers a zero-sum game between tourists, the local maritime community, business development and working class professionals. The resultant social adjacencies are never perfectly smooth, yet strives for a subtle equilibrium, preventing any single interest group from taking over.

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

later that night...

82

shoot, who forgot to turn off the light??

83

XRL WEST KOWLOON

Kohn Pedersen Fox NY

84

|07

Professional Work 03/2021-07/2021 Competition/Planning Approval Submission Role: Designer of Client-picked competition scheme; Office Tower main contributor, responsible for design studies and model/drawing management throughout.

Assistance in retail facade design.

Situated in the famous Kowloon district in Hong Kong, and projected to be an emerging city center, this office/commercial/retail mix-use project comes up with unique challenges.

The project was initially conceived together with the adjacent XRL (Express Rail Link) station as part of a larger XRL West Kowloon topside development plan. The site sits on the continuum of West Kowloon Parkway, which offers serial urban green spaces extending across the city to the water front. Due to planning approval issues, the original design scheme of the mix-use site was suspended, even though the XRL station and the basement of the mix-use site itself were already fully built. The new design has to accommodate to the existing structure and lend itself as an integral part of the West Kowloon Parkway sequence.

KPF was invited by the owner, SHKP, into a competition to reconceive the site. After being awarded the project, KPF continued to work with SHKP to develop the design scheme for Town Planning Board approval submission. I designed the Client-chosen scheme during the competition phase, and was the main contributor to the office towers design in the subsequent Planning Board submission phase. I also participated in the retail podium facade design.

85

XRL WEST KOWLOON

Kohn Pedersen Fox NY

Client base scheme

KPF scheme

The scheme initiated from a unique massing composition that responds to the rather bizaare spatial/programmatic requirement of the site.

The city’s major pedestrian circulations are on L2 via a pedestrian bridge network as part of the West Kowloon Parkway, with the vehicles circulate through driveways to reach the drop-off area, which is on L2 as well. With the office drop-off zones disconnected from the city and cut into seperate zones by the Client’s 3-tower base schemes, it was very hard to form a cohesive sense of arrival.

Challenging the Client’s base scheme with three towers longitudinally arranged along the site, our team proposed an alternate solution, where three deformed tower volumes revolve around a concentrated drop-off plaza. The driveway ramps continue to L3 while the entire L2 is allocated to retail. This allows for not only a shared plaza with memorable office drop-off experience, but also dynamic open spaces to further activate the retail components.

LINEWEIGHT X 0.8

86

|07

Professional Work 03/2021-07/2021 Competition/Planning Approval Submission Role: Designer of Client-picked competition scheme; Office Tower main contributor, responsible for design studies and model/drawing management throughout.

Assistance in retail facade design.

87

XRL WEST KOWLOON

Kohn Pedersen Fox NY

|07

Being characteristic of Hong Kong’s urban planning, the main public space is elevated on the L2 terrace, interconnected by a network of foot bridges.

88

The project directs the pedestrian flow across the site with carefully orchestrated retail interfaces, with the office towers’ dramatic gestures adding to their spatial definition.

Professional Work 03/2021-07/2021 Competition/Planning Approval Submission Role: Designer of Client-picked competition scheme; Office Tower main contributor, responsible for design studies and model/drawing management throughout.

Assistance in retail facade design.

S18

S17

S16

S15

S14

S13

S20

S19

Due to the basement being already built, the towers have to work with the existing structure. A transfer plate below L2 is introduced to transition the podium column grid into the tower column grids.

12000

12000

12000

12000

S39

S38

S37

S36

S35 12000

12000

12000

12000

12000

S34

S33

S32

S31

S30 12000

12000

12000

12000

12000

S29

S28

S27

S26

S25

S24

S23

S22

S21

12000 12000

12000 12000

12000 12000

12000 12000

12000 12000

12000 12000

SA 11250

TING EXIS W BELO

SB

FB

AHU-2

(~30m2)

11250

SC 11250

A

EXIT

EXIT

SD

AHU-2

(~30m2)

OP

SE

RAMP DOWN

11250

RE

RE OP

EXIT

RE

RE

AHU-2

OP

OP

11250 (~30m2)

RAMP UP

SF A

(~30m2) (~30m2)

(~30m2)

AHU-2

11250

AHU-2

A

(~30m2) AHU-1

OP

(~30m2)

OP

A

SH

AHU-1

SG

AHU-2

11250

RS

AHU-1

(~30m2) AHU-1

(~30m2)

11250

AHU-2

P.D.

