PORTFOLIO FOR INTERVIEW

ARCHITECTURE P O R T F O L I O Zheng Wu

ZHENG WU

PERSONAL INFO

+ 6 1 - 0 4 5 7 6 9 8 0 0 0 zwu7@student.unimelb.edu.au

Current City Melbourne, Australia Statement Zheng Wu is a postgraduate and dreamer from the University of Melbourne.

Communicative, punctual, and proactive, he always follows the human heart in the process of design. He critically reflects and debates on emergent issues, and progressively refines spatial experiments, curates human experience, and eventuates what the site wants to be. He aspires to become a registered architect in Victoria.

The Hague Rotterdam

LANGUAGE SKILLS

Nanchang

Shanghai

Rhinoceros

2019 - 2021 2016 - 2019

ArchiCAD

Master of Architecture Bachelor of Architecture

Technische Universiteit Delft | Netherlands

Jan - Feb 2019

The University of Stuttgart | Germany

2013 - 2015 2011 - 2012

2019 2016 - 2019 2019 2018 2018 2018 2018 2015

SketchUp V Ray Grasshopper Illustrator Photoshop InDesign MS Office 3D Printing PLACE OF RESIDENCE

Dutch

The University of Melbourne | Australia

Feb - July 2020

Revit

Melbourne

German

EDUCATION

Jan 2022 Jan - Mar 2021

AutoCAD Singapore

English

Spring Semester Exchange Program

Winter University Exchange Program

Temasek Junior College | Singapore Temasek Academy | Singapore

EXPERIENCE

TECHNICAL SKILLS

Stuttgart

Mandarin

Venice Studio with Lütjens Padmanabhan Architekten | Switzerland Internship at AIM Architecture | Shanghai Modelmaking, CAD documentation, 15th Anniversary Exhibition, Retail design, Rhino modeling, Siheyuan Heritage House Rennovation Endangered Species Exhibition at the Lyon Housemuseum | Melbourne Exhibited works at the Melbourne School of Design Exhibition | Melbourne The Future Park Design Ideas Competition | Melbourne Super Studio Competition | Melbourne Architecture Association Visiting School - Marking the City Chengdu | China Architecture Association Visiting School - The New Paper| Melbourne Land Art Generator Competition LAGI 2018 | Melbourne Internship at the IX Architects |Singapore SketchUp modeling, client meeting, librarian

Modelmaking

ACHIEVEMENTS 2019 2018 2011 - 2013

HOBBIES

Running

Photography

Cycling

Cooking

Kayaking

Gardening

Melbourne Global Scholars Awards (Master Program) Melbourne Global Scholars Awards (Bachelor Program) Singapore School-Based SM1 Scholarship

REFERENCE Ihr. Sien van Dam Chair of Public Building Faculty of Architecture, TU Delft A.M.F.vandam@tudelft.nl

Ariani Anwar Associate, John Wardle Architects Studio Leader, University of Melbourne Ariani.Anwar@johnwardlearchitects.com

ZHENG WU

PERSONAL INFO

+ 6 1 - 0 4 5 7 6 9 8 0 0 0 zwu7@student.unimelb.edu.au

Current City Melbourne, Australia Statement Zheng Wu is a postgraduate and dreamer from the University of Melbourne.

Communicative, punctual, and proactive, he always follows the human heart in the process of design. He critically reflects and debates on emergent issues, and progressively refines spatial experiments, curates human experience, and eventuates what the site wants to be. He aspires to become a registered architect in Victoria.

The Hague Rotterdam

LANGUAGE SKILLS

Nanchang

Shanghai

Rhinoceros

2019 - 2021 2016 - 2019

ArchiCAD

Master of Architecture Bachelor of Architecture

Technische Universiteit Delft | Netherlands

Jan - Feb 2019

The University of Stuttgart | Germany

2013 - 2015 2011 - 2012

2019 2016 - 2019 2019 2018 2018 2018 2018 2015

SketchUp V Ray Grasshopper Illustrator Photoshop InDesign MS Office 3D Printing PLACE OF RESIDENCE

Dutch

The University of Melbourne | Australia

Feb - July 2020

Revit

Melbourne

German

EDUCATION

Jan 2022 Jan - Mar 2021

AutoCAD Singapore

English

Spring Semester Exchange Program

Winter University Exchange Program

Temasek Junior College | Singapore Temasek Academy | Singapore

EXPERIENCE

TECHNICAL SKILLS

Stuttgart

Mandarin

Venice Studio with Lütjens Padmanabhan Architekten | Switzerland Internship at AIM Architecture | Shanghai Modelmaking, CAD documentation, 15th Anniversary Exhibition, Retail design, Rhino modeling, Siheyuan Heritage House Rennovation Endangered Species Exhibition at the Lyon Housemuseum | Melbourne Exhibited works at the Melbourne School of Design Exhibition | Melbourne The Future Park Design Ideas Competition | Melbourne Super Studio Competition | Melbourne Architecture Association Visiting School - Marking the City Chengdu | China Architecture Association Visiting School - The New Paper| Melbourne Land Art Generator Competition LAGI 2018 | Melbourne Internship at the IX Architects |Singapore SketchUp modeling, client meeting, librarian

Modelmaking

ACHIEVEMENTS 2019 2018 2011 - 2013

HOBBIES

Running

Photography

Cycling

Cooking

Kayaking

Gardening

Melbourne Global Scholars Awards (Master Program) Melbourne Global Scholars Awards (Bachelor Program) Singapore School-Based SM1 Scholarship

REFERENCE Ihr. Sien van Dam Chair of Public Building Faculty of Architecture, TU Delft A.M.F.vandam@tudelft.nl

Ariani Anwar Associate, John Wardle Architects Studio Leader, University of Melbourne Ariani.Anwar@johnwardlearchitects.com

CONTENTS

01

House of Loss

4

for people who dance with fire

02

Performance Depot

17

a creative engine for city

03

Law Gallery House

22

Melbourne legal precinct 2050

04

The Rotunda

27

BOZAR a silent giant

05

Skyedge Tower

28

a one-stop mixed-use supertall

06

Palazzo

30

a venetian typology for co-living

07

Breathing Silver

31

the second skin

08

The Gyroid-Fort a home for echidnas

09

Valley Acacia the estate pleasure garden

10

The Arc at Carlton a community health centre

11

AIM Exhibition hand-crafted models

32

CONTENTS

01

House of Loss

4

for people who dance with fire

02

Performance Depot

17

a creative engine for city

03

Law Gallery House

22

Melbourne legal precinct 2050

04

The Rotunda

27

BOZAR a silent giant

05

Skyedge Tower

28

a one-stop mixed-use supertall

06

Palazzo

30

a venetian typology for co-living

07

Breathing Silver

31

the second skin

08

The Gyroid-Fort a home for echidnas

09

Valley Acacia the estate pleasure garden

10

The Arc at Carlton a community health centre

11

AIM Exhibition hand-crafted models

32

4 | INTRO

RESEARCH | 4

01

HOUSE OF LOSS FOR-PEOPLE-WHO-DANCE-WITH-FIRE Individual work Thesis Studio, 2021 Tutor: Marijke Davey

INDEPENDENT THESIS BRIEF

This thesis perceives ‘loss’ as an invitation to response, especially in the context of Beirut, Lebanon, which has accumulated various forms of loss throughout her history. Using poetry and acrylic painting as the main method of research, this thesis speculates ways to manifest loss into space, and seeks for a critical position or commentary towards the issues of loss.