(~30m2)

AHU-2

(~30m2)

SJ 11250 UP

UP

SK

DN

DN STR-6

STR-5

16000 14550

SL 14550

SQ 14550

SM 14550

SR

L02 Plan

14550

SN

S13

S12

S39

S38

12000

12000

12000

12000

12000

12000

12000

12000

12000

12000

12000

12000

12000

12000

S37

S36

S35

S34

S33

S32

S31

S30

S29

S28

S27

S26

S25

S24

S23

S22

S21

S20

S19

S18

S17

S16

S15

S14

S13

SP

12000 12000

12000 12000

12000 12000

12000 12000

12000 12000

12000 12000

SA 11250

SB

AHU-2

(~30m2)

11250

SC 11250

A

EXIT

AHU-2

SD

(~30m2)

A

11250

RE

AHU-1

(~30m2)

SE

AHU-2

(~30m2)

OP

RE OP

RE

(~30m2)

RAMP DOWN

RE

AHU-2

OP

RAMP UP

OP

EXIT

A

11250

LOBBY

SF 11250 AHU-2

(~30m2) (~30m2)

(~30m2)

AHU-2

11250

AHU-2

A

(~30m2) (~30m2)

A AHU-2

AHU-1

(~30m2) AHU-1

(~30m2)

11250

LOBBY

P.D.

AHU-1

OP

OP

SH

AHU-1

SG

(~30m2)

A

AHU-2

LOBBY

(~30m2)

SJ

AHU-2 AHU-2

(~30m2)

(~30m2)

11250

SK 16000 14550

SL 14550

SQ 14550

SM 14550

SR 14550

SN

L03 Plan

S13

S12

SP

LEVEL 03 PLAN

T1-Ad T1-Ac T1-Ab

T3-

F1 T3-

F2 T3-

13367 12000

12000

F3

00

T3-A1

T3-F

T3-E

T3-D

T3-C

T3-B

T3-A

120

T1-Aa

12000

00

12000

120

T1-a

12000

12000 8000

12000

(~30m2) AHU-2

A

(~30m2)

0 50 0 50 13

95 115

-2 T3 -1 T3

12

Am

0 12

12000

T2-

An

00

0 12

12000

T2-

Ao

00

0

12000

10

12000

50

0

T3-B

12000

AHU-1

(~30m2)

T2-1

A

T3-A

8700

A

T2-1

(~30m2) (~30m2)

T2-1

(~30m2)

T2-

T2-1

A T2B

12000

(~30m2) AHU-1

(~30m2)

(~30m2) AHU-1

(~30m2)

T1-j

12000

AHU-2

AHU-2

10072

(~30m2) AHU-2

(~30m2)

AHU-2

12000

13148

T2-

00

12000

AHU-2

T1-h

11250

T3-C

12000

T1-5

12500

AHU-2

12500

12000

T3-D

T1-4

T3-E

12500

Ak

13

T3

95 115

-3

T1-6

(~30m2)

T1-3

12000

T1-g

11250

12500

1

T2-Ac

T2-Ae

T2-Ah 12000

12000

AHU-1

AHU-1

A

-E T2-Ad

T3 -E

T2-Aa

T2-Ab

T2-Af

2

T1-f

11250

T1-2

T2T2-Ag

T3

(~30m2)

T1-e

11250

(~30m2)

10685

Aj

3

T1-d

11250

A

T1-1

(~30m2)

T3 -E

T1-c

14405

11250

T2AHU-2

AHU-2

AHU-1

T1-7

T1-b

11250

A AHU-2

The towers cascading form also proved to be a challenge regarding structural feasibility. Transfer beams below terrace floors were eventually added to reconcile the column shifts where plan change occurs.

12000

T2-C

12368

T2-D

T2-E

T2-F

T2-G

12368

12368

12368

T2-H

T2-J

12368

T2-L

T2-K

6400

12368

T2-M

12368

12368

12368

12368

12368

8355

T2-N T1-B

T1-A

T1-C

T1-E

T1-D

T1-F

T1-G

LEVEL 22 PLAN L05 Plan

T1-Ad T1-Ac T1-Ab T1-Aa 12000

T1-a

12000

12000

T1-7

T1-b

11250

(~30m2) (~30m2)

12500

AHU-2 (~30m2)

T2-

Am T2-

An

T2-

T2-1

4.50 4.20 4.20 4.80 5.00 4.20 4.20 4.20 4.20 4.20 4.20 4.80 4.50 4.20 4.20 4.20 4.20 4.20 5.00 5.00 5.00 2.50 4.25 6.20

F.O.F 114.65 110.15 105.95 101.75 96.95 91.95 87.75 83.55 79.35 75.15 70.95 66.75 61.95 57.45 53.25 49.05 44.85 40.65 36.45 31.45 26.45 21.45 18.95 14.70 8.50

sub-total

T1 Area

5,549 5,549 5,549 5,549 6,296 6,298 6,300 6,302 6,304 6,306 6,138 6,138 6,313 6,316 6,541 6,541 6,541 6,541 6,541 1,200 0 0 0 118,812 109,080