An emergency coordination department was absent in the former port system. To ensure a safe, creative, and commemorated port, this thesis designs a House of Loss for people who dance with fire.

For the four artefacts of loss in poetry and acrylic painting, please visit: https://issuu.com/tirteenzhengwu/docs/thesis_conceptual_artefacts

For the short presentation video, please visit: https://vimeo.com/644418016

For the virtual exhibition on msdx, please visit: https://www.msdx-gallery.com.au/students/zheng-wu-tirteen/

4 | INTRO

RESEARCH | 4

01

HOUSE OF LOSS FOR-PEOPLE-WHO-DANCE-WITH-FIRE Individual work Thesis Studio, 2021 Tutor: Marijke Davey

INDEPENDENT THESIS BRIEF

This thesis perceives ‘loss’ as an invitation to response, especially in the context of Beirut, Lebanon, which has accumulated various forms of loss throughout her history. Using poetry and acrylic painting as the main method of research, this thesis speculates ways to manifest loss into space, and seeks for a critical position or commentary towards the issues of loss.

An emergency coordination department was absent in the former port system. To ensure a safe, creative, and commemorated port, this thesis designs a House of Loss for people who dance with fire.

For the four artefacts of loss in poetry and acrylic painting, please visit: https://issuu.com/tirteenzhengwu/docs/thesis_conceptual_artefacts

For the short presentation video, please visit: https://vimeo.com/644418016

For the virtual exhibition on msdx, please visit: https://www.msdx-gallery.com.au/students/zheng-wu-tirteen/

5 | CONTEXT

SCULPTURE | 5

the Ear

People Who Dance with Fire

6:07

There exists a place where the residents head out for every battle against loss.

They are agile, admirable, and anonymous.

Sometimes some of them never come back.

They are people who dance with fire.

Every good firefighter loves fire.

And the fire instructor is a pyromania.

The heavy protective suit wraps around the body, insulating the frenzy heat, but never the call for help.

Beirut is a city that went through several stages of loss and reconstruction.

Loss is ambiguous to comprehend, while losses pile up, at your feet, and behind the space you see. So tall, it starts crumpling. To swallow you with a throttle. To make you react.

Through poetry, painting, and architectural intervention, this thesis manifests four issues of loss in the context, or loss of context, of the after-blast Beirut. These issues are: loss of identity, loss of life, loss of built fabric, and loss of memory.

Architecture moves forward not by becoming more rigorous, but more imaginative. Encounter more than you can think of. Reconstruct our collected knowledge to fit as a whole. And such reconstruction will be an infinite game.

Amidst the crackling and popping bursts of fire, rescuers use their ears to scan for yelling from people, from cats, and silent screams from paintings.

A smooth curve that holds on lives and civilisation.

At the shadowy site boundary, paramedics lean their ears to weeping survivors.

Sighs and solace echo in a spiral tunnel.

A spiral that mingles shattered souls.

The time froze at 6:07 PM on the day.

Nine firefighters and one paramedic were killed in the devastating Beirut blast next to the site.

With elongated silence, one takes a linear walk through photos and trophies, glories and commemoration.

5 | CONTEXT

SCULPTURE | 5

the Ear

People Who Dance with Fire

6:07

There exists a place where the residents head out for every battle against loss.

They are agile, admirable, and anonymous.

Sometimes some of them never come back.

They are people who dance with fire.

Every good firefighter loves fire.

And the fire instructor is a pyromania.

The heavy protective suit wraps around the body, insulating the frenzy heat, but never the call for help.

Beirut is a city that went through several stages of loss and reconstruction.

Loss is ambiguous to comprehend, while losses pile up, at your feet, and behind the space you see. So tall, it starts crumpling. To swallow you with a throttle. To make you react.

Through poetry, painting, and architectural intervention, this thesis manifests four issues of loss in the context, or loss of context, of the after-blast Beirut. These issues are: loss of identity, loss of life, loss of built fabric, and loss of memory.

Architecture moves forward not by becoming more rigorous, but more imaginative. Encounter more than you can think of. Reconstruct our collected knowledge to fit as a whole. And such reconstruction will be an infinite game.

Amidst the crackling and popping bursts of fire, rescuers use their ears to scan for yelling from people, from cats, and silent screams from paintings.

A smooth curve that holds on lives and civilisation.

At the shadowy site boundary, paramedics lean their ears to weeping survivors.

Sighs and solace echo in a spiral tunnel.

A spiral that mingles shattered souls.

The time froze at 6:07 PM on the day.

Nine firefighters and one paramedic were killed in the devastating Beirut blast next to the site.

With elongated silence, one takes a linear walk through photos and trophies, glories and commemoration.

6 | LOSS OF IDENTITY

ARTEFACTS | 6

Museum of Exile Zheng Wu 29 August 2021 Acrylic on canvas 60.0 x 60.0 cm

6 | LOSS OF IDENTITY

ARTEFACTS | 6

Museum of Exile Zheng Wu 29 August 2021 Acrylic on canvas 60.0 x 60.0 cm

7 | PLAN

COLLAGE | 7

7 | PLAN

COLLAGE | 7

8 | LOSS OF LIFE

ARTEFACTS | 8

A Voyage to Nothing Zheng Wu 8 September 2021 Acrylic on canvas 60.0 x 60.0 cm

8 | LOSS OF LIFE

ARTEFACTS | 8

A Voyage to Nothing Zheng Wu 8 September 2021 Acrylic on canvas 60.0 x 60.0 cm

9 | MAP

COLLAGE | 9

9 | MAP

COLLAGE | 9

10 | LOSS OF BUILT FABRIC

ARTEFACTS | 10

Ministry of Reconstruction Zheng Wu 9 September 2021 Acrylic on canvas 60.0 x 60.0 cm

10 | LOSS OF BUILT FABRIC

ARTEFACTS | 10

Ministry of Reconstruction Zheng Wu 9 September 2021 Acrylic on canvas 60.0 x 60.0 cm

11 | SECTION

COLLAGE | 11

11 | SECTION

COLLAGE | 11

12 | LOSS OF CONTEXT

ARTEFACTS | 12

Tales by the Port Zheng Wu 15 September 2021 Acrylic and sand on canvas 60.0 x 60.0 cm

12 | LOSS OF CONTEXT

ARTEFACTS | 12

Tales by the Port Zheng Wu 15 September 2021 Acrylic and sand on canvas 60.0 x 60.0 cm

13 | PLAN

COLLAGE | 13

13 | PLAN

COLLAGE | 13

13 | SPATIAL GISTS

| 13

充 实

目 的

遇 见

天 堂

充 实

目 的

遇 见

天 堂

13 | SPATIAL GISTS

| 13

充 实

目 的

遇 见

天 堂

充 实

目 的

遇 见

天 堂

composition 3 [raw]

composition 3 [edified]

composition 3 [raw]

composition 3 [edified]

composition 8 [raw]

composition 8 [edified]

composition 8 [raw]

composition 8 [edified]

composition 15 [raw]

composition 15 [edified]

composition 15 [raw]

composition 15 [edified]

composition 20 [raw]

composition 20 [edified]

composition 20 [raw]

composition 20 [edified]

bedroom

bathroom

private bedrooms with modular windows

bedroom

public interface with strong street presence

apparatus room

drive through

vertical fins project rhythmic light and shadow monumentality

openings of varying height induce public curiosity to look in

vertical fins provide different extents of privacy visual range control

longer windows for bedrooms narrower windows for bathrooms

bedroom

bathroom

private bedrooms with modular windows

bedroom

public interface with strong street presence

apparatus room

drive through

vertical fins project rhythmic light and shadow monumentality

openings of varying height induce public curiosity to look in

vertical fins provide different extents of privacy visual range control

longer windows for bedrooms narrower windows for bathrooms

fire rehearsal spaces visually exposed to public routes

public transition into administration space

contamination storage

flooding cellar

control centre

consultation rooms gallery

seminar reception

outdoor rehearsal yard curved walls around the sunken yard public routes visually connected to fire rehearsal spaces public ramp partially intrudes the sunken yard projecting curved shadow

taller window as public routes intersect longer high window to ventilate flooding cellar and allow observers from above smaller low window to preview the flooding cellar

public entrance from rehearsal yard

public stairs to administration

public entrance ramp

vestibule public routes merge between administration and flooding cellar small ramp up to reach gallery and consultation rooms transit from public to semi-public

ceiling curves down to transit into reception space ceiling straight up to bring down light well ceiling folds up to soften reflected light

flooding cellar

fire rehearsal spaces visually exposed to public routes

public transition into administration space

contamination storage

flooding cellar

control centre

consultation rooms gallery

seminar reception

outdoor rehearsal yard curved walls around the sunken yard public routes visually connected to fire rehearsal spaces public ramp partially intrudes the sunken yard projecting curved shadow

taller window as public routes intersect longer high window to ventilate flooding cellar and allow observers from above smaller low window to preview the flooding cellar

public entrance from rehearsal yard

public stairs to administration

public entrance ramp

vestibule public routes merge between administration and flooding cellar small ramp up to reach gallery and consultation rooms transit from public to semi-public

ceiling curves down to transit into reception space ceiling straight up to bring down light well ceiling folds up to soften reflected light

flooding cellar

trainee’s private quarter above recreation space

domestic canteen and kitchen

trainees’s bedrooms behind trainee’s bedrooms walkway

shower

treshold to workstation

general supply

restrooms

gym

firefighter’s bedrooms

locker room

living room

canteen

kitchen

outdoor training

concealed storage angled inwards allows for triangular shadows to emphasize entrance door concealed private shower space

high windows provide natural light and privacy expansive entrance to gym to expand training outdoors

horizontal element serves as outdoor seating

large window provides view at canteen wide high window provides natural light for kitchen

kitchen storage

firefighter’s bedrooms

trainee’s private quarter above recreation space

domestic canteen and kitchen

trainees’s bedrooms behind trainee’s bedrooms walkway

shower

treshold to workstation

general supply

restrooms

gym

firefighter’s bedrooms

locker room

living room

canteen

kitchen

outdoor training

concealed storage angled inwards allows for triangular shadows to emphasize entrance door concealed private shower space

high windows provide natural light and privacy expansive entrance to gym to expand training outdoors

horizontal element serves as outdoor seating

large window provides view at canteen wide high window provides natural light for kitchen

kitchen storage

firefighter’s bedrooms

flooding cellar interface for public observation

collective living room

rehearsal yard

public entrance ramp

trainee’s bedrooms

ground level

flooding cellar

vestibule outdoor

public routes merge along flooding cellar walls curve in to allow short stay for observation

horizontal platform provides a resting space to lean on various windows for observation

living room

expansive opening to outdoor living

canteen

ceiling curve up to reduce reflected noises

flooding cellar interface for public observation

collective living room

rehearsal yard

public entrance ramp

trainee’s bedrooms

ground level

flooding cellar

vestibule outdoor

public routes merge along flooding cellar walls curve in to allow short stay for observation

horizontal platform provides a resting space to lean on various windows for observation

living room

expansive opening to outdoor living

canteen

ceiling curve up to reduce reflected noises

14 | PLANS

| 14

14 | PLANS

| 14

15 | PLANS

SEQUENTIAL SECTIONS | 15

15 | PLANS

SEQUENTIAL SECTIONS | 15

16 | PUBLIC SPACE

MOMENTS | 16

16 | PUBLIC SPACE

MOMENTS | 16

17 | INTRO

CONCEPT | 17

02

PERFORMANCE DEPOT A-CREATIVE-ENGINE-FOR-CITY Individual work Studio E, 2021 Tutor: Peter Stasios

DESIGN BRIEF Nowadays, performing arts has been evolving and diversified to meet a changing generation of audiences, the city craves a revolutionary upgrade of performance industries. Therefore, Performance Depot is a warehouse with rehearsal, production spaces for practitioners, and an immersive theatre that forges closer connections between performers and audience by immersing them in hyper-realistic stage-sets as if they are living and exploring in fiction.