MEP

344 344 344 344 344 344 344 344 344 344 344 344 344 344 344 344 344 344 344 0

6,536

lobby void Lift shaft

1,200

1,200

Floor #

Floor to Floor

18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 TRANS 1 G

4.50 4.20 4.80 5.00 4.80 4.20 4.20 4.20 4.20 4.80 5.00 4.20 4.20 4.20 5.00 5.00 5.00 2.50 4.25 6.20

F.O.F

98.95 94.45 90.25 85.45 80.45 75.65 71.45 67.25 63.05 58.85 54.05 49.05 44.85 40.65 36.45 31.45 26.45 21.45 18.95 14.70 8.50

1,996 sub-total

T2 Area

5,179 5,179 5,930 5,932 5,935 5,938 5,941 5,943 5,765 5,765 6,535 6,535 6,535 6,535 6,535 1,050 0 0 0 91,232 85,951

MEP

240 240 240 240 240 240 240 240 240 240 240 240 240 240 240 0

3,600

lobby void Lift shaft

1,050

1,050

Floor #

Floor to Floor

17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 TRANS 1 G

4.50 4.20 4.80 5.00 4.20 4.20 4.20 4.20 4.80 5.00 4.20 4.20 4.20 5.00 5.00 5.00 2.50 4.25 6.20

F.O.F

94.15 89.65 85.45 80.65 75.65 71.45 67.25 63.05 58.85 54.05 49.05 44.85 40.65 36.45 31.45 26.45 21.45 18.95 14.70 8.50

631 sub-total

T3 Area

MEP

2,704 2,704 2,992 2,994 2,997 3,000 2,916 2,916 3,388 3,388 3,388 3,388 3,388 3,388 350 0 0 0 43,901

109 109 109 109 109 109 109 109 109 109 109 109 109 109 0

1,526

lobby void Lift shaft

350

350

163

41,862

A

T2-1

10072

A

AHU-2

8700

11250

Floor to Floor

22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 TRANS 1 G

Total Office Total Retail Target Delta

(~30m2)

(~30m2)

AHU-1

(~30m2)

(~30m2)

AHU-2

T2-1

AHU-1

(~30m2)

T2A

(~30m2)

T1-j

12000

10685

(~30m2)

T2-

T2-1

12500

AHU-2

B

T2-C

12368

T2-D

T2-E

T2-F

T2-G

T2-H

T2-J

T2-K

T2-L

T2-M

T1-3

Ak

Ao

AHU-2

T1-h

12500

T2-

T2-Ah

AHU-2

T1-g

11250

T1-2

T2-Ad

T2-Ac

T2-Ag

T1-f

A AHU-2

12368

12368

12368

8355

12368

T2-N T1-A

T1-B

T1-C

T1-D

T1-E

T1-F

T1-G

T1-1

T2-Ab

T2-Aa

11250

T1-4

12500

T1-e

11250

A

T1-5

Aj

T1-d

11250

T1-6

AHU-1

14405

T1-c

11250

T2-

T2-Af

T2-Ae

Floor #

LEVEL 22 PLAN L11 Plan

In being responsible for the office tower design, I managed various aspects of the project evolvement, including massing and facade studies, plan studies, sectional stacking, GFA control, structural coordination, etc.

I also maintained the area chart througout the project to ensure Client development goal.

L22 Plan

89

XRL WEST KOWLOON

Kohn Pedersen Fox NY

KPF worked with the landscape architect, JCFO, to blend the project into the surrounding retail to form an enriched, integral urban experience.

The office tower overlooks the vast landscaped areas with cascading terraces, creating a vibrant living scene. The retail colonade defined by the towers’ overhang traces along the site’s boundary to form the missing link between the upperstream West Kowloon Parkway and the XRL Crossing landscapes opening towards the southern waterfront. Events and activities are scattered along the Parkway connection pathway, providing incentives for pedestrian flow. The atriums invites visitors to explore the interior and redirect them to the open spaces on various terrace floors.

90

|07

Professional Work 03/2021-07/2021 Competition/Planning Approval Submission Role: Designer of Client-picked competition scheme; Office Tower main contributor, responsible for design studies and model/drawing management throughout.

Assistance in retail facade design.

91

XRL WEST KOWLOON

Kohn Pedersen Fox NY

92

|07

Professional Work 03/2021-07/2021 Competition/Planning Approval Submission Role: Designer of Client-picked competition scheme; Office Tower main contributor, responsible for design studies and model/drawing management throughout.

Assistance in retail facade design.

The urban passageway through the outdoor landscape intertwines with the indoor public spaces to guide the visitors through the site.

Links were created between the ground floor, the L2 terrace main open space, L3 office drop-off plaza, and the L4 retail podium roof terraces. The result is a porous, integrated urban/architecutral sequence and a dynamic urban experience that both forms an internal summit and connects to the urban environment at the same time.