For the virtual exhibition on msdx, please visit: https://msd.unimelb.edu.au/msdx/archive/2021_s1/graduate-design-studios-and-subjects/architecture/cde-studio-03/zheng-wu

17 | INTRO

CONCEPT | 17

02

PERFORMANCE DEPOT A-CREATIVE-ENGINE-FOR-CITY Individual work Studio E, 2021 Tutor: Peter Stasios

DESIGN BRIEF Nowadays, performing arts has been evolving and diversified to meet a changing generation of audiences, the city craves a revolutionary upgrade of performance industries. Therefore, Performance Depot is a warehouse with rehearsal, production spaces for practitioners, and an immersive theatre that forges closer connections between performers and audience by immersing them in hyper-realistic stage-sets as if they are living and exploring in fiction.

For the virtual exhibition on msdx, please visit: https://msd.unimelb.edu.au/msdx/archive/2021_s1/graduate-design-studios-and-subjects/architecture/cde-studio-03/zheng-wu

18 | ENTRANCE ROTUNDA

the former foyer

DETAIL | 18

In light of recalling the former theatrical identity, the new immersive theatre should challenge the obsolete theatre at the right angle, with a rotunda public foyer as a connecting node. The main entrance is covered by operable curtain-like aluminum claddings, used to make any industrial shed.

The curtain-like concrete walls frame the entrance as a portal into a theatrical reality.

18 | ENTRANCE ROTUNDA

the former foyer

DETAIL | 18

In light of recalling the former theatrical identity, the new immersive theatre should challenge the obsolete theatre at the right angle, with a rotunda public foyer as a connecting node. The main entrance is covered by operable curtain-like aluminum claddings, used to make any industrial shed.

The curtain-like concrete walls frame the entrance as a portal into a theatrical reality.

19 | CO-WORK

WORK AND LEISURE | 19

19 | CO-WORK

WORK AND LEISURE | 19

20 | IMMERSIVE THEATRE

FACADE | 20

CONTENTS [INSERT TEXT] Aliquam erat volutpat.

Proin porttitor sodales libero, at varius massa sagittis eget. Nunc velit lorem, lacinia nec pharetra et, varius non mauris. Duis egestas dui vitae leo laoreet, a vehicula urna egestas.

Pellentesque bibendum consequat ante vitae pellentesque. Ut consequat mollis enim, non viverra neque. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos.

Working spaces include a coworking workshop at the street corner, rehearsal and production spaces on lower floors, and three cubes of immersive theatre whose configuration can be rearranged for specific stage sets as required.

During the day, the building appears as an industrial warehouse to be unveiled. However, at night, the proceeding immersive show would constantly cast vibrant lighting on the ephemeral skin, being enlivened as a fluid story maker, as an attractive, resilient creative engine for the city.

20 | IMMERSIVE THEATRE

FACADE | 20

CONTENTS [INSERT TEXT] Aliquam erat volutpat.

Proin porttitor sodales libero, at varius massa sagittis eget. Nunc velit lorem, lacinia nec pharetra et, varius non mauris. Duis egestas dui vitae leo laoreet, a vehicula urna egestas.

Pellentesque bibendum consequat ante vitae pellentesque. Ut consequat mollis enim, non viverra neque. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos.

Working spaces include a coworking workshop at the street corner, rehearsal and production spaces on lower floors, and three cubes of immersive theatre whose configuration can be rearranged for specific stage sets as required.

During the day, the building appears as an industrial warehouse to be unveiled. However, at night, the proceeding immersive show would constantly cast vibrant lighting on the ephemeral skin, being enlivened as a fluid story maker, as an attractive, resilient creative engine for the city.

21 | RENDER ENTRANCES

INTERIOR RENDER | 21

THE OBSOLETE THEATRE

THE IMMERSIVE BAR

THE ‘CURTAIN’, PORTAL TO THEATRICAL REALITIES

THE IMMERSIVE SHOW ‘FAUST’

21 | RENDER ENTRANCES

INTERIOR RENDER | 21

THE OBSOLETE THEATRE

THE IMMERSIVE BAR

THE ‘CURTAIN’, PORTAL TO THEATRICAL REALITIES

THE IMMERSIVE SHOW ‘FAUST’

22 | INTRO

SECTION | 22

03

LAW GALLERY HOUSE MELBOURNE-LEGAL-PRECINCT-2050 Individual work Master year 1 Studio C, 2019 Tutor: Ariani Anwar Collaboration: John Wardle Architects

DESIGN BRIEF The project critiques established conventions of the court typology and introduces new and innovative programs into the building and surrounding urban realm, in order to allow the court to act as a contemporary community gathering place.

The Law Gallery House is a second-life home to excriminals, and a gallery where the legal trials and the accused, the general public life, and ex-criminals’ new life become curated objects juxtaposed to each other, promoting better connections and deeper interpretations of each other.

22 | INTRO

SECTION | 22

03

LAW GALLERY HOUSE MELBOURNE-LEGAL-PRECINCT-2050 Individual work Master year 1 Studio C, 2019 Tutor: Ariani Anwar Collaboration: John Wardle Architects

DESIGN BRIEF The project critiques established conventions of the court typology and introduces new and innovative programs into the building and surrounding urban realm, in order to allow the court to act as a contemporary community gathering place.

The Law Gallery House is a second-life home to excriminals, and a gallery where the legal trials and the accused, the general public life, and ex-criminals’ new life become curated objects juxtaposed to each other, promoting better connections and deeper interpretations of each other.

23 | MAGIC DRAWING

PARTI & PLANNING| 23

OOD O O O

I

OO

OO I

V VI I

DI

O D DIO

In 2050, as the rate of excriminals returning to prison would fluctuate at a high level of 45 percent, the law gallery house is a second-life home for ex-criminals to reintroduce them into our community by offering necessary skills and employment.

This is also a gallery where the legal trials, the general public

life,

and

the

ex-criminals’

new

life

conceptually become curated objects juxtaposed to each other, promoting better connections and deeper interpretations.

Various activities of the three groups require courtrooms, broadcast studios for teleconferencing, education, entertainment and exhibition spaces, market lanes,

cooking classes, and a food court.

As historical laneways have been diminishing since 1895, the future twonscaping will restore the unique Melbourne laneway culture. The final arrangement features highly mixed and active ground floor laneways.

In the law gallery house, ex-

criminals after going through cooking classes and art workshop can become chefs and artists to regain public support, and ex-hackers can become IT technicians, to construct the virtual court. Law Gallery House will help our society to reconfigure a harmonious and active community.

23 | MAGIC DRAWING

PARTI & PLANNING| 23

OOD O O O

I

OO

OO I

V VI I

DI

O D DIO

In 2050, as the rate of excriminals returning to prison would fluctuate at a high level of 45 percent, the law gallery house is a second-life home for ex-criminals to reintroduce them into our community by offering necessary skills and employment.

This is also a gallery where the legal trials, the general public

life,

and

the

ex-criminals’

new

life

conceptually become curated objects juxtaposed to each other, promoting better connections and deeper interpretations.

Various activities of the three groups require courtrooms, broadcast studios for teleconferencing, education, entertainment and exhibition spaces, market lanes,

cooking classes, and a food court.

As historical laneways have been diminishing since 1895, the future twonscaping will restore the unique Melbourne laneway culture. The final arrangement features highly mixed and active ground floor laneways.

In the law gallery house, ex-

criminals after going through cooking classes and art workshop can become chefs and artists to regain public support, and ex-hackers can become IT technicians, to construct the virtual court. Law Gallery House will help our society to reconfigure a harmonious and active community.

24 | LEGAL PRECINCT 2050 MASTERPLAN

DISTRIBUTION | 24

24 | LEGAL PRECINCT 2050 MASTERPLAN

DISTRIBUTION | 24

25 | SITE PLAN

PLAN | 25

A

A

A

18

15

16

16

24

15

17

2

2

23 1

21

4

VOID

6

3 5

1

18

25

1. LEGAL OFFICE 2. OFFICE RECEPTION 3. CUSTODY LOBBY 4. CUSTODY CELL 5. STAFF TOILET 6. ROOFTOP GARDEN 7. UBER AIR PADS

5

15

17

A

F4

SCALE 1 : 500 0

5

10 m

VOID

16

16

A

15

17

18

15 VOID VOID VOID

8

VOID

VOID

VOID

19

9

2

VOID 11

10

11

VOID

VOID VOID

1

18

2 7

18

9

4

5

12 6

11

4

6

11

VOID

6

4

5

VOID

4

VOID 1

18

3

VOID 1. SMALL COURTROOM 2. LEGAL OFFICE STAIRS 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. INTERVIEW ROOM 7. LEGAL ATRIUM 8. SCULPTURE GARDEN 9. OBSERVATION PLATFORM 10. VEGETABLE GARDEN 11. ROOF TERRACE 12. CUSTODY STAIRS

A

23

12

VOID

11

10

VOID

F3

13

SCALE 1 : 500 0

5

10 m

15 3

3

12 11

A

VOID

1

VOID

1 13

14

VOID 8

4

VOID

4 6

16 10

18

18

16

VOID

9

22

28

6

VOID

8 7 5

17

18

VOID

11

5

VOID

4

2

5 4

18

VOID

VOID

4 8

5

5

23

1

7

15

4

5

8

6

4

6

18

VOID

6

5

4

5

14

6

5 4

2

2

20

18

3

6

17

3

1

4

18

VOID

A

13

3

13

VOID

12

VOID

1. LARGE COURTROOM 2. MEDIUM COURTROOM 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. SECURITY CHECK 7. LEGAL ATRIUM 8. INTERVIEW ROOM 9. GALLERY ATRIUM 10. ART STORAGE 11. CAFE 12. RESTAURANT 13. KITCHEN 14. FOOD STORAGE 15. COOKING CLASS 16. BROADCAST OFFICE 17. BROADCAST STUDIO 18. MARKET STALLS 19.VIRTUAL REALITY VENDING LIBRARY 20. FOOD COURT ATRIUM 21. WEEKLY OUTDOOR FARMERS’ MARKET 22. PLAZA 23. FRONT YARD 24. VEGETATION GARDEN 25. THE HELLENIC MUSEUM 26. TRAM STOP 27. MECHANICS 28. OFFICE RECEPTION

A

27

21

17 18

18

15 26

23

1. SMALL COURTROOM 2. LEGAL OFFICE 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. INTERVIEW ROOM 7. LEGAL ATRIUM 8. ART GALLERY 9. ART WORKSHOP 10. LECTURE 11. OBSERVATION PLATFORM 12. FOOD STALL 13. FOOD COURT 14. ROOF TERRACE 15. CUSTODY LOBBY 16. MECHANICS

3

17

GF

5

12

12

F2

15

A

SCALE 1 : 500 0

5

10 m

14

15 14

VOID

SCALE 1 : 200 0

12

10 m

18

1. LARGE COURTROOM 2. MEDIUM COURTROOM 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. SMALL COURT 7. LEGAL ATRIUM 8. INTERVIEW ROOM 9. GALLERY RECEPTION 10. ART GALLERY 11. LECTURE 12. CLASSROOM 13. OBSERVATION PLATFORM 14. FOOD STALL 15. FOOD COURT 16. BROADCAST OFFICE 17. BROADCAST STUDIO 18. ROOF TERRACE

F1

VOID

4 1 VOID 2

2

VOID

SCALE 1 : 200 0

5

10 m

3

1. LECTURE 2. CLASSROOM 3. OBSERVATION PLATFORM 4. LIBRARY BRIDGE

M

SCALE 1 : 500 0

5

10 m

25 | SITE PLAN

PLAN | 25

A

A

A

18

15

16

16

24

15

17

2

2

23 1

21

4

VOID

6

3 5

1

18

25

1. LEGAL OFFICE 2. OFFICE RECEPTION 3. CUSTODY LOBBY 4. CUSTODY CELL 5. STAFF TOILET 6. ROOFTOP GARDEN 7. UBER AIR PADS

5

15

17

A

F4

SCALE 1 : 500 0

5

10 m

VOID

16

16

A

15

17

18

15 VOID VOID VOID

8

VOID

VOID

VOID

19

9

2

VOID 11

10

11

VOID

VOID VOID

1

18

2 7

18

9

4

5

12 6

11

4

6

11

VOID

6

4

5

VOID

4

VOID 1

18

3

VOID 1. SMALL COURTROOM 2. LEGAL OFFICE STAIRS 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. INTERVIEW ROOM 7. LEGAL ATRIUM 8. SCULPTURE GARDEN 9. OBSERVATION PLATFORM 10. VEGETABLE GARDEN 11. ROOF TERRACE 12. CUSTODY STAIRS