93

1399 SW 1ST AVE

Kohn Pedersen Fox NY

94

|08

Professional Work 03/2020-08/2020 Response to RFP/Concept Role: Designer in charge, responsible for project research, design studies, modeling, and production throughout.

17'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

17'-0"°

17'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

17'-0"°

620 sqft

645 sqft

520 sqft

905 sqft

30'-0"°

30'-0"°

RESI STRUCTURE ABOVE

920 sqft

925 sqft

1710 sqft

840 sqft B.O.H.

S

30'-0"°

20'-0"°

SHAFT

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

O

R

R

PARKING

R

OFFICE LIFT

OFFICE

OFFICE

19'-0"

17'-0"

1BD

BA

R

BA

K

800 sqft 15'-0"

B

14'-0"

L

OFFICE

1BD

B

775 sqft 17'-0"

BA B

AMENITY RESI LIFT RESI 1B

RESI 1B

RESI 2B

RESI 2B

RESI 2B

RESI 3B

RESI 3B

RESI 3B

17'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

B

BA

R

R

BA

S

BA

BA

K

K

1BD

16'-0"

BA

K

1BD

BA

800 sqft

17'-0"

15'-0"

1190 sqft 1190 sqft

2BD 16'-0"

19'-0"

L

K

K

BA 20'-0"

SHAFT

L

B

2BD

PARKING

L

B

L

B

775 sqft 17'-0"

1190 sqft

30'-0"°

K

BA

BA K

15'-0"

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

BA BA

B.O.H.

B.O.H.

BA

R

R

B

B

PARKING

B

B

15'-0"

14'-0"

17'-0"°

L 16'-0"

2BD

BA

B

B

1180 sqft

K

BA

14'-0"

R

B

RETAIL

OFFICE LIFT

OFFICE

OFFICE

B

S

BA

BA

15'-0"

SERVICE/MEP

L

R

BA

1180 sqft

2BD SHAFT

16'-0"

SERVICE/MEP

AMENITY

AMENITY

RESI

RESI LIFT

RESI 1B

RESI 1B

15'-0"

L

20'-0"

BA

BA

K

BA

BA

16'-0"

K

2BD

K

2BD

1190 sqft

14'-0"

B

B

2BD

1190 sqft 16'-0"

PARKING

L

20'-0"

B

1180 sqft

15'-0"

15'-0"

SHAFT

B

16'-0"

L

SERVICE/MEP RETAIL OFFICE

FLOOR PLATE: 11,360 SQFT

AMENITY RESI RESI 1B

RESI 2B

RESI 2B

17'-0"°

15'-0"

1180 sqft

15'-0"

BA

14'-0"

2BD

B

20'-0"

16'-0"

2BD

K

800 sqft

14'-0"

1BD

14'-0"

BA

L

L

20'-0"

BA

B

B

L 16'-0"

15'-0"

K

B

B

B

1180 sqft

FLOOR PLATE: 11,354 SQFT

17'-0"°

30'-0"°

RESI

5'-0"

L 16'-0"

2BD

10'-0"

B 14'-0"

BA

BA 14'-0"

30'-0"°

6'-0"

B 15'-0"

BA

5'-0"

L

AMENITY

AMENITY

RESI 1B

30'-0"°

24'-5 14 "

R

SERVICE/MEP RETAIL

RESI

30'-0"°

K

925 sqft

905 sqft

10'-0"

BA

800 sqft

PARKING SHAFT

520 sqft

5'-0"

1BD

S 840 sqft

SERVICE/MEP 645 sqft

620 sqft

RETAIL

17'-0"°

20'-0"°

BA

L

B.O.H.

6'-0"

K

B.O.H.

10'-0"

K

1190 sqft

BA BA

24'-5 14 "

2BD

15'-0"

1180 sqft

K

BA

10'-0"

15'-0"

BA

14'-0"

2BD

B

20'-0"

B

B

L 16'-0"

B L 16'-0"

R

SHAFT 920 sqft

30'-0"°

30'-0"°

O

1710 sqft

SERVICE/MEP

5'-0"

17'-0"°

S

B.O.H.

PARKING

20'-0"°

R

30'-0"°

R

30'-0"°

R

20'-0"°

R

30'-0"°

O

24'-5"

O

24'-5"

S

30'-0"°

B.O.H.

30'-0"°

B.O.H.

30'-0"° RESI 3B

30'-0"°

17'-0"°

30'-0"°

17'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

RESI 2B

30'-0"°

RESI 3B

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

30'-0"°

17'-0"°

30'-0"°

RESI 3B

17'-0"°

920 sqft

620 sqft

645 sqft

520 sqft

905 sqft

30'-0"°

RESI STRUCTURE ABOVE

925 sqft

1710 sqft

840 sqft

BA

B

K

BA

B.O.H.

B.O.H.