A

23

12

VOID

11

10

VOID

F3

13

SCALE 1 : 500 0

5

10 m

15 3

3

12 11

A

VOID

1

VOID

1 13

14

VOID 8

4

VOID

4 6

16 10

18

18

16

VOID

9

22

28

6

VOID

8 7 5

17

18

VOID

11

5

VOID

4

2

5 4

18

VOID

VOID

4 8

5

5

23

1

7

15

4

5

8

6

4

6

18

VOID

6

5

4

5

14

6

5 4

2

2

20

18

3

6

17

3

1

4

18

VOID

A

13

3

13

VOID

12

VOID

1. LARGE COURTROOM 2. MEDIUM COURTROOM 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. SECURITY CHECK 7. LEGAL ATRIUM 8. INTERVIEW ROOM 9. GALLERY ATRIUM 10. ART STORAGE 11. CAFE 12. RESTAURANT 13. KITCHEN 14. FOOD STORAGE 15. COOKING CLASS 16. BROADCAST OFFICE 17. BROADCAST STUDIO 18. MARKET STALLS 19.VIRTUAL REALITY VENDING LIBRARY 20. FOOD COURT ATRIUM 21. WEEKLY OUTDOOR FARMERS’ MARKET 22. PLAZA 23. FRONT YARD 24. VEGETATION GARDEN 25. THE HELLENIC MUSEUM 26. TRAM STOP 27. MECHANICS 28. OFFICE RECEPTION

A

27

21

17 18

18

15 26

23

1. SMALL COURTROOM 2. LEGAL OFFICE 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. INTERVIEW ROOM 7. LEGAL ATRIUM 8. ART GALLERY 9. ART WORKSHOP 10. LECTURE 11. OBSERVATION PLATFORM 12. FOOD STALL 13. FOOD COURT 14. ROOF TERRACE 15. CUSTODY LOBBY 16. MECHANICS

3

17

GF

5

12

12

F2

15

A

SCALE 1 : 500 0

5

10 m

14

15 14

VOID

SCALE 1 : 200 0

12

10 m

18

1. LARGE COURTROOM 2. MEDIUM COURTROOM 3. JURY ASSEMBLY 4. JUDGE CHAMBER 5. CUSTODY CELL 6. SMALL COURT 7. LEGAL ATRIUM 8. INTERVIEW ROOM 9. GALLERY RECEPTION 10. ART GALLERY 11. LECTURE 12. CLASSROOM 13. OBSERVATION PLATFORM 14. FOOD STALL 15. FOOD COURT 16. BROADCAST OFFICE 17. BROADCAST STUDIO 18. ROOF TERRACE

F1

VOID

4 1 VOID 2

2

VOID

SCALE 1 : 200 0

5

10 m

3

1. LECTURE 2. CLASSROOM 3. OBSERVATION PLATFORM 4. LIBRARY BRIDGE

M

SCALE 1 : 500 0

5

10 m

SECTION | 22

|

22 |

|

| | |

D

SECTION | 22

|

22 |

|

| | |

D

26 | DETAIL

DURING A MARKET MARDI GRAS

MODEL | 26

26 | DETAIL

DURING A MARKET MARDI GRAS

MODEL | 26

27 | SPATIAL ANALYSIS

04

VIRTUAL EXHIBITION | 27

THE ROTUNDA BOZAR- A-SILENT-GIANT

Groupmates: Vladislav Trofimov, Joe Moran TU Delft Elective, Urban Architecture, 2020 Tutors: Elsbeth Ronner, Aurĕlie Hachez

Layering Towards A Monumental Illusion I Rotunda Study

We chose to study the Rotunda of the first / second floors of the Bozar, Brussels by Victor Horta. It is a linking space, it connects various spaces and geometries. It negotiates between the two axes set up by the building line along the existing streets and the internal orthogonal gallery spaces that Horta creates within. It accepts the structural requirements of these different axes and resolves them through the use of the circular form, setting up the rotunda. Importantly, as elsewhere in the Bozar, it must allow people to navigate between the different levels, in this case four. The Bozar itself is not a huge room, but the feeling of arrival is amplified and exaggerated by the use of layering. This layering creates a sense of journey as you approach the rotunda, through the various smaller antecedent spaces, and allows for incidental views through and between them. The layering is also seen in the building elements used to make the rotunda. Whether they be columns or ceiling, surfaces and objects are broken down and peeled away to create a multiplicity of surface that belies the modest scale and materiality of the rotunda, thus creating an illusion of grandeur that makes this a monumental space.

THE EXHIBITION AT THE HORTA HALL

BOZAR - A Silent Giant

Exhibition of Horta’s Monumentality The Palais des Beaux-Arts, or BOZAR, turned out to be Victor Horta’s magnum opus. Horta managed, in spite of all the difficulties, to create a hidden palace in the city of Brussels with an intriguing spatial arrangement of several large exhibition spaces and concert halls interlinked by foyers, hallways, ramps and stairs. The interior contrasting the exterior which presents itself in the city as a silent giant relating to its next-door neighbours, and modest in scale and extravaganza.

This exhibition presents 12 objects, representing various interior spaces in the BOZAR, placed in the Horta Hall. Each introduces a new way of experiencing the existing architectural elements. The objects are organised in different themes and zones. As some may deal with the structural elements, others deal with the spatiality of the space or the materiality of the surfaces. The exhibition lay-out puts a strong focus on axiality and symmetry, in coordination with the symmetry found in the Hortal Hall itself. The centre piece of the exhibition, which represents the main rotunda of the building, offers a focus point where the visitor could divert, like in the actual building, to the different zones of this exhibition and saunter around.

TowardsA Monumental Illusion 1:100 ILLUSION I LAYERING Layering TOWARDS MONUMENTAL Vladislav Trofimov, 5101069 Zheng Wu, 5200113 Joe Moran, 5201721

Layering Towards A Monumental Illusion II

THE INVENTORY OF OBJECTS

Artefact

Our artefact is a representation of our interpretation of Horta’s approach to monumentality as witnessed in the rotunda of the Bozar. It aims to combine the ideas of journey, arrival, views through and between, and the layering of surfaces. From a distance you can get glimpses into the heart of the artefact . As you get closer you can begin to read the abstraction of the rotunda dome and column layering at the corner. As you step through the doorway onto the stairs, the space above and to either side of you starts to peel back and expand as you rise up into the artefact. Reaching the top of the steps you can pause, sit and look up. Above there are three suspended objects that make up the layers of the main internal rotunda. Light streams in through the oculus and seeps between the object having been diffused by the fabric surround of the uppermost element. One can see out into the hall through gaps in the elements that make up the artefact. The elements themselves are made from layered white painted 20mm MDF except for the base / stair which will be made of layered ply. Each piece is separated by shadow gaps. The sub-structure would be an aluminium frame that extends up to support the rotunda and provides a lattice on which the fabric of the top element is stretched. From the outside the artefact reads as one, a white cuboid. Within, it reveals itself to be a multilayered and complex collection of space and view which reflects the nature of the Bozar itself, the silent giant.