15'-0"

B

B 15'-0"

BA

1575 sqft

3BD 16'-0"

B

15'-0"

B

R

S

BA

K

3BD

BA

1670 sqft

L

15'-0"

BA

1575 sqft

15'-0"

B

14'-0"

B

3BD 16'-0"

B

O

O

R

R

R

R

K

15'-0"

15'-0"

15'-0"

BA

B

B

K

L

30'-0"°

FLOOR PLATE: 11,360 SQFT

920 sqft

PARKING

21'-0"

B

15'-0"

1710 sqft 620 sqft

645 sqft

520 sqft

PARKING

SHAFT

SHAFT

905 sqft

R

R

BA

925 sqft

S

B.O.H.

1670 sqft

L

15'-0"

BA

K

SHAFT PARKING

21'-0"

B

B

SHAFT

SERVICE/MEP

SERVICE/MEP OFFICE LIFT

OFFICE

OFFICE

AMENITY

AMENITY

RESI

RESI LIFT

RESI 1B

RESI 1B

RESI 1B

RESI 2B

RESI 2B

RESI 2B

RESI 3B

RESI 3B

RESI 3B

GF OFFICE AMENITIES

MEP PARKING

RESI RENTABLE: RESI INTERIOR: EFFICIENCY:

20'-0"

15'-0"

1635 sqft

3BD

B

L

15'-0"

15'-0"

B

3B X 33 2B X 266 1B X 214

GF OFFICE AMENITIES

L72 PLAN

L56 PLAN

L20-L80 (61 FL) RESI

L20 PLAN L17-L19 (3 FL) AMENITIES

L 81 L 80 L 79 L 78 L 77 L 76 L 75 L 74 L 73 L 72 L 71 L 70 L 69 L 68 L 67 L 66 L 65 L 64 L 63 L 62 L 61 L 60 L 59 L 58 L 57 L 56 L 55 L 54 L 53 L 52 L 51 L 50 L 49 L 48 L 47 L 46 L 45 L 44 L 43 L 42 L 41 L 40 L 39 L 38 L 37 L 36 L 35 L 34 L 33 L 32 L 31 L 30 L 29 L 28 L 27 L 26 L 25 L 24 L 23 L 22 L 21 L 20

899'

L 18 L 17

794' L72 PLAN

L56 PLAN

L20-L80 (61 FL) RESI

254'

206'

L20 PLAN L17-L19 (3 FL) AMENITIES

L 16

L 12

GF

EAST ELEVATION

L01 PLAN

L9 L8 L7 L6 L5 L4 L3 L2 L1

RESI 3B

539,787 SQFT 659,443 SQFT 82%

L 81 L 80 L 79 L 78 L 77 L 76 L 75 L 74 L 73 L 72 L 71 L 70 L 69 L 68 L 67 L 66 L 65 L 64 L 63 L 62 L 61 L 60 L 59 L 58 L 57 L 56 L 55 L 54 L 53 L 52 L 51 L 50 L 49 L 48 L 47 L 46 L 45 L 44 L 43 L 42 L 41 L 40 L 39 L 38 L 37 L 36 L 35 L 34 L 33 L 32 L 31 L 30 L 29 L 28 L 27 L 26 L 25 L 24 L 23 L 22 L 21 L 20

899'

794'

L 18 L 17

254'

206'

L 16 L 14 L 13 L 12 L 11

L 11 L 10

RESI 2B

L 19

L17 PLAN L16 PLAN

L9-L16 (8 FL) OFFICE

L 13

L03 PLAN L02 PLAN

RESI 1B

L 15

L 14

L09 PLAN L08 PLAN L2-L8 (7 FL) PARKING

OFFICE

RESI

L 82

L80 PLAN

L 15

L9-L16 (8 FL) OFFICE

RESI RENTABLE: RESI INTERIOR: EFFICIENCY:

RESI

L RF

L81-L82 (2 FL) MEP

L 19

L17 PLAN L16 PLAN

AMENITY

TARGET RENTABLE: 529,100 SQFT

L 82

L80 PLAN

MEP PARKING

SERVICE/MEP RETAIL

AMENITY

OFFICE

539,787 SQFT 659,443 SQFT 82%

L RF

L81-L82 (2 FL) MEP

SERVICE/MEP RETAIL

FLOOR PLATE: 6,054 SQFT

TARGET RENTABLE: 529,100 SQFT

I undertook most of design studies in the process of responding to the RFP and developing a concept design package. These included zoning study, massing study, floor planning, GFA control, preliminary structural layout, and facade design.

I independently produced all the drawings, diagrams, and renderings on the project.

3BD

BA

K

PARKING

21'-0"

BA

RETAIL

3B X 33 2B X 266 1B X 214

1399 SW 1st Ave is a residential develpment in Miami, FL overlooking the Underline project transformed from a series of abandoned public transportation infrastructures. The program consists of parking, office, and retail spaces, in addition to 1B/2B/3B apartment units. The architecture aspires to draw from the landscape spine of the Underline with a zipline of greeneries tracing through the facades, directing viewer’s attention from the urban landscape through a series of interstitial common open spaces of the resident community culminatinng at the tower’s top.

BA

BA

BA

B

840 sqft

15'-0"

B.O.H.

30'-0"°

30'-0"°

1635 sqft 20'-0"

S

BA

5'-0"

L

14'-0"

R

BA

S

21'-0"

BA

20'-0"°

K

BA

10'-0"

L

24'-5"

BA

1670 sqft

B.O.H.

B

BA

20'-0"°

15'-0"

B

30'-0"°

K

20'-0"°

1575 sqft

30'-0"°

L 16'-0"

3BD BA

24'-5"

14'-0"

30'-0"°

15'-0"

BA

B

30'-0"°

B.O.H.

10'-0"

B.O.H.

B

10'-0"

BA BA

3BD

6'-0"

15'-0"

15'-0"

K

10'-0"

14'-0"

1575 sqft

L

24'-5"

16'-0"

3BD

BA

6'-0"

BA

3BD 21'-0"

B

15'-0"

BA

B.O.H.

5'-0"

B

B

30'-0"°

L 15'-0"

B 21'-0"

B

5'-0"

5'-0"

B.O.H.

B 24'-5"

B

94'

L09 PLAN L08 PLAN L2-L8 (7 FL) PARKING

24' 0'

GF

WEST ELEVATION

L03 PLAN L02 PLAN L01 PLAN

L 10 L9 L8 L7 L6 L5 L4 L3 L2 L1

94'

24' 0'

95

1399 SW 1ST AVE

Kohn Pedersen Fox NY

|08

Massing Stu 96

Professional Work 03/2020-08/2020 Response to RFP/Concept Role: Designer in charge, responsible for project research, design studies, modeling, and production throughout.

udy Matrix 97

HENDERSON HUNG HOM

Kohn Pedersen Fox NY

Henderson Hung Hom is a mix-use project of residence and retail development encompassing seven blocks. The project aims at creating the next generation of mix-use. It emphasizes on experiential retail with a blend of art and culture, and speaks of the lifestyles of the younger generation of visitors and occupants. A vastly extraverted retail experience allows the existing urban fabric to permeate into the internal site to facilitate synergy with the intimatel scale of Hung-Hom neighborhood. Anchor stores are strategically positioned and brought to highlight so as to frame the urban spaces, while activating commercial value.

98

|09

Professional Work 05/2020-08/2020 SD/DD Role: Retail podium design studies

Through SD and DD, I worked on the retail podium design in general and focused on a series of anchor stores and gateway volumes defining the entries into the project’s site and the interstitial public spaces.

99

CHONGQING ITCC

Kohn Pedersen Fox NY

100

Chongqing International Trade & Commerce Center is a large scale mix use development in Chongqing, China. The project consists of three office/hotel towers, a retail podium, and a light rail station. The project was initially conceived over a decade ago. Due to the project being transacted to the new owner (Vanke) and the subsequent design changes, KPF was comissioned with a major redesign of the podium facades in 2018.

I was the major contributor of the retail podium and LRT station facade redesign, and managed design studies, 3D models, drawing productions, and presentation materials throughout the process.

|10

Professional Work 02/2019-02/2020 SD/DD Role: Main contributor in retail podium & LRT station facade design, Responsible for design studies, drawing production, presentation materials etc. throughout.

101

CHONGQING ITCC

Kohn Pedersen Fox NY

102

|10

Professional Work 02/2019-02/2020 SD/DD Role: Main contributor in retail podium & LRT station facade design, Responsible for design studies, drawing production, presentation materials etc. throughout.

The design of both the LRT station facade and the shopping mall’s southern stone facade encountered various MEP and fire rescue window demands. To accommodate to the required facade opening rate without compromising the facade’s visual solidity, a fluid gradient pattern was applied to dissolve any discernible boundary between open/ventilated areas and nonopen areas.

To maintain the double-curve geometry of the shopping mall’s stone facade, extensive studies were done to modulate the stone panels and examine any potential visual tolerance issues.

Parametric tools were applied to streamline the process with added accuracy.