Bozar, The Silent Giant

AR2UA010

LAYERING OF SPACE

Urban Architecture

2019/2020

THE ARTEFACT

LAYERING TOWARDS A MONUMENTAL ILLUSION II

27 | SPATIAL ANALYSIS

04

VIRTUAL EXHIBITION | 27

THE ROTUNDA BOZAR- A-SILENT-GIANT

Groupmates: Vladislav Trofimov, Joe Moran TU Delft Elective, Urban Architecture, 2020 Tutors: Elsbeth Ronner, Aurĕlie Hachez

Layering Towards A Monumental Illusion I Rotunda Study

We chose to study the Rotunda of the first / second floors of the Bozar, Brussels by Victor Horta. It is a linking space, it connects various spaces and geometries. It negotiates between the two axes set up by the building line along the existing streets and the internal orthogonal gallery spaces that Horta creates within. It accepts the structural requirements of these different axes and resolves them through the use of the circular form, setting up the rotunda. Importantly, as elsewhere in the Bozar, it must allow people to navigate between the different levels, in this case four. The Bozar itself is not a huge room, but the feeling of arrival is amplified and exaggerated by the use of layering. This layering creates a sense of journey as you approach the rotunda, through the various smaller antecedent spaces, and allows for incidental views through and between them. The layering is also seen in the building elements used to make the rotunda. Whether they be columns or ceiling, surfaces and objects are broken down and peeled away to create a multiplicity of surface that belies the modest scale and materiality of the rotunda, thus creating an illusion of grandeur that makes this a monumental space.

THE EXHIBITION AT THE HORTA HALL

BOZAR - A Silent Giant

Exhibition of Horta’s Monumentality The Palais des Beaux-Arts, or BOZAR, turned out to be Victor Horta’s magnum opus. Horta managed, in spite of all the difficulties, to create a hidden palace in the city of Brussels with an intriguing spatial arrangement of several large exhibition spaces and concert halls interlinked by foyers, hallways, ramps and stairs. The interior contrasting the exterior which presents itself in the city as a silent giant relating to its next-door neighbours, and modest in scale and extravaganza.

This exhibition presents 12 objects, representing various interior spaces in the BOZAR, placed in the Horta Hall. Each introduces a new way of experiencing the existing architectural elements. The objects are organised in different themes and zones. As some may deal with the structural elements, others deal with the spatiality of the space or the materiality of the surfaces. The exhibition lay-out puts a strong focus on axiality and symmetry, in coordination with the symmetry found in the Hortal Hall itself. The centre piece of the exhibition, which represents the main rotunda of the building, offers a focus point where the visitor could divert, like in the actual building, to the different zones of this exhibition and saunter around.

TowardsA Monumental Illusion 1:100 ILLUSION I LAYERING Layering TOWARDS MONUMENTAL Vladislav Trofimov, 5101069 Zheng Wu, 5200113 Joe Moran, 5201721

Layering Towards A Monumental Illusion II

THE INVENTORY OF OBJECTS

Artefact

Our artefact is a representation of our interpretation of Horta’s approach to monumentality as witnessed in the rotunda of the Bozar. It aims to combine the ideas of journey, arrival, views through and between, and the layering of surfaces. From a distance you can get glimpses into the heart of the artefact . As you get closer you can begin to read the abstraction of the rotunda dome and column layering at the corner. As you step through the doorway onto the stairs, the space above and to either side of you starts to peel back and expand as you rise up into the artefact. Reaching the top of the steps you can pause, sit and look up. Above there are three suspended objects that make up the layers of the main internal rotunda. Light streams in through the oculus and seeps between the object having been diffused by the fabric surround of the uppermost element. One can see out into the hall through gaps in the elements that make up the artefact. The elements themselves are made from layered white painted 20mm MDF except for the base / stair which will be made of layered ply. Each piece is separated by shadow gaps. The sub-structure would be an aluminium frame that extends up to support the rotunda and provides a lattice on which the fabric of the top element is stretched. From the outside the artefact reads as one, a white cuboid. Within, it reveals itself to be a multilayered and complex collection of space and view which reflects the nature of the Bozar itself, the silent giant.

Bozar, The Silent Giant

AR2UA010

LAYERING OF SPACE

Urban Architecture

2019/2020

THE ARTEFACT

LAYERING TOWARDS A MONUMENTAL ILLUSION II

28 | INTRO

TECHNOLOGY | 28

OUTRIGGER SYSTEM

05

SKYEDGE TOWER A-ONE-STOP-MIXED-USE-SUPERTALL Groupmates: Daniel Chen, Yalin Li Applied Architectural Technology, 2021 Tutor: Anthony Blazquez

PROJECT BRIEF

Standing at a height of 229.8m , Skyedge Tower is located at the corner of Spencer and Lonsdale street on the western edge of Melbourne’s Central Business District (CBD). Adjacent to the Docklands precinct, the tower contains a mixed-used programme of retail, premium office spaces for rent, high-end luxury hotel floors, a sky lobby and a sky deck, that offer scenic city views.

FACADE AXONOMETRIC VIEW

Outrigger structural system is employed to help distribute the overturning loads to the foundation effectively.

The Skyedge Tower use double glazed curtain walls as the typical wall system.

It is economic and convenience for the high-rise building to construct.

Generally, The Skyedge Tower provides a good work and living space for people who come here. The entire

facade guarantees the needs of sunlight, ventilation and aesthetics, etc. Meanwhile, its modernity can be well integrated into the surrounding city life.

28 | INTRO

TECHNOLOGY | 28

OUTRIGGER SYSTEM

05

SKYEDGE TOWER A-ONE-STOP-MIXED-USE-SUPERTALL Groupmates: Daniel Chen, Yalin Li Applied Architectural Technology, 2021 Tutor: Anthony Blazquez

PROJECT BRIEF

Standing at a height of 229.8m , Skyedge Tower is located at the corner of Spencer and Lonsdale street on the western edge of Melbourne’s Central Business District (CBD). Adjacent to the Docklands precinct, the tower contains a mixed-used programme of retail, premium office spaces for rent, high-end luxury hotel floors, a sky lobby and a sky deck, that offer scenic city views.

FACADE AXONOMETRIC VIEW

Outrigger structural system is employed to help distribute the overturning loads to the foundation effectively.

The Skyedge Tower use double glazed curtain walls as the typical wall system.

It is economic and convenience for the high-rise building to construct.

Generally, The Skyedge Tower provides a good work and living space for people who come here. The entire

facade guarantees the needs of sunlight, ventilation and aesthetics, etc. Meanwhile, its modernity can be well integrated into the surrounding city life.