103

CHONGQING ITCC

Kohn Pedersen Fox NY

|10

索引 Key Plan

26 8500

+47.800M TRIMMING PLANE

SW WALL TOP TRIMMING PLANE AT T.O.PROFILE

说明

PP2-SW-T WP2

Illustration

962.5 REFER TO SW SEC

SW WALL TOP TRIMMING PLANE AT CL.O.MULL

Developer

发展商

+47.800M TRIMMING PLANE +51.800M TRIMMING PLANE

PP2-SW-7A WP2

建筑立面设计顾问

PP2-SW-T WP1

Architecture Facade Design Consultant

+40.650M CL.O.STACK JT

PP2-SW-T WP3

2-SW-7A WP1

PP2-SW-7A WP1 PP2-SW-6A WP2

2-SW-7A WP2

RMINED BY EN TRIMMING PLANE

PP2-SW-6A WP1 PP2-SW-5A WP2

PP2-SW-7A WP10 PP2-SW-7B WP3

+28.650M CL.O.STACK JT PP2-SW-5A WP1 PP2-SW-4A WP2

TOP TRIMMING PLANE PLAN PROJECTION

PP2-SW-6A WP3 PP2-SW-6B WP2

PP2-SW-7B

PP2-SW-5A WP3 PP2-SW-5B WP2

PP2-SW-6B

PP2-SW-6A WP4 PP2-SW-6B WP1

PP2-SW-5B PP2-SW-4B

26

+22.650M CL.O.STACK JT

PP2-SW-7A WP4 PP2-SW-7B WP1

Kohn Pedersen Fox Associates PC Architects & Planning Consultants 11 West 42nd Street New York, NY 10036 Tel: 212.977.6500 Fax: 212.956.2526

执行建筑师 Executive Architect 建筑设计顾问 Architecture Consultant

PP2-SW-4A WP1 PP2-SW-3A WP2

+16.950M B.O.MULL

+51.800M TRIMMING PLANE

华东建筑设计研究总院 EAST CHINA ARCHITECTURAL DESIGN & RESEARCH INSTITUTE

华东建筑设计研究院有限公司

PP2-SW-3A WP1

EAST CHINA ARCHITECTURAL DESIGN & RESEARCH INSTITUTE CO., LTD

PP2-SW-T WP4

PP2-SW-3B PP2-SW-4A WP3 PP2-SW-4B WP2

8500

0 00 65

+34.650M CL.O.STACK JT

65000

PP2-SW-5A WP4 PP2-SW-5B WP1

结构、机电设计顾问

Structural and MEP Engineer

PP2-SW-3A WP3 PP2-SW-3B WP2

PP2-SW-4A WP4 PP2-SW-4B WP1

PP2-SW-7A PP2-SW-6A PP2-SW-5A PP2-SW-4A

奥雅纳工程咨询（上海）有限公司

PP2-SW-3A

PP2-SW-3A WP4 PP2-SW-3B WP1

Arup International Consultants (Shanghai) Co.,Ltd

上海市淮海中路1045号淮海国际广场 39-41楼

39/F-41/F Huai Hai Plaza,1045 Huai Hai Road (M), Shanghai,China

幕墙设计顾问 Curtain Wall Consultant

4

SW GEOMETRY DIAGRAM NTS

外墙设计顾问 Facade Consultant

弗思特工程咨询有限公司 证书编号：A232044395

建筑幕墙工程设计专项乙级资质

SW-5A WP1

SW WALL TOP TRIMMING PLANE AT T.O.PROFILE

SW-5A WP4

国内设计咨询单位

+47.800M TRIMMING PLANE

SW WALL TOP TRIMMING PLANE AT CL.O.MULL

Local Design Institute

PP2-SW-T WP1

中国·重庆市设计院 CHONGQING ARCHITECTURAL DESIGN INSTITUTE P.R.CHINA

962.5 REFER TO SW SEC

灯光设计顾问 Lighting Design Consultant

26

+47.800M TRIMMING PLANE

+51.800M TRIMMING PLANE

8500

版本号

PP2-SW-T WP4

PP2-SW-T WP2

Brandston Parnership Inc. Lighting Design 302 Fifth Ave., 12th Floor New York, New York 10001, USA Tel: 212.924.4050 Fax: 212.691.5418 BPI China (碧谱照明) No. 1 Da Pu Road, Room 2108 Shanghai, China (8621) 5396 0327 Edition No.

设计主持人

Director of the Design

李秉奇

注册证书号码

PP2-SW-7B WP3 PP2-SW-7C WP2

965100006

Registered Credentials No.

注册印章号码

311011-012

Registered Signet No.

PP2-SW-7C WP3

建筑方案设计

Architecture Designer

Kohn Pedersen Fox Associates PC

李秉奇 设计总负责

+40.650M CL.O.STACK JT

Design Person in Charge

PP2-SW-6B WP3 PP2-SW-6C WP2 PP2-SW-7C WP4 PP2-SW-6C WP3

+34.650M CL.O.STACK JT

汤启明

PP2-SW-7B WP4 PP2-SW-7C WP1

专业负责

Specialized Person in Charge

+51.800M TRIMMING PLANE

PP2-SW-5C WP3 PP2-SW-6C WP4

+28.650M CL.O.STACK JT

PP2-SW-7C PP2-SW-6C PP2-SW-5C

PP2-SW-4C WP3 PP2-SW-5C WP4

PP2-SW-3C

周爱农

计

绘

图

邝杰林

校

对

张鼎国

Drawing

PP2-SW-3A WP2

GUARDRAIL

# 中心点号

# 裙楼期数

GUARDRAIL

定位点号

# 裙楼期数

PP2-SW-5B WP4 PP2-SW-5C WP1

Check

PP2-SW-4B WP3 PP2-SW-4C WP2

工程名称 Project Name

PP2-SW-3C WP3 PP2-SW-4C WP4

+16.950M B.O.MULL

PP2-SW-4B WP4 PP2-SW-4C WP1

重庆市渝中区 化龙桥片区B11－1/02地块 二、三期商业裙房项目

PP2-SW-3B WP3 PP2-SW-3C WP2 PP2-SW-7B

PP2-SW-3C WP4

工程编号 Project Number 图别 Drawing Sort 日期 Date 图纸名称 Drawing Title

PP2-SW-6B PP2-SW-5B PP2-SW-4B

PP2-SW-3B WP4 PP2-SW-3C WP1

3

℄ EO

SW GEOMETRY DIAGRAM NTS

104

CENTER LINE 中心线 EDGE OF

PP2-SW-3B

© 2019 KOHN PEDERSEN FOX ASSOCIATES PC. All rights reserved.

修改内容 Issue

09101

建

初

2012-12

PHASE 2 PODIUM SOUTHWEST CORNER WALL GEOMETRY

1. UNLESS OTHERWISE NOTED ALL FACADE GEOMETRIES, DIMENSIONS, AND WORK POINTS ARE TO FACE OF CLADDING.

编号 No.

凯

李本钧

定

设

Design

PP2-SW-5B WP3 PP2-SW-5C WP2

PP2-SW-4C

+22.650M CL.O.STACK JT

PP2-SW-3A WP1

兵

王

查

核

Examiner

PP2-SW-T WP3

李

审

Approved

PP2-SW-6B WP4 PP2-SW-6C WP1

周爱农

日期 Date

图号 Drawing Number

A-0195

EOS

EDGE OF SLAB 楼板边界线

FOG

FACE OF GLASS 玻璃外表面

FOB

FACE OF BUILDING 建筑面

RAD

RADIUS 半径

地 址:中国重庆市渝中区人和街31号

WP

WORK POINT

电 话

POI

INFLECTION POINT

传 真

中国·重庆市设计院 CHONGQING ARCHITECTURAL DESIGN INSTITUTE P.R.CHINA ADD: No.31,RenHe Road,YuZhong District,Chongqing,P.R.C. TEL: FAX:

023-63862398

023-63856935

The shopping mall’s SW main entrance was highlighted with a conical facade with rather convoluted deductive geometries. To accomodate to the fast-paced design iterations, I fully parametricized the facade allowing for automated regeneration of geometric setout, modulation, panelization, and curtain wall member modeling.

Professional Work 02/2019-02/2020 SD/DD Role: Main contributor in retail podium & LRT station facade design, Responsible for design studies, drawing production, presentation materials etc. throughout.

105

BLUE HORIZON ESTATE

Atelier Li Xinggang

A hotel + apartment project in Haikou, China that borrows from traditional Chinese gardening to create scenic inhabitation.

106

I assisted the design & drawing production of the residence buildings, and developed the rooftop mansion units with technical drawings under the supervision of a senior architect. The project experience was part of my B.Arch + M.Arch program and the basis of my M.Arch thesis at Tsinghua University.

|11

Professional Work 10/2015-04/2016 SD/DD/CD Role: Assistance in residence modeling & drawing production; Rooftop villas designer in charge, responsible for modeling, drawing production throughout.

107

OTHER WORKS

Drawing, visualization, fabrication, & art

Paper Fold Computation Analysis Fabrication, 2016 Fall Instructor: John Eberhart Individual Work

108

Casting the Fluid Custom Crafted Component, 2017 Fall Instructor: Kevin Rotheroe Individual Work

109

OTHER WORKS

Drawing, visualization, fabrication, & art

San Carlo Unfolded

110

Rome: Continuity & Change, Fall 2016 Critics: G. Knight, M. Brooks, S. Harby, K. Dugdale Individual Work

Study Sketches

111

OTHER WORKS

Drawing, visualization, fabrication, & art

112

Rome Sketches Rome: Continuity & Change, Fall 2016 Critics: G. Knight, M. Brooks, S. Harby, K. Dugdale Individual Work

113

OTHER WORKS

Drawing, visualization, fabrication, & art

Female Body Imitation Study #1

114

Ditigal, 3724x6400 07/2020

Infliction Ditigal, 4002x5436 11/2021

115

Minquan Wang US: 203-508-4375 P.R. China: 15205514870 minquanwang00@gmail.com minquanwang.net