29 | PODIUM

TECHNICAL DETAIL | 29

29 | PODIUM

TECHNICAL DETAIL | 29

30 | MASTERPLAN

PALAZZO TYPE | 30

Axonometric: Celebrating a waterfront lifestyle, the venetian palazzo is a complex type of bundled row houses the boundaries between individual families become ambiguous. Hence, this type allows for coexistence of different people.

The waterside portegos accept happenings from the splendid canal, yet they are private from each other.

Each house has a series of thresholds that emphasize the depth of the space.

06

Ground Plan:

PALAZZO A-VENETIAN-TYPOLOGY-FOR-CO-LIVING

Groupmates: Cindy, Greta, Jose, Thomas Venice Studio, Jan 2022 Tutors: Oliver Lütjens, Thomas Padmanabhan Collaboration: Lütjens Padmanabhan Architekten

PROJECT BRIEF

Venice could reinvent itself as a place for working and living if it manages to rediscover its historic role as a gateway to the Mediterranean and to the East in the context of the reality of the ongoing refugee crisis. On the site of Sant’Elena the studio seeks to develop an alternative place for the future of working, living and leisure. The studio seeks to give form to a new community in which the contemporary social reality of Italy, that of a multi-cultural and multi-racial country of immigrants, finds a utopian place to thrive and develop: the Comunità Elenica.

To reclaim public space on the ground floor, the portegos can be connected as a walkthrough gallery, like an enfilade, with restaurants, workshops, and other spaces surrounding a central lobby, which is a semi-public library.

Upper Floor Plan: On the upper floors, portegos for flexible gatherings are reconfigured to form three clusters of midand short-stay apartments, filled with natural light from the courtyards. So the three new collective families can accommodate more immigrants, with a balance between privacy and collective domesticality.

30 | MASTERPLAN

PALAZZO TYPE | 30

Axonometric: Celebrating a waterfront lifestyle, the venetian palazzo is a complex type of bundled row houses the boundaries between individual families become ambiguous. Hence, this type allows for coexistence of different people.

The waterside portegos accept happenings from the splendid canal, yet they are private from each other.

Each house has a series of thresholds that emphasize the depth of the space.

06

Ground Plan:

PALAZZO A-VENETIAN-TYPOLOGY-FOR-CO-LIVING

Groupmates: Cindy, Greta, Jose, Thomas Venice Studio, Jan 2022 Tutors: Oliver Lütjens, Thomas Padmanabhan Collaboration: Lütjens Padmanabhan Architekten

PROJECT BRIEF

Venice could reinvent itself as a place for working and living if it manages to rediscover its historic role as a gateway to the Mediterranean and to the East in the context of the reality of the ongoing refugee crisis. On the site of Sant’Elena the studio seeks to develop an alternative place for the future of working, living and leisure. The studio seeks to give form to a new community in which the contemporary social reality of Italy, that of a multi-cultural and multi-racial country of immigrants, finds a utopian place to thrive and develop: the Comunità Elenica.

To reclaim public space on the ground floor, the portegos can be connected as a walkthrough gallery, like an enfilade, with restaurants, workshops, and other spaces surrounding a central lobby, which is a semi-public library.

Upper Floor Plan: On the upper floors, portegos for flexible gatherings are reconfigured to form three clusters of midand short-stay apartments, filled with natural light from the courtyards. So the three new collective families can accommodate more immigrants, with a balance between privacy and collective domesticality.

31 | PARAMETRIC DESIGN

3D PRINTING | 31

07

BREATHING SILVER THE-SECOND-SKIN

Groupmates: Jenny Wu & Karina Lai Digital Design & Fabrication, 2017 Tutor: Siavash Malek

08

THE GYROID-FORT A-HOME-FOR-ECHIDNAS Individual Work Studio Air, 2018 Tutor: Isabelle Jooste

09

VALLEY ACACIA THE-ESTATE-PLEASURE-GARDEN Individual Work Studio Earth, 2018 Tutor: Michelle Ransom

Folding for Varying Transparency

Entrances into the Fort

Community Cafe and Restaurant

The Second Skin in Action

Section Model of the Gyroid Fort

Roofscape

31 | PARAMETRIC DESIGN

3D PRINTING | 31

07

BREATHING SILVER THE-SECOND-SKIN

Groupmates: Jenny Wu & Karina Lai Digital Design & Fabrication, 2017 Tutor: Siavash Malek

08

THE GYROID-FORT A-HOME-FOR-ECHIDNAS Individual Work Studio Air, 2018 Tutor: Isabelle Jooste

09

VALLEY ACACIA THE-ESTATE-PLEASURE-GARDEN Individual Work Studio Earth, 2018 Tutor: Michelle Ransom

Folding for Varying Transparency

Entrances into the Fort

Community Cafe and Restaurant

The Second Skin in Action

Section Model of the Gyroid Fort

Roofscape

32 | MODEL MAKING

HANDCRAFT | 32

10

THE ARC AT CARLTON COMMUNITY-HEALTH-CENTRE

Study Model - Floor plates, North Facade

11

Individual Work Studio Fire, 2019 Tutor: Ahmed Sadek

AIM EXHIBITION

Final Sectional Model - North Entrance

Slope of Arcade and Public Lecture

South Facade Archways - Communal Space

Beijing Siheyuan, Courtyard House Renovation

Courtyard House Renovation - Interior Studies

Internship at AIM Architecture Shanghai, 2021 AIM FIFTEENTH ANNIVERSARY EXHIBITION

HAND-CRAFTED-MODELS

M Campus in Shanghai (2020) - Volumetric Model

Harmay Chengdu Flagship - Shelf Stairs

32 | MODEL MAKING

HANDCRAFT | 32

10

THE ARC AT CARLTON COMMUNITY-HEALTH-CENTRE

Study Model - Floor plates, North Facade

11

Individual Work Studio Fire, 2019 Tutor: Ahmed Sadek

AIM EXHIBITION

Final Sectional Model - North Entrance

Slope of Arcade and Public Lecture

South Facade Archways - Communal Space

Beijing Siheyuan, Courtyard House Renovation

Courtyard House Renovation - Interior Studies

Internship at AIM Architecture Shanghai, 2021 AIM FIFTEENTH ANNIVERSARY EXHIBITION

HAND-CRAFTED-MODELS

M Campus in Shanghai (2020) - Volumetric Model

Harmay Chengdu Flagship - Shelf Stairs

The Lost Silos - Loss of Context

Tirteen Zheng Wu wuzheng.tjc@gmail.com +61-0457698000 instagram : wu_zheng_happy

The Lost Silos - Loss of Context

Tirteen Zheng Wu wuzheng.tjc@gmail.com +61-0457698000 instagram : wu_zheng_happy